근대지식, 교육과 문학

차태근 한국중국현대문학학회 2007 中國現代文學 Vol.0 No.42

This article is on the formation of modern literature in the system of modern knowledge. Until now, One has studied around change of literature concept in the modern literature. so to speak, Modern literature has been viewed that it stemmed from premodern literature, and was a evolutionary process of itself. But, this article holds that it was a result of reorganization on knowledge system in the late 19th century-the early 20th century. Education made a important roll in this reorganization process. National education was presented as a part of nation building, as a result, woman and child was brought into relief. Modern literature had something to do with discovery of woman and child, that is, a new understanding of man. Chinese humanics in the early 20th century, was studied from three departments of modern knowledge. This was expressed as intellectual education, moral education, physical education and aesthetic education in the education. In the beginning, one paid close attention to literature as a part of intellectual education, of which the objects was generally woman and child. But, before long, one began to recognize that literature had a unique characteristics, and that it was very important in modern education and the building of modern subject. Meanwhile, this change of the topology of literature happened in connection with system of modern knowledge: sociology, educational psychology, anthropology etc. Liang Qichao and Yan Fu attached great importance to knowledge education from sociology. But Wang Guowei and Zhou Zuoren contrastively laid emphasis on aesthetic education and moral education, who approached them from each educational psychology and anthropology. In conclusion, we can confirm that modern literature is the result reconstructed in modern educational system.

구비문학, 문자문학, 현대의 매스미디어 문학에 대한 시각

손태도 ( Tae-do Son ) 서울대학교 국어교육과 2018 先淸語文 Vol.45 No.-

terature is the art of words, and it began with human life. So the assertion that lettered literature is the only genuine one is excessive and unilateral thought. There are oral literature, lettered literature, and modern mass media literature in ‘Literature.’ They are different literatures so their literacy styles are different. For example, oral literature must be understood in a reciting moment directly, so its literacy is made of formal theme, formular, and improvisation; Albert B. Lord’s ‘formular theory’ aspects those was acquired through the case of 1930s Yugoslavia oral narrative songs. On the other hand, lettered literature emphasizing the writer’s personality is characterized by special theme, special word, adherence to the original. There is in fact opposite side in them. But they all make each of the greatest and the best literature in their given condition. I will take a look the characters of oral literature, and modern mass media literature by the subjects ‘word or letter literature’, ‘audience, writer, and mass media’, ‘our, my, and their literature’, ‘usual or temporary literature’, and ‘ordinary or genuine literature.’ Modern mass media mainly uses uttering words like oral literature. In addition, oral literature and modern mass media literature are composite arts compared to lettered literature that is so-called solo art like poem and novel made of only letters. Such as the folk song is made by literacy and musical elements and the oral narrative song is made by literacy, musical, dramatical elements, as the popular song is made by literacy and musical ones and the movie is made by video, literacy, dramatical, musical ones and etc. But producer’s personality is valued and a unilateral supply in modern mass media system are the extension of the personality and the unilateral aspect of lettered literature author. In addition, modern mass media system is highly specialized, large and complex, and unilateral method, as it is called ‘their’ something. It can be compared to ‘our’ one, oral literature, and ‘my’ one, lettered literature. Oral literature can be sustained for several periods, because it is common literature of some community. Lettered literature also can be sustained for some times. But modern mass media literature is consumed by the public, so its life has temporary tendency. Oral literature and modern mass media literature are daily life literature compare to lettered literature that demand the serious literature that is written by certified by the author by debut system. Oral literature, lettered literature, and modern mass media literature did or is doing a certain role in the history of literature. Oral literature made common literature of some community, lettered literature devoted to make modern individualism to develop human’s inner consciousness, and modern mass media literature is playing major rules in the public entertainment and literature today. By the way, modern mass media literature that mainly formed of movie and TV drama has different side, video art, so it obviously shows a new cultural tendency. These days is the age of mass media, and main literature is heading for modern mass media literature is needed to be studied more profoundly on the base of research results of oral literature and lettered literature. The leading research of modern mass media literature might be held at Korea that had much of research results of oral literature and lettered literature, and has high concern on modern mass media literature.

근대 거사불교와 근대적 글쓰기 전략 - 백화 양건식과 蘇曼殊를 중심으로 -

박노종,권혁건 동북아시아문화학회 2009 동북아 문화연구 Vol.1 No.19

This paper shows how the mechanism of literature appears on Modern literature, exploring into the origin of Modern-Buddhist literature in Korea and China. It is no doubt that Yang Geon-Sik and Su Man-Shu's literature embody Buddhistic sprit, and connect with tradition and modern. Thus, we can verify that Yang Geon-Sik and Su Man-Shu's Buddhistic literature had been advanced to a pattern of aesthetics, and there is the mechanism of mind being supposed to be a reliable authority on the relationship between Modernism and buddhism in their literature. First is the discovery of modern tragic sprit. Through their pieces, they could understand the meaning of a solitary person who is described with loneliness and confession. Second is the discovery of a sprit of modern liberty. In modern time of East Asia being clash with complicated society and idea, a comfort which they gained through their works is that embodiment of sympathy or mercy. Thirty, rediscovery of a sprit of modern liberty is that a problem how literary result reflect in actuality, that is associated with literary identity of nation and race. This paper shows how the mechanism of literature appears on Modern literature, exploring into the origin of Modern-Buddhist literature in Korea and China. It is no doubt that Yang Geon-Sik and Su Man-Shu's literature embody Buddhistic sprit, and connect with tradition and modern. Thus, we can verify that Yang Geon-Sik and Su Man-Shu's Buddhistic literature had been advanced to a pattern of aesthetics, and there is the mechanism of mind being supposed to be a reliable authority on the relationship between Modernism and buddhism in their literature. First is the discovery of modern tragic sprit. Through their pieces, they could understand the meaning of a solitary person who is described with loneliness and confession. Second is the discovery of a sprit of modern liberty. In modern time of East Asia being clash with complicated society and idea, a comfort which they gained through their works is that embodiment of sympathy or mercy. Thirty, rediscovery of a sprit of modern liberty is that a problem how literary result reflect in actuality, that is associated with literary identity of nation and race.

근대계몽기 문학교육의 형성과 흔적 : 근대계몽기 문학과 무학교육

정호웅 ( Ho Ung Jung ) 한국문학교육학회 2012 문학교육학 Vol.39 No.-

The objective of this article is to verify how literature ofmodem enlightenment period can be applied in the field of literature education, based on examination on the form of enlightenment and enlightenmentity which are the core character of literature in modern enlightenment period and on examination on the characteristics of literature in modern enlightenment period as the literature in transition period. modem enlightenment period was a period of enlightenment and this made the form of enlightenment as the basic form of the literature in that period narrative literature in modem enlightenment period can be divided into four categories amoebaean style, debating style, orating style and describing style of literature in modern enlightenment period, discuss about subjects which already have their answers, therefore those are closed forms debating style of the modern enlightenment period is about how people reaches to answer by debating, but about how people confirm the already chosen answer. In this sense, debating style of literature in modern enlightenment period also was closed form ``structure of relationship of teacher and studenk``, which is the basic form of [무정], is a collection of those closed discusses. These kinds of closed forms blocks the subjects from self reflection from the beginning Narrative literature in modem enlightenment period be divided into four categories amoebaean style, debating style, orating style and describing style by style of discuss amobaean style and orating style, which are characteristic style of literature in modern enlightenment period, discuss about subjects which already have their answers, therefore those are closed forms. Debating style of the modern enlightenment period is not about how people reaches to the answer by debating, but about how people confirm the already chosen answer. In this sense, debating style of literature in modem enlightenment period also was closed form . ``structure of relationship of teachr and student``, which is the basic form of [무정], is a collection of those dosed discusses. On the basement of the literature in modern enlightenment period was the dichotomy. this dichotomy divides "pre modernity/modernity" and also divides ``nihilation of the past/for take of the future``. These kinds of dichotomy is closely connected to the fact that the heroes of ``혈의 누``and ``무정`` are orphans. Authors lived modern enlightenment period saw the world through the window of dichotomy, dividing ``pre modernity/modernity`` and dividing ``nihilation of the past/for take of the future``. And made their opinions in accordance with dichotomy, "those kinds of dichotomy codes like beauty/ugly, truth/false, good/evil was, in some sense, a tool to express creativity" and in the other sense it was aresult of despair from the fact that people of modem enlightenment period could not find any lesson or legacy from the past and the older generation. As we far examined, literature in modem enlightenment period can be understood in several ways. By applying what we have examined literature education can be mote intensified and extended.

한국 현대문학교육의 도정(道程)과 방향

박용찬(Park, Yong-chan) 국어교육학회 2016 국어교육연구 Vol.60 No.-

The Purpose of this thesis is to find the direction that modern literature’s education should advance on the basis of the process and self-reflection of korean modern literature’s education. It was 1970s that Korean modern literature’s study was noticed as main object in learning. However, modern literature’s education substantially started immediately after liberation from Japanese Imperalism. During Liberation’s period(1945~ 1950), many Korean textbooks and reading books were published owing to the needs and demands for the Korean language and letters. Lots of modern literary works were included in the Korean textbooks in this period, so modern literature’s education began with them. After going through the Korean government formation(1948) and the Korean War outbreak(1950), Korean textbooks were strongly influenced by nationalism. Likewise, the process of literature work’s canonization can’t but be influenced by dominant ideology. Main discourses of modern literature’s education were anti-communism and New Criticism and etc. Since then, education of modern literature has greatly expanded to the problems of study method and teaching-learning method as well as analysis of texts. Rapidly changing paradigm of education and sociocultural context effected partially on the elements of modern literature’s education. Consequently, literary history’s main canons began to being dealt with in education’s canons. Besides, teaching-learning method is taking from analysis of texts to development of learner’s literary ability. To verify the direction of Korean modern literature’s education, we should introspect about the process of Korean modern literature’s education thoroughly. Therefore, this thesis treated the problems of canonization, method of literature study, teaching-learning method and etc. in order to accomplish this purpose. The non-solved problem in this thesis could not solve will be treated later.

가라타니 고진과 한국근대문학의 종결(불)가능성

허병식 국제한국문학문화학회 2012 사이 Vol.13 No.-

What made it available for a genealogical inquiry into the modernity of Korean literature was The Origin of Modern Japanese Literature by Karatani Kojin. One genealogical principle which Foucault explained, occurred a fundamental change in Korean literature in the 1990s, and the Karatani is a critic who is preoccupied with applying Foucault’s theory to these Korean literatures of the 1990s in detail. Karatani introduced the theory of transcendental structure to Korean literary criticism. This theory considers the point of time in the modern age and speculates about ‘modern times’ while avoiding confrontation in the immanent development and transplant of modern Korean Literature. Thiscan be judged to be the most important contribution of Karatani’s thought to research on Korean literature. Meanwhile, The End of Modern Literature by Karatani had a great influence upon Koreanliterary criticism and research on modern Korean literature by propagating the assertion that the historical mission of modern literature is now complete. Key discussions either support the possibility of a national literature, while denying Karatani’s discourse of the end, or else accept the presentiment of the end of modern literature, while still being open to Karatani’s discussion. There is a need for examination of the concept dubbed ‘the impossibility of closure’, which Bakhtin argued is about the end of modern times. It is not that literature must be finished because modern era have ended, but rather that the modern era can never optionally come to an end, because a novel denies its coming to an end. Because the world’s last word has not yet been uttered, the world is open and free while everything possible still exists in future. In this way, even the modern era can be said to be still open in the center of its possibility. It is said that modern times will not finish while we wait for ‘the world’s’ last word, which has not yet been uttered. Within and beyond the horizon called the (Im)possibility of modernity’s closure, literature will proceed, training itself with modifying and continuously developing profound imagination, which allows it’s own distress to be politicized. 한국문학의 근대성에 대한 계보학적 탐색을 가능하도록 만든 것은 가라타니 고진의『 일본 근대문학의 기원』이었다. 90년대 한국문학의 근본적인 변화 속에 푸코가 알려준 계보학적 사유가 자리잡고 있다면, 이를 문학에 적용하는 가장 세련된 방식을 선취한 비평가가 가라타니였다. 그는 근대의 시점에 대한 논의나, 내재적 발전과 이식의 대립을 모면하고 근대를 사유하는 초월론적인 구조를 도입했다. 이것이 한국문학연구에 대한 가라타니 사유의 가장 중요한 기여라고 판단할 수 있다. 한편 가라타니의『 근대문학의 종언』은 근대문학의 역사적 사명이 이제 끝장났다는 주장을 펼침으로써 한국의 문학비평과 연구에 많은 영향을 주었다. 가라타니의 종언론에 대해 부정하며 민족문학의 가능성에 대해 옹호하거나, 가라타니의 논의에 공명하여 근대문학의 종언에 대한 예감을 수락하는 주요한 논의들이 있었다. 근대의 종언에 대해 바흐친이 주장한 종결불가능성이라는 개념을 살펴볼 필요가 있다. 근대가 끝났으므로 문학도 끝난 것이 아니라, 소설이 끝장나기를 거부하기에 근대도 결코 마음대로 끝장날 수 없다는 것. 세계의 마지막 말이 아직 발화되지 않았기에 세계는 열려 있고 자유로우며, 모든 것은 여전히 미래에 놓여 있는 것처럼, 근대 또한 그 가능성의 중심에서 여전히 열려 있다는 것. 아직 발화되지 않은 그 마지막 말을 기다리는 동안 근대는 결코 끝나지 않으리라는 것. 그 종결(불)가능성이란 지평의 안과 밖에서 문학은 자신의 곤궁을 정치화하는 심원한 상상력을 새롭게 수정하고 끊임없이 이동하며 스스로를 단련해 갈 것이다.

근대문학의 종언과 한국문학

김정남(Kim, Jeong-nam) 관동대학교 인문과학연구소 2012 人文學硏究 Vol.17 No.-

가라타니 고진(柄谷行人)이 선언한 근대문학의 종언은 근대소설에 내린 사망선고다. 고진에 따르면 근대소설의 ‘공감의 공동체’는 네이션의 기초를 형성하는 데 기여했다. 공감의 공동체에서 특히 ‘언어’적인 측면은 무시할 수 없는데, 여기서 언어적 공속감은 민족을 수평적 동료의식으로 상상하는 기반이 된다. 이러한 맥락 하에서 형성된 근대소설은 리얼리즘 소설의 원칙인 3인칭 객관 시점=기하학적 원근법이 의심받기 시작하고, 새로운 미디어의 출현에 따른 매체경쟁에서 소설이 더 이상 우위를 점할 수 없게 됨에 따라, 종말의 길로 접어들었다는 것이 고진의 주장이다. 근대 이후의 문학(예술)의 흐름은 산업화?도시화, 근대적 정치권력의 수립?국가적 정체성의 형성, 가치와 규범의 세속화 등을 함의하는 역사적 근대성(modernity as a stage in the history)에 대항해 온 미적 근대성(aesthetic modernity)의 역사라고 할 수 있다. 따라서 이 둘 사이의 동화와 이화, 수용과 반발은 근대문학을 이해하기 위한 두 축인 것이다. 여기서 중요한 것은 근대문학은 현실을 자명하게 상상하고 재현하는 것이 아니라, 스스로의 무력함과 절망을 내재하고 이에 대한 메타적 담론을 통해서 고유한 언어적 실천을 해왔다는 점이다. 그런 의미에서 근대문학은 역사적 불가능성을 스스로 내재하고 돌파구를 모색하는 과정에서 스스로 생성된 것이라면, 근대문학의 묵시록은 근대문학의 역사와 함께 하고 있다고 할 수 있다. 따라서 가라타니 고진이 선언한 근대문학의 종언을 과잉반응(overreaction)으로 규정짓는다면, 오늘날 한국문학계에서 만연한 문학의 위기는 오히려 스스로의 문제에 근거한 것은 아닐까. 물론 디지털 미디어와 같은 새로운 경쟁매체의 등장과 대중문화의 발호가 전통적인 문학의 침체를 유발한 것도 무시할 수 없지만, 이것은 어디까지나 외부적 요인이고, 문학을 대중으로부터 이반시킨 한국문학의 내부적인 요인을 보다 성찰해야 할 필요성이 있다. 이는 주로 문학의 아카데미화와 서열화된 문학권력의 폐해로 나타나는데, 이로 인해 문학의 대중적 가치와 신뢰를 잃어버렸다는 점을 지적할 수 있다. Karatani Kojin(柄谷行人) declared the end of modern literature is a ‘officially pronounced dead’ to modern novel. According to him, the ‘community of sympathy’ of the modern novel helped to form the basis of a nation. Especially in the community of sympathy can not ignore the aspect of ‘language’, linguistic sense of community has caused that imagine a nation based on horizontal solidarity. Formed under this context, the modern novel of the realism of the novel principle of ‘third-person objective point=geometric perspective’ started getting suspicious, and he argues modern Literature celebrates the end of the road, by media competition in the novel as not gaining an edge longer, depending on the emergence of new media. Since modern literature (art) of the flow, come against historic modernity (modernity as a stage in the history), the implications of industrialization and urbanization, secularization of values and norms of the establishment of modern political power and national identity formation, such as history of aesthetic modernity can be said. Thus, between the two of assimilation and dissimilation, acceptance and repulsion of the two pillars for understanding modern literature. The important thing here is to imagine and representation the self-evident reality that modern literature is not, rather than is a special linguistic practice, through a meta-reflection about own impossibility and despair inherent. Modern literature in the sense that if the inherent historical impossibility themselves and seek a breakthrough in the process of self-generated, along with the history of modern literature and modern literature of apocalyptic can be said. Karatani Kojin declared the end of modern literature, where the defining overreaction, Today widespread crisis in Korean literature, but rather based on their problems. Of course, the cause of the rise of digital media such as the emergence of new competitive media and popular culture, stagnation of traditional literary also can not be ignored, this is the only external factors, there is a need for reflection away from the general public created by the internal factors of the Korea Literature. As a result, they lost the public value and trust of literature, this situation usually appears as abuses of literary authority and academization of literature.

식민지시대 문인들의 미술평론의 두 가지 양상 ― 임화와 권구현을 중심으로 ―

김미영 서울대학교 규장각한국학연구원 2008 한국문화 Vol.44 No.-

The purpose of this study is to reveal how to have an effect the critics of the modern paintings written by novelists & poets or critics such as Lym-Whoa & Gyeun-Gu-Hyun on the building up the Korean Modern Fine Art and Modern literature. This paper also wants to show analysing the relationships between the theory of transplantation modern art(I-Sik-Mi-Sul-Non) and the theory of transplantation modern literature(I-Sik-Moon-Wha-Lon). This study shows that novelists & poets or critics were participated to write the critics of paintings are influenced the traditional thought which was poem, calligraphy and paintings are constructed one thing as the work for the intellectuals. So the literature stuff writers had played an important role to build up the modern fine art from traditional calligraphy & drawings. The conclusion of this thesis are shows two kinds of the facts. One thing is that The critics of the modern paintings written by novelists & poets or critics such as Lym-Whoa, Gyeun-Gu-Hyun & Lee-Tae-June had made Korean modern novels were realized the value of description and art has gotten self-regulation. The Other thing is that the specific characters as the Korean style in the most genre of arts should created during modernization in order to overcome the theory of transplantation modern art(I-Sik-Mi-Sul-Non), the theory of transplantation modern literature(I-Sik-Moon- Wha-Lon) and the process of civilization. Find art and literature were cooperated each others. However some critics did not known what is the points of dissimilarity between paintings and literatures. But still their participations of critics on fine arts could helped the period of the enlightenment in Korean modern literatures. The purpose of this study is to reveal how to have an effect the critics of the modern paintings written by novelists & poets or critics such as Lym-Whoa & Gyeun-Gu-Hyun on the building up the Korean Modern Fine Art and Modern literature. This paper also wants to show analysing the relationships between the theory of transplantation modern art(I-Sik-Mi-Sul-Non) and the theory of transplantation modern literature(I-Sik-Moon-Wha-Lon). This study shows that novelists & poets or critics were participated to write the critics of paintings are influenced the traditional thought which was poem, calligraphy and paintings are constructed one thing as the work for the intellectuals. So the literature stuff writers had played an important role to build up the modern fine art from traditional calligraphy & drawings. The conclusion of this thesis are shows two kinds of the facts. One thing is that The critics of the modern paintings written by novelists & poets or critics such as Lym-Whoa, Gyeun-Gu-Hyun & Lee-Tae-June had made Korean modern novels were realized the value of description and art has gotten self-regulation. The Other thing is that the specific characters as the Korean style in the most genre of arts should created during modernization in order to overcome the theory of transplantation modern art(I-Sik-Mi-Sul-Non), the theory of transplantation modern literature(I-Sik-Moon- Wha-Lon) and the process of civilization. Find art and literature were cooperated each others. However some critics did not known what is the points of dissimilarity between paintings and literatures. But still their participations of critics on fine arts could helped the period of the enlightenment in Korean modern literatures.

번역되지 않은 영향, 비극의 재구성 -브란데스, 입센, 니체를 중심으로-

양순모 ( Yang Soon-mo ) 한국문학연구학회 2024 현대문학의 연구 Vol.- No.82

본고는 선행연구 「번역되지 않은 영향, 브란데스의 재구성: 1910년대와 변방의 세계문학」에서 출발한다. 위 연구는 식민지 조선에서 “한 번도 번역된 바 없”지만 식민지 조선 내 “사상과 문학의 장”에 적지 않은 영향을 끼친 비평가 기오 브란데스(Georg Brandes)를 탐구한 논문으로, “직접 번역 영향 관계를 벗어나 세계문학 범위에서 한국의 사례에 접근해 보려는” 시론(試論)적 시도이자, 궁극적으로 “식민지시기의 한국 문학에 새롭게 접근하는 단초를 만들어 보고자”하는 선구적인 탐구이다. 그리고 본고는 선행연구를 따르되, “트랜스내셔널한 공통의 지적 배경을 재구성해 보려는 시도”의 대상이자, “근본적 수준에서 장 자체의 구성에 기여했으나 그 참여자들조차 망각한 원천을 발굴해 내는 작업”의 대상으로 브란데스가 아닌 ‘비극’을 상정한다. 관련하여, 브란데스는 차치하더라도 예컨대 ‘입센’은 당대는 물론이고 왜 오늘날까지도 한국 문학(연구)장에서 단 한 차례도 ‘비극 작가’로서 호명되지 못한 것인지 의문을 가질 필요가 있다. 분명 『인형의 집』 작가 노트가 “근대 비극를 위한 노트(Notes for the Modern Tragedy)”라는 제목을 달고 있음에도 불구하고, 한국 근대문학(연구) 장에서 『인형의 집』과 입센은 ‘비극’이나 ‘비극 작가’로 해석된 적이 없다. 만약 입센이 대표적인 서구 근대 ‘비극 작가’라고 한다면, 그동안의 한국 근대문학(연구)장은 ‘서구 근대문학’ 배후에 존재하는 짙은 그림자로서 비극을 규명하지 못한 채, 무의식적으로, 간접적으로 영향 받고 있던 것은 아닌지 질문해 볼 필요가 있다. 이에 본고는 기오 브란데스를 비롯 당대 동아시아 및 식민지 조선 문단에 강력한 영향을 끼친 입센과 니체의 공통 배경으로서 ‘비극’을 “번역되지 않은 영향”으로 상정한다. 근대문학을 두고 “비극 ‘이후’뿐만 아니라 또한 비극에 ‘맞서’ 태어났다”고 말하는 모레티에 따르면, 유럽은 근대문학의 유럽과 비극의 유럽으로 구별되어 있었으며, 유럽의 상황을 비롯해 수용의 과정에서 비극은 근대문학의 그림자로 자리 잡을 수밖에 없었다. 이에 본고는 서구 근대문학의 그림자로서 근대 비극을 우리가 여전히 좀처럼 번역해내지 못하고 있다고 가정하며, 식민지 조선 문학장에서의 ‘비극’의 재구성을 시론적으로나마 시도하고자 한다. 이를 위해 본고는 우선 ‘근대문학(소설)’과의 관계를 통해 좀 더 선명하게 드러나는 그림자로서 ‘비극’의 정체를 좀 더 자세히 정리한 후, ‘비극’이라는 공통의 배경과 더불어 근대 초 동아시아 및 식민지 조선 문학장에 주요한 영향을 끼친 ‘브란데스’, ‘입센’, ‘니체’를 대상으로 그간 알려진 모습과는 다른 그들의 면모를 살펴본다. 위와 같은 작업과 더불어 우리는 식민지 조선에서의 ‘번역되지 않은 영향’으로서 ‘비극’의 정체를 보다 분명히 규정해볼 수 있으며, 나아가 식민지 조선에서의 그 흔적과 영향들을, 그리고 이를 통해 획득할 수 있는 새로운 해석의 지점들을 조심스레 추론해 볼 수 있을 것이다. This article builds on a previous study, “Untranslated Influences, Reconstructing Brandes - The 1910s and World Literature on the Margins.” The previous study explored Georg Brandes, a critic whose works were “never translated” in colonial Korea but had a significant impact on the “field of thought and literature” in colonial Korea, and is a pioneering attempt to “approach the Korean case from the s cope of world literature outside of the direct translation influence relationship” and ultimately “create a new approach to Korean literature in the colonial period.” This article follows in the footsteps of the preceding studies, but places “tragedy” in the place of Georg Brandes, as the object of an attempt “to reconstruct a common transnational intellectual background” and “to unearth sources that contributed to the construction of the chapter at a fundamental level but have been forgotten even by its participants.” In this regard, it is worth asking why, Brandes aside, Ibsen, for example, is not even mentioned once as a “tragedian” in Korean literature (studies) fields, not only in his time but even today. Certainly, despite the fact that the author’s notes for A Doll’s House are titled “Notes for the Modern Tragedy,” A Doll's House and Ibsen have never been interpreted as a “tragedy” or “tragedy writer” in Korean modern literature (studies) fields. If Ibsen is a representative Western modern tragedy writer, it is necessary to ask whether the Korean Modern Literature (Studies) field has been unconsciously and indirectly influenced by tragedy as a dark shadow that exists behind ‘Western modern literature’ without identifying it. Therefore, this paper posits “tragedy” a s an “untranslated influence” as a common background for Ibsen and Nietzsche, who strongly influenced the East Asian and colonial Korean literatures of their time, including George Brandes. According to Moretti, who says that modern literature was “born not only ‘after’ tragedy but also ‘against’ tragedy”, Europe was divided into a Europe of modern literature and a Europe of tragedy, and tragedy was bound to become the shadow of modern literature in the process of acceptance, including the European situation. This paper will attempt to reconstruct ‘tragedy’ in the literature of colonial Korea, assuming that we are still unable to translate modern tragedy as a shadow of Western modern literature. To this end, this paper will first organize the identity of ‘tragedy’ in more detail as a shadow that is revealed more clearly through its relationship with ‘modern literature (novel)’. Then, in addition to the common background of ‘tragedy’, we examine Brandes, Ibsen, and Nietzsche, who were major influences on the literary canon of early modern East Asia and colonial Korea, in a way that is different from how they have been portrayed. Through this work, we can more clearly define the identity of ‘tragedy’ as an ‘untranslated influence’ in colonial Korea, and carefully infer its traces and influences in colonial Korea, and the new points of interpretation that can be gained from them.

근대문학관 건립을 위한 공간 스토리텔링 연구

이민호 ( Lee Minho-ho ) 국제어문학회 ( 구 국제어문학연구회 ) 2013 국제어문 Vol.58 No.-

한국근대문학관은 아직 태동하지 않았다. 존재의 당위성만이 있을 뿐이다. 어디에 근대문학관을 짓고, 어떤 규모와 모습이어야 하며, 누가 어떻게 운영하는가를 논할 게재가 아니다. 그런 측면에서 본고는 한국 근대문학을 어떻게 공간화할 수 있는가 방법론에 대해 논의하고자 했다. 우리나라 문학관 현황을 볼 때 동일한 문제점을 안고 있고 그 해결책도 대동소이하다. 그만큼 문학관 건립 취지에 대해 어느 정도 공감대가 형성돼 있기 때문에 사업범위, 규모, 운영형태에 대한 문제는 부차적이다. 오히려 문학의 현실과 관련해 문학관의 공간성에 대한 논의가 부족한 상태다. 특히 문학관 앞에 붙은 `근대`는 수사에 지나지 않는 듯하다. 그만큼 근대문학관 건립 자체가 우리 문학의 근대성 논의와 무관하지 않다. 근대문학관은 단순히 근대라는 시간을 가두는 거푸집이 아니라 근대공간을 감각하는 시 · 공간의 장소라 할 수 있다. 시간은 현재의 존재감을 가능케 하는 기계이다. 과거와 미래의 시간은 무엇으로 감각하는가. 공간의 역할이 거기에 있다. 그러므로 현재를 살며 과거와 미래를 함께 거주할 수 있는 장소로 한국 근대문학관이 건립되어야 한다. 이와 같은 조건들을 토대로 전통과 현대를 아우르고 자아와 타자의 차이를 지양하여 근대문학을 여러 방향에서 융합하는 통합서사로서 `상상력의 공동체`를 제시한다. 대전제로서 도출된 스토리텔링은 우리의 근대문학을 `중립지대` 혹은 `완충지대` 이미지로 테마화할 것이다. 이를 통해 근대문학 속에 전통과 근대, 자아와 타자의 이미지 맥락을 완충적이고 중립적인 융합 이미지로 구축함으로써 한국문학의 가치를 `동북아`를 넘어 `세계화`하는 하위 스토리텔링으로 연계될 수 있을 것이다. 궁극적으로 본 연구는 전통과 근대문학 속에서 추출된 통합 이미지를 통해 근대문학관을 `삶의 궁극적 공간`, `삶의 주체적 공간`, `삶의 실천적 공간`으로 테마화하는 내용을 제시하였다. There has been no modern literature museum in Korea yet. There is a justifiable argument for the existence only. But, no specific discussion is made like the place of museum, its size and feature and its operation subject. In this sense, this study aimed to discuss a methodology of making space of the Korean modern literature. Considering the literature museum in Korea, there are same problems and so are solutions. Since there is a certain degree of consensus on the establishment of the literature museum, the project scope, size and operational type are subsidiary. Rather, there is insufficient discussion on the space character of the literature museum. In particular, `modern` attached to literature museum seems nothing but a euphoric. As such, the establishment of the modern literature museum itself is closely related to our discussion of modernity. The modern literature museum is not a simple cast to contain modernity as a time, but is a spatial and time location that senses a modern space. Time is a machine enabling sense of existence of the present. How do people sense past and future time? The role of space lies in it. Therefore, the Korean modern literature museum must be established as a place to live in the past and future as well as in the present. Based on such conditions, this study would like to suggest `imaginative community` as an integrating narrative conversing modern literature from various directions embracing tradition and contemporary and eliminating differences between ego and the others. Storytelling extracted such a pretext shall be a theme as an image of `neutral zone` or `buffer zone`. By means of this, tradition and modern, image of ego and others could be constructed as neutral and converged image in the modern literature, which might link the value of the Korean literature to the sub-storytelling toward `globalization` beyond `north east Asia`. Ultimately, this study suggested the modern literature museum as themes like `an ultimate space of life`, `a subjective space of life` and `a practical space of life`by means of integrated image extracted in the traditional and modern literature.