특집 : 센티멘탈 이데올로기 ; "이광수"라는 과제: 근대적 읽기 관습의 창출과 계도적 미학의 길 -이광수의 문학론과 『무정』의 상관성을 중심으로-

이만영 ( Man Young Lee ) 고려대학교 민족문화연구원 2013 民族文化硏究 Vol.58 No.-

본 논문은 『무정』을 통해서 이광수가 창출하고자 했던 근대적 읽기의 관습이 무엇이었는지 살펴보고자 한다. 문학이 작가에서 독자로 이어지는 감성의 흐름을 다루는 것이라고 할 때, 『무정』 역시 이광수 자신이 가졌던 문학관을 당대 독자들에게 전이시키기 위해 기획된 텍스트라고 할 수 있다. 사실, 이 작품에서 ‘형식’과 ‘영채’가 경험하는 읽기 관습의 변모 과정은 이광수 본인이 생각했던 근대적 독자의 창출과도 깊은 연관관계를 갖는다. 본 연구에서 『무정』을 문제적인 텍스트로 간주하는 이유는 다음과 같이 두 가지로 정리될 수 있다. 첫째, 「문학의 가치」(1910)에서 「문학이란 하오」(1916)에 이르기까지 이광수 본인이 주창했던 ‘정(情)의 문학’을 본격적으로 시현했던 텍스트가 다름 아닌 『무정』이었기 때문이다. 둘째, 이 작품이 기존의 읽기 관습을 탈피함과 동시에 근대적 읽기 관습을 창출하고자 하는 이광수 자신의 의도를 농후하게 드러내고 있는 텍스트이기 때문이다. 첫 번째의 이유와 관련하여 본 논문에서는 『무정』이 탄생하게 된 문학사적 지평을 개괄하는 작업에서부터 출발하고자 한다. 주지하다시피 『무정』은 신소설과 번안소설이 길항/경합하던 문학사적 지평 위에서 탄생한 작품이다. 그러한 지평위에서 이광수는 신소설 작가와 번안소설의 작가들의 문학론을 갱신하면서, ‘정’을 강조하는 문학론을 주창하게 된다. 본 논문에서는 「문학의 가치」와 「문학이란하오」라는 두 평문을 중심으로 이광수가 주창했던 ‘정’의 문학이 무엇인지 개괄함으로써, 『무정』에 투영된 ‘정’의 실체가 무엇인지를 파악할 것이다. 그리고 본 논문에서는 상기한 두 번째의 이유와 관련하여 이광수의 문학론이 『무정』에 어떻게 투영되었는지를 살펴보고자 한다. 이를 위해 첫 번째로 『무정』에 드러난 ‘읽기’의 관습에 대해 논의한다. 『무정』에서 형식과 영채는 종종 그간 읽어왔던 텍스트들을 다시 읽거나 상기함으로써 자기 각성을 시도·완성한다. 형식이 앎을 지향했던 독서 행위에 대해 반성했다면, 영채는 도덕을 지향했던 독서 행위에 대해 반성했다. 이는 인간의 정신을 지(知)·정(情)·의(意)로 분화하여 설명하고자 했던 ?문학이란 하오?의 논법과 무관하지 않다. 다시 말해 이들이 기왕의 독서 관습을 반성하는 것은 결국 문학이 학문[知]과 종교[善]의 영역으로부터 독립되어야만 한다는 이광수의 문학론을 고스란히 반영한 것이라고 볼 수 있다는 것이다. 두 번째로 『무정』에 나타난 사랑의 의미를 논의한다. 이광수가 말하는 정은 단순히 연애의 감성만을의미하지 않는다. 오히려 정은 개인의 차원을 넘어서서 인류의 차원에까지 확장될수 있는 개념이며, 문학은 그러한 인류의 정을 발육시키는 통로로 작동할 수 있어야 한다. 그런 의미에서 『무정』에서 나타나는 연애의 감정을 인류애의 층위로까지 끌어올린 작품이라고 평가될 수 있는 것이다. This study aims to discover the modern habit of reading which Lee Gwang-su tried to create through 『Moojeong』. When literature deals with the flow of sensibility from the author to readers, 『Moojeong』 is also a text that he planned to spread his own value about literature to readers of the day. Indeed, in this novel, there is a connection between the change of reading habit that ``Hyeong-sik`` and ``Yeong-chae`` went through and his conception about the creation of modern readers. There are two reasons why 『Moojeong』 is considered problematic. First, 『Moojeong』 is the text where he has realized the ``literature of Jeong(情),`` which he had advocated from 「The Value of Literature」(1910) to 「What is Literature」(1916). Second, it is a text where has been revealed his intention of a creation of modern habit of reading as well as discard of the old one. Related to the first reason, this study starts from summery of literary background of 『Moojeong』. As is generally known, it was written on the background of antagonism and rivalry among korean nouveau roman and adapted novels. Lee Gwang-su suggests a literary theory of ``Jeong`` while renewing that of those novels. This study is to grasp the nature of ``Jeong`` reflected in 『Moojeong』, summarizing the literature of ``Jeong`` in 「The Value of Literature」and 「What is Literature」. As to the second reason, this study looks into how his literary theory is reflected in 『Moojeong』. First, ``Reading`` habit implied in 『Moojeong』 will be discussed for this. Hyeong-sik and Yeong-chae try and complete their self-awakening through re-reading or reminding of texts already read. Hyeong-sik reflects his knowledge-oriented reading, while Yeong-chae reflects her morality-oriented reading. This is not irrelevant to the argument of 「What is Literature」which explains human mind as 知(intelligence)·情(emotion)·意 (volition). In other words, their reflection for their reading implies the author`s literary theory that literature should be independent of knowledge[知, intelligence] and religion[善, the good]. Second, discussion on the meaning of love in 『Moojeong』. ``Jeong`` of Lee Gwang-su is not only affection. Rather it is a concept extended to mankind level beyond individual level, and literature should function as a developer of humanity. In this context, it is appreciated that this work evolved affection into humanity.

적치하 서울과 염상섭 -1950년대 초 염상섭의 단편소설을 중심으로

이만영(Lee, Man-young) 한국현대소설학회 2022 현대소설연구 Vol.- No.87

This study analyzes Yeom Sang-seops short story, which is set in Seoul in occupation period Yeom Sang-seop stayed in Seoul for nearly three months between the start of the Korean War on June 25, 1950, and Seouls restoration on September 28, 1950. Based on this autobiographical experience, he produced numerous works, including “Morning of Liberation,” “Coveted Hakobang,” “The Jackknife,” “The Bicycle,” “House search,” “Red Flame” and “A Shower.” One of these, short stories by Yeom Sang-seop about Seoul in occupation period, has not been included in earlier research. Accordingly, this study would like to reveals what kind of cracks caused by the centrist position that Yeom Sang-seop maintained throughout the liberation period and how his views on left-wing ideology were embodied in his work through the analysis of four works, “Morning of Liberation,” “Coveted Hakobang,” “The Jackknife” and “The Bicycle.” First, “Morning of Liberation” and “The Jackknife” are works that explore the direction of national reconstruction after the restoration of Seoul (9/8). The selection and punishment of collaborators during Seouls restoration are major issues raised by “Morning of Liberation.” Yeom Sang-seop criticizes the political and social processes that make it so simple to expel and exclude remnants by illustrating the hardship of the them, who must demonstrate their identity in order to avoid being forced into collaboration. In “The Jackknife,” is a work that reveals the artists desire to form a unified nation-state by including them while accusing the left-wing forces of violence. These two works represent Yeom Sang-seops personal political ideals, which aim for inclusiveness over exclusion and unity over divide. The next two works, “Coveted Hakobang,” and “The Bicycle,” are concerned with the pain endured by the survivors throughout the post-residence period. In the work “Coveted Hakobang,” the plight of the remaining people is depicted as they are forcibly taken from their property by left-wing troops in Seoul in occupation period. It is a problematic work that fully addresses the issue of property of collaborators or rebels, which emerged as a social problem right after the restoration of Seoul. The piece “The Bicycle,” which is situated in the area of Seoul in occupation period, reproduces the reality of difficult love and independent survival by Sam-ryong and Cha-deuk, a family of collaborators. Unlike family of Pil-Jun in “Coveted Hakobang,” that their all ownership was taken away by the left-wing troops and they were constant groans, this work shows an active human who dreams of “freedom” while covertly making love and leading a simple life in Seoul in occupation period. His short story about Seoul in occupation period serves as an example of how perilously he straddled the anti-communist and centrist viewpoints. This is supported by the left wings appearance in these works, and via the four short stories in this piece, the middle ground that Yeom Sang-seop has maintained since the liberation era has seen fissures and shifts.

국내 서양꿀벌(Apis mellifera)의 지역 봉군간 아까시나무 개화기 수밀력 비교

이만영(Man-Young Lee),이명렬(Myeong-Lyeol Lee),김영수(Young-Soo Kim),장영덕(Young-Duck Chang) 한국양봉학회 2005 韓國養蜂學會誌 Vol.20 No.2

김유정과 문학사 - 1930~60년대 김유정론의 전개 양상을 중심으로

이만영(Lee, Man-young) 한국현대소설학회 2022 현대소설연구 Vol.- No.85

The purpose of this study is to analyze how Yu-jeong’s Novel panned out from the colonial period to 1960’s so as to take a closer look at phases how Kim Yu-jeong gained his significance in the literary history. It’s not intended to just list reviews in literary historical context linearly, but to discover a historical turning point that explains how the review on his literary works changed and also, explore how Kim set his coordinates in the literary history diachronically. Based on these discussions, the interpretation and evaluation on his literature and its meaning panned out in a specific phase. In 1930’s, after Kim Dong-in made a remark ‘One strange story(奇譚)’, literary people who had already joined or were about to join KAPF such as Um Heung-sup, Kim Nam-chun, and Im Hwa expressed their keen interest in Kim Yu-jeong’s literature. But they assumed critical attitude in two aspects. Firstly, they thought Kim’s literature lacked realistic outlook of being awakened of the class or suggesting new perspectives. Secondly, they put focus on limitation that lay in formalism and neo-psychologism concealed in his literary works. It is noteworthy they put forward such opinions when the KAPF lost its strength and even was dismantled. Exploring the way for new realism, they turned their eyes to writers in the Nine People Association(구인회) where enthusiastically engross neo-psychologism. Kim Yu-jeong had definitely different texture from other writers like Yi Sang or Park Taewon, but Um Heung-sup, Kim Nam-chun, and Im Hwa had critical views just for the reason that Kim had joined Nine People Association. Thus, they failed to look details in Kim’s literary works and devaluated them, saying that his literature came under formalism or neo-psychologism. Influenced by the tradition theory that came to the forefront since mid 1950’s, Kim Yu-jeong’s literature set its coordinates in the literary history. Baek Chul dived into exploring traditional elements that connect classical and modern literature and came up with new concept, humor. Humor should be aesthetic property at which its examples can be found in both classical and modern literature. And Kim was easily called and chosen as a contemporary writer for writing humor. The writing by Lim Joong Bin who considered Kim’s literary essence as humor and another one by Kim Yong-ki who designated Kim Yu-jeong as a writer who can continue the tradition of writing humor as shown in 『The Cloud Dream of the Nine(구운몽)』 and 『Heungbujeon(흥부전)』 are notable examples. In addition, Kim’s humor was considered as embracing the glboal literary universality. Therefore, Korea PEN Club has translated and introduced his literary works and develop the potential of Korean literature in the world literature. Such endeavors allowed Kim Yu-jeong to turn himself into an important writer who continues humor writing in the Korean literary history since 1970’s. His turning point of setting coordinates in the literary history with the keyword, ‘humor’ had started from the tradition theory and the theory of humors that came to the forefront in mid 1950’s.

국내 서양종꿀벌(Apis mellifera L.)의 봄철관리 및 양봉산물 생산 실태조사

이만영(Man-Young Lee),정진교(Jin-Kyo Jung),마영일(Young-il Mah),장영덕(Young-Duck Chang) 한국양봉학회 2002 韓國養蜂學會誌 Vol.17 No.2

서양뒤영벌(Bombus terrestris)을 이용한 시설토마토에서의 화분매개 효과

이만영(Man-Young Lee),마영일(Young-Il Mah),장영덕(Young-Duck Chang),박인희(In-Hee Park) 한국양봉학회 1998 韓國養蜂學會誌 Vol.13 No.2

서양종꿀벌(Apis mellifera L.)이 시설딸기의 과실생산에 미치는 영향

이만영(Man-Young Lee),마영일(Young-Il Mah),장영덕(Young-Duck Chang),김태일(Tae-Il Kim),박인균(In-Kyun Park),윤형주(Hyung-Joo Yoon) 한국양봉학회 1998 韓國養蜂學會誌 Vol.13 No.1

몇가지 약제에 대한 꿀벌 백묵병균의 억제효과

이만영(Man Young Lee),장영덕(Young Duck Chang),임용현(Yong Hyun Lim) 한국양봉학회 1993 韓國養蜂學會誌 Vol.8 No.2

한국내 꿀벌백묵병균(Ascosphaera apis)의 몇가지 특성 및 길항균 선발

이만영(Man Young Lee),장영덕(Young Duck Chang) 한국양봉학회 1993 韓國養蜂學會誌 Vol.8 No.1

Q 파 심근경색증과 non - Q 파 심근경색증

이만영(Man Young Lee),승기배(Ki Bae Seung),김종진(Jong Jim Kim),노태호(Tae Ho Rho),채장성(Jang Seong Chae),김종상(Jong Sang Kim),홍순조(Soon Jo Hong),최규보(Kyu Bo Chol) 대한내과학회 1990 대한내과학회지 Vol.39 No.6

N/A To evaluate the clinical differences between Q wave myocardial infarction and non-Q wave myocardial infarction, the records of 336 patients with first myocardial infarction were reviewed. According to the presence or absence of Q waves on electrocardiogram, the patients were divided into two groups: a Q wave myocardial infarction group and a non-Q wave myocardial infarction group. The results were as follows: 1) According to standard electrocardiographic criteria, among 336 patients 271 patients (80.6%) had Q wave myocardial infarctions, and 65 patients (19.4%) had non-Q wave myocaridal infarctions. 2) The average age and male-to-female ratio were similar in the two groups. There were no significant differencres between the two groups in serum cholesterol levels and in incidences of a history of hypertension and diabetes mellitus. 3) Peak cardiac enzyme levels of CPK and LDH were significantly higher in the Q wave myocardial infarction group than in the non-Q-wave myocardial infarctions group. 4) When the complications of arrythmia, congestive heart failure and hospital mortality were compaired, incidences of AV block and congestive heart failure were significantly higher in the Q wave myocardial infarction group, but there was no difference in hospital mortality between the two groups. 5) Incidences of recurrent angina, congestive heart failure, reinfarction, death, and cause of death were not different statistically between the two groups, even though there was a tendency to have more recurrent angina and reinfarction in the non-Q wave myocardial infarction group and more congestive heart failure in the Q wave myocardial infarction group.