1920년대 독본과 수필의 영역

곽승숙(Kwak, Seung-Sook) 한국근대문학회 2015 한국근대문학연구 Vol.16 No.2

이 글은 1920년대 독본에 수록된 산문 중 기행, 편지, 일기를 살펴보았다. 1930년대에 논의되던 수필의 전사를 1920년대 독본에 수록된 산문을 통해 확인하고자 한 것이다. 대상 텍스트는 1920년대에 간행된 국정 국어교과서인 『보통학교 조선어독본』(1923-1925), 『보통학교 고등과 조선어독본』(1924-1925), 『여자고등 조선어독본』(1923-1925)이다. 1920년대 독본에 수록된 비-허구 산문 중에서 ‘기행문’, ‘편지’, ‘일기’는 서술 주체로서 ‘자기’가 선명하게 드러난 유형의 글이다. 각 글의 서술자는 이동하는 주체, 말하는 주체로서 개인적 경험을 서술한다. 이러한 주체는 교과서의 이념을 전달하는 방법에 대해 편찬자의 인식이 개입된 결과이다. 기행문, 편지, 일기의 ‘나’ 혹은 ‘우리’라는 주체는 학습자를 텍스트 속으로 호명하기 위한 의도에서 설정된 것이다. 그러나 기행문, 편지, 일기에 대해 편찬자는 장르의 분화를 뚜렷이 인식하지는 않았다. 각각의 글은 이념을 보다 효과적으로 전달하기 위한 수단이었다. 이는 편찬자의 인식이 해당 장르의 작법에 대한 고민으로 이어지지 않은 것에서 확인할 수 있다. 그러나 편지와 일기에서 발견되는 사적 담론 속 개인적 주체는 이후 수필에서 ‘자기 생활을 표현’하는 주체와 연결되면서 그 의의를 찾을 수 있다. This article examined travelogues, letters, and diaries in the prose contained in 1920s reader. It attempted to confirm the transcription of the essays discussed in the 1930s through prose recorded in reader of the 1920s. The target texts are the following national Korean textbooks published in the 1920s: Joseon Language Reader for Botong Schools (1923-1925), Advanced Joseon Language Reader for Botong Schools (1924-1925), and Joseon Language Reader for Girls High Schools (1923-1925). Among the non-fiction prose listed in the 1920s reader, the writers were clearly revealed as the subjects in the descriptions contained in their own travelogues, letters, and diaries. The descriptor of each article depicted personal experience as a moving and talking subject. This was because the compiler had a clear opinion on how to deliver the ideology of textbooks. The first-person usage of ‘I’ or ‘we’ in travelogues, letters, and diaries was adopted in order to attract learners to textbooks. However, the compiler did not clearly differentiate between the genres of travelogues, letters, and diaries. Each article was just a means to convey ideas more effectively. This can be seen from the fact that the compiler did not agonize over the writing technique of each article. However, the first-person subjects in the private discourses contained in the letters and the diaries gained significance by leading writers to describe their own lives in later essays.

강신재 초기 소설에 나타난 모성성 연구

곽승숙 ( Seung Sook Kwak ) 한성대학교 한성어문학회 2010 한성어문학 Vol.29 No.-

This paper aims to study the aspect of maternity which is expressed in Kang Sin-jae`s early novels. In the novels written by Kang Sin-jae, the aspect of maternity, are represented as a ``bad mother`` rather than as a ``perfect mother``. The reason which the female characters are depicted as a bad mother is that the heroines persue love. But Kang Sin-jae insists an objective expression thereby reserving the judgement on them for its readers. It doesn`t follow in steps a social common notion. In the 1950s, the postwar society was in a time of transition that a value system was collapsed and fluctuated because of the war. In the 1950s, most of the women writers described the female character as a perfect mother. But Kang Sin-jae depicted female character`s realities of life that the war drove them to despair.

근대의 사랑 - 이광수의 『무정』과 나쓰메 소세키의 『마음』을 중심으로

곽승숙 ( Kwak Seung-sook ) 한성대학교 한성어문학회 2017 한성어문학 Vol.37 No.-

The purpose of this article is to examine the aspect of `mind` in Lee Kwang - soo`s 『Moo Jeong』 (1917) and Natsume Soseki`s 『Mind』 (1914). Lee Kwang Su and Natsume Soseki are regarded as modern writers of Korea and Japan. As a modern writer and intellectual, they create 『Moo Jeong』 and 『Mind』. The two novels deal with the “mind” of individuals in modern society in earnest. In modern society, individuals` minds are mixed with pre-modern values. Especially, the `mind` of the individual becomes more prominent with the agony caused by love. `Love`, which is formed by the action of the individual`s mind is manifested in the form of love, not love, mixed with conscience and guilt. The main motifs of the two novels are `love` between men and women. But the aspects of love is different. Love begins with the difference in attitude toward the main character`s love. This difference reflects the difference between the two writers` positions on `modernity`.

강신재 소설의 여성성 연구

곽승숙 ( Seung Sook Kwak ) 민족어문학회 2011 어문논집 Vol.- No.64

This paper aims to study the aspect of femininity which is expressed in Kang shinjae`s novel. In the novels written by Kang shinjae, the aspect of femininity, are represented as a ``bad woman`` rather than as a ``good woman``. The reason which the female characters are depicted as a ``bad woman`` is that the heroine persue desire. But Kang shinjae insists an objective expression thereby reserving the judgement on them for its readers. It doesn`t follow in steps a social common notion. In the 1950s, most of the women writers described the female character as a perfect mother. But Kang shinjae depicted female character`s realities of life that the war drove them to despair. The figures of Matriarch, created by Kang shinjae in 1950s, after their husband died in Korean-War, they proved that they were isolated in patriarchal family. They are forced to reject the ideology of motherhood. Yang-gong-ju appeared as the strange woman in Kang shinjae`s novel. Kang shinjae through a variety of women`s voice crack makes normative femininity.

전후 귀향 모티프 소설 연구-‘가족 찾기로서의 귀향 모티프’소설을 중심으로-

곽승숙 ( Kwak Seung-sook ) 한국어문학국제학술포럼 2005 Journal of Korean Culture Vol.7 No.-

Among novels with the theme of homecoming after the branch of Korea, set in the 1960s to 1970s, this paper examines those whose heroes return to their hometown to find family members, naming those novels 'novels with the motif of homecoming to find family members'. Again those novels are classified into two: ‘homecoming as sufferer’ and 'homecoming as wrongdoer'. Novels to be reviewed include the royal azalea blossom's festival (1981) by Mun Sun-tae, Ahbe's Family (1979) by Jeon Sang-guk, Accompanying (1963) by Jeon Sang-guk and Walk in the Moonlight (1977) by Song Gi-won. Heroes in those novels go back to their hometown to find family members they have not seen after leaving there. The reason why those heroes lost some of their family members relates to the Korean War. The loss from the war appears as the form of family disorganization. The heroes left their family behind in hometown because they could not continue to live there due to the war or the scars of the war. Their family broken up by the war exists as scars to the heroes. Under the conditions, heroes' finding the family has some characteristics of reconciliation with hometown. Here exist the notion that the place where there is a family is home and the location where there is home is hometown. Establishment of hometown can be seen through concrete acts such as finding separate family members and raise tombs. Meanwhile wrongdoers who brought about carnage in their hometown also return to hometown to find their family. In the royal azalea blossom's festival, the return of 'I' is a journey to find Father's remains. For me to construct Father's tomb in hometown means the restoration of relationship between 'I' and hometown. In Ahbe's Family, Ahbe, who 'I' try to find, is the victim of history and means the wounded past. My finding Ahbe results from the notion that even if we abandon and turn away from the past injury, it still affects the present. Searching for deserted Ahbe expresses the will to take root in 'my' hometown by finding Ahbe as a family member. In Accompanying and Walk in the Moonlight, returning home is the journey to find family members by the heroes, an offender at the time of the Korean War. The heroes can not return to their hometown after leaving hometown as if they had run away from there ignoring the death of family members or relatives. The reason is because they are wrongdoers destroying the hometown community. Against this backdrop, their homecoming is the trial to take root in their hometown by their death in there where the family members are living. In novels with the motif of homecoming to find family members, heroes can restore the relationship with their hometown through the structure of opposition and divulgence. The hostile relation between the hero and the company loses wariness along the journey and their confrontation disappears. The restoration of relationship with the company means the recovery of the hero from past wounds. Novels with the motif of homecoming to find family members set in the 1960s to the 1970s display how to dealing with past wounds in the age when Korea is still divided into two. Those novels have the meaning of literary response of the times to the divided situation.

1970년대 신문연재소설의 여성 인물과 ‘연애’양상 연구 : 별들의 고향, 겨울여자를 중심으로

곽승숙 이화여자대학교 한국여성연구원 2006 여성학논집 Vol.23 No.2

본 연구는 1970년대 신문연재소설에 나타난 여성의 이미지 분석을 바탕으로 최인호의 '별들의 고향'과 조해일의 '겨울여자'에서 연애가 어떠한 방식으로 형상화되었는지를 살펴보았다. '별들의 고향'에서 경아는 사물화 된 여성으로, '겨울여자'에서 이화는 육체화 된 여성으로 형상화된다. '별들의 고향'에서 연애는 남성 인물의 도취적 연애로, '겨울여자'에서의 연애는 사제관계적 연애로 드러난다. 이러한 연애 구조에서 관계를 이끌어가는 것은 철저히 남성 인물에 의해 이루어지며 주체로서의 여성의 모습은 찾아볼 수 없다. 이러한 기형적 연애관계 속에서 주인공이 되지 못한 여성 인물들은 이후 전개되는 연애소설에서도 반복되어 재현된다는 점에서 문제적이다. This study analyzes the female characters and their love affairs in TheHomeland of Stars and The Winter Woman, novels which were published inserial form in Korean newspapers in the 1970s. In The Homeland of Starswritten by In-Ho Choi, Kung-A, the heroine, is represented as an object orthing to be exchanged among male characters rather than as a human being. InThe Winter Woman by Hae-Il Cho, Ewha is represented as a body, just a fleshpossessed by male characters. The love affairs in The Homeland of Stars arenarcissistic ones by males. Those in The Winter Woman are mentor-pupilrelationships. While male characters lead the love affairs as subjects, femalecharacters are just objects of male desire. These kinds of images of women andaspects of love affairs have been repeated in many of the novel serialspublished in the newspapers ever since.