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이광수의 일본어 소설 「사랑인가(愛か)」-‘한국 유학생’의 일본어 글쓰기 연구-
권정희 ( Junghee Kwon ) 아시아문화학술원 2018 인문사회 21 Vol.9 No.4
이 글은 이광수의 처녀작 「사랑인가」의 일본어 글쓰기를 분석한 것이다. 1909년 ‘한국 유학생 이보경(李寶鏡)’의 아명으로 『시로가네학보(白金學報)』에 발표된 「사랑인가」는, 일본어소설로 출발한 이광수 문학의 시발점의 의의가 있다. ‘일본인되기‘의 강박 관념이 작용하는 1940년대 식민지 조선에 집중된 ‘고쿠고(國語)’로서의 일본어 글쓰기와는 달리, 일본어 독자를 대상으로 한 「사랑인가」는 일본의 유학생인 타자로서의 개인의 고독한 이문화 체험과 결부된 것이다. 따라서 종래, 동성애를 중심으로 고찰된 「사랑인가」의 수용을 바탕으로, 본고에서는 ‘한국 유학생’과 일본어 네이티브 소년 사이의 ‘사랑(愛)’의 함의를 탐색했다. 또한 이광수의 초기 문학과의 연관성 속에서 소년 개인의 내면에 초점을 둔 ‘탈계몽’의 작품 특질이 일본어 독자의 의식성에 촉발된 것임을 살폈다. The purpose of this study is to examine a short story “Love?” the first work of Lee Kwang Soo by focusing on the significance in the Japanese Writings. In 1909, the “Love?” was published in Shiraganegakuho journal, the work is a worthy Japanese Writing as starting point of Lee Kwang Soo’s literature, ‘Korean student studying abroad Lee Bo Kyung’ of his original name in Japan. In the late 1940’s, there was an obsession of Japanese as the national Language of colonial Korea who were forced to write in Japanese, “Love?” was a colligated experience of cross-culture solitary of individual for students studying abroad in Japan. In this respect, previous studies of “Love?” focused on constructing homosexuality, to survey meaning of love between the ‘Korean student studying abroad’ and the Japanese native. Furthermore, this study clarified the character work of de-enlightenment of Japanese reader’s awareness, focusing on the individual’s mind, in relation to Lee Kwang Soo’s early writings. These findings will contribute to focus on the bilingual consciousness of Lee Kwang Soo.
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‘고백’ 없는 ‘고백’담론 -한일 근대 ‘고백’의 문화 연구-
권정희 ( Kwon Junghee ) 국제한국문학문화학회 2023 사이 Vol.34 No.-
According to a precedent study, Jang Eungjin’s “A Dream of Spring” and “Confession under the Moon” were the first of the ‘Confessional novel’ genre. In particular, in 1907, Jang Eungjin’s “Confession under the Moon” was published in the journal Taeguk Hakbo by Korean students studying abroad in Japan and was regarded as work out of an autobiographical type of a narrative. It was unique and different from the ‘Confessional novel’ genre which has been characterized as internal discovery in the 1920s. This work poses the questions about the confession itself, such as what confession is, how to describe it, and why texts entitled ‘jihaku’. This review grasps the meaning for the transformation of cultural history of its representation with the timeline set before and after the redefinition of the concept of confession as the Chinese characters ‘gobaek(告白)’ was translated into ‘confession’ in Japanese. This exploration of the starting point of the ‘Confessional novel’ holds significance for the eduction of the object of the confessional discourse in modern Korea and Japan, of inconsistency between object and concept of its, In a contemporary of “Confession under the Moon”, a dispute point of the confession about Japanese writer Tayamagatai’s short story “Hudong”, that it reveals paradoxical origin of the ‘Confessional novel’ which consists in the creative method of repudiation of confession. Previous studies have been focused on considering the significance of the formation of modern novel on the identical premises regarding the concept of confession an English literary basis. This paper attempts a research approach clarifying the condition for entry of translation language of modern confession by analyzing cultural meaning, in early modern Korea from a Japanese confessional discourse perspective. Therefore, this study adds to diverse discourses produced by Beck Dejin in the 1910s as the object of analysis. Beck Dejin published a series of articles of essay and creative works and translations and literary criticism on the reception of naturalism in the Japanese-run magazines of Shibunkai and Hantoushiron. Thus these confessional writings offer the grounds for treating literature as culture. Throughout the discussion, Jang, Eungjin and Beck’s series of confessional writings in the early 20th century clarify the cultural meanings and raise the issue as texts linked to the so-called ‘age of confessions’ in the 1920s, and their status in the overall cultural context becomes clear.
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「태어나는 고뇌 生れ出づる悩み」와의 비교로 읽는 「암야(闇夜)」
권정희(Kwon, Junghee) 한국외국어대학교 외국문학연구소 2015 외국문학연구 Vol.- No.60
The purpose of this study is to visualize the interrelationship between the two texts by comparing “Dark Night” (1922), an early work of Yeom, Sang-Seob and Arisima Takeo’s “The Pain of Being Born”(1918). There is a marked difference in narrativity and a narrative form between the short story of “Dark Night” and the medium-length story of “The Pain of Being Born” by developing different stories from each other. This study attempted to demonstrate that such different texts make various associations which cannot be caught by ‘physical sameness,’ leading to hints for creative inspiration and thought. The two texts have constantly corresponding relevance on not only a semantic composition of narration and a stratum of narrative form but also on various strata of image and its related deep consciousness and expression world. Accordingly, this study made a comparative analysis of the two texts by taking the reading act of writer ‘he’ who shed “tears that he experienced first time in his life”, which is a trace of text negotiation, as a clue of being influenced. As a result, diverse influential relations were revealed such as the title,“Dark Night” representing the agony of writer was triggered from ‘to the darkness of the night of “The Pain of Being Born”, the symbol of the painstaking time of creation. Furthermore, in this study, a new and rich text interpretation was possible that the motif of ‘relation’ has the implication of the art will for singularity which arouses distance by complementing the blankness of text and a gap of jump. With this, the study built the foundation for a debate related to the future task of how the early modern Korean writers had built their literature world through negotiations with foreign literature.
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