전설에 나타난 궁예왕

유인순(Yoo In-Soon) 강원대학교 인문과학연구소 2006 江原人文論叢 Vol.15 No.-

태봉국을 세운 궁예왕(弓裔王)에 대한 평가는 완전히 상반된다. 궁예왕 관련 문헌자료로 가장 오래된 『삼국사기』는 태봉국 패망 227년 뒤에 간행된 것이다. 인간의 기억력이 과연 믿을 만한 것인지, 그리고 문헌자료가 검증받은 사실(史實)을 사실적(事實的)으로 기록한 것인지에 대해서도 자신이 없다. 전설(인물전설 및 지명전설) 속에 나타난 궁예왕의 인간상을 찾아보려고 했다. 인물(人物)전설에서 궁예왕은 표면적으로 악귀(惡鬼)의 화신이다. 그러나 이들 이야기의 이면에는, 궁예왕의 결정에 분노하고 절망하는 산신과 용을 통해 궁예왕이 이들 초자연적 대상들에게까지 인정받는 존재였음을 보게 된다. 궁예왕은, 의도적으로 그를 왜곡한 문헌자료 때문에 오랫동안 악인으로 오해받고 매도(罵倒)되어 온 것이다. 지명(地名)전설에 나타난 궁예왕의 모습은 거룩하다. 특히 평강(平康) 지역의 지명전설에서 보이는 궁예왕은 풍천원 시절의 엄격한 왕이 아니라, 삼국통일의 욕망에서 한 걸음 벗어나 여유를 가지고 백성을 다스리는, 즐길 것은 즐기고 제왕의 임무에도 소홀하지 않는 그런 모습을 보여준다. 적어도 평강 지역 지명전설에서 궁예왕은 그가 그토록 원하던 미륵세계를 도래(到來)시킨 것으로 보인다. 문헌자료에서 궁예왕은 왕궁에서 단신 탈출, 이틀 뒤에 부양 지역에서 백성에게 살해당한다. 지명전설에서 궁예왕은 수하들과 함께 장기간에 걸쳐 왕건 일당과 투쟁하며 보개산성으로, 명성산성으로, 운악산성으로, 평강 지역으로 이동하면서 백성의 마음을 헤아리는 왕이 된다. 이 과정에는 역사에 기록되지 않은 궁예왕과 왕건 사이에 모종의 묵인 내지 협약 불가피성이 있었을 것으로 보인다. 역사의 기록은 과연 믿을 만한 것인가. 궁예왕에 관해서 만은 감히 그렇지 않다고 말할 수 있다. King Gungye who founded Taebongkuk country could be estimated in quite opposite way. Samkuksaki that was the oldest History regarding King Gungye was published 227 years after Taebongkuk country's defeat. It was unknown whether men's memory was reliable, and whether the History recorded historical facts realistically. The study examined character of King Gungye in legend (character legend and geographical name legend). At the character legend, King Gungye seemed to be a devil incarnate superficially. At background of the legend, however, the god of mountains as well as dragon was angry to hear King Gungye's decision to show that the king could be admitted by even supernatural objects. King Gungye was intentionally distotted by historian to let him be misunderstood and blamed for a long time to be a bad man. At geographical name legend, King Gungye looked to be great. In particular, at geographical name legend at Pyungkang, King Gungye was not strict king in the era of Pungcheonwon but the one who was free from desire of unification of the Three Kingdoms to govern people and to enjoy life and not to neglect king's duties. At least the geographical name legend at Pyungkang seemed to introduce Maitreya world where the king sincerely wanted to live in. In histories, King Gungye was killed by people at Buyang two days after escaping alone from his palace. At geographical name legend, King Gungye and his followers fought against Wangkeon and his followers for a long time to move to Bogaesanseong, Myungseongsanseong, Unaksanseong and Pyungkang, etc and to make efforts to understand people's mind. In the process, some kind of consent and agreement between King Gungye and Wangkeon that was not recorded at history seemed to be made inevitably. Was historical record reliable? However, the historical record of King Gungye was thought not to be reliable.

김유정 소설의 웃음 그리고 그 과녁

유인순(In Soon Yoo) 한국현대소설학회 2008 현대소설연구 Vol.- No.38

Laughing is an innate human nature. Laughing takes an object and a subject of a laughter and a cause in reality. This study reviews characteristics and purposes of laughter in <A Man and a Small Frog>, <Spring·Spring>, and <A Toad> by Youjeong Kim. Characteristics of the main characters in these three novels, as the objects of laughter, know very little of the world; they are daydreamers and naive like children, trust people unconditionally; and sometimes they are aggressive, impulsive, reckless, obsessive or optimistic. Language of the characters is a means of self-display in which the language seems out of context and so does the mix of vocabularies; and the author played with dialects and slangs in the novels. The characters create laughter through changes in roles, unexpected actions and reversals and repetitions of situations. As for the subject of a laughter, characters in a story put more importance on superiority theory of laughter whereas the subject outside the story(readers) does more on discordance theory of laughter. Speed of laughter is delayed by sympathy toward the main character in <A Man and a Small Frog> whereas it is accelerated in <Spring·Spring>. But criticism and reflective view in the main character in <A Toad> delay the speed of laughter. Goal of laughter in Kim`s novels is to reveal, in spaces between lines, social irregularities of the time when objects of laughter lived in <A Man and a Small Frog> and <Spring·Spring>. At the same time, it is to bring those who are living their lives working hard to make their dreams come true without complaints and despair, to the light. <A Toad> reveals irregularities in a person in love, further, a human being. It tells the readers to reflect their own lives through careful reading. Laughter in Kim`s novels is in fact an irony with which the readers can see through the reality and themselves, face their difficulties in life and be themselves.

김유정 <봄,봄>의 아바타 연구

유인순(In Soon Yoo) 한국현대소설학회 2012 현대소설연구 Vol.- No.50

This paper focuses on the effective value of <Spring·Spring> as OSMU(One Source Multi Use), tracks avatars created by <Spring· Spring> and examines changes among them. First, cultural contents theory is briefly introduced, the reason why <Spring·Spring> was chosen for OSMU is explained, and avatars in <Spring·Spring> which appeared during the time of <Spring·Spring> or later are discovered to examine changes and the significance and implication. Avatars in <Spring·Spring> show variety: a play, a movie, TV Munhakgwan, an opera, pansori, a parody novel, etc. Avatars` places range from a remote countryside of Gangwondo to meadow in Jeju; and the time has many issues range from dark times of colonial era to sense of self-accomplishment among women, children`s studying abroad at an early age and foreign workers` issue. Main characters changed from farmers to ranchers, people who study abroad and foreign workers. There is also variety in narration. However the custom in which a son-in-law lives with his wife`s family, romance and relationship of young men and women and conflict between father-in-law and son-in-law are the continued elements. Yet local dialect, which has been considered as the characteristic of One Source, and the characteristics as narrative shamanistic songs disappeared. It is said that things regress unless they change. When a new and bolder image and spirit of the time are reflected in <Spring?Spring>, it can finally be reborn and renewed and become many things.

김유정의 우울증

유인순(In Soon Yoo) 한국현대소설학회 2007 현대소설연구 Vol.- No.35

The paper analyses You-jeong`s abnormal psychology syndromes focusing on his autobiographical novels and other works: essays, diaries, and letters. His personality shows overlapping of avoidant personality disorder, borderline personality disorder, paranoid personality disorder, and bipolar disorder. This complicated abnormality has its root on Youjeong`s genetic factors and experiences: loosing parents early in life, unhappy family relationships, elimination at school, unreturned love, joblessness, being a stammer, and illness. It was the nature and lusty people of his home town which helped You-jeong overcome the serious abnormality. He had pathogenic beliefs. He wrote, I have been suppressed entire life by some huge shadow with which I could do nothing and Chuncheon, my home town wants to see falling of my family. However he escaped from negative thought toward the world watching lusty people and discharged cumulated distress reaching out to the people whom he had have avoided. The healing process began. Time order of his works reveals that works before January 1935 have gloominess and that works after then shows bright atmosphere despite his pain from severe illness. His twelve works with spring as their setting also demonstrate his desire for brightness. With few exceptions, his characters are active and strong-minded in spite of tough reality of life. Their painful lives which were depicted as not painful reflect a defense mechanism of You-jeong who could not accept tragic life as it was. In other words, humor in You-jeong`s works is his defense tactic to face tragic reality. Abnormal psychology comes from loss and failure. It is so common to be neglected. But it can lead to serious collapse. You-jeong was a rare case of changing thinking frame watching people and their life and of healing oneself through writing. You-jeong`s will for creation surpassed abnormal psychology. But his disease of body surpassed his life.

한국소설에 나타난 한일합병 전후의 시대 인식

유인순(In Soon Yoo) 한국현대소설학회 2011 현대소설연구 Vol.- No.46

All three novels of 『Dumangang』, 『Dawn』, 『Arirang』 depicted ordeal, resistance and self-seeking of people living in tragic times based on historical accidents. The people who recognized the omen of national crisis, faced the crisis and showed immediate confrontation consciousness lived poverty-stricken lives. On the contrary, the young who studied up-to-date knowledge show abstract perception and reactions dependent on foreign powers. Park Seunghak from the middle class understands the reality problems objectively, the enlightened Lee Jingyeong from the yangban class engages himself to educational business and Song Seik directly participates in justice army activities. However in front of the signs of repeating national collapse, the intelligent young men who once were abstract and dependent gradually turn to directional resistance. After the sign of Korea-Japan Annexation, among those struggling directly with Japan underground or ground, someone for the stronger anti-Japanese movement and someone for love and forgiveness to people and their entire families sacrificed at war without identifying friends or foes move their action space into Manchuria. 『Dumangang』 and 『Arirang』 are applied to the former, and 『Dawn』 is applied to the latter. Based on the category of lives major characters chose in the selected texts, 『Dumangang』 has more focus on the conflict and the resistance between tenant farmers and Japan-friendly wicked landlords. On the other hand, 『Arirang』 has more focus on the discord and the suffering which tenants and workers have against the opposing the Japanese and their puppets. On the contrary in <Dawn>, one can find the writer was interested in the conflict and the reconciliation between people based on historical accidents.

특집논문 : 김유정과 아리랑

유인순 ( In Soon Yoo ) 국제비교한국학회 2012 비교한국학 Comparative Korean Studies Vol.20 No.2

김유정은 <아리랑> 속에서 이 땅에 살고 있는 인간과 그 인간을 포함한 세상을 하나로 보고 동시에 자신을 그들 속의 한 인자로 인식했다. 김유정은 그의 수필과 소설, 잡지사의 설문지 속에 지속적으로 우리 민요와 아리랑을 소개하고 그 노랫말을 삽입했다. 본고에서는 김유정과 아리랑의 만남, 김유정의 아리랑관(觀), 김유정 작품에 삽입된 아리랑의 역할과 영향력 들을 살펴보려고 했다. 김유정 수필 속에 삽입된 아리랑은 작품을 풀어나가는 발구름판으로, 가장 사실적이면서도 향토적인 정조를 맛보도록 하고 또 일제만행을 고발하는 장치로 기능한다. 소설 <만무방>, <안해>에 삽입된 아리랑은 일제 식민시대에 대한 고발 및 작가의 저항정신을 독자에게 교묘하게 전달하기 위한 기제로 기능한다. 김유정문학 전반에 끼친 아리랑의 영향은 우리 문학이 추구해야 할 ``우리의 정조(情調)``를 인식하게 하고, 생에 집착한 열정을 통해 인간 생명에 대한 존엄성을 갖게 했으며 김유정 소설의 문체적 음성을 획득하게 했다. 뿐만 아니라 아리랑 사설 속에 내재된 해학을 체득하여 김유정 소설의 특징 가운데 하나로 정립시켰다. You-jeong Kim regarded human being and his world in Arirang as a totality and noticed that he himself belonged to it. Kim introduced and inserted the folk songs of the Korean people including Arirang in his own essays, fictions, and questionnaires for some magazines. This essay aims to investigate the encounter of Kim and Arirang, his view on Arirang, and the role and influence of Arirang on his works. Arirang adapted in Kim`s works is a device to make the narrative conceived; it also has the functions of giving his works a hint of locality and mood and criticizing the brutality of Japanese colonization of Korea. Arirang alluded in Kim`s fictions such as "Manmubang" and "The Wife" brings to the fore his accusation of and resistance to Japanese colonialization. Arirang helped the author to configure the particularity of Korean collective affect and the dignity of human life and its passion. It also made a contribution to the formation of Kim`s signature stylistic voice as well as his idiosyncratic sense of humor.

「동백꽃」과 함께 하는 문학교실

유인순 한국문학교육학회 1997 문학교육학 Vol.1 No.-

With the institution of the 6th Curriculum for Education, 18 kinds of Literature textbooks, categorized as second division authorized textbooks, have been published in addition to the first division high school Korean textbooks, which also include literature in their contents. This paper first looks at Korean and Literature texts for high school students containing Kim, Yoo-jung's 「Dongbackggot」 to discover how well the exercises in these textbooks conform with the Literature Education Curriculum within the 6th Curricurum for Education, and what their problems may be. The time allotted for study was found to be appropriate at around 3 hours. However, in the case of certain textbooks, an incongruity between the middle unit and the small unit in the development of the lession was noted. A problem concerning the text itslf was the imperative need for a faithful and accurate adherence to the original text. Also, all the exercises were inconsistent to some degree or other in respect to the simultaneous achievment of the objectives for literary education (articles a, b, c). This paper examines from a trial perspective the possibilities of how 「Dongbackggot」 might be presented to the students in a literature classroom. The approach to the text proceeds from reading to interpretation and criticism. In reading, the questions considered for analysis include, 'Whose story is it?', 'What kind of story in what kind of world is it?', and 'What kind of language is the story told in?'. Interpretation and criticism concentrates on finding the meaning of parts of the text that felt incomplete during the initial reading. In addition, inter-text of 「Dongbackggot」 are compared and contrasted. Lastly, the text of 「Dongbackgott」 is examined to demonstrate that its descriptive character employs such rhetoric devices as symmetry and gradation.

김유정 문학의 부싯깃 : 술·여자·노래를 중심으로;Focus on Wine·Women·Song

유인순 江原大學校 江原文化硏究所 2003 강원문화연구 Vol.22 No.-

김유정 문학 속에서 술과 여자와 노래의 역할에 대해서 추적해보았다. 먼저 김유정 지인들의 증언을 통해서 김유정의 술에 대한 애호. 그가 좋아하던 주류와 술 안주, 그의 술버릇들을 보았다. 유정은 술에 관한한 청탁을 가리지 않았다. 일단 술에 취하면 그는 어린이와 같은 독특한 제스츄어를 보여주거나, 평소 입이 무겁고 말더듬이던 상태에서 벗어나 능변과 달변으로 좌중을 휘어잡는 호방함을 보여주었다. 김유정의 술에 대한 애호는 그의 작품 속에서도 술자리 장면을 재현하여, 1930년대 당시 사람들의 술문화를 보여주고 있었다. 한편 김유정의 작품 속, 술자리 장면에 등장하는 여성들을 살펴보았다. 술과 관련된 직업을 가진 여성들은 기생, 카페, 여급, 주모, 들병이, 갈보들이 있었다. 그리고 유정의 작품 가운데 도회지 배경 작품에서는 기생, 카페 여급들이, 농촌 배경 작품에서는 주모, 들병이, 갈보들이 주요 인물로 등장하고 있었다. 30년대적 삶에서 유정은 그의 작품을 통해 이들 여성에 대한 강력한 옹호자였다. 이들 여성들은 자신의 성적 욕망 때문이 아니라 가족의 생계를 위해서 매매춘에 뛰어들었다는 것이다. I touched upon the roles of wine, women and song in the literature of Kim,Yoo Jeong. First, on his love for wine, I gathered infored information on his favorite wine, side dishes and drinking habits from his acquaintance. Kim did love drinking suggestions from anyone. Once drunk, he showed gesture like children and talked a lot with his eloquent tongue. In his masterpiece, he showed his love for wine by illustrating drinking scenery of 1930s. In his writings, appearing women are kisaengs(in Korean), waitresses for cafes, choomo(hostesses in traditional Korean bar), dulbyong-i and prostitutes. Usually, kisaengs and waitresses were showed in cities, on the one hand, and on the other, choomo, dulbyong-i, and prostitutes were showed in rural areas. Kim, in his works, supported these women in 1930s because they were in prostitution not for their sexual desire but for the life of their family.

고교 「문학」교재와 외국소설교육

유인순 한국문학교육학회 2000 문학교육학 Vol.5 No.-

Education of literature is lifelong education. But it is impossible to deny that its dependency on public education. In this paper, I review foreign fictions in 18 kinds of high school literature textbooks (categorized as second division authorized textbooks) and the relation between these fictions and curriculums for education in order to find problems and solutions in this area They are as follows. First, foreign fictions in textbooks are too oriented to western culture and sentimentalism. And no textbook deals with women's works. It is necessary to include works of the third world, especially those of Chosunjok(Korean) in China and distinguished female novelists for establishing our identity against the world system under the new liberalism. Second, the relationship between foreign fictions and korean fictions in the 6th and 7th curriculum should be clarified for whole literature comprehension through the particularity and the universality of literature. And it is also needed to suggest a correct direction with deeper research about the situation and the flow of world literature. Third, textbook compilers should be more careful of explaining foreign fictions. Proper analysis and criticism are a prerequisite for harmonious teaching and learning. Forth, an incorrect translation reduces interest of students, and results in misunderstanding. Textbook compilers should select the finest translated text and if there be any mistranslation, it should be corrected with a consent of the translater.

이태준 소설 속의 고향과 고향사람들

유인순 江原大學校 江原文化硏究所 2005 강원문화연구 Vol.24 No.-

철원출신 작가 이태준의 작품에 나타난 고향과 고향사람들을 주목했다. 그리고 고향과 고향이 작가에게 끼친 영향과 작가가 이들 고향과 고향사람을 통해서 무엇을 말하고 싶어 했는지를 보았다. 나아가 작품의 공간배경을 지도상에 표기해 문학과 지역과의 관계를 보려고 했다. 이태준의 고향에 대한 인식은 황금시대의 낙원이었고 민족주의 정신의 산실이었으며 문학 창작과 그 반성의 산실이었다. 그러나 일제의 식민정책이 강화되면서 낙원이었던 고향은 실낙원(失樂園)으로 바뀌고, 전통과 근대가 공존하는 지대로 그려지고 있었다. 이태준이 작품에 그린 고향사람들은 지식인으로서는 지사(志士), 처사(處士), 현자(賢者), 보수적인 선비들이 있었다. 민초(民草)들이 경우에는 사랑의 몽상가, 영악스러운 생활인, 똑똑한 척 하지만 실은 바보인 아이러니의 희생자들이었다. 집단으로서의 고향사람들은 때로는 무력하지만 그래도 난관 앞에서는 함께 협조하고 이를 헤쳐 나가려는 꿋꿋한 모습을 보이고 있었다. 이태준에게 고향과 고향사람들은 예술가적 입장에서는 처사적 기질을, 생활인의 입장에서는 강인한 기질과 선각자적 이상을 넣어주었다. 이태준은 고향과 고향사람들을 그리면서, 일제 정책의 만행을 고발한다. 동시에 고향사람들이 이에 꿋꿋하게 대처하는 모습을 그림으로써 당시의 독자들을 위로하고, 또 어떻게 살아야 할 것인가를 우회적으로 보여주고 있었다. This article is focused on hometown and its people in works of Taejoon Lee, born in Chulwon. And it analyzes their influence on Taejoon Lee and what he wanted to deliver through them. The article also reviews the relationship between literature and geographic areas by mapping place(setting) of his works. To Taejoon Lee, the hometown had been a paradise of the golden age, a root of the spirit of nationalism and a womb for creation and reflection of literature. However, as Japan strengthened its colonization over Korea, it became a lost paradise pictured as an area of coexistence of tradition and modern world. Taejoon Lee pictures noble-minded patriots, recluses, wise men and conservative scholars as elite in hometown. In his works, grass-roots were day-dreamers, shrewd people and stupid people, victims of irony, pretending to be smart. They are incompetent but, as a group, demonstrate strong-will and cooperation facing difficulties. The hometown and its people inspired Taejoon Lee with anchoretism of an artist, and with strong will and the ideal of a leading sprit. Taejoon Lee prosecutes the barbarities of Japanese Imperialism picturing his hometown. At the same time he consulates readers and gives indirect suggestion of how to live through hardy life of its people. Finally, this article geographically maps moving paths of characters in Taejoon Lee's works of his hometown. However, the most of areas are over the Cocilian Contro Line, in DMZ or North Korea so are not accessible. I hope that we will visit those places with his literary map in one hand someday.