김억의 번역론 연구 : 근대문학의 장(場)과 번역자의 과제

김진희(Kim Jin-hee) 한국시학회 2010 한국시학연구 Vol.- No.28

In the beginning of the Korean modern literature since 1910's, Kim Eok played a crucial role as a translator for foreign literature and theory. During the acceptance of foreign literature, Kim realized the importance of translation and he is considered an intellectual who, as opposed to other contemporary translators, performed a bulk of translations from various countries. He was in the lead of balancing content and form, reforming he literary circles of translation in which there was abundance of arbitrary interpretations and content-concentrated translations. However, Kim Eok's translated works have been devalued by reason of erroneous and liberal translation of original works and inapt understanding. Researchers generally examine original and translated texts in tandem, after which they point out problems of the translations and attribute them to the translators' lack of capacity. The study of this paper presupposes that in-depth understanding of translated texts can be carried out only when the theory and practice of translation go in parallel. It argues that the negative evaluation for Kim's translations can be reconsidered through the study of theory. Kim argued for 'creative liberal translation,' and this paper investigates the formation and characteristics of this standpoint. This paper particularly looks into how symbolism, which Kim embraced, influenced Kim's view on translation. The acceptance of symbolism and the theory of translation are discussed in regard to the theory of translation maintained by Bejamin, a German literary critic who lived around the same time, in his book The Task of the Translator. The paper also examines Kim Eok's theory of translation in the sense that the act of translating foreign languages expands and deepens a mother tongue, which provides an opportunity to form and develop the self-identity. Kim's viewpoint on translation, which searches for the nature of poems, found modern poetic language for the Korean poetry, which was possible due to his exploration into language that represents this nature. Translating the western poems in the initial stage of modern literature implies admission and conveyance of heterogeneous culture, beyond simple written text, and creation of new culture. Kim Eok's translated works shows the creativity of cultural translation that is generated at the intersection of internal and external cultures. The literary world after 1920's, via translations, could realize the identity of modern literature by means of dialogue with others, i.e. dialogue between tradition and the West. Furthermore, it could have a foundation in creation of new culture. Along these lines of modern literature, Kim Eok's theory of translation presented ‘creative liberal translation’ and ‘creative translation’ as the task and direction for those who do the translation, including himself. It was an aspect of cultural action that Kim's theory evidently showed through translation.

김명순 소설 「도라다볼때」, 「외로운사람들」에 나타난 신여성의 의미 연구: 이광수 『재생』, 염상섭 『너희들은 무엇을 어덧느냐』와의 비교를 중심으로

남은혜 서울대학교 규장각한국학연구원 2018 한국문화 Vol.0 No.83

Kim Myung-soon appeared in 1917 and lived as a writer for more than 20 years before releasing her last work in 1939. The year 1924 when the Chosun Ilbo published three of the most important novels in a row, it became the most notable time to publish its first collection, “The Fruit of Life,” in 1925. During this time, Yeom Sang-seop’s novels “What did you get” and Lee Kwang-soo’s “Revival” were published in the Dong-A Ilbo. And it is comparable in many ways to Kim Myung-soon’s Chosun Ilbo serial novels ‘When Looking Back’ and ‘Lonely People.’ All four of these are stories of a new woman who suffers from a love failure and a wrong marriage. At that time, society and literary circles showed more interest in Kim’s activities as a new woman than in literature. In this situation, Kim tells the story of a new woman who may appear to be a writer herself in the novels ‘When Looking Back’ and “The Lonely People.” She was able to portray the tragic story of a young woman who was isolated from the contradictory reality of the time. Kim's novels are similar to Yeom Sang-seop and Lee Kwang-soo’s in character setting and narrative. It is primarily based on the fact that the text is a motif of the romance and marriage between Kim Myung-soon and Park In-duk in common. Park In-duk was one of the leading new women who drew attention like Kim Myung-soon. But even though she started out with a common model and motif, the new women depicted in Yeom Sang-seop, Lee Kwang-soo’s novels and Kim Myung-soon’s novels show different characteristics. Yeom Sang-seop and Lee Kwang-soo’s novels have shaped new women who pursue love and desire for money and come to a tragic end. And these women appear to be attractive but incomprehensible and painful. Unlike them, new women in Kim Myung-soon’s novels do not pursue personal desires for love or money. She want to find someone who can communicate with her. But those who live as pioneering new women suffer from a lonely situation, not even family members and loved ones. Through their tragic end, they are accused of the multi-level contradictions that new women had to live in. Soryeon from ‘When Looking Back’ was born to a father who lived a sexually dissipated life and a mother from a ‘gisaeng’ who committed suicide. Soryeon, who lost her mother's love due to her father's fault, seeks love of her mother, but is impossible in relationships with men. Soonhee from ‘Lonely People’ also falls apart and frustrated from both family and society, unlike Jeongtaek, who promised to live within his and one law. In Yeom Sang-seop and Lee Kwang-soo’s novel, the new woman seeks personal desire and faces death (Lee Kwang-soo’s novel’s Soonyoung) or pregnancy (Yeom Sang-seop’s novel's Maria). New women in Kim Myung-soon’s novel are similar to the tragic ending of suicide. However, the death of Soryeon from “when you look back” has a different meaning in that it pulls out “man’s blood” and puts a knife into her chest to live a new life. Kim Myeong-soon, in particular, is actively meaningful by linking the death of Soryeon with the flood of Pyongyang. Although the characters’ relationships and the process of writing are similar, the writer’s perception of new women was different. Although Kim was alienated from both literary circles and society compared to Lee Kwang-soo and Yeom Sang-seop, this gave her a fundamental understanding of new women’s life. It also needs to be re-evaluated in that it was actively rewritten through novels. The paper looked at the tragic lives of new women in the writings of Yeom Sang-seop, Lee Kwang-soo and Kim Myung-soon, the most important writers of the time. However, compared to the real life of Kim Myung-soon and Park In-duk, the novels are more tragic. New women in Yeom Sang-seop, Lee Kwang-soo and Kim Myung-soon’s novels lead to death and despair in different situations. However, Park left home with her hu...

1930년대 중국에서 전개된 김성숙의 번역 활동과 그 사상적 맥락

윤소영 한국독립운동사연구소 2024 한국독립운동사연구 Vol.- No.85

From the Canton Uprising in December 1927 until the first half of the 1930s, the details of Kim Sung Suk’s (1898-1969) activities in China remained a gap in previous research. Recently, it was revealed that during this period, Kim Sung Suk translated the following Japanese academic books into Chinese and published them in China. These are Tokuzo Fukuda’s Japanese Economic History, Tsugimaro Imanaka’s National Socialism, Israel.Ya, Weinstein’s Hegel, Marx, Lenin. This book was translated into Japanese by Takeo Naoi, the title of the Chinese translation is the whole process of Dialectic(辯證法全程). This study examines what kind of books Kim Sung Suk translated, the context in which Kim’s translation activities took place, and how it relates to the establishment of Kim Sung Suk’s ideology. The three books above translated by Kim were all in-depth works written by leading scholars in this field in Japan. Japanese Economic History, which sought to understand the economic development process of Japan, the party that colonized Joseon, National Socialism, which analyzed the problems of German and Italian fascism at the time, and also dialectical epistemology. The translation of Hegel, Marx, Lenin, a research book that analyzes the past history and present and predicts the future, was a significant source of nourishment to Kim’s construction of the theory of the independence movement. Above all, he was able to grasp the world’s ideological trends at the time, analyze the logic of Japan’s colonization of Joseon based on Marxism, and recognize the uniqueness of Joseon. It seems that these translation activities could have been accomplished through the cooperation of his Chinese wife Du Junhui(1904-1981), and in addition, the background of the boom in Japanese translation in Shanghai in the 1930s provided economic benefits to Kim’s family. However, Kim Sung Suk returned to the forefront of the independence movement by organizing the Korean National Liberation Alliance in early 1936. The influence of his translation activities can be seen in his writings in the late 1930s. In particular, in Student Movement in Anti-Colonial Countries (1936), Kim did not simply develop his argument limited to the student movement, but since Kim fled to China, he developed a warm-hearted ideological orientation and perception of the phenomenon, and diagnosed it. And it reveals that it is based on ‘dialectical’ thinking as a tool to observe the future. For Kim, dialectics formed the framework of perception that enabled him to analyze reality and predict the future. In addition, it emphasizes that for the success of the revolution, one must persevere and take on challenges toward the goal without giving in to the trials and errors that occur in the process. Kim Sung Suk criticized the communist theory that emphasized class conflict as a strategy for the independence movement, and believed that in the reality of colonial Joseon, the issue of ‘nation’ was more important than ‘class’. He consistently emphasized the unity and cooperation of all national forces for the national liberation struggle. Since Joseon is still a semi-feudal colonial society, he diagnosed that it is at the stage of an anti-imperialist national liberation movement rather than a socialist revolution. He avoided ideological confrontations, conflicts within political factions, conflicts of interest between classes, and all these ‘internal contradictions’ and pursued the liberation of the entire nation. He summarized his political orientation as the ‘democratic socialism’ of Germany and Denmark after Korea’s liberation in 1945. Looking at the overall development process of Kim Sung Suk’s thought, the period of translation activity centered on Japanese social science books in the early 1930s can be characterized as the storage and development of his ideology. 1927년 12월 金星淑(1898~1969)이 참여했던 광동봉기의 실패 후부터 1930년대 전반기까지 중국에서의 김성숙의 활동 내용은 그동안의 연구에서 공백기로 남아있었다. 최근 이 시기에 김성숙이 몇 편의 일본어 학술서를 중국어로 번역하여 중국에서 발간했다는 사실이 밝혀지게 되었다. 이 연구는 김성숙이 중역한 후쿠다 도쿠조(福田德三)의 『일본경제사론』, 이마나카 츠기마로(今中次麿)의 『민족적 사회주의론』, 와인슈타인 저, 나오이 다케오(直井武夫) 역 『헤겔, 마르크스, 레닌』 (중국어판 『辯證法全程』)을 통하여 이 번역서가 어떠한 저술인지, 어떤 맥락에서 이러한 활동이 이루어졌으며, 나아가 그것이 김성숙의 사상 정립과 어떤 관련이 있는지를 검토한 것이다. 김성숙이 번역한 세 권의 책은 모두 일본에서 이 분야의 대표적 학자에 의해 저술된 심도 깊은 저작들이었다. 조선을 식민지화한 당사자인 일본의 경제적 발전과정에 대한 이해를 도모한 『일본경제사론』, 당시 독일과 이탈리아의 파시즘이 대두되는 상황에서 그 문제점을 분석한 『민족적 사회주의론』, 또한 변증법적 인식론에 입각하여 과거의 역사와 현재를 분석하고 미래를 예측한 연구서 『헤겔, 마르크스, 레닌』의 번역은 김성숙의 독립운동론 구축에 적지 않은 자양분이 되었을 것이다. 무엇보다 이를 통하여 김성숙은 당시 세계의 사상적 조류를 파악하고 마르크시즘에 입각하여 일본의 조선 식민화의 논리를 분석함과 아울러 조선 만의 특수성을 인식할 수 있었다. 이러한 번역 활동은 그의 중국인 아내 杜君慧의 협력을 통해 성취될 수 있었을 것으로 보이며, 아울러 1930년대의 상하이에서 일본서 번역이 붐을 이루었던 시대적 배경이 작용하여 김성숙 가족에게 경제적 혜택을 제공했다. 그러나 김성숙은 1936년 초에 조선민족해방동맹을 조직하며 다시 독립운동의 일선으로 복귀했다. 1930년대 김성숙의 번역 활동의 영향이 단적으로 드러난 저술은 1936년에 발표한 『반식민지국가의 학생운동』(1936)이다. 이 저술에서 김성숙은 단순히 학생운동에 국한되어 논지를 전개한 것이 아니라, 김성숙이 중국에 망명한 이래 온축한 사상적 지향과 현상인식, 이를 진단하고 미래를 관측하는 도구로 ‘변증법’적 사유에 입각했음을 드러내고 있다. 김성숙은 독립운동의 방략으로서 계급 갈등을 중시하는 공산주의 이론을 비판하고, 조선의 현실에서는 ‘계급’ 보다는 ‘민족’ 문제가 중요하다고 보았다. 그는 시종일관 민족해방투쟁을 위해 민족 각 세력의 일치단결과 협동을 역설했다. 그는 아직 조선은 반봉건적 식민지사회이므로 사회주의혁명 보다는 반제민족해방운동의 단계라고 진단하고, 사상적인 대립, 정파 내부의 갈등, 계층 간 이해관계 갈등, 이 모든 ‘내부 모순’을 지양하고 민족 전체의 해방을 쟁취하기 위해 총력을 기울여야 한다고 보았다. 그러한 그의 정치지향을 해방후 그는 독일, 덴마크 등지의 ‘민주사회주의’로 요약했다. 이와 같이 김성숙 사상의 전체적인 발전과정 속에 볼 때, 1930년대 전반 일본 사회과학 관련 서적을 중심으로 한 번역 활동기는 그의 사상적 온축·발전기로서의 의의를 갖는다.

김일성 가(家)의 피의 숙청사

강석승 ( Kang Seok-seung ) 인천대학교 사회과학연구원 2013 사회과학연구 Vol.4 No.-

Kim Il-Sung's tenure as leader of North Korea has often been described as autocratic, and he established an all-pervasive cult of personality. Despite his opposition to de-Stalinization, Kim never severed his relations with the Soviets. He found the Chinese unreliable allies due to the unstable state of affairs under Mao, leaving the DPRK somewhere in between the two sides. The Cultural Revolution in China prompted Kim to side with the Soviets, the decision reinforced by the policies of Leonid Brezhnev. This infuriated Mao and the anti-Soviet Red Guards. As a result, the PRC immediately denounced Kim's leadership, produced anti-Kim propaganda, and subsequently began reconciliation with the United States Officially, Kim was part of a triumvirate heading the executive branch of the North Korean government along with Premier Choe Yong-rim and parliament chairman Kim Yong-nam (no relations). Each nominally held powers equivalent to a third of a president's powers in most other presidential systems. Kim Jongil was commander of the armed forces, Choe Yong-rim headed the government and Kim Yong-nam handled foreign relations. In practice, however, Kim Jong-il exercised absolute control over the government and the country. Although not required to stand for popular election to his key offices, he was unanimously elected to the Supreme People's Assembly every five years, representing a military constituency, due to his concurrent capacities as KPA Supreme Commander and Chairman of the DPRK NDC. The execution of the uncle of North Korea's Kim Jong Un has sparked fears that the country is on the verge of implosion and that members of the ruling elite is threatening the dictator's power. Jang Song Thaek, 67, who had been considered the second most powerful official in the country was killed immediately after a military trial. North Korea's official news agency said Jang had sought to 'destabilise the country' to take charge through a coup. Execution: Jang Song Thaek, with his hands tied with a rope, is shown being dragged into a military court shortly before his execution for treason yesterday. Once powerful, he was the uncle of leader Kim Jong Un.

論文(논문) : 朝鮮時代(조선시대) 宦官(환관) 金處善(금처선)의 活動(활동)

( Hee Heung Jang ) 대구사학회 2013 대구사학 Vol.113 No.-

Kim Chu-seon was the eunuch from Kin Sejong to Eunsangun in Chosun Dynasty. We can find it difficult to examine a eunuch`s personal activities rather than those of official. In case of the eunuch`s life, there is no any trace in pedigree and no collection of works and anthology. Kim was seemed to be engaged in the royal court as the eunuch during King Sejong. It has been learned that Kim had been released from the banishment before and after the Suyangdaegun`s Kyeyujungran, and soon was exiled. But their connection was not confirmed. Kim came into play as the close to the King Sejo, and was punished by a few mistake in works. But Kim was promoted to the high official in the Department of Eunuch during the King Seongjong. After death of King Seongjong Kim organized the eunuchs to keep the King`s tomb and got the official rank as Jahyundaebu, the senior grade of the second. But after the Gapjasahwa, Yunsangun tyrannized the politics, and the eunuchs like other officials had the loyal remonstrance. Eunuch Kim Sun-son was killed by the remonstrance, and Kim`s family was adopted in the guilty-by-association system. Eunuch Kim Kyu-gyung was killed in cruelat that time. Kim Chu-seon recognised all of these eunuches` poor situations but Kim also pleaded with the Eunsangun from his motive. Kim was also punished and kim`s family was adopted in the involvement system. In recent, there is debate that Kim was restored during King Jungjong but granting Kim a official position was during King Yungjo. As the result, Kim was adopted into the eunuch Kim and could be succeeded to Kim`s family as Eunuch. (Daegu University / janghis@daegu.ac.kr)

金壽增의 文藝志向과 家學傳受

이종호(Lee, Jong-ho) 대동한문학회 2009 大東漢文學 Vol.31 No.-

김수증은 위로 광찬에서 번으로 이어지는 수직적 계통맥락과 그를 둘러싼 횡적인 혼인맥락이 교직하는 그물에서 한 점으로 존재한다. 따라서 혈연적 네트워크가 종법사회의 중심에 있던 김수증의 문예취향을 결정해버렸다고 해도 과언이 아니다. 김수증의 문예취향은 조부대인 김상용・상헌 시절에 형성된 문예전통과 문예의식으로부터 영향을 받아 형성된 것이다. 문예전통은 翰墨과 詩書, 즉 서법, 회화 시문 창작을 가문의 교양으로 익히는 것을 말하며 문예의식은 서법과 회화와 시문 창작이 모두 소통 가능한 예술이라는 인식에 바탕하여 속되지 않은 선비가 되기 위해 부단히 추구되어야 한다는 의식이다. 이러한 전통과 의식은 후대 장동김문 구성원 사이에 공유되고 실천되었다. 그 과정에서 김수증은 金石書藝 분야에서 일가를 이루어 谷雲體라는 독특한 팔분서체를 완성했다. 그리고 그것이 후대에 전해져 마침내 노론계의 서체로 굳어졌다. 뿐만 아니라 세밀하고 핍진한 記文문창작을 통해 후기 實景文化에 큰 영향을 끼쳤다. 김수증은 아들 창숙과 손자 오일을 통해 자신의 문예가 전승되기를 바랐으나 모두 허사로 돌아갔다. 그들이 자기보다 먼저 세상을 등졌기 때문이다. 그 결과 김수증의 문예는 조카인 창협과 창흡 에게로 계승되었다. 특히 창흡은 자신의 아들 致謙을 김수증의 후사로 입적시킴으로서 김수증의 의발을 전수받는 결과를 가져왔다. 농연형제들은 1694년 갑술환국 후 부친 김수항이 신원되어 재기의 기회를 맞는다. 그러나 그들은 부친의 遺戒를 들어 출사를 거부하고 강한 은거취향을 드러낸다. 그에 따라 자연 친화의 한 방법으로 산수유람 을 선호하게 된다. 그 가운데서 김창흡은 적극적인挆勝을 통해 山水美를 발견하고 표현하는 紀逰文藝에 몰입했다. Kim Soo-Jeung have a existence as a point in the network which is combined by vertical line and horizontal one surrounding him. So that, we don't think it unfair that the network of blood relations fixed his art intention. Because he was a center place of clan rules society. Kim Soo-jeung's art intention is built by influence from Kim Sang-youg and Kim Sang-heun who made a art tradition and literary idea. Tow Kims are grandfather generation to Kim Soo-jeung. Arttradition means learning of calligraphy, painting and writing as a family culture, and literary idea means such a consciousness as they can have a mutual understanding between the three fields like calligraphy, painting and writing. So they would want ot pursue such a idea constantly so as not to be a vulgar person. Like a tradition and consciousness are hold in common among the future generations of Changdong Kim's family. In the transmission progress, Kim Soo-jeung built an unique Gokwun-style which is a kind of Palboon-style in the calligraphy of epigraph, and then that became a epigraph style of Nolon party to later ages. Besides he hat influence on the late Silkyung culture through writing documentary described in detailed and real. Kim Soo-jeung hoped his owen literal legacy should be continued to his to his son Chang-sook and grandson Dh-il, but all his efforts for the passing were for nothing, Because they died before him. Therefore Kim Soo-jeung's literal legacy is succeeded by his nephew Kim Chang-heup brothers. Especially Chang-heub actually succeeded the main line of his descent by entering his son in a family register as an heir. Nonyeon brothers had a opportunity to come back after regime change in the year of 1694, Kapsul according to recovering his father's original government position. But they refected any entering government service, and showed strong hermit intention. Due to that, they begin to incline to Sansu sightseeing in the proper means for nature friendship. Among them Chang-heub positively sought out the beauty of anture by sightseeing, thus he fell into Kiyou arts which means finding out and representing various Sanso beauties.

무용 상해 및 재발 예방을 위한 Kim's Body conditioning Program

김양근(Yang Keun Kim) 한국무용과학회 2009 한국무용과학회지 Vol.18 No.-

본 연구의 목적은 상해 경험이 있는 무용수가 Kim's body conditioning program 후 무용동작 수행 시 무용수의 신체 움직임 느낌을 통해 프로그램의 효과를 규명하고자 하였다. 본 연구의 목적에 따라 연구대상자들은 2007년 ADF(America Dance Festival)에 참석한 무용수들 중 Kim's body conditioning program 수업에 참석한 60명 중 6주간 수업에 결석하지 않은 31명을 대상으로 설문조사를 실시하였다. 연구 대상자들의 평균 연령은 22.06(±1.590)이며, 무용경력은 3년 미만이 54.8%로, 3년 이상이 38.7%이다. 조사 설문 내용은 무용전문가 3명과 의학전문가 1명, 설문조사 전문가 1명 등 5명으로 구성되어 설문조사 문항을 위해 협의, 의논하여 문항들을 선택하였으며, 자료 분석 방법으로는 기술통계의 빈도분석과 X2 분석 방법이 사용되었으며, 분석결과는 다음과 같다. 첫째, 전체적인 움직임에 대해 Kim's body conditioning program 수행 후 무용동작 수행 시 보다 편안함을 느낄 수 있으며, 원활하게 움직일 수 있다는 것으로 응답하였다. 둘째, 무용의 기본 동작에 대해 기본 브러쉬(brush) 동작, 그랑 바뜨망(grands battements) 동작, 데벨로뻬 (develope) 동작, 쁠리에 (plie) 동작, 아라베스크(arabesque) 동작에서 움직임 수행 시 편안함을 느꼈으며, 관련된 근육들에 움직임에서 원활하게 움직일 수 있었다고 응답하였다. 셋째, 무용수들의 Kim's body conditioning program 평가에서 이 프로그램은 전체적인 근력 및 하지의 유연성을 강화할 수 있다고 응답하였으며, 무용 동작 수행 시 움직임에 도움을 줄 수 있는 것으로 무용수들에게 도움이 된다고 응답하였다. 또한 이 프로그램이 무용수들뿐만 아니라 비전공자들에게도 필요한 프로그램이 될 수 있다고 응답하였다. 그러나 무용 표현 기술적인 측면에서는 높은 동의를 얻지 못했다. 이와 같은 결론을 통해 Kim's body conditioning program이 상해를 가진 무용수들에게 재활의 프로그램 중 하나로 제시될 수 있다. The purpose of this study was investigating about previously injured dancers' execution of movements and comfortableness after Kim's body conditioning program. 31 participants joined the six weeks of ADF of the year 2007 after undergoing Kim's body conditioning program. Contents of research were examined by three dance expertise, one medical doctor, and one research expertise. Frequency of descriptive statistics and X2 were used to analyze the collected data. The results were as follows. First, the 31 participants answered they were comfortable executing their movements and greater control over their muscle movements after Kim" body conditioning program. Second, they responded that they could comfortably execute their basic movements then previous to participating in Kim's body conditioning program and move their muscles more readily. Third, after undergoing Kim's body conditioning program, the participants answered Kim's body conditioning program can improve muscular power, become more flexibleness and help execution of movements. In addition, Kim's body conditioning program can help people who are not dance major. Kim's body conditioning program, however, cannot improve executing difficult dance movements. In conclusion, Kim's body conditioning program could be a rehabilitation program for previously injured dancers.

朝鮮時代 宦官 金處善의 活動

장희흥 대구사학회 2013 대구사학 Vol.113 No.-

Kim Chu-seon was the eunuch from Kin Sejong to Eunsangun in Chosun Dynasty. We can find it difficult to examine a eunuch’s personal activities rather than those of official. In case of the eunuch’s life, there is no any trace in pedigree and no collection of works and anthology. Kim was seemed to be engaged in the royal court as the eunuch during King Sejong. It has been learned that Kim had been released from the banishment before and after the Suyangdaegun’s Kyeyujungran, and soon was exiled. But their connection was not confirmed. Kim came into play as the close to the King Sejo, and was punished by a few mistake in works. But Kim was promoted to the high official in the Department of Eunuch during the King Seongjong. After death of King Seongjong Kim organized the eunuchs to keep the King’s tomb and got the official rank as Jahyundaebu, the senior grade of the second. But after the Gapjasahwa, Yunsangun tyrannized the politics, and the eunuchs like other officials had the loyal remonstrance. Eunuch Kim Sun-son was killed by the remonstrance, and Kim’s family was adopted in the guilty-by-association system. Eunuch Kim Kyu-gyung was killed in cruelat that time. Kim Chu-seon recognised all of these eunuches’ poor situations but Kim also pleaded with the Eunsangun from his motive. Kim was also punished and kim’s family was adopted in the involvement system. In recent, there is debate that Kim was restored during King Jungjong but granting Kim a official position was during King Yungjo. As the result, Kim was adopted into the eunuch Kim and could be succeeded to Kim’s family as Eunuch.

김영하 소설의 죽음 연구

김지혜 동국대학교 한국문학연구소 2014 한국문학연구 Vol.0 No.46

The purpose of the concerned study was to define Author KIM Young-ha's perception about a death, which has been frequently observed in his novels. Since the debut as an author, KIM Young-ha has been trying to discuss existence of a human being while making a use of this particular material, ‘death’, in various ways. However, all those studieswhich had once investigated the ‘death’ have focused only on early works of KIM and in that regard, the concerned study aimed to understand how KIM's perception about death have been changed so far. In 『I Have The Right to Destroy Myself』and 「I am beautiful.」, KIM described a male narrator who tried to sublimate a death in art as taking notes not only on a female character who has decided to commit a suicide but also on the moment she killed herself. KIM's early works which have made the death beautiful could be understood as some evil aestheticism or radical nihilism as how the previous researches have discussed. However, on the other hand, those works could be also understood that they have made this death escape from all those traditional, modern ideas about death, discussing spectacles of the death in some aesthetic way.Through the early works, Author KIM Young-ha was believed to talk about the futility and anxiety of being, fighting against the current systems. Works published in the 2000s would discuss less about aesthetic, erotic deaths but start discussing unfamiliar, unusual ones. In 「Crocodile」, 「High Tension Line」 and others, KIM used how a human body would disappear out of the blue to described possibilities for the body to get separated from a soul and a death which has been unfixed. In addition, 『Black Flower』 and 『I can hear your voice』, KIM described an ascensionof a soul religiously enough to keep a distance from the tragic presencebut to console humans in trouble. In『How a murder remembers』, KIM showed readers how this narrator, a serial killer diagnosed with Alzheimer's, would fight not to lose one's memories. After all, this hero who would want to be either a devil or a superman by murdering others came to lose all one's memories and got trapped in a state of ‘nothing’. In this novel, KIM tried to ask the readers meanings of a death via this material, extinction of memories. Author KIM Young-ha would keep presenting the ‘death’ in his works, trying to run away from those fixed ideas about death. In doing so, KIM is, now, believed to be an author who would reflect on problems of a life and a death while discussing existence of a human being. 본 논문은 김영하 소설에 빈번하게 나타나는 ‘죽음’에 주목하여 그의 죽음 의식을 밝히는 것을 목적으로 한다. 김영하는 등단 초기부터 ‘죽음’ 이라는 소재를 다양하게 활용하여 인간 존재의 문제를 성찰하였다. 그러나 ‘죽음’에 대한 연구는 초기 작품에 한정되어 있으므로 그의 죽음 의식이 어떻게 변화하고 있는지를 고찰할 필요가 있다. 『나는 나를 파괴할 권리가 있다』, 「나는 아름답다」에서는 자살하려는여성인물과 그 순간을 기록함으로써 죽음을 예술로 승화시키려는 남성화자를 그려내고 있다. 죽음을 미학화한 그의 초기 작품은 기존 논의처럼 악마적 탐미주의, 급진적 허무주의로 평가받을 수 있다. 그러나 한편으로는 죽음을 미학적으로 스펙타클화함으로써 전통적이고 근대적인 죽음관에서 탈주하고 있다고 볼 수 있다. 이를 통해서 그는 기존 체제에 저항하고 존재적 허무와 불안에 대해 말하고 있다. 2000년대 이후 작품들에서는 초기의 탐미적이고 에로틱한 죽음의 특징이 약화되고, 낯설고 비일상적인 죽음이 등장하기 시작한다. 「악어」, 「고압선」 등에서는 갑작스럽게 사라지는 육체의 모습을 통해 육체와 영혼의 분리가능성, 그리고 고정되지 않은 죽음을 그려낸다. 또한 『검은꽃』과 『너의 목소리가 들려』에서는 영혼의 승천을 종교적으로 묘사함으로써 비극적인 현실에 거리두기를 하며 고통받는 인간을 위로한다. 『살인자의 기억법』에서는 알츠하이머에 걸린 연쇄 살인범 화자가 자신의 기억과 싸우는 것을 그리고 있다. 치밀한 이성의 힘을 믿으며 살인을 통해 악마 혹은 초인이 되려고 했던 주인공은 기억을 소멸함으로써‘무(無)’의 상태에 갇힌다. 이 소설에서는 이러한 기억의 ‘소멸’을 통해 죽음의 의미를 묻고 있다. 김영하는 작품 속에 끊임없이 ‘죽음’을 등장시키고, 고정된 죽음관을 탈주하는 방식으로 삶과 죽음의 문제, 인간의 존재에 대해 성찰하고 있는 것이다.

김남천 소설의 인물과 이야기 정체성- 지식인–소시민–청년 인물을 중심으로

조익상 한국문학연구학회 2015 현대문학의 연구 Vol.0 No.55

In the history of research on Kim Namcheon, interpretation of intelligent/petit-bourgeois/young men characters including Kim Kwangho has been regarded important. This research present a way to understand Kim Namcheon and his literature before and after 1940s, by separately reading identities such as narrative identity(identité narrative), sameness(identité-idem) and selfhood (identité-ipse) of Paul Ricoeur characterized and re-presented in between Kim and his characters. This can be thought as to elaborate two ways of current interpretation: to interpret Kim mainly on ‘what’ considered of him such as a convert or a socialist and again interpret his characters from that understanding on the one hand, to interpret his characters with the author’s perspective or viewpoint on the other hand. In addition, a different approach can be tried with this research to where researches barely go beyond two polars: novels to be read as autobiographical novels or the “I” stories on the one side, novels written with socialistic/realistic method on the other side. With this awareness, the research tries to confirm a new standpoint to explain ‘whom’ Kim attempted to draw, ‘who’ Kim was and the appropriacy of the standpoint presented. To achieve this, it is necessary to look through Kim’s literary review and essays thoroughly, and to compare Kim’s autobiographic facts and his created characters in both sameness and selfhood. Thus, after reviewing his critical essays in time and his self-description about his “lifetime of literary method”, the research could confirm that ‘self’ and ‘accusation’, his two keywords for earlier method, had been maintained as sublated- thus-enhanced. This method in the process of formation affected character making of Kim, and the author’s introspection/reflection on his characters again affected formation of the method in reverse. 1940s was a terminus ad quem where those dialectic method met Balzacian realism, and this method of fission can be summarized as ‘Kim-like character’s un-Kim-like activity.’This characterization was tried firstly because they can be deep and easily embodied due to the fact that they are similar to Kim ‘himself’ and to ‘the (his) experienced’. Secondly when this characters of sameness act completely different from him, accusation from ‘the observed’ of society and the era through the characters. Because the characters were the fruit of the then society, so it was an accusation against the human nature made from the current era. For the last reason to be discussed, it was necessary for Kim himself to fission with character, for the character to cover the life Kim did not want to, demanded to or tempted to live. It is a very private way to make himself to live a life that he want or that he must continue. 김남천 연구사에서 김광호를 비롯한 지식인–소시민–청년 인물들에 대한 해석은 김남천과 그의 문학 이해에 있어 중요한 위치를 점해왔다. 본고는 폴 리쾨르의 이야기 정체성 이론을 바탕으로 이 인물들과 김남천 사이에서 발견되는 동일–정체성과 소설 속에서 구현되는 인물 각각의 자기–정체성을 구별하여 해석함으로써, 1940년대를 전후한 시기의 김남천과 그의 문학을 이해하는 하나의 방법을 제안하고자 한다. 이는 사회주의자, 전향자 등의 ‘무엇’을 중심으로 포착되고 또한 이를 바탕으로 하여 그의 인물을 해석했던 한쪽의 경향과 김남천의 인물에 대한 시선을 중심으로 한 다른 쪽의 해석 경향 모두에 정교함을 더할 수 있는 길이라 생각된다. 또한 사소설적 독법을 요구하는 소설과 사회주의적/리얼리즘적 소설 작법으로 씌어진 소설이라는 두 극점 사이를 좀처럼 벗어나지 못했던 김남천 소설 문학에 대한 다른 접근도 시도될 수 있다. 이를 통해 김남천이 그의 인물들을 ‘누구’로 그리려 했고 김남천 그 자신이 ‘누구’였는지를 해명하는 새 시점과 그것의 가능성을 확인하는 것이 이 논문의 목표이다. 이를 위해서는 김남천의 비평 전반을 확인하고 그의 자전적 사실과 인물들의 자기성과 동일성을 비교하는 과정을 거칠 필요가 있다. 본고에서는 시간 흐름에 따라 비평 전반을 살피고 김남천의 “문학적 행정”에 대한 자기기술을 살펴본 바, 그의 초기 문학적 방법론의 열쇳말인 ‘자기’ ‘고발’이 모두 지양된 형태로 유지되어 왔음을 확인할 수 있었다. 이러한 방법론의 전개 속에서 형성 중인 방법론은 김남천의 인물화에 영향을 미쳤고 또한 형성된 인물에 대한 작가적 성찰은 다시금 방법론의 수정에 영향을 미쳤다. 그런 과정 끝에 1940년대를 전후하여 발자크 리얼리즘의 요목과 함께 시도된 것이, 김남천적 인물의 비김남천적 행동으로 요약되는 분열의 방법론이라 할 수 있다. 주로 지식인–소시민–청년 남성 인물에서 구현된 이러한 인물화가 시도되었던 이유로는, 김남천 ‘자기’와 ‘체험적인 것’이 닿아있는 면에서 성격 형성이 용이했다는 점을 먼저 들 수 있다. 그리고 그러한 동일성을 지닌 인물이 전혀 별개의 행동을 하게 될 때, ‘관찰적인 것’의 사회 고발은 더욱 증폭될 수 있었다. 그것은 시대와 사회가 낳은 인간성에 대한 고발의 방식이었다. 마지막으로, 김남천 그 자신의 작가로서의 삶과 생활인으로서의 삶 모두에 있어 그러한 인물의 구현은 필요한 과정이었다. 그 자신이 걷고 싶지 않지만 걷기를 강요당하거나 유혹당하는 길을, ‘자기’를 닮은 소설 속의 인물이 걷게 만드는 것은, 자신이 걷고 싶고 걸어야 하는 길로만 걷도록 정련하고 채찍질하는 하나의 방법일 수 있었다.