식민지시기 순수문학의 지형과 김환태의 순수시론

김영범 ( kim¸ Young-beom ) 우리어문학회 2022 우리어문연구 Vol.72 No.-

근대문학 초기 조선에는 인생을 위한 예술과 예술을 위한 예술이 도입되었고, 후자는 1930년대 말까지 부정적으로 인식되었다. 그럼에도 순수문학은 예술지상주의와 동일시되는 경향이 있다. 이 연구는 이러한 인식론적 자동성이 형성된 배경과 실제 그리고 김환태 비평의 성과를 살피고자 기획되었다. 그가 다른 문인들과 달리 스스로를 예술지상주의자라고 공언했기 때문이다. 이러한 목적을 위해 이 연구는 먼저 1930년대까지 순수문학과 예술지상주의에 대한 문인들의 논의들을 검토했다. 그 결과 1920년대에 예술지상주의는 프로문인들이 타자들을 매도하기 위한 가칭이었으며, 1930년대 말까지 일반문인들은 자신들의 문학을 ‘그냥文學’이라고 자칭해왔다는 사실을 밝혀낼 수 있었다. 이 과정에서 일반문인들이 문학과 사상성의 연계를 인정했음도 드러났다. 반면 김환태는 문학에 목적의식이나 사상을 들여오는 것을 거부하고 문학의 순수성을 강조했다는 점에서 다른 문인들과 구별된다. 그의 문학론은 ‘어린애-되기’를 창작의 출발점으로 삼고 ‘의식과 형식과의 완전한 일치’라는 요건을 제시함으로써 내용과 형식에 대한 전대의 논의를 진척시켰다. 나아가 예술의 창작에 관여하는 상상력의 지평을 ‘생명상력(生命像力)’까지 넓혔다. 예술가가 가진 정신의 위대함, 즉 ‘정신생명’이 예술에 담길 수 있다는 그의 이론은 예술이 결국 타인의 ‘의식’을 감동하게 하는 숭고한 인간정신의 산물이어야 함을 역설한다. 이상이 그의 순수시론의 전모다. 예술의 공리성은 이러한 감동 이후에나 가능하며 그럼으로써 문학과 사상성이 이어질 수 있다는 것이 그의 생각이었다. In the early days of modern literature, art for life's sake and art for art's sake were introduced in Korea, and the latter was perceived negatively until the end of the 1930s. Nevertheless, pure literature tends to be identified with art supremacy. This study was designed to examine the background and actuality of this epistemological automatism and the reality of Kim Hwan-tae's critique. This is because he professed that he was an art supremacist, unlike other writers. The review results are as follows. It was revealed that in the 1920s, proletarian writers used the tentative name of art supremacy to slander others. And by the end of the 1930s, it was disclosed that ordinary writers had called their literature ‘just literature’. It was also divulged that ordinary writers recognized the connection between literature and ideology. On the other hand, Kim Hwan-Tae refused to bring a sense of purpose or thought into literature and emphasized the purity of literature. His literary theory took 'becoming a child' as the starting point of artistic creation and advanced the previous discussion on content and form by suggesting 'complete correspondence between consciousness and form'. Furthermore, he expanded the horizon of imagination involved in the creation of art to 'power to imagine life'. His theory that the greatness of the spirit of an artist, that is, 'spirit life' can be contained in art, emphasizes that art must ultimately be the product of a noble human spirit that moves the 'consciousness' of others. This is the whole of his pure poetry theory. His idea was that the common good of art is only possible after such an impression.

삶을 위한 예술, 생태예술들의 탐험

유현주(YU HyunJu) 현대미술학회 2020 현대미술학 논문집 Vol.24 No.1

본고는 오늘날 생태예술이 자연지배의 사유를 교정하고 삶을 지속가능하게 하고자 하는 차원에서 새로운 형식의 예술적 탐험을 시도하고 있음을 말하고자 한다. 생태예술의 실천들은 과거의 환경예술과 구분되는 것으로서 생태과학과 이론적으로 연계된다. 생태과학적 관점은 모든 것이 상호의존성으로 연결되어 있다는 인식을 바탕으로 지구의 제한된 에너지를 잘 관리할 수 있어야 함을 각성하게 한다. 바로 이러한 새로운 과학적 세계관을 바탕으로 생태 윤리적 실천을 하고자 하는 예술이 90년대 이후 새롭게 부각된 생태예술이라고 할 수 있다. 북극탐사와 과학적 실험과 같은 생태예술의 사례들을 통해 우리는 융복합적 실천과 학제적 작업 등 가능한 모든 새로운 형식이 이루어지는 것을 본다. 결론적으로 생태예술은 생태 윤리를 바탕으로 삶을 위한 예술을 실천하기 위해 미지의 미적 탐험을 지속하는데 그 의의가 있다. The paper is intended that today’s ecological arts are attempting a new type of artistic exploration in order to correct a thinking for natural dominance and make life sustainable. The practice of ecological art is distinguished from the environmental art of the past, and is theoretically linked to ecological science. Ecological perspectives awaken the need to be able to manage the Earth’s limited energy well based on the perception that everything is connected by interdependence. Based on this new scientific world view, the art that aims to practice ecological and ethical practices is an ecological art that has been newly highlighted since the 1990s. Through examples of ecological art, such as Arctic exploration and scientific experimentation, we can see that all possible new forms are made, including convergence practice and interdisciplinary work. In conclusion, ecological art is meaningful in continuing the unknown aesthetic exploration to practice art for life’s sake, on the basis of ecological ethics.

‘인생’(人生) 개념의 정립과 한일 근대문학관 형성에 관한 비교 고찰 ―‘life’의 번역과 ‘생명’ 개념의 정착을 중심으로―

최호영 한국일어일문학회 2018 日語日文學硏究 Vol.104 No.2

The concept of ‘human life’ in early modern Korea and Japan has created an important momentum to build modern literary thought. From the start, the concept of ‘human life’ contained a flexible attribute by ‘life’ as the signifier itself, and therefore it had polysemy. It also provided a basis for expressing various literary thought depending on the context of a writer and would be an element while showing points of difference from Korea and Japanese modern literature. Matthew Arnold, who has a strong influence on Korea and Japanese modern literature by introducing the concept of ‘human life’, has left rooms for differences regarding ‘human life’ while positioning the relationship between ‘human life’ and ‘literature’ into universal domain of man’s life. During the Meiji period of Japan, Kitamura Toukoku arranged literary thought of Yamaji Aizan into ‘utilitarianism’ and tried to contextualize ‘life’ in the direction of expressing individual mental freedom. In this sense, the concept of ‘human life’ in the Meiji period of Japan embraced the domain of ‘individual’ and ‘society’ while including the conflicting points by both parties through ‘life’. Furthermore, ‘life’ in 1920s’ Joseon served as a momentum to create each of thought in terms of ‘individual’ and ‘society’ and also harmonize them together through ‘life’. This was represented by ‘art for life’s sake’ from Lee Kwangsu and Kim Uk. Therefore, it important to examine the concept establishment of ‘human life’ and settlement process of ‘life’ in that it shows the modern literature of Korea and Japan becomes the corner stone in the context of each country.

추상의 현실성 - 칸딘스키의 예술론

오종우 ( Jong Woo Oh ) 한국러시아문학회 2013 러시아어문학 연구논집 Vol.42 No.-

V. Kandinsky is a founder of abstract painting in the strict sense. He sought to transform the generally accepted notion of artistic representation. Traditionally, painting has been understood and defined in relation to its materiality. Painting is bound to represent something ``out there``, and its dominant means is no doubt materialistic. Both the content and the means of painting have the properties of materialism, on which are based representational painting, decorative art and art for art``s sake. However, Kandinsky, in his own art, rejected any materialistic character of traditional painting. By liberating colours, lines and forms from the objects and means of conventional painting, he made a significant breakthrough in introducing and developing abstract art. This does not mean that abstract painting is totally removed from the reality of the world. For him, abstract painting is full of life itself, and this ``life-affirming`` process stands as a radical challenge to the prevailing materialism. Kandinsky`s art is, therefore, the fulfillment of the essence of life.

아쿠타가와 류노스케의 「히나(雛)」에 나타난 일상의 감동 - ‘히나인형’의 상징적 의미를 중심으로 -

윤상현 한양대학교 일본학국제비교연구소 2015 비교일본학 Vol.34 No.-

본 논문의 목적은 아쿠타가와 류노스케의 단편소설 「히나」에 나타난 히나인형의 상징적 의미를 규명하면서, 작품 주인공인 노부인, 즉 어릴 적 오쓰루(お鶴)의 회상에 나타난 찰나의 감동이 현재 일상의 감동으로 전이되는 연계 과정을 살펴보는데 있다. 그리고 이것은 궁극적으로 아쿠타가와가 지향하고자 했던 ‘찰나의 감동’이 일상의 감동으로 예술지상주의의 보편성 획득에 관해 고찰하는 것이다. 사실 아쿠타가와의 초기 작품에 나타난 ‘찰나의 감동’은 이른바 ‘역사소설’에 나타난 광인이나 ‘기독교소설’에 나타난 우인만이 느끼는, 보통 사람들이 접근할 수 없는 영역이었다. 그러던 것이 「히나」에 이르러서는 광인도 우인도 아닌 보통 사람 노부인의 회상을 통해서 일상의 감동으로 재현되고 있다. 더욱이 여기에 나타난 히나인형은 서양 여자아이와 부송의 하이쿠로 연계되면서 일본에서 세계라는 초공간적과 과거에서 미래라고 하는 초시간적 성격까지 갖는다. 이와 같이 「히나」는 지금까지 아쿠타가와의 작품에 나타난 찰나의 감동을 개인적 특수성에서 일상의 감동이란 보편성으로 확산시키고 있으며, 이것이야말로 아쿠타가와가 평생 추구해 왔던 예술지상주의를 완성시켰다는 점에서 문학사적 의의와 가치를 재평가가 이루어져야 할 것으로 본다. The purpose of this paper is investigating a symbolic meaning of a ‘hinaningyo’ which is appeared in Ryunosuke Akutagawa's short story 「Hina」 and examining the metastasis process of ‘momentary impression’ into ‘everyday life's impression’ through the remembrance of ‘Otsuru’ that the main character, an old lady's childhood. And that the ‘momentary impression’ acquiring the art for art principle's universality and becoming ‘everyday life's impression’ is what Akutagawa had ultimately aimed. In fact, the ‘momentary impression’ appeared in Akutagawa's early works was accessible area for maniac from so called ‘a historical novel’ or a foolish person from ‘a Christian novel’ that ordinary man cannot reach. In 「Hina」, however, everyday life's impression was being reenacted by an ordinary old lady not by maniac or foolish person. Furthermore, the hinaningyo in this story taken shape of a western girl and its relation with ‘Busong's Haiku’ expands the background of works, Japan to the world, past to future. Likewise, 「Hina」 is expanding the ‘momentary impression’ gives universality and turn it into ‘everyday life's impression’. So the work, 「Hina」, should be reappraised about its meaning and value with in history of literature because it consummate the art for art principle that Akutagawa pursued for his all life.

추상의 현실성 - 칸딘스키의 예술론

오종우 한국러시아문학회 2013 러시아어문학 연구논집 Vol.42 No.-

V. Kandinsky is a founder of abstract painting in the strict sense. He sought to transform the generally accepted notion of artistic representation. Traditionally, painting has been understood and defined in relation to its materiality. Painting is bound to represent something ‘out there’, and its dominant means is no doubt materialistic. Both the content and the means of painting have the properties of materialism, on which are based representational painting, decorative art and art for art’s sake. However, Kandinsky, in his own art, rejected any materialistic character of traditional painting. By liberating colours, lines and forms from the objects and means of conventional painting, he made a significant breakthrough in introducing and developing abstract art. This does not mean that abstract painting is totally removed from the reality of the world. For him, abstract painting is full of life itself, and this ‘life-affirming’ process stands as a radical challenge to the prevailing materialism. Kandinsky’s art is, therefore, the fulfillment of the essence of life.