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.

민법의 기초자 가인 김병로

김재형 사법발전재단 2023 사법 Vol.1 No.63

After gaining independence from Japan in August 1945, the Republic of Korea prioritized the codification of its legal system, which entailed developing new laws and codifying them separate from the laws that the Japanese colonial rulers imposed on Koreans in 1919–1945 to lay the foundations for Korea as a fledgling sovereign state. The history-making task of writing the new Korean Civil Code was given to the most accomplished legal expert of the time, Kim Byeong-Ro (also known by his pen name, Gah-In). On September 15, 1948, shortly after his inauguration as the first chief justice of the Supreme Court of Korea, Kim served as chairman of the Korean Code Compilation Committee and worked tirelessly toward codifying the law of his country. Despite the challenges from the Korean War, (1950–1953), Kim successfully finished drafting the Civil Code on July 4, 1953, and the draft code was submitted to the Korean National Assembly as a government proposal. On December 17, 1957, two days after Kim’s retirement as chief justice, the National Assembly passed a bill approving the Civil Code. On February 27, 1958, the Civil Code was promulgated as Act No. 471; and on January 1, 1960, it came into force. During his tenure as chief justice, Kim not only instituted an independent Korean judiciary but also accomplished the all-important task of drafting the Korean Civil Code. If we wish to understand the historical origins of the Civil Code of Korea, it would be a worthwhile endeavor to examine the role that Kim played in creating the Civil Code and Kim’s relevant achievements. Furthermore, within the current context of considering amendments to the Korean Civil Code with some urgency, it would be essential to examine the principal elements of the Code and the Code’s guiding philosophy, which influenced the Korean legislators at the time of the Code’s infancy. Against the foregoing backdrop, this article reviews the role of Kim Byeong-Ro, as the central figure behind the Korean Civil Code, in authoring the Code while analyzing how his ideology and ideas are reflected in the major provisions of the Code. The article begins by retracing Kim’s process in writing the Code, highlighting his involvement and his accomplishments in particular. The major provisions of the Korean Civil Code are then compared with those of the Japanese Civil Code, as the latter was effectively in force in the Republic of Korea when the former was codified. Through this comparison, the article aims to examine Kim’s ideology and convictions as they came to be evinced in the course of drafting the Korean Civil Code. Kim was determined to create a Civil Code that would wholly supplant the Japanese Civil Code and one that would be in harmony with the culture and customs indigenous to Koreans. To that end, he researched and studied the civil codes of many foreign countries. But he eschewed borrowing or adopting foreign laws in their original form. Instead, he only made use of them as a point of reference. In drafting the Korean Civil Code, Kim proceeded to codify what was in line with Korean customs and practices even when they did not exist in the Japanese Civil Code, while making a point of abolishing or revising what existed in the Japanese Civil Code that was alien to Korean soil. This is why a great number of provisions in the Korean Civil Code are not found in any form in the Japanese Civil Code. Or, even when they are, they differ in their content. Kim sought to avoid or limit unconventional or extremely individualistic views while honoring legal principles based on natural law. He also exhibited mindfulness of the socially and economically underprivileged by making a conscious effort to create a Code that was rational and reasonable in its particulars. In the realm of family law in particular, Kim attempted to reform the family system to make it jibe with the much-changed social reality at the time while remaining faithful to Korea's pro... 1945. 8. 해방 이후 독립국가에서 법전편찬은 무엇보다도 중요한 일이었다. 독립국가의 기틀을 세우기 위해서는 일제 강점기에 따라야 했던 일본법에서 벗어나 독자적인 법전을 마련해야 했기 때문이다. 민법 제정은 당대 최고의 법률가가 부여받은 임무였다. 김병로는 대법원장 취임 직후인 1948. 9. 15. 법전편찬위원장을 맡아 기본 법률의 제정에 온 힘을 쏟았다. 6·25전쟁으로 혼란스러운 틈에도 김병로는 1953. 7. 4. 민법초안을 완성하였고, 이것이 정부안으로 국회에 제출되었다. 그가 대법원장직에서 정년퇴임한 이틀 후인 1957. 12. 17. 민법제정안이 국회에서 통과되었다. 그 후 민법제정안은 정부에 이송되어 1958. 2. 22. 법률 제471호로 공포되었고, 1960. 1. 1. 시행되었다. 김병로는 대법원장 재임기간 동안 사법부의 기틀을 마련함과 동시에 법전편찬위원장으로서 민법 제정이라는 과업을 이루었다. 민법 제정 과정에서 김병로의 역할과 업적을 살펴보는 것은 대한민국 민법의 역사적 성격을 규명한다는 점에서 중요한 의미가 있다. 또한 민법 개정이 시급한 상황에서 제정민법의 주요 내용과 당시 입법자들의 근본사상을 되새겨볼 필요가 있다. 이 글에서는 민법의 기초자인 김병로가 우리나라의 민법 제정 과정에서 어떠한 역할을 했는지에 관하여 살펴보고, 그의 사상과 이념이 고스란히 녹아 있는 제정민법의 주요 규정을 분석해보았다. 먼저 민법 제정 과정을 개관하면서 그 과정에서 김병로의 역할과 공적을 찾아 정리한 다음, 제정민법의 주요 규정에 관하여 당시 대한민국에 의용(依用)되던 일본민법, 즉 의용민법과 비교해보고, 이를 토대로 민법 제정 과정에서 드러나는 김병로의 이념과 사상을 살펴보았다. 김병로는 일본민법을 대체하는 민법을 제정하되, 세계 여러 나라의 민법을 참고하여 우리 고유의 문화와 풍속에 맞는 독자적인 민법을 제정하고자 하였다. 일본민법 등 외국의 법령은 참고용일 뿐 그대로 채택하지 않았다. 김병로가 민법초안을 기안할 때 일본민법에는 존재하지 않더라도 종래 우리나라 관습 등에 따라 인정되어 온 제도는 명문화한 반면, 일본민법에 존재하나 종래 이용되지 않은 제도는 과감하게 폐지하거나 수정하였다. 이것이 제정민법에는 일본민법에 존재하지 않거나 일본민법과는 그 내용상 차이가 있는 다수의 규정들이 있는 이유이다. 김병로는 극단적인 개인주의 사상을 지양하고자 하였고, 자연법적 사고에 따라 법원칙을 존중하였다. 또한 합리적이고 현실적합성이 있는 민법을 제정하고 사회경제적 약자를 배려하려고 하였다. 가족법 분야에서 우리 고유의 전통과 순풍미속(淳風美俗)을 유지하되, 변화된 사회현실과 조화를 이루도록 가족제도를 개혁하고자 하였다. 김병로의 노력으로 대한민국은 독자적인 민법전을 가질 수 있게 되었다.

청년기 김굉필의 사상 전환과 그 지성사적 배경

이원석 택민국학연구원 2020 국학연구론총 Vol.0 No.25

This article sought to examine why Kim Going-pil(金宏弼) became interested in Sohak(小學) while studying Han Yu(韓愈)’s writing and finally devoted himself to it in the context of the process of ideological change from the Ancient-Prose(古文) movement to the Learning of the Way. Kim’s ideological contribution is to present the prospect of becoming an adult only by becoming proficient in li(禮), not by becoming proficient in ancient-prose. And in this regard, he was different from his teacher Kim Jong-jik(金宗直). However, Kim’s idea that it is possible to reach “Chen-gi(天機; the mechanism of Nature)” right away through studying Sohak shows a slightly different aspect from that of the Zhu Xi(朱熹). Kim’s understanding of Sohak coincides in many ways with that of Xu Heng(許衡) of Yuan(元) Dynasty, who was influenced by Wang Pil(王弼)’s tendency to value “Nature(自然).” Thus, although Kim showed a clear tendency toward Confucianism, on the other hand, he may have dreamed of a “Nature” that he would reach after the perfect mastery of li(禮). This suggests the possibility of a new interpretation of Kim Jong-jik and Kim Going-pil’s ideological connection. Kim Jong-jik claimed, we can reach a stage where we are fluent in sentences(文), and at the same time become one with li(理; principle or pattern). Traditionally, a writer reads change well and a moralist is considered to be faithful to principles, so Kim Jong-jik’s ideal human figure must be a person who reads change well while also faithful to principles. Interestingly, Kim Going-pil, who was seen by Cho Shik(曺植), was exactly like that, and his appearance coincided with the ideal human image presented by Xu Heng. In this way, the continuity between Kim Jong-jik and Kim Going-pil can also be recognized. 이 글은 한훤당 김굉필이 한유의 문장을 공부하다가 소학에 관심을 두고 거기에 헌신하게 된 연유를, 고문운동에서 도학으로 이행하는 사상적 변화 과정의 맥락에서 살펴보고자 했다. 고문(古文)이 아니라, 예(禮)에 능통하게 됨으로써 성인이 될 수 있다는 전망을 분명하게 제시한 것이 김굉필의 사상사적 공헌이며 이 점에서 그는 스승 김종직과 달랐다. 하지만 소학 공부를 통해 곧바로 “천기(天機)”에 도달하려고 했던 김굉필의 청년기 사상은 주자학과 다소 다른 면모를 보여준다. 김굉필의 소학관은 원대(元代)의 노재 허형과 여러모로 일치하는데, 후자는 왕필(王弼)의 “자연(自然)” 중시 경향으로부터 영향을 받고 있었다. 따라서 김굉필은 분명한 유가적 지향을 보이기는 했으나, 예의 완벽한 숙달 이후 도달하게 될 “자연”의 경지를 꿈꾸었을 가능성이 있다. 이는 김종직과 김굉필의 사상적 관련성에 대해 새로운 해석의 가능성을 제시해 준다. 김종직은 문장에 능통한 경지에 도달하는 동시에 도덕적 이치와 하나 되는 경지에 도달할 수 있다고 주장했다. 문장가는 변화를 잘 읽고 도덕가는 원칙에 충실한 존재이므로, 김종직의 이상적 인간상은 변화를 잘 읽는 동시에 원칙에도 충실한 사람이다. 남명 조식이 파악했던 김굉필은 역시 그런 인간상과 일치하며, 이는 노재 허형이 제시했던 인간상과도 일치한다.

김은국 소설에 나타난 자서전적 요소

김욱동 새한영어영문학회 2007 새한영어영문학 Vol.49 No.1

This article attempts to explore some autobiographical elements in the three novels written by Richard E. Kim: The Martyred (1964), The Innocent (1968), and Lost Names (1970). A diaspora writer, Kim finds his subject matter in the major historical events of Korea. In his first internationally acclaimed novel, Kim draws much on some incidents in his own personal and family history; its protagonist the Reverend Shin, for example, is modelled on his maternal grandfather, the Reverend Hak Bong Lee, who were not only persecuted but also executed by the North Korean Communists. Kim's active involvement with the Korean Army as a liaison officer during the Korean War, as well as the military coup detat led by General Park in 1961, provide material for his second novel. In the third novel, Kim borrows the characters, incidents and settings not only from his family history but Korean history as well. His own childhood experiences under the Japanese colonial occupation and the strong nationalist sentiments of his father, play a pivotal role in the third and last novel. At his best, however, Kim explores universal themes that are far beyond geographical as well as temporal limitations.

김균진의 신학과 신학적 공헌

김명용 연세대학교 신과대학 2009 신학논단 Vol.56 No.-

Kyun Jin Kim is one of very important modem theologians in Korea. He was president of Korean society of systematic theology and is now president of Korean society for Karl Barth's theology. He has served more than 30 years as professor of systematic theology at Yonsei university. He has made a big impact on Korean theology. I. Kyun Jin Kim' theological characteristics 1. Kyun Jin Kim's theology is a theology of the kingdom of God. Although soul salvation plays a big role in Kim' theology, the kingdom of God is the core of his theology. He has written his doctrine of systematic theology in the light of the kingdom of God. It is the purpose of his theology to establish the kingdom of God on the earth. 2. Kyun Jin Kim' theology is a messianic theology. According to Kim, it is important to know that Christ was the messiah. Kim denies that the concept messiah is interpreted only spiritually. He can be a political messiah, although he doesn't want to rule the world with coercive power. He is the messiah who saves not only our souls, but also the world and the earth. 3. Kyun Jin Kim's theology is a holistic theology. He is not interested in a biased theology. He loves holistic theological view. According to Kim, Korean Min Jung theology lacks this holistic view, although it shows us very important field to establish the kingdom of God. Ⅱ. Kyun Jin Kim's theological contributions 1. Kyun Jin Kim's first theological contribution to Korean theology is his five books of systematic theology. He accomplished his doctrine of systematic theology. His five books of systematic theology can be valued in Korean like Church Dogmatics of Karl Barth. 2. Kyun Jin Kim's theology is very academic. His theology is a very high level theology which can compete with european theologies. It is important to know that european theologians should learn from his theology. 3. Kyun Jin Kim's third theological contribution is his translation of many books of J. Moltmann. He translated into Korean the crucified God, Trinity and Kingdom of God, the Way of Jesus Christ, Sprit of life, the coming God etc. 4. Kyun Jin Kim's forth theological contribution is his contribution to the theology of life. He develops a very high level theology of life in Korea.

아관파천 전후(1896~1898) 정치권력 변화와 김홍륙 독차사건 재검토

장경호 한국근현대사학회 2017 한국 근현대사 연구 Vol.81 No.-

Kim Hong-ruk, as low class of Russian translator in Hamgyongdo had a massive power after Korea royal refuge at the Russian legation. He gathered forces with some officers and people in Hamgyongdo. There was a quid pro quo in Kim Hong-ruk’s help of Russia. He wielded absolute power. For example, his relatives and father-in-law raised to a very high post. Some officers who opposed his power were relegated to inferior position. Some shamans moved in and out of palace and they abused their authority over personnel affairs. Some powers who opposed Kim Hong-ruk tried to kill him but it was failed. Russia wanted to investigate this case but it was not turned out. After this case, Kim exercised power. For example, Kim tried to kill executive in independence club and helped Russia’s rights. After the dismissal of Seoul Mayor, he was not nominated for a post. The King condemned him to exile because Kim was blined by selfish interests and desires. Kim beared malice against to King and he tried to kill him by poisoning his coffee. This was so-called Poison attempt of Kim Hong-ruk. However, as considering many cases, Kim was removed by King and Royal influence. Royal influence was always with King and tried to Kill Kim. They directly investigated Kim and no one see their investigation of Kim. Thus, there were no objective people who see this case. After this case Independence club and foreigners wanted to investigate this case again but King refused the requirement. King Ko-jong made a law of strengthening Emperor’s power and went for the effect of killing two birds with one stone as suppressing the independence club. Thus, this case is not poison attempt of Kim Hong-ruk but Removal operations of Kimg Hong-ruk. 함경도 출신 천민이자 러시아 통역관 김홍륙은 아관파천 이후 커다란 권력을얻게 되었다. 러시아는 그를 옹호하였고, 김홍륙은 정부의 일부 관료들 및 함경도세력들과 함께 세력을 공고히 하였다. 그는 러시아의 이권을 보장해주는 대가로정부에서 무소불위의 권력을 행사하였다. 그의 친척과 장인은 사욕을 채울 수 있는자리에 올랐고, 이에 반대하는 정부의 대신들은 전부 좌천되었다. 심지어 그가 추천한 무당도 궁에 드나들었고 그 무당은 인사권을 행사하기도 하였다. 그의 전횡에 대항하는 세력들은 암살을 도모하였으나 실패로 끝났다. 러시아는이에 대한 진상조사를 원했으나, 제대로 밝혀지지 않았다. 김홍륙은 이 사건 이후에독립협회 간부들을 없애려고 하고, 러시아의 이권을 도우는 등 다시금 권력을 행사하려 하였다. 그는 한성판윤에 해임된 이후 관직에 다시 진출하지 못했다. 고종은 그가 사리사욕을 채운다는 이유를 들어 귀양 보냈다. 귀양 보낸 이후 김홍륙은 앙심을 품고고종을 독살하려는 계획을 세웠다. 이른바 김홍륙 독차사건이다. 그러나 여러 가지 사건의 전황으로 보아 김홍륙은 독살을 시도했다는 이유로사형당한 것이 아니라 고종과 그 측근 세력에 의해서 제거당한 것이었다. 사건의배후였던 인물들은 항상 고종의 측근에 있었고, 김홍륙을 직접 조사했다. 독이 든커피를 마시는 것을 증명하거나 김홍륙을 조사한 것을 본 객관적인 인물도 없었다. 이에 당시 독립협회와 외국인들은 수많은 의혹을 제기하여 이 사건의 조사를 원하였으나 고종은 이를 일축했다. 고종은 이 사건 이후에 황권 강화를 위한 법령을 만들었고, 의혹을 제기한 독립협회를 억누르는 일석이조의 효과를 누렸다. 따라서 김홍륙 독차사건은 당시 일어났던충격적 사건이 아닌 고종과 측근세력의 황권 강화를 위한 김홍륙 제거작전이었던것이다.

견고한 고독의 세계 : Eine vergleichende Studie u¨ber Rilke und Hyon-seung Kim 릴케와 김현승

김재혁 한국독어독문학회 2002 獨逸文學 Vol.84 No.1

Der koreanische Dichter Hyon-seung Kim bekennt sich zu einem erheblichen Einfluß Rilkes auf seine Weltanschauung, insbesondere wegen Rilkes ernsthafter Haltung gegenu¨ber Leben und Kunst. In diesem Zusammenhang steht Kim unter dem starken Einfluß von Rilkes fru¨hen Werken wie Das Stunden-Buch und Das Buch der Bilder. Diese Werke behandeln wichtige Themen, die auch bei Kim ihren Niederschlag finden, das heißt Gott, Einsamkeit und Dichtung. Die Haltung des lyrischen Ichs bei Kim ist der Geba¨rde des lyrischen Ichs in Das Stunden-Buch sehr a¨hnlich. Der russische Mo¨nch in Rilkes Werk spricht aufs Knie fallend vor Gott Gebete, malt Ikonen und schreibt daru¨ber hinaus Verse. Diese fromme Haltung pra¨gt auch die des lyrischen Ich bei Kim. Ferner besteht große A¨hnlichkeit zwischen beiden Dichtern darin, dass die beiden in ihrer fru¨hen Zeit durch Gebet, also aus der Sehnsucht nach Gott, Verse schaffen. Man kann niemals bei Kim von der Einsamkeit im Herbst als literarischer Kulisse sprechen, ohne sich as Rilkes 「Herbsttag」zu erinnem. Trotzdem konnte Kim abda¨mmend gegen Rilkes Einfluß seine eigene Welt dadurch bewahren, dass er an der ihm eigentu¨mlichen Einsamkeit festha¨lt. Sein literarischer Verdienst findet sich dort, wo er mit Hilfe der Dinge und Ausdru¨cke solider Art seine existentielle Einsamkeit zu einem reinen poetischen Thema hat reifen lassen. Kims fester Glaube an die reine Einsamkeit entsprang seit Mitte der 1960er Jahre aus dem Mißtrauen gegen die christliche Gottheit und die fro¨mmelnden Christen. Unter diesen Umsta¨nden hatte er keinen anderen Weg, als nur auf das selbsta¨ndige Ich angewiesen zu sein. Zugleich hat er, wie seine Gedichte 「Absolute Einsamkeit」 und 「Solide Einsamkeit」zeigen, seine Einsamkeit positiv verarbeitet und ihr so einen Sin gegebenletzten Endes zu einer Ewigkeit, anders als Rilke, der auf jeden Fall seine Einsamkeit nur als Vorraussetzung fu¨r das Dichten betrachtet hat. Gerade hier hebt sich die originelle Seite der Einsamkeit von Kim gegen Rilke ab. In Hinsicht der sprachlichen Behandlung grenzen Kims Gedichte der absoluten Einsamkeit an Rilkes Dinggedichte in Neue Gedichte . Dieses Resultat ergibt sich daher, dass Kim seine dichterische Sprache wie ein Steinmetz meißelt, so dass er seine bloße Idee mit den soliden Ausdru¨cken bekleidet. Und dass Kim auf der Suche nach poetisch solider Gestaltung immer wieder auf sprachliche Pra¨chtigkeit und gefu¨hlvolles Pathos verzichtet hat, also dass er nach der "Poetischen Nu¨chternheit" gestrebt hat, bringt ihn noch mehr in die Na¨ch von Rilkes Dinggedichten. Aber Kim kehrte endgu¨ltig zu dem christlichen zuru¨ck, nachdem er Bluthochdruck erlitten hatte. Nach diesem Zwischenfall bereute er, dass er bisher - Gott aus dem Blick verlierend - zu dichterisch geneigt war. Natu¨rlich kann man auch in der literarischen Phase, wo er nur die absolute Einsamkeit verfolgt hatte, eine grundlegende Haltung mit Pra¨gung durch das christliche Ethos finden, Dies bedeutet, dass zu ihm die Einsamkeit eine Art Religion war. Also war seine Einsamkeit ein Prozess des christlichen Selbsterwachens. Wenn man die Tatsache in Betracht zieht, dass fu¨r ihn der Prozess der Einsamkeit eine Forsetzung des Dichtens war, so scheint seine Einamkeit ihr eigenes literarisches Dasein gefu¨hrt, moderne menschliche Bedingungen untersucht, und dadurch fu¨hlten sie sich menschlich gesteigert.

Considering Kim’s Dual Identity in the Post-colonial Discourse

Kim Hoyeol 한국외국어대학교 영미연구소 2015 영미연구 Vol.34 No.-

It is becoming significant for individuals to find their own individual identities, as the today’s ongoing globalization has become much more complicated. A similar situation occurred when the British Empire influenced the world politically, economically, and culturally in the nineteenth century. In order to grasp human intrinsic identities, my thesis aims to use postcolonial theories to examine characters’ identities in a nineteenth-century British novel, Kipling’s Kim (1901). In Kipling’s Kim, I examine Kim, an Irish boy who experiences racial identity confusion by living in British India. Kim’s identity is ambiguous as his background is complicated: his parents are Irish, Kim was born in India, he was educated in a British school, and he participated in the Great Game. It would prove inadequate to try to see Kim’s identity based on binary oppositions, as Kim’s identity is neither British nor native Indian. Aside from simply being a person named Kim, Kim’s identity consists of being someone who has cultural hybridity. Through the main character of Kim, Kipling suggests that a Brit who understands the local Indian culture and society, as Kim does, would govern India with ease. Overall, Kipling’s Kim elaborates on why or how India should be governed by Britain and also seems to justify the British rule of India. In Kim, Kipling creates the main character of Kim, who has cultural hybridity and whose process of personal growth throughout the novel depicts Kipling’s ideas on how to govern India easily. In order to justify British rule in India, Kipling also depicts how British-Indian society was developed by Britain, also through the character of Kim. Looking into characters’ identities throughout nineteenth-century British novels helps modern readers who live in this complicated world to grasp human intrinsic identities.

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

조익상 ( Ik Sang Jo ) 한국문학연구학회 2015 현대문학의 연구 Vol.0 No.55

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. 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(identite narrative), sameness(identite-idem) and selfhood (identite-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.

단원 김홍도 화제(畫題)의 서체와 낙관인

손환일 한국사상문화학회 2019 한국사상과 문화 Vol.100 No.-

Kim Hong-do had a great influence on painting and calligraphy. He had learned from Kang Se-hwang, a representative painter, calligrapher of Joseon period; however, the variety of painting was from the genius of Kim Hong-do. The handwriting style of Kim was following Cursive script(Choseo), Semi-cursive script(Haengseo), Regular script(Haeseo), Palbun(a kind of Clerical script) and Seal script(Jeon-seo). Cursive script(Choseo) and Semi-cursive script(Hangseo) of Kim Hong-do followed the Semi-cursive script(Haengseo) writing style of Wang Xizhi as Kang Se-hwang. Also Kim Hong-do was following the style of small-letter-Regular-script(Haeseo) writing style of Wang Xizhi as Kang. However for the big-letter-Regular-script(Haeseo) writing style, Kim Hong-do accepted the style of Aekche(額體: writing style used in Pyeon-aek, a signboard) of Lee Bugwang of Yuan Dynasty; he used the writing style of Yan Zhenqing, a Chinese calligrapher, of Tang Dynasty, in contrast with Kang Se-hwang. For 전서, Kim followed Lee Han-jin(a calligrapher of Joseon) and Im Deuk-myeong(a painter of Joseon) in part; however, he added the pictorial feature, it was the different point from Lee Han-jin. For Palbun(a kind of Clerical script), he learned from Yu Hanji(a calligrapher of Joseon). Through the pen name and the seal of Kim Hong-do, it is possible to guess his age, personal situation, residential area and so on. The pen name ‘西湖(Seo-ho)’ showed ‘his Seoul life, leaving Ansan area’, the seal ‘士能(Sa-neung)’ showed his youth, the pen name using ‘翁(Ong)’ suggested his old age. Also the pen name ‘檀園(Dan-won)’ and ‘小檀(So-dan)’ reflected his respect to Li Liufang(Yi Yu-bang) of Ming Dynasty, thinking of himself as a disciple of Li; it showed that Kim Hong-do was influenced by the style of Li Liufang. Kim Hong-do used various style of Signature Seal(落款印: Nakgwanin), using the technique of ‘depressed(intaglio) engraving’ and ‘embossed(relief) carving’, and with the circular shape and the square shape. Kim used the depressed(intaglio) engraving seal. The signature seal ‘臣弘道(Shinhongdo)’ and ‘士能(Sa-neung)’, of <Jeon Kim-Hong-do Chu-seong-bu-do(a painting by Kim Hong-do, expressing the poetry of Song Dynasty)>, had confirmed the painting as a genuine work of Kim Hong-do. On the contrary, some paintings with unfamiliar signature seal were difficult to be considered as the works of Kim Hong-do; Kim Hong-do has a significant feature of calligraphy and seal of his own. At the contents of Du-in(頭印: a seal used to beginning of the work), it is possible to guess his taste and tendency. Among the frequently used Du-in, ‘一卷石山房(Ilgwonseoksanbang)’ meant his self-portrait, ‘心醉好山水(Simchwihosansu)’ reflected his landscape paintings. As can be seen, Signature Seal was important to show the feature of artist through writing style and seals. Someone can draw the painting similarly, however it is hard to copy the same calligraphic style. 김홍도는 강세황에게 배워 서화에 미친 영향이 크다. 그러나 그림의 다양성은 그의 천재적 기질에서 발현된 것이다. 김홍도가 구사한 서체는 초서와 행서, 해서, 팔분과 전서 등이 있다. 초서와 행서는 강세황과 함께 왕희지 행서필법을 따랐다. 소자(小字) 해서도 강세황과 같은 왕희지의 소자 해서를 썼다. 그러나 대자(大字) 해서는 원나라 이부광의 액체(額體)를 따랐고, 화제에도 당나라 안진경체를 따른 점이 강세황과 다른 점이다. 전서는 이한진과 임득명을 따랐으나 글자에 회화성을 가미한 점이 이한진과 구별되고, 팔분은 유한지를 배웠다. 김홍도의 아호와 인장은 당시 나이, 개인적 상황, 주거지역 등을 엿볼 수 있다. ‘서호(西湖)’에서는 안산을 떠난 서울생활, ‘사능(士能)’에서는 청년 시절, ‘옹(翁)’에서는 노년, ‘단원(檀園)’, ‘소단(小檀)’에서는 명나라 이유방(李流芳)의 제자임을 자처하여 화법에 영향을 받았음을 알 수 있다. 김홍도의 낙관인은 음각과 양각, 그리고 방인(方印, 네모인장)과 원인(圓印, 둥근인장)을 사용하였다. 주로 음각을 많이 사용하였다. <전김홍도추성부도>는 날인된 낙관인 ‘신홍도(臣弘道)’와 ‘사능(士能)’을 통하여 김홍도가 그린 그림임을 확인할 수 있다. 반면에 낙관인과 관지(款識)의 서체가 생소한 그림들은 김홍도의 그림으로 보기 어려운 요건들이 있다. 낙관(落款)의 서체와 인장에 김홍도의 특징이 있기 때문이다. 두인의 내용에는 그의 취향과 성향이 나타나있다. 많이 사용한 두인 중 ‘일권석산방(一卷石山房)’은 그의 자화상, ‘심취호산수(心醉好山水)’는 그의 산수화를 연상하게 한다. 이와 같이 낙관에는 서체와 인장에서 작자의 특징이 잘 나타나 있기 때문에 중요하다. 그림은 유사하게 그릴 수 있으나, 글씨를 같게 하기는 어렵기 때문이다.