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.

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.

1886년 일본망명자 김옥균 유폐의 전말과 그 원인

김성혜(Kim, Sung-hyae) 고려대학교 아세아문제연구소 2015 亞細亞硏究 Vol.58 No.3

갑신정변에 실패한 김옥균 등이 일본으로 망명한 이후, 조선정부는 이들을 역적으로 간주하고 김옥균의 본국 송환을 위해 노력해 나갔다. 이러한 조선정부와 달리, 일본정부는 국사범을 보호해 일본의 인도적 행동을 드러내고 조선과의 협상카드로 김옥균을 이용하고자 했다. 따라서 번번이 일본국내법과 만국공법, 그리고 조일간 범죄인인도조약의 부재를 이유로 조선정부의 김옥균 송환 요구를 거절했다. 그렇지만 일본정부의 김옥균 비호 방침은 오사카사건 관련자들의 김옥균에 대한 회유 모색이 발각되고 조선정부가 장은규와 지운영을 파견해 김옥균을 암살하려 하면서 변화되었다. 이로 인해 김옥균의 일본체류가 일본국내 치안을 불안하게 만들고 외교 분쟁의 빌미를 제공한다는 사실이 표면화 되었기 때문이었다. 그러자 일본정부는 김옥균문제를 해결할 방안을 강구했는데, 공교롭게도 이때 스스로를 지키고자 한 김옥균의 행동이 일본정부를 더욱 자극했다. 일본정부는 1885년까지 망명 국사범의 보호라는 명분과 대조선 정책에서의 활용이라는 실리를 모두 얻고자 김옥균의 일본체류를 묵인했다. 그렇지만 점차 조?청 양국의 반복적인 송환 요구와 일본내 반정부세력과의 연계, 암살자들의 도일 등으로 김옥균을 내치외교의 걸림돌로 판단하게 되었다. 결국 일본정부는 김옥균의 공식적인 신변보호 요청을 계기로 추방을 결정해 오가사라와에 유폐시켰다고 하겠다. The Korean government had constantly promoted the repatriation of political asylum in Japan like Kim Ok-kyun(金玉均) who led a failed coup and fled to Japan. At that time, the Korean government recognized Kim was a threat to the regime and made the feelings of the people disturb. However, the Japanese government opposed the Korean government for they permitted Kim’s residence in Japan. By the way, the Japanese government’s policy had changed because of the discovery of the Osaka plot(大阪事件) with Kim Ok-kyun and an assassin dispatched by the Korean government. The Japanese government had to prevent a coup by the opposition with Kim Ok-kyun or the assassins would kill Kim in Japan. Therefore, the Japanese government had decided on Kim’s deportation from Japan because of the obstacles in diplomacy and sedition. Then Kim had consulted his personal problems with an Englishman belonging to the judiciary of Japan and moved to a hostel of France concession in Yokohama, leaving Tokyo. Kim then sued Ji un-yeong(池運永) in court. In addition, Kim asked for personal protection and asylum in Russia from the Speyer of Russian consul in Japan. However, Kim Ok-kyun’s formal request for personal protection antagonized the Japanese government and made his expulsion one of force. As a result, Kim Ok-kyun was confined to Ogasawara(小笠原) Island.

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.

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...

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.

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.

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.

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.