김병철의 이입사 연구에 나타난 한국비교문학 연구 방법론

박성창 한국비교문학회 2015 比較文學 Vol.0 No.67

It is well known fact that translated literature played an important role in the history of modern Korean literature, and that the influence of acceptance and translation of Western literature was especially crucial to the formation of Korean modern literature. Kim Byung-chul, professor and translator of English literature, has gave his lifetime to the study of how Western literature has been introduced through the ‘mediators’ such as translators, literary critics and literary journals in th context of modern Korean literature. His works include the history of acceptance of Western literature and the history of translated literature during modern period of Korean literature. Examining how Western literary works were accepted in the colonial period, in other words studying how they were translated and introduced would be main focus of Kim Byung-chul’s works. This study of ‘importation’ and acceptance of Western literature played a crucial role in the initial phase of Korean comparative literature. Consequently, Korean comparative literature has limited its studies only in the function of the influence of European literature in relation to modern Korean literature. The final goal of this article would be to understand the aims of ‘acceptance study’, examine limits of ‘influence study’ and finally cast new lights on the research method of Korean comparative literature. 한국비교문학은 어떤 지식을 생산해왔으며, 핵심적인 방법론은 무엇인가를 살피는 일은 한국비교문학의 문제의식을 더욱 날카롭게 다듬는데 필수적인 작업이다. 한국비교문학의 기본적 이론체계의 확립과 외국문학이 들어오는 실증적 작업에 대한 요구가 서로 만나는 지점에서 이입사 혹은 ‘이입과 영향’ 연구의 필요성이 생겨난다. 김병철은 영문학자로서 영문학 연구와 번역에 관련된 작업과는 별도로 <한국 근대서양문학 이입사 연구>를 필두로 거의 사 십년 가까운 시간을 서양문학 이입사 연구에 바친 이입사 연구의 개척자라 할 수 있다. 이입사 연구는 한국근대문학의 비교문학적 연구의 기초 작업에 해당한다는 점에서 중요한 작업이다. 김병철의 이입사 연구가 갖는 실증적 작업의 의미를 되새기고 그 학문적 의의와 방법론적 한계를 두루 살피는 일은 한국비교문학이 앞으로 생산해야 할 지식의 향방을 가늠하는데 있어 매우 중요한 의미를 갖는다.

가야금산조 ‘중모리’의 시김새 분석: 7개 유파 가야금산조를 중심으로

장원희 한국예술교육학회 2023 예술교육연구 Vol.21 No.2

Sigimsae is a generic term for various devices that decorate the melody of traditional music. Especially, it stands out in folk music, and in Pansori, it is easy to express the characteristics of mu- sic because not only are various times that appear according to the change of sound systematically organized, but also phonetic sounds that vary depending on the tone or strength. The above pansori sigimsae is naturally permeated in Gayageum Sanjo, which was influenced by pansori. However, it was only expressed in a few decorative ways, such as "Chusung" that pushes up the pitch, "Toesung" that pulls down the pitch, "Jeonseong" that is deeply printed, and “Yoseong” that corresponds to the action of moving a string, but it was only explained in ambiguous words such as "strong" or "sadness." In addition, the Gayageum Sanjo has especially more schools, making it difficult to clearly explain several similar but different types of Sanjo. If you organize the sigimsae, which were classified by sound but were not organized by letters, based on the sigimsae of pansori, you can understand the musical characteristics of Gayageum Sanjo more specifically and objectively. The purpose of this study is to present objective indicators that can distinguish and understand the atmosphere of songs by school even from the perspective of those who are not familiar with Gayageum Sanjo. Many people sympathize that the difference in sigimsae determines the taste of each sanjo differently. However, it was difficult to express how it was different in detail, so this part was studied as clearly as possible. Among the schools of Gayageum Sanjo, which has been widely played in recent years, seven schools were selected, and the sound sources of other recognized performers were adopted, listened to, and collected. At this time, it was difficult to study the vast amount of Gayageum Sanjo at once, so there was a prior study on the Jinyang part in 2018, and this time, the analysis was quite con- ducted focusing on Jungmori. Among the seven schools of Gayageum Sanjo's Jungmori, the parts with the same composition and the melody as similar as possible were extracted, and the sgimsae shown in them were analyzed after collecting. Afterwards, the representative Sigimsae of each school was substituted for Pansori Sigimsae and organized, and Sung Keum-ryun School (a softly weaving voice), Suh Kong-chul School (whispering and pulling voice), Kim Yoon-deok School (a chopping voice in a certain range), Kim Juk-pa School (a normal first but squeezing voice in the end), Kang tae-hong School (a stretching and hanging voice in the air), Kim Byung-ho School (a tightening voice) and Choi Ok-sam School (a sharp and cutting voice). Based on this, I looked into each Gayageum Sanjo. The softly weaving voice of the Gayageum Sanjo of the Sung Keum-ryun school was "a sound of weaving very nicely" and the decorative sounds were accurately expressed without dying down, playing a role in weaving the rhythm and rhythm well. The whispering and pulling voice of the Gayageum Sanjo of the Suh Kong-chul School was "the sound of picking up and picking up slowly as if talking about an editorial," and the timing of picking up one note at a time was well shown as if it was kindly telling the way the melody flows. The chopping voice in a certain range of the Gayageum Sanjo of the Kim Yoon-deok School was differentiated from the previous two Sanjo due to the appearance of "the sound that prints a specific point of sound," that is, a lot of strong sigimsae accompanied by the sound and staccato. The normal first but squeezing voice in the end of the Gayageum Sanjo of the Kim Juk-pa School is "the sound of squeezing it while making a normal sound." There were many times when I felt a little more crying and appealing than Gayageum Sanjo of the Kim Yoon-deok School. The stretching and hanging voice in the air of the Gayageum Sanjo of the Kang... 시김새는 전통음악의 선율을 앞뒤에서 꾸며주는 구성요소이다. 특히 민속악에서 두드러지게 나타나는데 그중 성악곡인 판소리에서는 음악의 변화에 따라 나타나는 다양한 시김새들이 체계적으로 정리되어 있다. 또한음색이나 성음의 변화에 따라 달라지는 부분까지도 상세히 나열되어 있어 음악의 특색을 설명하기가 편하다. 판소리의 영향을 받은 가야금산조에도 위와 같은 판소리 시김새들이 녹아 있다. 그러나 음정을 밀어 올리는‘추성’, 끌어 내리는 ‘퇴성’, 깊게 찍어내는 ‘전성’, 농현에 해당하는 ‘요성’ 등의 몇 가지 꾸밈법으로만 표현될뿐 그 외 다양한 시김새의 면면들은 꿋꿋하다거나 애잔하다 등등의 모호한 말로 밖에 설명이 되지 않았다. 게다가 가야금산조는 특히 더 많은 유파를 가지고 있어 비슷하면서도 특징이 다른 여러 개의 산조를 각각 명료하게 설명하는 것이 어려웠다. 이처럼 소리로는 구분되어 있지만 문자로 정리되어 있지 않아서 정확히 지칭하기 힘들었던 시김새들을 판소리의 시김새에 기준을 두고 분석해 보면 가야금산조의 음악적인 특색을 더욱 체계적이고 객관적으로 이해할 수 있게 된다. 본 연구는 가야금산조를 잘 모르는 사람들이 보아도 유파별 곡의 분위기를 구분하고 이해할 수 있는 객관적인 지표를 제시하는 데에 그 목적이 있다. 시김새의 차이가 각 산조의 맛을 다르게 결정짓는다는 것은 많은사람들이 공감하는 바이다. 그러나 구체적으로 어떻게 다른지를 표현하기 힘들었기에 이 부분이 최대한 선명히 드러나도록 연구했다. 근래에 많이 연주되고 있는 가야금산조의 유파들 중 7개 유파를 선정하여 자타가 공인한 연주자들의 음원을 채택해 듣고 채보하였다. 이때에 가야금산조의 방대한 분량을 한 번에 연구하기엔 무리가 있어 지난 2018 년 진양 부분에 대한 선행연구가 있었고 이번에는 중모리를 중심으로 분석을 꽤하였다. 7개 유파 가야금산조의 중모리 중 조성이 같고 선율이 최대한 비슷한 부분을 발췌하여 채보 후 그에 나타나 있는 시김새들을 분석했다. 이후 각 유파를 대표할만한 시김새를 판소리 시김새에 대입해 정리했더니 성금련류 가야금산조는 엮는목, 서공철류 가야금산조는 줍는 목, 김윤덕류 가야금산조는 찍는 목, 김죽파류 가야금산조는 짜는 목, 강태홍류 가야금산조는 너는 목, 김병호류 가야금산조는 조으는 목, 최옥삼류 가야금산조는 끊는 목에 비할 수 있었다. 이것을 기준삼아 각 가야금산조를 들여다보니 성금련류 가야금산조의 엮는 목은 ‘사뿐사뿐 아주 멋있게 엮어내는 소리’로서 장식음들이 사그라들지 않고 정확하게 표현되어 장단과 장단을 잘 엮어주는 역할을 하고 있었고 서공철류 가야금산조의 줍는 목은 ‘사설을 말하는 것처럼 차근차근 주워 담는 소리’로서 선율이 흘러가는 길을 친절히 이야기해 주듯이 한음씩 주워 담는 시김새가 잘 나타나 있었다. 김윤덕류 가야금산조의 찍는목은 ‘소리의 특정지점을 찍어내는 소리’즉 전성과 스타카토를 동반하는 강한 시김새가 많이 등장해서 앞의 두산조와 차별화 되었다. 김죽파류 가야금산조의 짜는 목은 ‘평범하게 소리를 하다가 쥐어짜서 맛있게 내는 소리’이다. 앞의 김윤덕류 가야금산조보다 조금 더 울며 호소하는 느낌이 드는 시김새가 많았다. 강태홍류 가야금산조의 너는 목은 ‘쭉쭉 뻗어내어 널어 놓는 소리’로서 앞에 언급한 가야금산 ...

타자지향적인 새로운 윤리적 주체의 정립을 위하여

문흥술(Moon Heung-Sul) 구보학회 2020 구보학보 Vol.0 No.26

2020년 최근에 이르러 한국소설은 타자지향적인 새로운 윤리적 주체로 그 소설적 주제를 심화 확장하고 있다. 이 작품들의 소설사적 의의를 검토하기 위해서는, 첫째 주체가 자신의 성립 조건인 폭력적 보편규범을 문제 삼으면서 자기반성을 통해 타자의 타자성을 인정하는 측면, 둘째 자기 반성적 주체가 보편과 특수의 경계를 가로질러 특수 규범을 번역을 통해 되살림으로써 보편규범을 재정식화하려는 측면, 셋째 주체가 타자의 아픔에 정서적으로 공감하면서 주체와 타자, 보편과 특수의 다양하면서도 이질적인 목소리가 공존하는 공동거주의 장을 마련하고자 하는 측면에 대한 점검이 필요하다. 김병운의 「한밤에 두고 온 것」에서 주체는 자신의 존재론적 성립 조건인 이성애중심주의 규범에 대한 비판적 인식과 자기반성을 통해, 성소수자인 타자의 타자성을 인정하게 되고 그러한 타자와의 아름다운 만남으로 나아간다. 최윤의 「소유의 문법」에서 주체는 보편과 특수 규범의 경계를 허물면서, 인간이 자연을 지배하고 정상인이 비정상인을 배척하는 보편규범의 폭력성을 폭로하고, 인간과 자연과 우주가 하나 되는 특수 규범에 의해 보편 규범을 재정식화하고자 한다. 최수철의 「다리 위에 지은 집」은 보편규범의 무의미한 삶을 거부하고 새로운 삶의 의미를 창출하는 정신병 환자가 겪는 아픔을 의사인 주체가 공유하면서, 주체와 타자, 보편과 특수의 이질적이면서도 다양한 목소리가 공존하는 장을 지향한다. 이러한 측면을 고려할 때, 이들 소설은 주체의 타자 억압으로 인한 한국 사회의 제반 문제를 극복할 수 있는 한 대안을 제시하면서, 한국소설이 나아갈 올바른 방향을 탐색하고 있다는 점에서 그 소설사적 의의를 확보하고 있다. Today, Korean novels are expanding their novel themes into a new other-oriented ethical subject. To examine the novel significance of these works, one must pay attention to the following three things. First, the subject should take issue with his conditions of existence, the violent universal norms, and recognize the otherness of the other through self-reflection. Second, the self-reflection subject must revive special norms through translation across the boundaries of universality and speciality. By doing so, he must redefine universal norms. Third, the subject should empathize emotionally with the pain of the other and try to set up the field for cohabitation where the diverse and disparate voices of the subject and the other, the universal and special coexist. In Kim Byung-woon’s “Leaving at Midnight” the subject makes a self-reflection criticism on the heterosexuality-oriented norm, which is the condition of his existential establishment. Through this, the subject recognizes the otherness of the other, which is a sexual minority, and moves on to a beautiful encounter with the other. In Choi Yoon’s “The Grammar of Nature” the subject seeks to break down the boundaries between universality and special norms, exposing the violence of universal norms in which humans dominate nature and normal people reject abnormal people, and redefining universal norms by special norms in which humans, nature and the universe become one. In Choi Soo-chul’s “A house built on the Bridge” the subject try to set up the field for cohabitation where the diverse and disparate voices of the subject and the other, the universal and special coexist, sharing the pain of a mental patient who reject the meaningless life of universal norms and create new meaning of life. In this regard, these novels have secured the novel historical significance in that they are exploring the right direction for Korean novels, offering an alternative to overcome various problems in Korean society caused by the oppression of typists.

1980년대 한국 동양화의 탈동양화

김현숙(Kim Hyun-sook) 현대미술사학회 2008 현대미술사연구 Vol.24 No.-

The dominant group within oriental painting circles in the 1960s and 1970s strived to achieve modernity in furthering tradition by grafting the spiritual expression and symbolic overtone of The Southern Literature Painting with the Western painting’s use of perspective or abstract painting’s principles of composition. This was challenged in the 1980s by a new generation that brought to the forefront the use of Chinese ink emphasizing strong expressiveness and shaping of forms. The new movement in the oriental painting circles of the early 1980s, following the discourse on Korea Studies(國學), assumed Silgyeongsansu(實景山水, natural scenery painting) exemplified by Jeongseon(鄭善) from 18th century, continuing through Yi Sangbeom(李象範) and Byeon Gwansik(卞寬植), as the core of Korean tradition. But it was expanded to include landscapes and portraits of urban space as subject matters, and the expressiveness of sumuk(水墨) was also expanded to be utilized as material for expression of modern sensibility befitting the trend of thought in the new form-emphasizing art. The Sumuk Movement won over many young oriental painting artists through group or largesized exhibits and collectively rose up as the general current in oriental painting throughout the 1980s. The start of the Chaemukhwa(彩墨畵, colored ink painting) era in the mid 1980s, when chaesaekhwa(彩色畵, colored oriental painting) overwhelmed Sumukhwa(水墨畵, black ink painting), was critically brought on by the work of Bak Saeng-gwang(朴生光), who was invited to the special exhibit of Korean art at the 1985 Paris Grand Palais. After Bak, Hwang Changbae(黃昌培) became notable for making great strides for the vision of Chaesaekhwa. He not only reached the level of “mubeop-yibeop(無法而法, method without method)” with the skillful expression of brush strokes based on Chinese classics, but also used acrylic, graphite powder, together with Chinese ink. As such, the boundary of genres between oriental painting and western painting crumbled and a horizon of existence simply as “just painting” was presented. The transformation of oriental painting circles of the 1980s, comprising the start of officially using the term ‘Hangukhwa(韓國畵, Korean Painting)’ in place of ‘Dongyanghwa(東洋畵, Oriental Painting)’, and using sumuk for its materiality as a medium of expression rather than its spirituality, the climaxing of interest in the everyday and the present, the dominance of Chaesaekhwa which widely incorporated folk and shamanist paintings, the overcoming of the dualism of Chinese ink and coloring, is notable for indicating the deorientalization of oriental painting. The collapse of the dominance theory of the Southern School of Chinese Painting represented by Dong Qichang(董其昌)’s sangnampipbukron(尙南乏北論, High South Low North Theory) and the retreat of dongdoseogiron(東道西器論, Eastern Way Western Means Theory) correspond to the abandonment of the specter called dongyang(東洋, The East) that has weighed down our thinking for a long time after the end of the 19th century.