한국 동시문학의 기원과 동시문학사의 필요성

김관식(Kim, Kwan-sik) 한국아동문학학회 2018 한국아동문학연구 Vol.- No.34

한국 아동문학의 사적 연구는 근대문학 형성기인 일제강점기에 집중되어 있고, 기존의 문학사적인 연구에 비해 상대적으로 조명을 받지 못해 왔다. 현대 아동문학의 사적인 체계는 1978년 이재철의 「한국현대아동문학사 연구」(단국대학교 대학원 박사학위 논문)부터이다. 그 후 한국 동시문학에 대한 연구로 신현득의 「한국동시100년-정형동 시를 중심으로」, 최근에 아동문학에 대한 사적 연구로는 원종찬의 『한국아동문학사의 재발견』 등의 저서가 있다 1988년 이재철이 조직한 『한국아동문학회』를 중심으로 아동문학에 대한 연구 논문이 꾸준히 발표되고 있고, 그 밖의 석사학위 아동문학 관련 논문이 꾸준히 발표되고 있으나 이들의 연구는 대부분 현대 아동문학이 태동한 일제강점기의 아동문학에 대한 연구에 편중되어 있으며, 문학사적인 의의가 큰 작가의 작품에 대한 연구에 집중되고 있을 뿐, 현시점에 필요한 아동문학 창작 연구 분야는 저조한 편이다. 한국 동시문학사는 한국 시문학의 전통적인 맥락이 광의적인 동심을 반영한 시가문학에 뿌리를 두고 있다는 점에서 동시는 시와 별개의 개념이 아니라 한국 시의 원형으로 동심을 광의적으로 해석해야 동시문학의 위상이 정립된다. 따라서 한국 동시의 모태가 된 동시문학을 고대, 삼국시대, 통일신라시대, 고려시대, 조선시대, 일제강점기, 현대에 이르기까지의 역사적인 변천 과정에서 시가의 발달 과정에서 동시의 영역으로 볼 수 있는 작품과 시인들을 올바르게 자리매김해야 할 필요성이 제기되고 있다. The historical study of Korean children’s literature is concentrated in the Japanese colonial period, and has not been significantly illuminated compared to existing literary studies. The private system of modern children’s literature is considered in Lee Jae-chul’s “Research on Korean Modern Children’s Literature” from 1978 (Dankuk University Graduate School Ph.D. thesis) and later in Shin Hyun-deuk’s “100 years of Korean simultaneous poetry - focusing on regular poetry.” Recently, further studies have emerged, such as Won Jong-chan’s “Rediscovery of Korean Children’s Literature History,” which is a private study of children’s literature. In 1988, Lee Jae-chul organized a research paper on children’s literature centered on the “Korean Children’s Literature Society.” Other master’s degree papers on children’s literature are being published more frequently. Most of these studies are focused on the study of children’s literature during the Japanese colonial period. Research into the works of the writer who has a great significance in literary history is focused on the research of children’s literature, and the creation research field necessary at the present time is poor. The history of simultaneous literature in Korea is not a concept separate from poetry, in that the traditional context of Korean poetry is rooted in poetic literature reflecting broad concentricity. The status of simultaneous literature is established by broadly interpreting the concentricity as a prototype of Korean poetry. Therefore, the simultaneous literature that became the mother of Korean simultaneous poetry was in the process of historical transition from ancient times, the Three Kingdoms period, the Unified Silla period, the Goryeo period, the Joseon Dynasty. In the development of the cigar, it was necessary to properly establish works and poets that can be seen as simultaneous areas.

New Directions in Korean Literary Studies

류영주 고려대학교 민족문화연구원 2018 Cross-Currents Vol.0 No.27

This is a great time to be a scholar of modern Korean literature in North America. Over the last five years, a number of fine monographs have been published, including English-language studies by Hanscom (2013), Suh (2013), Hughes (2014), Poole (2014), Park (2015), Kwon (2015), and Lee (2015). Because of them, we now have an excellent understanding of the emergence of modern Korean literature during the first half of the twentieth century as an institution created within a charged force field shaped as intensely by nationalism as colonialism, by capitalism as socialism, and by tradition as revolution. More specifically, these studies have shed light on critical issues relevant to the domain of literary production, such as language ideologies and reform, practices and theories of translation, and material conditions of publishing and censorship, as well as questions of genre and medium. They have also helped us to situate the formation of modern Korean literature within global flows and comparative horizons, whether of the proletarian wave or global modernism. The two books under consideration in this essay expand on such scholarship by taking a more specialized approach, focusing on two bodies of texts that had previously received only fleeting attention: Russian literature in the case of Heekyoung Cho’s Translation’s Forgotten History: Russian Literature, Japanese Mediation, and the Formation of Modern Korean Literature, and Korean children’s literature in the case of Dafna Zur’s Figuring Korean Futures: Children’s Literature in Modern Korea. Whereas scholars have long appreciated the vital importance of each of these genres for understanding the formation of modern Korean literature, neither had yet merited a book-length study in English. Thus, in addition to providing valuable scholarship, these books may be viewed as exciting signs of the growth and maturation of the field....

김현의 ‘전통의 단절과 감싸기’ 사관에 입각해 재해석한 이재철의 『한국현대아동문학사』

신동재 한국아동문학학회 2024 한국아동문학연구 Vol.- No.50

이재철의 『한국현대아동문학사』에서 높이 평가할 부분은 그가 문학사 서술의 방법론을 ‘원리화’하여 진술하려 했다는 사실이다. 이재철이 『한국현대아동문학사』 서술의 방법을 ‘원리화’해 아동문학사를 기술한 것은 그가 수행한 일종의 ‘한국아동문학의 이념형 구체화 작업’이라고 볼 수 있을 것이다. 이재철이 보기에 ‘현대’란 ‘접합’의 소산이다. ‘접합’ 사관이 지닌 중간적인 시각으로 인해 그가 말하는 ‘현대’는 다소 모호한 상태로 설명되고 있다. 이재철은 「한국 아동문학사의 시대구분 시고(試攷)」에서 “사회경제적 조건과 변증법적 법칙성에 의한 시대구분”을 통해 문학사를 규정할 것을 강조하고 있으나 정작『한국현대아동문학사』에서 ‘현대’란 무엇인지에 대한 설명은 미약하다. 김현의 ‘전통의 단절과 감싸기’ 관점에 입각해 볼 때 이재철의 ‘접합’ 사관은 어떠한 것인가? ‘전통의 단절과 감싸기’ 시각에서 보면 전통이란 과거의 것이 단지 ‘축적’되는 것이 아니라 ‘전 시기 전통’에서 ‘그 다음 전통’으로 ‘비선조적으로 대치’되는 것이다. 그리고 그 ‘대치’는 “완전히 새로운 원칙”에 의해 이루어지는데, 이전 시기 전통과의 ‘접합’이 아니라 그것으로부터의 ‘비약’을 통해 달성된다. 본고는 이재철이 문학사의 대상으로 삼은 1908년부터 1960년대 사이에 ‘패러다임의 전환’이 발생되었던 6개의 ‘중요 시기’가 있었다고 가정하고자 하는데, 그것은 1908년, 1923년, 1931년, 1945년, 1950년, 1960년이다. 이재철의 관점에 따르면 ‘본격문학’의 순수성은 그것이 발현된 1908년부터 그것이 완성되는 1960년대까지 ‘온전히’ 계승, 강화된다. 그러나 김현의 ‘전통의 단절과 감싸기’ 사관에 입각해 볼 때 해당 시기에는 전(前) 국면에서 이선에 있던 것이 ‘확대·발전’하면서 ‘다음 국면의 핵자’를 이루는 양상이 발견된다. 물론 이것은 문학사를 ‘하나의 양식’으로 보는 가정에 기반한 것이다. 실제 양상에 대한 분석은 여러 실증적 자료들에 대한 검토를 통해 이루어질 수 있을 것이다. What will be highly appreciated in Lee Jae-cheol's "Korean Modern Children's Literature History" is the fact that he tried to state the methodology of describing the history of literature. Lee Jae-cheol's ‘principled’ method of describing was a kind of ‘ideal type navigation tasks’ for Korean children’s literature. From Lee Jae-cheol's point of view, ‘modern’ is the result of ‘junctions.’ Due to the intermediate perspective of view of history of ‘junctions’, the era he refers to as ‘modern’ is being explained in an ambiguous state. Lee Jae-cheol has emphasized the definition of literary history through ‘the division of the times based on socioeconomic conditions and dialectical laws’, but the explanation of what ‘modern’ is in the "Korean Modern Children's Literature History" is weak. How can Lee Jae-cheol's view of history of ‘junctions' be viewed using the perspective of 'rupture and covering'? From the perspective of 'rupture and covering of tradition', tradition is not just 'accumulate' the past, but 'non-linearly replaced' from 'previous tradition' to 'the next tradition'. And that 'replacement' is accomplished by a 'completely new principle', and is not 'junctions' with the previous period, but 'leap'. This paper assumes that there were six important periods in which the 'paradigm shift' took place between 1908 and the 1960s, when Lee Jae-cheol was the object of literary history, which were 1908, 1923, 1931, 1945, 1950, and 1960. According to Lee Jae-cheol's point of view, the purity of 'full-fledged literature' has been 'completely' inherited and strengthened from 1908 to the 1960s when it was completed. However, according to Kim Hyun's view of history of 'rupture and covering of tradition', it is possible to see the pattern in which what was on the line in the previous phase in the period ‘expand and develop’ and form ‘the next core of the situation’. Of course, this is based on the assumption that literary history mentioned above is viewed as a 'style'. Analysis of practical aspects will have to go through discussions based on empirical data.

정지용·주체문예·정전(正典)

최현식 상허학회 2023 상허학보 Vol.68 No.-

This article examines the exclusion and lottery of Jeong Ji-yong’s poems, and the process of popularization in academic research and newspaper media in North Korea. Jeong, Ji-yong was shunned and banned as he was considered an advocate of “modernist” art, which was denounced as counter-revolutionary and anti-people. However, his reputation recovered greatly in the 1980’s with the emergence of a new literary theory under Jucheism, led by Kim, Jung-il. From the perspective of “Juche Literature,” Jeong, Ji-yong’s poetry was assessed as a legacy of progressive “national culture and art” that contributed to Kim, II Sung’s “anti-Japanese revolutionary literary art.” He was praised as a poet who sang the emotions and “breath” of the people based on beautiful national sentiments and folk-like rhythms. In other words, Jeong, Ji-yong’s poetry has come to serve as North Korean “canon” that contributes to national unity and the stabilization of the hereditary succession of Kim, Il-sung and Kim, Jung-il by elevating “revolutionary spirits” and “national things”. The positive reception of Jeong’s poetry and the publication of anthologies, which began in earnest in the 1990’s, is reflected in the newly edited History of Joseon Literature and Collection of Modern Literature of Korea. Both works were centered on the newspapers and magazines in which his poems first appeared, the Collected Poems of Jeong, Ji-yong (1935) and Baekrokdam (1941). In the process, 43 of his poems from the 1920’s and 1930‘s were published in Collection of Modern Literature of Korea, including his representative works — “Cafe France,” “Hometown,” “Nostalgia,” “Baekrokdam,” and “Birobong.” These works were highly praised for their excellent sense of the national language, excellent command of the language, traditionalization and futureization of ‘national things’ through it, and lyrical expression of the people’s sorrow and health. However, Poems with the tendency of ‘Imagism’, that is, “Sea” and “Strait”, which were suspected of being anti-popular decadent art, and children’s poems expressing the curiosity and sadness of colonial children were excluded. Since the mid-1990’s, North Korea has promoted “the Military-first revolutionary literature theory” to overcome the crisis of the “March of Suffering”. The emphasis was on the “power of the gun” and “power of love” and the “ethics of coexistence” among the people, modeled after Kim, Il Sung’s anti-Japanese armed struggle. Considering this fact, a focus might have been placed on the works of Jeong, Ji-yong that lived up to the “ethic of coexistence”, that is, works imbued with patriotism and local lyricism. Unexpectedly, North Korean writers and researchers paid attention to the following: 1) the poetry historical and national literary of the “vernacular,” “archaic language,” and “dialect” selected and utilized in his poems; and 2) the children’s poems that sang about the simple life and innocent play as well as the pain of national and family loss of Korean children. To sum up, Jeong, Ji-yong’s poetry gained both official recognition as “Juche literature” and mass appeal among readers, securing the status of a “classic” and “canon” at the same time. 이 글은 북한에서 이뤄진 정지용의 시에 대한 배제와 복권, 그리고 학술연구와 신문매체에서의 대중화 과정을 살펴본다. 정지용은 반혁명적․반인민적 예술로 폄훼된 ‘모더니즘’ 예술의 주창자라는 비판적 평가에 따라 배제와 금지의 대상이 되었다. 그러나 1980년대 김정일이 주도한 ‘주체문학’론에 의해 반전의 계기가 발생했다. 정지용의 시도 김일성의 ‘항일 혁명문학예술’에 기여한 진보적 ‘민족문화예술’의 유산에 해당된다는 정반대의 평가가 그것이다. 이를 통해 그는 아름다운 민족정서와 민요풍 리듬을 바탕으로 인민의 서정과 호흡을 인상 깊게 노래한 시인으로 올라선다. 이것은 정지용의 시가 ‘혁명의식’과 ‘민족적인 것’의 고양을 통해 인민의 대통합과 김일성—김정일 세습체제의 안정화에 기여하는 북한식 ‘정전(正典)’의 역할을 담당하게 되었음을 뜻한다. 1990년대 본격화된 정지용의 시에 대한 긍정적 평가와 선집(選集)의 발간은 새로 편찬된 조선문학사 와 현대조선문학선집 를 통해 이뤄진다. 두 작업은 그의 시가 처음 실린 신문과 잡지, 정지용시집 (1935)과 백록담 (1941)을 중심으로 이뤄졌다. 이 과정에서 1920년대 및 1930년대 현대조선문학선집 에 총 43편의 시가 실렸다. 대표작 「카페 프란스」, 「고향」, 「향수」, 「백록담」, 「비로봉」 등이 주로 선택되었다. 이 작품들은 민족어에 대한 탁월한 감각과 뛰어난 구사, 그를 통한 ‘민족적인 것’의 전통화와 미래화, 인민들의 슬픔과 건강함에 대한 서정적 화폭의 표현 등에서 높은 평가를 받았다. 그러나 ‘이미지즘’ 경향의 시, 곧 반인민적 퇴폐주의 예술의 혐의를 받던 「바다」, 「해협」 등과 식민지 아동의 호기심과 설움을 표현한 동시(童詩)는 제외되었다. 1990년대 중반 이후 북한은 ‘고난의 행군’이라는 체제의 위기를 극복하기 위해 ‘선군혁명문학론’을 내세운다. 이때 강조된 것이 김일성 항일유격투쟁을 모델로 한 수령 중심의 ‘총의 힘’과 ‘사랑의 힘’, 인민들 서로간의 ‘공존의 윤리’였다. 이를 감안하면 정지용 시는 특히 ‘공존의 윤리’에 부응하는 작품들, 곧 인민의 애국심과 향토적 서정이 배어 있는 작품들이 주목되었을 법하다. 그러나 북한 문단과 연구진은 뜻밖에도 다음의 항목들로 평가의 초점을 돌린다. 첫째, 정지용 시에서 선택, 활용된 ‘고유어’, ‘고어(古語)’, ‘방언’에 담긴 시사적․민족문학적 가치, 둘째, 조선 아동들의 순진무구한 생활과 놀이, 민족과 가족 상실의 아픔을 노래한 동시가 그것이다. 이처럼 정지용 시는 ‘주체문학’의 공식적 인정과 독자에 대한 대중적 호소력을 동시에 획득하게 됨으로써 ‘고전’과 ‘정전’의 지위를 동시에 확보하기에 이른 것이다.

김북원(金北原)의 문학사적 복원과 해방기 활동 연구

김진희 ( Kim Jin-hee ) 한국문학연구학회 2019 현대문학의 연구 Vol.0 No.68

남북한 문학사에서 김북원에 대한 소개 및 평가는 해방 전 문학성과를 봉인한 채, 한국 전쟁기 이후의 성과에 집중되어 왔다. 이는 해당 작가의 자료를 남한과 북한이 비교 논의하지 않았기 때문이다. 이에 본 연구에서는 김북원의 해방 전 문단 활동이 비교적 일찍부터 시작되었음을 필명을 찾아 밝히고 창작의 영역이나 경향 역시 다양했음을 자료 발굴 및 제시를 통해 논의함으로써 김북원에 관한 전체적 연구의 토대 마련을 시도했다. 그간 남한의 아동문학사에서 『별나라』에 실린 아동소설 및 동시의 작가로 알려진 필명 ‘북원초인’이 김북원임을 북한의 아동문학사와 비교하고, 1930년대 김북원의 농업학교 재직 경험 등을 통해 밝혔다. 그리고 소설로 알려진 「완구」가 꽁트임을 밝혔고, 『삼천리』에 추천된 「유랑민」이라는 소설을 통해 김북원이 당대 노동자로 전락하는 농민의 삶을 핍진하게 그림으로써 이후 북한문단에서 농촌작가라는 평가의 단초를 읽을 수 있었다. 『신인문학』이나 『시인춘추』 등에 발표한 김북원의 시를 최초로 소개했고 1930년대 후반 『맥』과 1940년대 『시현실동인』으로서 초현실주의와 포르말리즘의 작품 창작 및 이론을 고찰함으로써 1930년대 초반 초현실주의 및 모더니즘을 이론적, 지역적으로 확장하여 만주모더니즘을 선도한 작가임을 밝혔다. 1943년까지 초현실주의 시의 창작방법론을 시도했던 김북원은 해방기에는 북한 문단의 정책과 변화하는 현실의 요구에 맞는 작품들을 창작했다. 김일성에 대한 찬양을 기본 골자로 하면서, 농촌의 토지개혁, 빨치산 전투에 참여한 영웅적 주인공, 노동 현장의 변화, 소련과의 친선 등 북한의 중요한 이슈들을 시화했다. 이상과 같은 논의를 통해 식민지 시기와 해방기 이후 김북원의 문학 활동의 연속성을 확보함으로써 남북한 문학사에서 김북원에 관한 전체적인 평가의 토대가 구축될 수 있었다. In the history of North and South Korean literature, the introduction and evaluation of Kim Buk-won has focused on the achievements after the Korean War, sealing the literary achievements before liberation. This is because both South Korea and North Korea did not discuss comparative resources of the author. In this study, research on Kim Buk-won was attempted for the first time by unveiling that Kim Buk-won’s preliberation literary activities had started relatively early by finding his pen name, and by discussing that his creative territory or tendency were also diverse through data supplement. This study uncovers that the author of children’s stories and poetry published in The Land of Stars (별나라 Byeolnara) in the history of children’s literature in South Korea, under the pen name “Buk-won-cho-in” was in fact Kim Buk-won by comparing Kim’s identity with the history of children’s literature in North Korea, and through Kim’s experience working in agricultural school in the 1930s. Moreover, I uncover that the work, Toy (Wan-gu) that was known as a novel, was in fact a conte (short story), and was able to read the start of the assessment of Kim Buk-won as an agricultural writer in the North Korean literary circle after depicting the lives of farmers turning into laborers in the novel Nomads (Yurangmin), which was nominated in The Land of Korea (삼천리 Samcheolli).Kim Buk-won’s poetry, which was published in New Face of Literature (신인문학 Sininmunhak) or Spring and Fall of Poets (시인춘추 Siin chunchu), was first introduced and discussed in this study. By reviewing the creation and theories of Maek in the late 1930s and ‘Poetry Reality Coterie’ in the 1940s, it became possible to evaluate that Kim was a writer led Manchurian Modernism, by theoretically and geographically expanding surrealism and modernism in the 1930s. Kim Buk-won, who tried to create surrealistic poetry creative methodology by 1943, created works that fit the policies of North Korean literary circles and the demands of changing reality. With the praise of Kim Il Sung as the basic framework, he has poeticized North Korea’s major issues such as land reform in rural areas, the heroic protagonist who participated in the battle of partizan, changes in the workplace, and goodwill with the Soviet Union. Through these discussions, I believe that securing of the continuity of Kim’s literary activities after the colonial period and the liberation period, and the complete description of the history of literature in North and South Korea became possible.

근대 한일아동문학 유입사 연구

김명순(Kim, Young-Soon) 한국아동청소년문학학회 2012 아동청소년문학연구 Vol.- No.10

In his preceding dissertation that investigated the genre of Japanese nursery tale, this researcher investigated the feature where uniqueness of the country is combined by borrowing terms from German children’s literature when initial children’s literature was bom in Japan. It was found that poets s띠nulated by Westem theory, view on children, etc in the nursery rhyme, combined the uniqueness of traditional nursery rhyme, tone and rhythm, etc which have been descended as they were inherent in the personality of each person and the country. Compared to the terms, ‘nursery rhyme" that is prevalently used in Japan, the terms ‘ children’s verse" is wide1y used in Korea on the basis of strong key word, ‘reality’. Meanwhile, the influence that the early poets and theorists of Japan such as Kitahara Hakushu, Saijo Yaso, Noguchi Ujo, et al on the Korean nursery rhyme could be confirmed by concrete theory. It is observed that Saijo Yaso’s ‘ Canaria’ and ‘Sparrow without mom" simulatively created by Koh Han Seung which were investigated with specific nursery rhyme in the aspect of accepting nursery rhyme of Japan to Korea, accepted the form, but showed independence in the contents. While Saijo Yaso’s ‘Canaria’ symbolizes the individual despair and regeneration of human that loses the original shape, Koh Han Seung symbolical1y describes the matemity and love between mom and children through sparrow and the hope that the national sovereignty could can be recovered without fail although the country is miserable and piteous like small bird, as it is swayed by Japan.

근대 한일아동문학 유입사 연구 -일본 동요 장르의 한국으로의 수용-

김영순 한국아동청소년문학학회 2012 아동청소년문학연구 Vol.- No.10

In his preceding dissertation that investigated the genre of Japanese nursery tale, this researcher investigated the feature where uniqueness of the country is combined by borrowing terms from German children’s literature when initial children’s literature was born in Japan. It was found that poets stimulated by Western theory, view on children, etc in the nursery rhyme, combined the uniqueness of traditional nursery rhyme, tone and rhythm, etc which have been descended as they were inherent in the personality of each person and the country. Compared to the terms, ‘nursery rhyme’ that is prevalently used in Japan,the terms ‘children’s verse’ is widely used in Korea on the basis of strong key word, ‘reality’. Meanwhile, the influence that the early poets and theorists of Japan such as Kitahara Hakushu, Saijo Yaso, Noguchi Ujo, et al on the Korean nursery rhyme could be confirmed by concrete theory. It is observed that Saijo Yaso’s ‘Canaria’ and ‘Sparrow without mom’simulatively created by Koh Han Seung which were investigated with specific nursery rhyme in the aspect of accepting nursery rhyme of Japan to Korea,accepted the form, but showed independence in the contents. While Saijo Yaso’s ‘Canaria’ symbolizes the individual despair and regeneration of human that loses the original shape, Koh Han Seung symbolically describes the maternity and love between mom and children through sparrow and the hope that the national sovereignty could can be recovered without fail although the country is miserable and piteous like small bird, as it is swayed by Japan.

김병호의 동시와 동시비평 연구

박경수 ( Kyung Su Park ) 국제어문학회 2004 국제어문 Vol.29 No.-

한문소설 번역의 성과와 방향

이승은 동방한문학회 2020 東方漢文學 Vol.0 No.84

Translation fills the gaps in different languages and enables communication between people who speak different languages. From this point of view, the translation of Sino-Korean novels goes beyond simply translating Chinese characters into Korean, and it can be said to be a work to create a bridge between the pre-modern and contemporary, researchers and the readers. This paper outlines the results of the translation up to the present and the past, and attempts some suggestions for the future. Since the 1950s, many Sino-Korean novels have been translated from the viewpoint of the so-called “modernization of the classics”. Among them, works that have been discussed important in the history of novels, or which have been so-called canon in the process of being presented in textbooks, have been translated many times. Next, as a result of examining the purpose and aspect of the translation at the general level, Since then, the result of translation has been differentiated for researchers, public readers, and education for children and adolescents according to the purpose of translation and the expected readership. Finally, three suggestions were made for the future translation direction. First, various types of translation should be tried according to the purpose of the translation and the reader. Second, the translation should be done in a way that recognizes the extent of the change in terms of the reader's expectations. Third, it is necessary to fill in the gaps in translation so that there are no untranslated works, but select works with universal value so that translations for them can be made in a variety of ways. 번역은 분열된 언어의 간격을 메우고 서로 다른 언어를 사용하는 사람들 사이의 소통을 가능케 한다. 이러한 관점에서 한문소설의 번역은 단순히 한문을 국문으로 옮기는 작업을 넘어, 전근대와 현대, 연구자와 독서 대중 사이의 진정한 소통의 가교를 만드는 작업이라 할 수 있다. 본고는 그 작업의 과거와 현재까지의 결과물을 개괄적으로 살펴보고, 미래를 위한 몇 가지 제안을 시도한 것이다. 1950년대 이후 이른바 ‘고전의 현대화’라는 관점에서 많은 한문소설 작품이 번역되었다. 그중 소설사에서 중요하게 논의되었거나, 교과서 수록과 시험 출제의 과정에서 이른바 正典의 지위를 획득한 작품들은 여러 차례 반복해서 번역되기도 하였다. 개괄적인 수준에서 번역의 목적 및 양상을 살펴본 결과, 연구용, 교양독물, 아동 및 청소년 교육용으로 점차 번역의 성격이 분화되는 양상을 보였다. 마지막으로 앞으로의 번역 방향에 대해 세 가지로 제안하였다. 첫째, 번역의 목적과 독자에 따라 충분히 다양한 종류의 번역을 시도해야 한다. 둘째, 번역은 독자의 기대지평이라는 측면에서 어느 정도 개변의 폭을 인정하는 방향으로도 진행되어야 한다. 셋째, 미번역 작품이 없도록 번역의 공백을 메워나가되, 보편적 가치를 지닌 작품을 선별하여 이들에 대한 번역이 다채롭게 이루어질 수 있도록 해야 한다.

이광수의 아동문학 연구

김성연 ( Sung Yeun Kim ) 건국대학교 동화와번역연구소(구 건국대학교 중원인문연구소) 2004 동화와 번역 Vol.8 No.-