박경리의 ‘소설가 주인공 소설’ 연구

조윤아(Cho Yun-A) 한국비평문학회 2008 批評文學 Vol.- No.29

The purpose of this study was to investigate Park Kyung-ni's literary and world views reflected in her novels whose protagonists were novelists, which include My Heart Is A Lake(〈내 마음은 호수〉), The Eternal Partner(〈영원한 반려〉), and Winter Rain(〈겨울비〉). Novels whose protagonists are novelists are called 'novelist-novels,' which term was derived from 'artist-novels.' Artist-novels deal with the protagonist artists' missions, creations and issued regarding their reality and society. In Korean literature, novelist-novels used to be categorized as autobiographical novels where the authors' personal experiences were presented first-hand after the early modern days. But the case of Park begs to differ from the tendency. It's true that her main characters are novelists, but she sets different environments and situations from hers to emphasize that they are, after all, fictional characters. But her novelist-novels are still enough to examine her own experiences and literary and world views. Among the three novels, Winter Rain turned out to be the closest to the definition of an 'artist-novel' with My Heart Is A Lake having the longest distance from it. In face, My Heart Is A Lake is closer to a romance novel. At the same time, Park depicted the character of an individual with political positions with emphasis as she went through the 4ㆍ19 Revolution while writing the novel. In the novels, she described novelists as artists that failed to adapt to the ordinary everyday life and the reality with self-interest instead of regarding them as 'literary men' who had social reputations to protect and responsibilities to take. The novels also reveal her highly critical views of those literary men who acted as if they were celebrities in the name of authors and the climate of the literary society that gossiped about female authors.

염상섭 소설의 예술가 표상 연구 -「사랑과 죄」,「모란꽃 필 때」를 중심으로-

선민서 ( Min Seo Seon ) 우리어문학회 2016 우리어문연구 Vol.55 No.-

「사랑과 죄」, 「모란꽃 필 때」는 염상섭이 식민지 조선에서 예술가로 산다는 것의 정치·사회적 의미를 질문하는 식민지형 예술가소설이다. 「사랑과 죄」와 「모란꽃 필 때」에서 조일(朝日) 예술가의 관계는 사제(師弟) 관계의 형식으로 표상된다. 근대미술의 이식에 따른 식민화단의 형성은 제국 일본/식민지 조선의 불균형한 위계를 바탕으로 했다. 염상섭 소설의 조일(朝日) 예술가가 사제관계로 표상되는 저변에는 제국/식민지 예술 사이의 낙차가 존재한다. 염상섭의 소설 「사랑과 죄」는 식민지 조선에서 서양화단이 형성기에 있었던 시기에 발표된 작품이다. 이 작품에서 조일(朝日)의 예술가들은 낭만주의적 의미의 예술가(artist)가 아닌 문사(文士)의 형식으로 표상된다. 반면에 1930년대작 「모란꽃 필 때」에 이르러 조일(朝日)의 예술가는 낭만주의적 예술가(artist)의 형상으로 주조된다. 「모란꽃 필 때」에 이르러 미술가라는 직업은 가난이라는 기표와 연관을 맺으며, 무일푼의 상태로 자신의 예술 세계에 전념하는 낭만적 예술가 형상이 나타난다. 「사랑과 죄」와 「모란꽃 필 때」에 나타나는 예술에 대한 묘사에서 특징적인 점은 두 작품이 모두 ‘동경미술전람회’라는 기표를 소환하고 있다는 점이다. 염상섭은 식민지 조선의 예술가들을 그려내며, 그들이 자신의 예술 세계를 인정받는 정점에 동경미술전람회를 배치한다. 이는 예술가로 서의 미적 성취를 인정받기 위한 최상의 선택지가 제국 미술계로의 진출일 수밖에 없었던 식민지 예술가들의 불우한 운명을 보여준다. 제국미술의 장(場)에 노출된다는 것은 제국 권력의 시선을 학습하고 내면화해야 한다는 것을 의미했다. 그러나 피식민자를 검열하고 포섭하려는 제국/식민 권력의 작용 속에서도 식민지 조선의 예술가들은 내파의 지점들을 마련해왔다. 염상섭의 장편소설 「사랑과 죄」, 「모란꽃 필 때」는 식민지 조선의 예술가로 살아간다는 것의 의미를 탐색한다. Yeom Sang-Seop``s novel Love and Sin, When the Peony Blooms which published in the Japanese colonial period can be named ``colonial artist novel`` which raised the following questions: ``What does it mean living as an artist in colonial Joseon?``. In Love and Sin and When the Peony Blooms, the relationship between Joseon and Japan``s artist is represented as master-pupil relations. The formation of Colonial art world which was driven by transplanting the western modern art on Joseon is based on unbalanced hierarchy between Empire Japan and Colonial Joseon. In Love and Sin the late 1920s artworks published in a formative period of western painting art system, artist in Joseon and Japan are both represented as a ``literary man`` rather than a romanic sense of ``artist``. However in When the peony blooms the early 1930s artworks published in the periods after the exhibition system is established, Japanese master Bang-Cheon-Chu-Su and Korean(Joseon) pupil Kim-Jin-Ho are represented as a romantic sense of artist. In When the peony blooms, a career visual artist is related to a signifier of ``poverty`` and finally ``a poor artist features`` are completed. Artists in Joseon were to fall into financial hardship and the only way they can get recognized as an career artist is to gain the official approval from the empire of Japan. However it meant that they should learn and internalize the point of view of the empire. Yeom Sang-seop``s artist novel shows us the following: To live as an artist in colonial Joseon, they had to consistently come up with point of implosion against the empire/the colonizer which try to oppress and sensor the colonial/colonized.

천재 신화의 풍자 -존 폰 뒤펠의『괴테가 전화하다』

함수옥 ( Su Ok Ham ) 韓國世界文學比較學會 2015 世界文學比較硏究 Vol.50 No.-

Novel of the artist (Kunstlerroman) has long been one of beloved genres in the German literature since its heyday in the Romantic period. Readers are attracted to the novels of the artist with their curiosity over the creative individual and secrets of his or her works while authors are attracted by the possibility of being able to reflect on their own problems as writers by using artists as main characters in their novels. Goethe ruft an, a newly published novel by John von Duffel who is one of the most active authors in the German literary circle, may be categorized as a novel of the artist as it has an author as its main character and brings up the issue of ``secrets of creative writing,`` but at the same time, it takes a critical stance against traditional novels of the artist by making a caricature of motifs carved in the images of artists since the Romantic period such as genius, inspiration, depth of inner self, and masterpieces. This thesis analyzes Duffel``s novel as a parodic novel of the artist in the Post-Modern era and aims to find that Duffel``s satirical critique over traditional images of artists and esthetic views is relevant to his unique poetics that considers creative writing a physical as well as mental labor. 독일문학에서 예술가소설은 그 융성기였던 낭만주의 시대를 거쳐 현재까지도 꾸준히 사랑받는 장르이다. 작가들이 예술가 주인공을 매개로 하여 창작자로서의 자신의 문제를 성찰할수 있는 가능성에 끌린다면 독자는 창조적 개인과 그의 작품의 비밀에 대한 호기심으로 인해 예술가소설에 매료된다. 현재 독일문단에서 가장 활발한 활동을 하는 작가 중 한 사람인존 폰 뒤펠의 신작 소설 『괴테가 전화하다』는 작가가 주인공으로 등장하고 ‘창작의 비밀’이중요한 화두라는 점에서 예술가소설의 범주에 포함되지만 낭만주의 시대이래 예술가 상(이미지)을 각인해온 모티프들 천재, 영감, 내면의 깊이, 명작 등을 희화화함으로써 전통적 예술가소 설과는 비판적 거리를 취하고 있다. 본고는 뒤펠의 작품을 포스트모던 시대의 패러디적 예술가소설이라는 범주에서 분석하고 풍자를 통한 전통적 예술가 상 및 미학관에 대한 작가의 비판이 예술가는 노동자이며 창작은 정신 뿐 아니라 육체를 기반으로 한 노동이라는 그의독특한 시학과 연결되어 있음을 규명하고자 한다.

한국 현대소설에서 ‘정신주의’에 대한 연구

정종진(Jong-Jin, Jeong) 어문연구학회 2008 어문연구 Vol.58 No.-

In the society of pariah capitalism, the new trend in literature coping with materialism and commercialism is called 'literature of idealism'. The study about 'idealism' is being done in poetry, but barely in novel. However, discussion about 'idealism' will be started soon. I am going to present minimum necessity for the productive discussion about 'idealism' in novel through this dissertation. There are three kinds of novel that express 'idealism' most-religion novel, artist novel and environmental novel. That is because religion novel deals with soul, artist novel emphasize more on mind and tao than sophisticated style, and lastly, environmental novel stresses that we have to pursue idealistic life because human's desire destroys environment. There are a lot of religion novels, but ideal works of 'idealism novel' are not many enough. In christian novel, The Martyr by Eun-guk Kim and The Son of Human by Mun-yeol Lee are the model works. Also, Mandala by Seong-dong Kim and Manhang by Chan-ju Jeong are right models for buddhism novel, and Maewoldang Kimsisub by Mun-gu Lee and Novel Mokminsimseo by In-kyung Hwang are right for confucianism novel. Kmsizo by Mun-yeol Lee Choui, Chusa by Sung-won Han and Home of wing by Cheong-jun Lee are good examples of 'idealism' in artist novel. For the last, The load to Auraji, Meditation about Snip by Won-il Kim are right work to show 'idealism' in environmental novel. It is not easy to define concept and range of 'ideal' and 'idealism' clearly. Therefore, it is better have discussion with presenting ideal novels than define the concept and then find suitable novels. From this thought, I divided 'idealism' novel into three subjects and presented representative novels in each subjects.

소설가 소설과 ‘구보형 소설’의 계보

나은진(Rah, Eun Jean) 구보학회 2006 구보학보 Vol.1 No.-

박태원의 소설 ｢小說家仇甫氏의 一日｣은 소설가 소설이다. 소설가 소설은 소설과 현실의 경계선이나 소설의 존재의의, 문학 일반론, 작가의 삶 등의 주제에 쉽게 접근하도록 해 주므로, 소설의 자기반영성과 메타픽션적 특징을 통해 소설의 소통양식, 시대와 사회에 대한 인식 등을 드러내기에 유리한 양식이라는 의미에서 우리 소설문학사에 독보적인 존재로서 자리매김 된다. 나아가 “구보형 소설”이라 일컬어질 정도로 소설가 소설의 계보에서 뚜렷한 위치를 차지하고 있다. 1930년대 박태원의 소설에 뒤이어 1970년대 최인훈의 15편 연작소설 󰡔小說家丘甫氏의 一日󰡕과 1990년대 주인석의 5편 연작소설 󰡔검은 상처의 블루스: 소설가 구보씨의 하루󰡕가 하나의 흐름을 형성하기 때문이다. 이 작품들은 소설가가 주인공으로서 개인적, 사회적, 문화적 여건에 대한 인식을 바탕으로 소설가의 역할 탐색과 소설쓰기의 의미를 진지하게 고찰하고 소설가의 정체성 확인과 자기반성을 소설쓰기의 형식을 통해 드러낸 작품들이다. 고현학으로서 시대의 인식을 창작기법화한 박태원, 시대에 대한 담론공간을 창작의 원리이자 정체성으로 확보했던 최인훈, 현실의 이면을 과거로부터 탐색하는 주인훈은 각각 소설가 ‘구보(仇甫)’와 ‘구보(丘甫)’, ‘구보’라는 소설속 인물인 소설가로부터 비롯된다. 박태원, 최인훈, 주인석 세 작가의 차이는 바로 그들이 위치했던 시대, 그 시공간성의 차이이며, 각각 자신의 시대에서 사회와 문학의 위기에 대한 문학적 응수이자 대안제시의 한 방법이기도 한 것이다. 따라서 한국적 예술가 소설의 하위갈래로서 구보형 소설가 소설은 박태원 이래 현재까지 맥을 이어 창작되고 하나의 계보를 형성할 힘을 얻을 수 있었다고 본다. 다른 소설가 소설들과 달리 한국 현대소설에서 ‘소설가 구보’형 소설들은 특정 시공간성에 대한 편력을 중심으로 자성적 자기반성과 소설가로서의 자기 정체성을 확인하고 특유의 기법실험과 함께 새로운 소설 세계를 모색한다는 점에서 특유의 소설작법과 서사구조를 형성한다. 이는 앞으로도 생산적인 소설 창작의 원형이 되어 창작에 영향력을 미칠 수 있는 상호텍스트성의 근원이 됨과 동시에 능동적 힘을 지닌 모티브가 될 수 있다는 것을 의미한다. 따라서 구보형 소설가 소설들은 소설의 위기론에 대한 소설적 대안으로서 항상 한국 소설의 지평을 넓히는 데 기여해 왔다는 데에 그 의의가 있다. ｢One Day of a Novelist, Mr. Gubo｣, one of novels by Park Tae-Won, is a novelist novel. Since the novelist novel allows us to easily approach to the boundary between a novel and reality, existence meaning of a novel, general considerations on novel or life of the writer, it has been positioned as an unique existence of our history of novel literature in such a sense that it is an advantageous form to unveil communication style of novel and recognition on era and society through features of novel such as self-reflection and metafiction. Moreover, it has occupied a distinctive position in a genealogy of artist novel to the extent that it is called as “Gubo-Style Novel”, since it has constituted a stream from a novel of Park Tae-Won in 1930s, to 15 volumes of novel cycle, 󰡔One Day of a Novelist, Mr. Gubo󰡕, by Choi In-Hoon in 1970s and 5 volumes of novel cycle, 󰡔Blues of Black Wound: One Day of a Novelist, Mr. Gubo󰡕 by Joo In-Seok in 1990s. These literary works of which heros are novelists look for the roles of novelist, seriously consider the meaning of writing a novel based on their recognition on the individual, social and cultural situation, and unveil their identity confirmation and self-examina- tion through a form of writing a novel. The three novelists including Park Tae-Won who had made the recognition on the era with modernologie into a creation technique, Choi In-Hoon who had secure a discussion space on the era as a creation principle and identity, and Joo In-Seok who had searched the other side of reality from the past have arisen from the novelists ‘Gubo(仇甫)’, ‘Gubo(丘甫)’, and ‘Gubo’ respectively. The dif- ferences between these three novelists are exactly same as those from eras when they were located, so to speak space time differences, and also a kind of literary countermove against social and literary crisis at each own era and one of the methods to suggest alternatives. Hence, it is con- sidered that the Gubo-style novelist novel has been created with keeping up spirits from Park Tae-Won through the current and got the strength to form a genealogy as a subordinate branch of Korean artist novel. Contrary to the other novelist novels, the ‘Novelist Gubo’ style novels of the Korean modern novels have constituted an unique novel writing technique and epic structure in the respect that they have confirmed a reflective self- examination and own identity as a novelist laying stress on the pilgrimage for a certain time and space and sought a new world of novel with a peculiar technique experiment. This means that it may be a root of inter- text to be able to make effect on creation as an original form of produc- tive novel creation and a motive with an active power at the same time. Therefore, it would be meaningful that the Gubo-style novelist novels have contributed to always expand the horizon of Korean novels as the novel alternatives against crisis argument of novel.

초기 박태원 소설과 이상 소설에 나타나는 공통 모티프에 관한 연구

이경림(Lee, Kyung-rim) 구보학회 2010 구보학보 Vol.6 No.-

본고는 초기 박태원 소설과 이상 소설에 공통적으로 등장하는 ‘절름발이’ 짝 모티프에 주목하고자 한다. ‘절름발이’ 짝 모티프는 “우리부부는 숙명정으로 발이 맞지않는 절늠바리인것이다.”라는 「날개」의 서술에서 따 온 명칭이다. 본고는 이 명칭을 통해 초기 박태원 소설과 이상 소설에 공통적으로 등장하는 특정한 인물의 짝―경제적으로 무능한 남자와 주로 사회적 하층계급인 여자의 짝―을 가리키려고 한다. 이를 위해 본고는 박태원과 이상의 소설을 ‘지시적인(referential)’ 내러티브로 읽는 해석의 유효성을 인정하면서, 이로부터 벗어나 이들 소설을 ‘허구적인(fictional)’ 내러티브의 위치로 복귀시켜서 살펴보고자 한다. ‘절름발이’ 짝 모티프는 박태원과 이상이 공유하는 문학적 모티프로서 소설의 구성에 지배적인 역할을 하고 있으며, 이 모티프를 통해 두 사람이 구현하는 주제가 서로 명확히 변별된다는 점에서 주목할 만하다. ‘절름발이’ 짝 모티프가 박태원 소설에서 먼저 출현하여 그 특성들을 선취한 점을 상기할 때, 이상 소설에 등장하는 ‘절름발이’ 짝 모티프 역시 ‘모상’으로부터 ‘타블로’의 위치로 복귀시킬 수 있다. 경제적으로 무능하여 여자에게 생활을 의존하는 남자와 사회적 하층계급 여자의 짝을 다룬 ‘절름발이’ 짝 모티프는 박태원의 초기 소설에서 먼저 등장한 바 있다. 특히 「비량」에서 초점을 맞추어 형상화하는 관계가 그것이다. 이와 같이 박태원 소설에서 ‘절름발이’ 짝 모티프는 ‘룸펜 인테리’인 남자의 축에 중심을 둔 형태로 나타난다. 이때 ‘절름발이’ 짝 모티프는 ‘룸펜 인테리’의 무능함을 폭로하는 장치로 활용됨으로써 창작집 『소설가 구보 씨의 일일』에 실린 소설의 주요 인물들이 공유하는 ‘룸펜’적 성격을 강조한다. 한편 이상은 「지주회시」를 필두로 하여 ‘절름발이’ 짝 모티프를 활용한 작품을 발표하기 시작한다. 그러나 박태원의 ‘절름발이’ 짝의 남자가 ‘룸펜 인테리’라는 사회적 특수성을 지닌 인물군을 가리키는 것인 데 반하여, 이상의 ‘절름발이’ 짝의 남자는 아방가르드적 예술가를 가리키는 것으로 읽을 수 있다. 이상 소설에서 ‘절름발이’ 짝 모티프는 예술가로서의 자의식을 상실한 남자의 후일담을 서술하기 위해 활용되는 문학적 장치이다. 즉 경제적으로 무능하여 생활을 의존하는 남자와 사회적 하층계급 여자의 짝이라는 기본 형태는 고수되어 있으나, 이상 소설의 ‘절름발이’ 짝 모티프가 박태원 소설의 그것과 분기하는 지점은 남자의 모델이 은유하는 바가 다르다는 데에 있다. The purpose of this paper is to analyze a function of the literary motif, a ‘limping’ couple, shown in the early novels of Park Tae-won and Lee Sang in common. This paper named the common motif as a ‘limping’ couple after the description in 「Nalgae」: “We make a limping couple destined never to keep in step.” This paper refers to a specific couple motif shown in the early novels of Park Tae-won and Lee Sang by this name. Usually in their early novels, a financially incompetent man and a woman of lower social position make a ‘limping’ couple. This paper regards these novels as ‘fictional’ narratives, although preceding interpretations regarding these novels as ‘referential’ narratives are still valid. A ‘limping’ couple motif is one that Park Tae-won and Lee Sang use in common. Although this motif plays a key role in composition of their early novels, the themes crystallized by this motif are quite different from each other. For this motif appears in the novels of Park Tae-won first, a ‘limping’ couple motif in the novels of Lee Sang has a valid reason to be interpreted as ‘fictional’ device rather than ‘referential’ one. A ‘limping’ couple motif appears in the novels of Park Tae-won earlier than those of Lee Sang. One of the early novels of Park Tae-won, 〈Biryang〉, focuses on the relationship between a financially incompetent man and a woman who is a barmaid. As this paper analyzes this novel, a ‘limping’ couple in the novels of Park Tae-won puts emphasis on the man who is a ‘lumpen intellectual’. In these cases, a ‘limping’ couple motif functions as a literary device to expose an incompetence of lumpen intellectuals, which is a common characteristic displayed by the characters in his story collection, 〈A day of Gubo the novelist〉. On the other hand, Lee sang started to publish novels focusing on a ‘limping’ couple motif with 〈Jijuhoisi〉 in the lead. Though a man in the novels of Park Tae-won refers to a ‘lumpen intellectual’, who has its distinct characteristics in social contexts, a man in the novels of Lee Sang refers to an avant-garde artist. In the novels of Lee Sang, a ‘limping’ couple motif functions as a literary device to descript a follow-up story of a man who abandoned his ambition to be an avant-garde artist regardless of his own will. In other words, the basic formation made by Park Tae-won, an ill-matched couple of a financially incompetent man and a woman of lower social position is kept in the novels of Lee Sang, too. Though in the novels of Lee Sang, a ‘limping’ couple motif crystallizes different themes for a man refers to a different model from that of Park Tae-won. While a ‘limping’ couple motif is usually used to descript incompetence of a ‘lumpen intellectual’ in the novels of Park Tae-won, the same motif is used to descript despair of an avant-garde artist in case of Lee Sang.

주의자소설의 멜로드라마적 특성과 실명(失明) 모티프

노승욱(Roh, Seung-wook) 한국현대문학회 2014 한국현대문학연구 Vol.0 No.44

이 논문은 지금까지 한국 현대소설연구사에서 개별작품론으로 다루어진 적이 없는 현경준의 데뷔작 『마음의 太陽』에 대한 본격적인 작품론을 목적으로 하고 있다. 월북작가이자 재만조선인작가인 현경준은 카프에 대한 제2차 검거가 진행되고 있던 시기에 신문연재소설로 『마음의 太陽』을 발표했는데, 이는 일제의 감시와 검열을 피하면서 사회주의적 이념에 토대한 소설 창작을 수행하기 위한 의도에서 비롯됐다고 할 수 있다. 이 소설은 표면적으로 멜로드라마적 애정소설의 특징을 나타내고 있지만, 이면적으로는 이념지향적 주의자소설의 특징을 함축하고 있다. 이 소설에서는 당시 유행하던 신문연재소설의 멜로드라마적 특성이 확연히 나타나고 있다. 특히 선명한 이분법적 대립구도, 주인공을 둘러싼 남녀 간의 삼각관계, 주인공이 역경을 극복하고 끝내 성취하게 되는 숭고한 결말 등은 이광수의 『無情』에서 발견할 수 있는 멜로드라마적 서사구조와 유사하다고 할 수 있다. 소설창작 이력에 있어서 『無情』이 갖는 영향관계를 고백한 바 있는 현경준은 『마음의 太陽』에서 대중적인 신문연재소설에 걸맞는 멜로드라마적 서사구조를 수용했지만, 주의자소설로서의 독창적인 스토리와 주제의식 또한 보여주고 있다. 이 소설에서는 음악과 미술에 천재적인 재능을 갖고 있는 주의자 주인공에게서 나타나는 실명(失明) 모티프가 나타나고 있다. 이 소설에서 다층적인 의미를 지니고 있는 ‘태양’이 상징하는 궁극적인 의미는 그 어떤 불구성도 극복할 수 있는 신념으로서의 예술정신이라고 할 수 있다. 예술가소설의 면모도 나타내고 있는 이 소설에서 화가인 주인공은 실명이라는 불구적 상황을 음악이라는 또 다른 예술을 통해서 극복하고자 하는데, 이는 사회주의문학운동에 대한 사상적 억압을 문학의 예술정신을 통해서 극복하고자 했던 현경준의 작가의식을 상징적으로 유비하고 있는 것이다. This paper aims to study on Hyun Kyung-jun"s debut novel, Sun of Heart, which has not been studied as an individual piece in the history of Korean modern novel research so far. As a writer who goes to North Korea and Korean writer in Manchuria, Hyun Kyung-jun published his serial novel in the newspaper, Sun of Heart at the time of the second arrest of KAPF, which means he, a member of Alliance of Korean Proletarian Literature, intended to escape the vigilance and censorship under Japanese imperialism and also created his novels based on socialistic ideology. This novel has melodramatic characteristics of love novel on the surface, but implied the characteristics of the novel of Ideologist. The serial novel in the newspaper was popular at the time, and the melodramatic characteristics of love novel was clearly showed in this novel. Especially, the dichotomous composition of debate caused by discrimination or conflict class, love triangle surrounding the main characters, and the sublime ending through overcoming trials are similar to the melodramatic narrative structure found in Lee Kwang-soo"s The Heartless. Hyun Kyung-jun had confessed that he was influenced by Lee"s works before he created his novels. He accepted melodramatic narrative structure in his first debut novel as befits its popular serial novel in the newspaper. However, he displayed the aspect of the novel of ideologist on the theme of his novel. This novel showed the motif of blindness through the main character who has a genius for music and art. The layers meaning of "Sun" in this novel symbolizes the spirit of art as its faith that can overcome any disability. This novel has some aspects of the novel of artist, and the main character who tried to get over his disability, his blindness by another form of art, the music. That symbolically shows the consciousness of Hyun Kyung-jun who wanted to overcome ideological suppression through the sprit of art.

최인훈의 예술론에 드러난 비극적 인식 연구 - ‘예술가 소설’을 중심으로

양윤의 ( Yang Yun-eui ) 한국문학이론과 비평학회 2008 한국문학이론과 비평 Vol.40 No.-

This paper analyzes the artistic viewpoints of Choi In-Hoon's novels. The purpose of this paper was to define the tragic thought of Choi In-Hoon's novels, to renew the characteristic of artist in his novels. The artist novels in Choi In-hoon's novels has been appreciated significantly, and the existing study has been indicated that dualism of the main character is a fatal limit. But I can find that the narrative method of dualism of 'sublime' is used to show the artistic viewpoints and involves the point of ‘freedom' of the subject. In this, ‘necessity' and ‘freedom' are based on the life(art) of subjects. Just two aspects of the fundamental conditions indicate that the antagonism between the subject and the other. That situation makes inner splits of subject having a connection with the other(s) causes anguish to each other. The subject has reached an impasse and I explained how to link subject's conduct with ‘freedom'. As a result of analysis, I expect to reveal the tragic thought of Choi In-Hoon's novels. Such the tragic thought deserves consider seriously. The subject having it ways could affirm extremes of the antinomy. The ethical responsibility does not exist without freedom of subjects in their ‘art'.

해방기 정현웅의 신문소설 삽화

이수나(Lee Su-na) 한국근현대미술사학회 2015 한국근현대미술사학 Vol.30 No.-

A new visual art, ‘novel illustration’ in newspaper serial novels in modern period, was published in more various newspaper novel illustrations in liberation period. In liberation period, total 18 newspaper novel illustrations by Jeong Hyeon-ung were published in the five newspapers including 『Seoul Sinmun』, 『GyeonhyangSinmun』, 『MinjuIlbo』, 『HanseongIlbo』, 『TaeyangSinmun』 from 1946 to 1950 prior to his defection to North Korea. The themes of the newspaper novel illustrations by Jeong Hyeon-ung were categorized according to their types of illustrations and novels as follows: the popular novels, such as 「Cold Current, Warm Current (寒流暖流, 1948.11.2-12.11(verified)」 by Seol Jung-sik in 『MinjuIlbo』, 「The wave (波濤, 1949.4.24-12.31)」 by Kim Young-su in 『GyeonghyangSinmun』. the historical novels, such as 「The Japanese Invasion of Korea (1949.9.15-1949.12.13) by Park Tae-won」 in 『Seoul Sinmun』, the translated novels, such as 「The Plague (1950.5.25-6.15 (verified))」 by Camus in 『HanseongIlbo』, the children’s novels, such as 「The Cat (1947.11.29)」 by Park Young-jun in 『Seoul Sinmun』. In each type, the features of illustrative expressions varied according to the newspaper novel illustration themes and the novel contents in the works of Jeong Hyeon-ung in liberation period. The popular materials occupied the major proportion of his works in liberation period. The illustrative expressions of popular materials had drawing-style in general, with strong contrast and western-appearance figures. They were characterized as film/theater style with camera-work as if they had imitated a scene of movies or stages. The illustrative expressions from the historical materials used the traditional ink painting techniques with ink lines with Orientalpainting style. The illustrative expressions from the children’s materials used the wittily simplified lines. In the translated materials, the drawingconstructions like western magazines or movie stills were notable. In other words, the newspaper novel illustrations by Jeong Hyeon-ung had different features according to the novels. Jeong Hyeon-ung was regarded as an experimental illustrator in the modern art circles in liberation period. In the point of the conversion after the establishment of an independent government, Jeong Hyeon-ung concentrated to the newspaper novel illustrations more than before. Although he resigned the editor position of 『Sincheonji』 and conducted the works with higher payments, such as producing cover arts or binding books. It was assumed to be associated with the difficulties of livelihood due to the conversion among the culture circles. Moreover, it was also assumed that he focused on drawing newspaper novel illustrations in a variety of features along with the social atmosphere of rapid increase of newspaper serial novels in liberation period. The intense transitional nature as drawing-study to explore his own drawing style with diverse experiments characterized the illustrations by Jeong Hyeon-ung in liberation period. Although Jeong Hyeon-ung mentioned that an accidental opportunity led him to draw illustrations, he clearly had a distinct identity as an illustrator. In his article in “An essay on Illustrations”, Jeong Hyeon-ung stated that illustrations “belong to an artistically unique field rather than explanatory sketches subjected to literature texts”. He also stated that “regarding the only difference between a fine art painting and an illustration, a fine art painting aims to be placed in a wall, while an illustration is published in a newspaper in the morning and thrown out and kicked by walkers in evening.” His mention, “having the world of readers in illustrations may equate with having the world of readers in fine arts. Only geniuses can achieve it”, revealed his passion for illustrations. His passion for illustrations made more specific outcomes by regularly conducting publish arts for people in the art circles in North Korea after his defection to North Kore

홍범도를 매개로 하는 체제 옹호의 정치 서사 연구- 장편소설 <홍범도>에 투사된 작가의식을 중심으로

임형모 원광대학교 인문학연구소 2018 열린정신 인문학연구 Vol.19 No.3

본 논문은 고려인 작가인 김세일의 작가의식을 중심으로 소설 <홍범도>를 다시 읽고자 했다. 결론부터 말하자면, 김세일은 소설 <홍범도> 를 실존하는 민족적 영웅인 홍범도를 매개로 하여 한 사회의 정치 체제를 옹호하는 정치소설로 형상화했다. 이러한 모습은 텍스트의 변모양상과 작품에서 나타나는 체제 선택의 모색 과정 그리고 인물의 형상화 등에서 확인이 가능하다. 소설 <홍범도>는 신문 연재본(1965~1969) 과 신문학사본 전 3권(1989), 제3문학사본 전 5권(1989~1990)의 세 가지의 텍스트가 있다. 김세일은 제3문학사본에서 4,5권을 새롭게 추가했는데, 이때는 홍범도가 진정한 볼세비크임을 강조하고 자유시 사변에서조선인을 학살한 당사자인 소비에트를 변호하며 레닌과의 만남을 상당히 구체적으로 묘사하면서 소비에트를 예찬하는 정치의식을 보여 주고있다. 또한 소설 <홍범도>에서 나타나는 저항은 ‘나라의 아들’이라는순수하면서도 민족주의적인 입장에서 촉발되었으나 양반이나 부자 등의 변절(친일)과 이범윤 등의 황족이 내보이는 이기주의에 따른 종파투쟁 등을 목도하면서 현실적 모순에 눈을 뜨게 되고 이것은 자연스럽게 전향을 모색케 하는 계기로 작용한다. 그 결과 홍범도는 프롤레타리아 국제주의를 지향하게 되며 소설은 소비에트 정치 체제를 옹호하게되는데, 김세일은 <홍범도>에서 그것이 올바른 선택이었음을 변호하고역설하는 전향적 체제 선택의 작품으로 형상화한다. 끝으로 홍범도는소비에트의 영웅으로서 고려인 사회에서 고려인의 존재를 증명해 주는매개자의 역할로 기능하는데, 김세일은 홍범도를 완벽한 인간의 전형으로 묘사함으로써 그를 ‘공평한 좋은 세상’을 실현해 줄 수 있는 인도자이자 절대적인 인물로 형상화했다. 결론적으로 고려인문학으로서 김세일의 <홍범도>는 한 사회의 정치 체제를 옹호하려는 작가의식이 투사된 정치소설이라고 할 수 있겠다. This study tried to re-read the novel "Hong Beom-do" in the author artistic acumen. No matter what, Gim Se-il described the novel "Hong Beom-do" is a form of political fiction that express historical fiction and historical records. Hong Beom-do was a real person in history, as a national hero. The novel is based on 'The Diary of Hong Beom-do'. This political fiction advocate a system of the Soviet Union. This can be found on aspects of textual changes, selection of the political system and describes a character. The novel "Hong Beom-do", there are three texts. Those were published in a newspaper 'Lenin Gichi(1965~1969)', 'Sinmunhak-sa(1989)' publishing company(a set of three volumes) and 'Je3munhak-sa(1989~1990)' publishing company(a set of five volumes). The last novel is generally recognized as a standard work. The author described Hong Beom-do was as a real bolshevist(большевик) in the last novel. And, the novel defended that the Soviet Russians who killed Soviet Koreans in The Free City Incident. The author described the extraordinary meeting between Lenin and Hong Beom-do in a delicate. The description was pretty specific. As a result, the author described that the novel "Hong Beom-do" praised the Soviet Union. In other words, Hong Beom-do's resistance occurred from purity of the son of their country and nationalism. But, he witness national defection by yangban, rich person, the Imperial family and pro-Japanese group. He feel betrayed by their defection. Then, that experience opened his eyes to the world. Hong Beom-do found a way to convert. So, the novel aimed to Proletarian internationalism that still holds out the Korean race(So this right here, landowner, rich person, capitalist, the Imperial family and pro-Japanese group are ruled out in the Korean race). The author described that "Hong Beom-do" is the novel of conversion that praised the Soviet Union. In conclusion, Hong Beom-do is a hero of the Soviet Union, he connects Soviet Korean and the Soviet Union. Hong Beom-do is spirit guide and the Supreme Being that he can create societies with fairness and justice. He was the epitome of a perfect human to Soviet Korean. In the last analysis, "Hong Beom-do" is a form of political fiction that advocate a system of the Soviet Union. That was a artistic acumen of Gim Se-il.