「김인향전」에 나타난 원근(遠近) 구도의 공간 배치와 기능

김현화(Kim, Hyun-Hwa) 한국문학회 2021 韓國文學論叢 Vol.87 No.-

이 글에서는 ｢김인향전｣에 나타난 원근(遠近) 구도의 공간 배치와 문학적 기능에 대해 논하고자 한다. 인향당은 형제간의 분리와 감금, 기아(飢餓)와 육체적 노동, 통정과 수태란 흉문 속에서 주인공을 자살로 이끄는 중심 공간이다. 인향당을 정점으로 가장 근거리에 배치된 김좌수의 처소는 가부장의 체면 때문에 여식을 살해하는 반인륜적 공간이다. 인향이 온전히 부활하는 유한림의 처소는 유교적 통념이 국가와 사회의 기틀로 여전히 건재한다는 사실을 투사해 내는 공간이다. 인향당에서 근거리에 배치된 공간들은 기존의 관습과 이념이 정태성을 띠고 존재한다. 인향당에서 원거리에 배치된 목화밭은 자신의 욕망을 위해 살인도 불사하는 원초적인 본능의 인물들을 동태적으로 투사해 낸다. 동헌은 ‘소문’이라는 방식을 통해 비밀스러운 사건을 대중이 공유하도록 확산시키는 동태적 공간이다. 심천동은 서사 주체의 자살과 부활, 복수를 담은 동태적 공간이다. 인향당에서 원거리에 배치된 공간들은 기존의 관습적이고도 전형적인 등장인물의 사고행위와 사건 전개에 역동성을 가미한 동태성을 선사한다. ｢김인향전｣에 나타난 원근 구도의 공간 배치는 정태성과 동태성의 공간 양상을 축조했다. 이 공간 양상은 이념의 보수와 해체가 혼재하던 당대 사회상을 복제해 내는 문학적 기능을 한다. 나아가 살해와 자살 같은 참극에서 출발한 공포담을 수용하는 가운데 균등한 삶에 대한 대리만족을 추구하고자 했던 당대인의 심리를 투영하는 문학적 기능을 한다. This article discusses the spatial arrangement and function of the perspective structure in <Kim In-hyang jeon>. The Inhyangdang is a central space where the main character reaches suicide in the midst of separation and imprisonment between brothers, hunger and physical labor, adultery and pregnancy. The space most closely placed around the Inhyangdang is the place of Kim jwasu. The space is an anti-human space that kills her daughter because of the face of the family. The place of Yuhanrim, where In-hyang was fully revived, is also close to the Inhyangdang. The space of Yuhanrim is the foundation of the nation and society, and it tells the fact that Confucian values still exist. Spaces placed close to the Inhyangdang are exist customs and ideology in a static. Cotton fields are space placed a long distance from the Inhyangdang. The space is where the characters of the primitive instincts who kill for their desires appear. Dongheon is a space that spreads secret events to the public through the method of rumour . Shimcheon-dong, which is located at the farthest distance, is a dynamic space that contains the suicide, resurrection and revenge of the main character. In the spaces placed far from the Inhyangdang, there are changes in the existing conventional and typical characters and events. The space arrangement of the perspective structure in <Kim In-hyangjeon> created the space of static and dynamic. These spaces have a literary function that shows the social image in which the conservative and dismantlement of ideology were mixed. It also plays a literary function of pursuing surrogate satisfaction with equal life by utilizing horror stories that started from the tragedy such as murder and suicide.

1980년대 민중미술 : 반(反)풍요와 반(反)개방

김현화(KIM hyun-wha) 한국미술사교육학회 2011 美術史學 Vol.- No.25

민중문화운동은 1980년 5월 광주학살사태 이후 대중적이고 예술적인 반응을 크게 불러일으켰다. 많은 미술가들은 미술을 통해 전두환 정권에 대항하고자 했다. 민중미술은 민중의 사회적 문화적 운동으로부터 유래되었으며, 또한 사회주의 미술의 미학적 원칙에 기본을 두었다. 김정헌, 김경인, 손장섭, 주재환 등과 몇몇의 비평가들은 전두환이 정권을 장악하는 시점인 1979년 12월에 그룹 ‘현실과 발언’을 창립했다. 김봉준은 1982년부터 ‘두렁’ 그룹을 이끌고, 이종구는 뜻을 같이하는 동인들과 함께 1982년에 ‘임술년’을 창립했다. 임옥상, 노원희 등도 1980년에 ‘현실과 발언’에 가입한다. 우리는 이것들을 ‘민중미술’이라 부른다. 민중미술은 사회적 소통과 정치적 참여를 추구하는 리얼리즘에서 출발하였다. 1980년대 모더니즘 미술의 대유행 속에 있었던 민중미술가들은 구상화로서 출발하였으며 추상미술을 거부하였다. 민중미술은 한국 전통예술과 모더니즘과의 관계를 통해 정체성이 확립되었다. 민중미술가들은 기본적으로 구상적인 이미지를 추구하였지만 하이퍼리얼리즘이나 전통적인 구상미술과 같은 것을 추구하지는 않았다. 민중미술은 사회적 현실에 근본을 둔 것이다. 혼란과 격변의 시기인 1980년대 10년 동안, 한국 경제는 다국적 자본주의와 후기 산업사회로 접어들게 된다. 민중미술은 노동자와 농민들로 대변되는 민중들이 정치적 투쟁의 주체임을 분명히 하였다. 민중미술가들은 정부에 빈부격차를 좁히고 모두가 평등하게 사는 더 나은 사회를 만들 것을 촉구했지만 산업화, 현대화, 도시화를 거부하였다. 민중미술가들은 경제개발을 위해 외세와 협력하는 것을 거부하고 순혈주의와 자연을 보존하는 것이 민족생존의 길이라고 생각했다. 민중미술가들은 외세에 굴복하지 않고 민족적 정체성을 지키고자 했다. 민중미술은 막스-레닌주의 관점에 기본을 둔 사회주의 미술이지만 사회현실의 혁명을 위한 것이 아니라 민중을 행복하게 만들고자 사회를 개혁시키기 위한 이상적인 미술이라 할 수 있다. 민중미술가들은 노동자와 농민이 지식인계층을 지배하는 유토피아를 실현하고자 했다. 조르주 바타이유는 노동은 무엇보다 인간 존재의 근본임을 주장하였다. 바타이유처럼 민중미술가들은 역사의 처음부터 끝까지 첫 번째는 노동와 노동자임을 강조한다. 민중미술에 있어 유토피아는 노동자들을 위한 세계이다. 민중미술은 무엇보다 순수미술이다. 1980년대의 사회 시스템과 민중미술과의 관계는 후에 한국현대미술의 방향을 결정짓는 중요한 요소가 되었다. Minjung cultural movement has called forth the popular and artistic response after the Gwangju Massacre in May of 1980. ‘Minjung Art’ was originated from the social and cultural movement of Minjung(the populace), and was founded upon the aesthetic principles of Socialist Art. A lot of artists were inspired to line up against the military government by Chun Doo-hwan. Some painters, such as Kim Jung-heun, Kim Kyong-in, Son Jang-sup, Joo Jae-hwan, Oh Yoon, etc., and several art critics organized the Group 〈Hyun-sil and Bal-un〉 in December of 1979 when the General Chun Doo-hwan seized power in a military coup. Kim Pong-jun led the 〈Du-rong〉 Group since 1982; Lee Jong-gu launched the Group 〈Im Sul lun〉 in 1982; the famous painters, such as Im Ok-Sang and Nho Won-hee, etc., became the members in the Group 〈Hyun-sil and Bal-un〉 in 1980. It is called ‘Minjung Art’. Minjung Art started out at the Realism that agonized over social communication and political participation. Minjung Artists who were in jungles of Modernism Art in 1980s started creating the figurative painting and represented the defiance against Abstract Art. Minjung Art has arisen from the relationship between the Korean Traditional Art and Modernism. Minjung Artists used figurative images as a reference source, but unlike Hyperrealism, or Figurative Art in the tradition. Minjung Art is based upon Realism Art in the conte×t of intending to communicate with society. During the decade of the 1980s, termed as a period of confusions and Upheavals, Korean economy rapidly shifted to a multinational capitalism and to a post-industrial society. Minjung Art tried to show that the populace is the main body of political struggle through the reappearance of idealized laborers and famers. Minjung Artists has been urging the government to make Korea a better country for every one, narrowing the gap between the rich and the poor. However we are mortified to find the Minjung Art blaming the industrialization, modernization and citification. Minjung Artists refused to negotiate with foreign power for the economic development, prefering instead to preserve the nature, the pure blood. Minjung Artists intended to show that our people shared a national characteristic of not succumbing to oppression. Minjung Art has its roots in Mar×ism. Minjung Art is the Socialist Art, based on the Mar×-Leninistic view, for not an revolution of social reality but an ideological art seeking for the reforms of the society to make happiness for Minjung. Minjung Artists is looking for a Utopia that the laborers, Farmers would dominate the intelligentsia. Georges Bataille insiste that Work, beyond all doubt, is the foundation of the human being as such. Minjung Artists maintain that From one end of history to the other, the first place belong to Work and workers. In Minjung Art, the Utopia means the World for workers. Minjugn Art, is above all else, the Fine Art. The relationship between the systems of society and Minjung Art in the 1980s became the essential factor in determining the direction of Korean Modern Art afterwards.

전기적 손실과 구동계 손실을 고려한 Volt PHEV 주행 특성 분석

김현화(Hyunhwa Kim),김영은(Youngeun Kim),김현수(Hyunsoo Kim) 한국자동차공학회 2017 한국자동차공학회 부문종합 학술대회 Vol.2017 No.5

민중미술; 「원시(原始)를 꿈꾸다」, 바타이유(G. Bataille)와 루카치(G. Lukacs) 사상으로 접목 고찰

김현화 ( Hyun Wha Kim ) 미술사와 시각문화학회 2011 미술사와 시각문화 Vol.10 No.-

In 1980`s, Korean painters such as Kim Jung-heun, Kim Kyong-in, Son Jang-sup, Joo Jae-hwan, Oh Yoon, Lim Ok-Sang, Lee Jong-Gu, who witnessed Gwangju Massacre in May 1980, began to represent these terrible scenes in their arts. The movement is called ``Minjung Art``. This research explores the characteristics and meanings of the Minjoong Art, primarily considering the relationship between art and Korean political situation in the 80`s. Korea has depended on and been protected by the world superpower America after its liberation from Japan by the aid of American military force. This situation has deeply affected Korean people that they have identified Americanization with capitalism, industrialization, and modernization. Minjung Artists thought that Korea has become a new colony of American economy, culture, art and politics. That is why Minjung Art was strongly motivated by the anti-colonial, and anti-American ideas. Minjung Art is a Socialist Art based on the Marx-Lenin theories. As such, it has its root in the philosophy of Gyogy Lukacs. In this paper, I attempt to illuminate the theoretical relationship between the Gyogy Lukacs, Georges Bataille and Minjung Art. Gyogy Lukacs, an influential literary and art critic of the twentieth century, was a Post-Marxist who pointed out the capability of Realist Art to confront an objective reality that exists in the world. Georges Bataille, a French writer, economist, and sociologist, was a member of the extremely influential ``College of Sociology`` in France. For them, work was the foundation for knowledge and ration. In the primitive times, Art was a work. Bataille believed that the making of tools and weapons was the departure point for that early faculty of ration, which humanized the animals we once had been. It is obviously work that made him a human being, the reasonable animal we are. Bataille thought that if it is true that work is our origin, if it is true that work is the key to humanity, human beings would eventually distance themselves completely from animality through work. Minjung Art did not aim at the revolution of social reality but to be an ideological art seeking for the reforms of the society that grants freedom for the people.

서사무가 <바리공주>의 이야기 주조방식과 문학적 성취

김현화(Kim hyun-hwa) 한국언어문학회 2021 한국언어문학 Vol.116 No.-

This article examines the story structure of Princess Bari and deals with literary achievement. The story structure of Princess Bari appears in three laws. The first is the continuous law of negation and negation. Second, it is the law of verb structure that connects the real world with the fantasy world. Third, it is the metaphorical story law of seal and release. The story structure of Princess Bari achieved two literary achievements. First, they created a person who was trapped in a lonely environment and who realized what to do. It is an excellent work in that it presented a person as a savior to save the suffering of the real world. Second, the story of journey style was made structurally. This work contains the story of the main character Bari traveling from the real world to the fantasy world and the real world again. This journey highlights the sacredness of the protagonist, who saves the souls who drift through hell. It adjusted the speed by changing the time of the real world and the fantasy world. This journey story was structured as a means of symbolizing the inner side of the main character Bari, and as a way to strengthen the theme consciousness.

파리 근대사회, 근대미술, 호쿠사이(葛飾北齋)와의 만남 : 자연에 대한 경의

金賢華(Kim Hyunhwa),정무정 미술사연구회 2009 미술사연구 Vol.- No.23

Katsushika Hokusai, the Ukiyo-e printmaker and craftsman of the Edo period, was born in 1760. He is best-known as author of the woodblock print series Thirty-six Views of Mount Fuji (富嶽三十六景 Fugaku Sanjuroku-kei, c. 1831). Hokusai was the most eminent Japanese painter in France. Felix Bracquemond is said to have discovered in 1856 a volume of Hokusai’s Manga (twenty-eights drawing books) and he delighted in showing to friends, Impressionists. His reputation owes mainly to the interpretations of French avant-garde art critics and avant-garde artists. Philippe Burty compared Hokusai’s Manga to Watteau in its elegance, to Daumer in its energy, to Goya in its fantasy, to Delacroix in its movement and to Rubens in its brush strokes. Louis Gonse, the chief editor of Gazette des Beaux-Arts, offered the judgment that Hokusai bears comparison to such European artists as Rembrandt, Corot, Goya, and Daumier. Hokusai was related to liberal republican criticism. French avant-garde critics praised Hokusai’s‘vulgarite’in order to attack the conservative, academie that then predominated in the French art. Hokusai’s reputation was solidified in a process related to the Impressionism. Camille Pissaro called‘Japanese impressionists’to Japanese artists for Ukiyo-e. The impressionists had reduced the three-dimensional space into two dimensions by geometrical operations. Paul Cezanne seems to have some resemblance to Hokusai in his transgression of linear perspective, reinvented during the Italian Renaissance. Joachim Gasquet’s report of a conversation with Cezanne pointed that Cezanne read two books on Utamaro and Hokusai by the Edmond de Goncourts. Pierre Francastel had criticized the studies of John Rewald who ignored the possibility of Japanese influences on Cezanne. Hidemichi Tanaka insisted that Cezanne’s La Montagne Sainte-Victoire series were influenced and stimulated by Hokusai’s landscape Thirty-six Views of Mount Fuji. Cezanne’s decision to embark on a series of paintings of Montagne Sainte-Victoire was partly prompted by Claude Monet’s Paintings series and by Hokusai’s landscape series. A remarkable feature of the Japanese woodcut is the grille motif and diagonal composition. The grille device was adopted as early as the 1860s and 1870s by European painters who had initially been influenced by the Japanese woodcut. Hokusai’s landscape, for example Mount fuji in a bamboo grove, provide a good example of the grille-like straight lines. Monet made use of the grille motif in Poplars series as a device for structuring his picture composition. He divided the picture surface into vertical sections with Poplar’s trunks. In this way he offered us‘filtered’vision and achieves a closeness of perspective that renders the impression of distance both convincing and dramatic. Gustave Caillebotte’s Le Pont de l’Europe (1876) depicted Parisians of the day and the modernisation Paris during the Second Empire of Napoleon III. The oblique perspective of the bridge, however, have its origin in an unexpected source. It is Cottongoods Lane , Odenma-cho, a colour woodcut of 1858 by Hiroshige from his series One hundred famous views of Edo. The role of Japanese woodcut in Caillebotte’s art has previously been explored in his affinity for oblique perspectives, bird’s-eye views. The relationship between European avant-garde art and Ukiyo-e has come to be more widely recognized. The‘Japonisme’represented a synthesis of current research into the influence exerted by Japanese art on Western modern art.

〈장진주사〉의 공간 분할과 미학적 가치

김현화(Kim, Hyun-Hwa) 한국어문학회 2014 語文學 Vol.0 No.126

In this thesis, the meaning of the space shown in 〈Jangjinjoosa〉has been studied hermeneutically. Also, unique creational idea of Song Gang has been researched by studying his inventive poem, 〈Jangjinjoosa〉. Poet’s efforts and conflicts are described in question and answer structure in 〈Jangjinjoosa〉. The question and answer structure is shaped in conviviality space. In this thesis, the hidden audience drinking alcohol picking flowers is set up in this thesis instead of the exposed audience ‘You’. In the meantime, profound questions of life and death are sung by question and answer structure in conviviality. Three different levels of space in 〈Jangjinjoosa〉 are functioning as follows. ① promotion of narrative tension ② stereogram of multi-voice ③ demonstration of circular world. ① The space has been divided into four different types by the poet in order to promote narrative tension and deliver organic stories related to life and death. Narrative technique is described in tension by four different types of space such as conviviality space of living people, road space where dead bodies of the rich and the poor are passing, the deceased’s space where the rich and the poor are equal to each other, and realistic space. Furthermore, the space is divided in terms of ② stereogram of multivoice. Poetic attraction is strengthened more by evoking voice of describing subjects such as space where dead drunkeness and conviviality are overflowing, space where cry following poor bodies and roars of laughter following rich bodies coexist, and space where wind blows over graves and whistle of monkeys goes off. Poetic spaces are completed by evoking natural voice. ③ In terms of demonstration of circular world, the poet pays attention to the fact that the narrator’s consciousness comes back to the realistic world after expanding to the world after death , so as to elucidate the main subject of death. In other words, it is the investigation of the circularity that the essence of the existence doesn’t perish, but continues perpetually. The circular world is demonstrated again in the space of clamorous conviviality, dim shadows of flowers and dead place where a bier passes. Aesthetic value of space in 〈Jangjinjoosa〉is discovered in the way that the space of experiences are shaped in details by making use of separate and dynamic images. Aesthetic value of this poem is more remarkable since dynamic vitality is alive in the place where separate spaces are arranged in a row.

<만복사저포기>의 환상 구현방식과 문학적 의미

김현화(Kim, Hyun-Hwa) 한국문학회 2013 韓國文學論叢 Vol.65 No.-

<만복사저포기>는 ≪금오신화≫의 다른 작품과 달리 유난히 문(門)이 소거되어 보이지 않는 가운데 환상이 일어난다. 문의 기능을 대신하는 것은 배나무이다. 또한 양생이 부처와 저포놀이를 하고 여귀가 등장하는 법당 장면도 마찬가지이다. 인간과 귀신이 충분히 서로 넘나들 수 있는 환경을 미리 마련해 놓는다. 두 인물이 개령동 무덤으로 가는 길에서도 문은 소거된다. 일상적 공간의 문이 의도적으로 소거된 것과 달리 초월계 공간의 문은 개방된다. 양생이 무덤으로 들어서는 부분에서 일상적 공간의 문을 소거했던 이유가 밝혀진다. 의도적으로 소거되었던 문은 보련사 공간에서 등장한다. 양생이 지리산에 들어가 세상을 마쳤다는 결말은 또 다른 초월계 공간의 문이 개방되었다는 사실을 암시한다. 한편, 주요 소재의 상승감 유지를 통해서도 환상이 일어난다. 배나무, 불단 위의 붉은 촛불과 향불, 불탁 위의 축원문은 바닥으로부터 일정한 높이의 상승감을 유지하며 환상을 유발한다. 서쪽 봉우리에 뜬 달, 허공에 울리는 닭 울음소리, 하늘에 퍼지는 종소리는 물론 공중에 높이 늘어선 가시나무, 매우 화려한 집 등의 표현을 통해서도 일정한 상승감은 유지된다. 또한 주발을 들고 서 있는 양생의 행위를 통해서, 허공중의 수저 소리, 말소리, 여귀의 마지막 울음소리 등을 통해서도 유지된다. 마지막 양생이 입산 모습은 작품 초반부터 일정한 높이를 유지해 온 상승감을 그대로 보여준다. 속세 공간보다 상당한 높이를 지닌 산으로 들어간 것이니 오히려 다른 어떤 소재보다 상승감을 강조한다. <만복사저포기>는 '순수'라는 근원적인 가치에 집중한 작품이다. 양생이 배나무에 기대 고독을 노래하고, 감히 부처를 상대로 저포놀이를 하고, 여귀와 함께 무덤 속으로 진입한 것도 바로 그 순수함 때문이다. 여귀 역시 자신만의 고독한 시간을 치유하는 데 머문 것이 아니라 타자의 불우한 삶에도 관심을 기울인 순수한 인물이다. 이 인물들을 통해 작가는 알력과 투쟁, 욕망과 배신이 넘치는 현실세계를 화합하고 조율할 수 있는 순수의 세계를 꿈꾼다. 그런 가운데 인간과 귀신, 현실계와 초월계가 소통하는 환상이 벌어진다. 이러한 창작 기법은 환상이 낯설거나 이질적으로 다가서지 않도록 하기 위한 문예적 장치이자 순수한 인간상을 열망했던 작가의식의 소산이다. <Manboksajeopogi> showed a fantasy while a door was not erased, unlikely the other works of ≪Geumosinhwa≫. One pear tree had a function of a door. Moreover, also the scene that Yangsaeng played Jeoponoli with Buddha and a female ghost appeared in the sanctuary is the same. It was already prepared the circumstance that human and ghosts could enough cross each other. When a maid for the female ghost appeared, a door of a daily space was erased, and then the scene was made naturally, which a character of the fantasy world appeared in the reality space. Also a door in the path where Yangsaeng went to Gaeryeongdong tomb of the female ghost was intentionally erased. While the door of a daily space was erased intentionally, the door of the fantasy world was opened. That Yangsaeng entered into the tomb means that human enters into the fantasy world. The reason why the author radically erased the door of a daily space was exposed in this part, because it was the place where the female ghost was buried temporarily when it died, and where Yangsaeng was out of original loneliness. The door that was intentionally erased in the meantime appeared in the space of Boryeonsa. The reason why it was is that the place was to give the female ghost the appropriateness of going to better world out of the lonely fantasy world. After, the ending that Yangsaeng entered into a mountain and finished his life implied the fact that a door of another fantasy world was opened. On the other hand, an illusion may happen as maintaining the sense of rise of main materials. The lonely reality of Yangsaeng was not just miserable because of the sense of rise of a pear tree between heaven and earth. When the red candle on a Buddhist altar and a written prayer on a Buddhist table maintained the sense of rise at a certain height from the bottom, it could draw the fantasy world where the female ghost stayed up to the bright color sense. The sense of rise could be maintained by the moon that rose over the west mountaintop, a cock's crying in the air and a peal of belles in the sky. Also the depiction of 'a line of trees high into the air' and 'very colorful house' could maintain the certain sense of rise. The sense of rise in <Manposajeopogi> could be maintained by Yangsaeng's behavior such as 'standing with a brass rice-bowl', the sound of spoons in the air, the sound of speaking and the last crying sound of the female ghost. After that, Yangsaeng's figure when he entered into a mountain and lived showed just the sense of rise that was maintaining a certain height from the beginning of the work. It has a role for emphasizing on the sense of rise rather than any other materials because Yangsaeng entered into higher mountain than the real world where he lived. <Manboksajeopogi> is the work that focused on the original value referred to' purity'. The reason why Yangsaeng sang a song of loneliness while leaning against a pear tree, dare played Jeoponoli with a Buddha and entered into the tomb with the female ghost is just pureness. The female ghost also was a pure character that not stayed to cure her own lonely time, but was interested in the other's deprived life. The author dreamt a pure world through these characters, where may make in concord with the real world of running over with conflict, fight, desire and betrayal and tune up. In the course of it, the illusion that may communicate between human and ghosts, the real world and the fantasy world may happen. It was the result of writer consciousness that desired the pure human model.

「최생우진기」의 배경 묘사 양상과 기능

김현화(Kim, Hyun-hwa) 한국언어문학회 2013 한국언어문학 Vol.87 No.-

「ChoisaengUjingi」 is a well-made work by the description of background. The description of back ground of this work showed as the aspects such a type of long distance view, a type of characterizing a certain rear scene and a type of solving mazes. First, a type of long distance view can be found in the description of background for the introduction of this work. It is a view that the narrator's eyes on the hither side were looking around widely the majestic scenery extending into the distance. The place was taken view of the place of the real world referring as Dutasan, but it was incubating the secret fantasy world referring as the place of Taoist hermit with miraculous powers. A type of long distance view contributed to show the whole character of work. Second, the description of characterizing a certain rear scene on the heroine's back has given an impression of being closer to the character on the reader's side. It was the scene of autumn when Choisaeng decided to go to find the fantasy world firstly, on the other hand, the moment when he returned from the fantasy world and the moment when he went down into the yard of a temple in the real world was described to be characterized pedagogism. Moreover, when he entered to the real world, as it was characterized the certain scenes such as gold and a white chair of jade, it symbolized that he finally arrived at another world. The way of description of background gave a clue for present situation of Choisaeng. Third, the author set the description of background of a type of solving mazes in the work for Choisaeng's adventurous character. It is the description of background that was built newly from that moment when the heroine fell down a cliff. Even if it could not be seen with the eyes of the real world, there was definitely the mazes of the fantasy, it is a way of describing that presented more realistic Choisaeng's exploration and showed concretely the heroine's character. Such description of background has a novelistic function from reinforcement of the character's superman consciousness. First, even if Choisaeng entered to the fantasy world and was for just one day, the time of real world went by 70days. Moreover, it was depicted the change of time as the change of background. The narration was progressed differently in the passage of time for revenge, respectively, which are 'the time when the fall foliage was beautiful' and 'the time when the light snowfall was end and the new moon was bright'. The change of narration for revenge was done by indirect experience of another character, not a heroine. It is the scene to show the search process of JeungGong who had ever been there before Choisaeng searched the fantasy world. The reason why the change of narration for revenge could visually touch our heart and arouse our interest is the function of the description of background. Second, while Choisaeng overcame wild nature, he became a superman. Finally when he entered the cave where was a path for the fantasy world, sat face to face with a superman and discussed about the philosophical principles of universe, his consciousness of a superman could revive as consciousness of subject in which this work sought. 「ChoisaengUjingi」 has been showing the author's creative consciousness, who concentrated to make the background that linked organically the work. It is a well-made novel because he was interested in the creation technique, which was immersed in the plot of a novel different with the earlier years.

「하생기우전」여귀인물의 성격 전환 양상과 의미

김현화 ( Hyun Hwa Kim ) 한민족어문학회 2013 韓民族語文學 Vol.0 No.65

「하생기우전」의 여귀는 「최치원」, 「만복사저포기」, 「이생규장전」등의 작품에 나오는 여귀의 전형에서 탈피한 인물이다. 그 전환 양상은 다음의 세 가지로 나타난다. 첫째, 동태적(動態的) 행보의 여귀라는 점이다. 앞선 작품의 여귀들이 정태적 행보에서 벗어나지 못한 것은 남자주인공과의 일대일 관계 외에는 달리 구명(求命)의 길을 찾을 수 없었다는 데 있다. 여귀의 동태적 행보는 그녀가 죽은 지 불과 사흘 밖에 되지 않았다는 시간의 공로 때문이기도 하다. 둘째, 「하생기우전」의 여귀는 이승의 목격자가 다수 등장하는 인물로 전환한다. 그간의 여귀들을 목격하는 인물이 남자주인공을 제외하곤 모두저승의 존재였다는 것과 비교할 때 상당한 변화이다. 다수의 목격자는 여귀의 현실계복귀를 인정하는 증인 역할을 한다. 셋째, 「하생기우전」의 여귀는 당대인이 공감할 만한‘동일시의 세계’를 구축하는 성격으로 전환한다. 여귀의 현실적 문제와 남자주인공의 현실적 문제가 동질성을 띠기 때문이다. 이와 같은 여귀인물의 성격 변화는 소설적으로 중요한 의미를 갖는다. 첫째, 「하생기우전」의 여귀는 상하 계층 간의 소통을 실현한다. 여귀는 운명론적 세계관을 완전히 벗어낸 인물은 아니지만 화해와 평등의식을 현실세계에 소통시킨 인물로 거듭난다. 둘째, 「하생기우전」의 여귀는 관습적으로 내려오던 무덤 공간의 성격을 탈피하는 데 기여한다. 여귀들의 개인적 비극사가 담긴 관습적 공간에 사회적 문제를 담아 놓는다. 여귀의 무덤 공간성격이 달라지면서 남자주인공의 환경 또한 현실적 문제를 드러내는 공간으로 전환한다. 권력과 암투, 성공과 출세에 대한 사실적 욕망을 담은 무덤 공간은 여귀인물이 그만큼 당대의 현실을 투영하는 현실적 인물로 전환했다는 사실을 가리킨다. 여귀의 성격 변화는 작품에 리얼리티 살리고자 했던 작가의 창작의식과 연관된다. The YeoGwi in 「Hasaenggiujeon」is the character who overcomes the imperfect corporeal limitations and returns to human world. Even though it was the character who returned in the shape of fantasy rebirth, she was the existence with meaning of expressing the will of the subject for novel and of showing the stream. There are three aspects that can be changed to the three-dimensional and realistic character as following, getting out of a model of 「YeoGwi」in the earlier works such as 「Choichiwon」, 「Manboksajeopogi」 and 「Leesaenggyujangjeon」. First, it is a YeoGwi of dynamic walk. The YeoGwi in the earlier works died setting the theory of the fantasy world, on the other hand, the YeoGwi in 「Hasaenggiujeon」showed the dynamic walk for returning to this world setting the theory of the real world. The reason why the earlier YeoGwis couldn`t get out of static dynamic walk is that they couldn`t find another way for saving their life but one-to-one relationship with a hero. In the case of 「Hasaenggiujeon」, her farther including a hero functioned as a savior. The extension of the relationship of individuals related with a YeoGwi has broken on our eyes. As the reason why the YeoGwi did such a dynamic walk, the function of time played a big role, which three days have passed since her death. It means that the time can be possible to recognize as it may ‘return again alive’. It makes us to think that they had a bare change for rebirth to the real world in that All YeoGwis were some years under the tomb until they appeared, because both the author and the readers don`t sympathize with the time. Second, the YeoGwi in 「Hasaenggiujeon」changed to the character who has many witnesses in the real world different with all YeoGwis in a while. It is a great change comparing with the characters who were finding the YeoGwis in a while were the existences in the next world but a hero. Majority of witness played a role as a witness who recognizes the YeoGwi to return to the real world. As a heroine could be recognized by them and married to a hero, she could live to reorganize her life completely for the real world. Third, the YeoGwi in 「Hasaenggiujeon」, her character changed to the character who built ‘the identical world’ where the people in the day could feel empathy. The reason why it was possible to be built the identical world is that the realistic problems between YeoGwi and a hero had the same characteristics. The realistic problem of YeoGwi was related with her father`s wrongful power. The YeoGwi could be reborn, after her father stopped his evil conducts. Her father made a habit of slandering and scheming in the Royal Court. We can review the messy political reality in the day by her father and the reality where the character couldn`t be hired like a hero, even though having the state examination for some years. The 「Hasaenggiujeon」got the truth out of its pending issue of the day, as the realistic problems of YeoGwi and a hero worked like igniting each other. This means that the role of the character, YeoGwi, changed to the dynamic character, unlike in the earlier work. Such YeoGwi`s character change has novelistic significant, because it was reflected the author`s sense of creation, who took an interest in the social function and a role of work of fiction. The two meanings are as follow. First, the YeoGwi of 「Hasaenggiujeon」is the character who tried to communicate between two classes-a class who has power, a class who doesn`t have power. The farther of YeoGwi did evil conducts by power. A hero couldn`t be appointed for the world due to such power, even if he was gifted. To be intervened in them by the theory of the fantasy world of the YeoGwi`s rebirth is a novelistic tool that covers a feud between the classes and makes them communicate. In addition, the YeoGwi intervened in communication between the classes when overcoming a conflict of marriage. The YeoGwi in 「Hasaenggiujeon」was not the character who got out completely of the fatalistic view of the world, but she was a character who tried to communicate reconciliation and equality awareness to the real world. Second, the YeoGwi in 「Hasaenggiujeon」played a meaningful role for getting out of a character in a literature space that was handed traditionally for generation. It was a tomb that led to the traditional literature space. The tomb in the works of previous generation was just the place where had the personal tragic history of the YeoGwis, not emphasizing on the realistic problems. It was the place of revealing YeoGwi`s regretful past that she went around as a lonely soul, painfulness of an unfulfilled wish and feeling of loneliness that she couldn`t have a relation even though being in the flower of her youth. On the other hand, the YeoGwi in 「Hasaenggiujeon」kept the social problems as a secret in the traditional tomb. As the character of the YeoGwi`s tomb changed, the circumstance of a hero changed to the space where showed the realistic problems. As reviewing above, the YeoGwi in 「Hasaenggiujeon」was reborn as the existence who explored the social problems setting the world where the person in the day could sympathize enough, and who didn`t tear anymore for a personal tragedy. The fact that the tomb where was bleak under a rainstorm and a bush changed to the place where had the realistic desires for power and veiled enmity and success and advancement is that she changed much to the realistic character of reflecting the reality in the day. It can be said that the change of YeoGwi`s character is to show the author`s sense of creation, who tried to put the reality on his work.