김태준(金台俊)의 학문연구 ― 일인학자 및 루쉰(魯迅)과의 학문적 교섭 = Kim Tae-Joon’s Academic Studies, the Japanese Scholars, and Lu Xun

다국어 초록 (Multilingual Abstract)

Kim Tae-Joon became interested in traditional Chinese literature and other fields of fiction and drama centered on poetry and prose as a student in Kyongsong Imperial University while he was attending the Chinese Fiction and Drama course taught by the newly-appointed professor Karashima Takeshi. Moreover, he felt responsible as a Korean for cultivating Joseon Studies (Korean Studies) in a stand against Joseon Studies by the Japanese, and began to study the history of Joseon fiction from his second year as an undergraduate. Kim also felt that it was his academic task as a Chinese literature major to import and introduce China's new literature. He put this task into concrete action by having A View of Chinese Literature after the Literary Revolution published serially in the Dong-A Daily News. Although it was commonly viewed to be based on a thesis called Modern Literature of China by Senuma Saburo, it became known that Kim referred to many different materials, as Kim himself revealed. Kim Tae-Joon referred to the writings of Japanese writers Senuma Saburo and Seiki Masaru,and to the thesis of Korean writer Jeong Rae-Dong. He also consulted various materials from China: the works of literatury history by Hu Shi and Tan Zhengbi; criticism of Chinese New Literature by Qian Xingcun(錢杏邨), Chen Yuan(陳源), Yu Dafu(郁達夫), Xiang Peiliang(向培良), and Li Helin; and the anthology of Guo Moruo. While it is true that Kim actively referred to the contents of Senuma Saburo’s Modern Literature of China, we need not state categorically that he based it simply on Senuma Saburo’s thesis from the fact that Kim assessed the flow of China's new literature as the stages of Literary Revolution→Revolutionary Literature→Proletarian Literature. It was natural that Kim, who inclined toward a class concept of history, would form the conclusions as he witnessed the Chinese literary scene after the formation of the Chinese League of the Left-Wing Writers. There is no need to presume any one influence since it was the common perception of Korea, China and Japan in understanding of China's new literature around 1930. Moreover, Kim Tae-Joon, while making sufficient use of the academic results of Japanese and Chinese scholars, made diligent efforts to make his studies his own from the perspective of national literature such as working on “Joseon in the Chinese New Literature movement.”Kim Tae-Joon did not feel the need to actively refer to Lu Xun's A History of Chinese Fiction since he had accepted the current view held by China's Left-wing Critics in considering Lu Xun's work as no longer valid, but we can surmise from several circumstances that he would have pored over the book to add depth and breadth to his understanding of Chinese fiction history.
As for the study of ancient fiction by Korea China and Japan, if Kim Tae-Joon consulted Lu Xun's A History of Chinese Fiction as Karashima Takeshi consulted Kim's A History of Joseon Fiction, we can take it to mean that Korea, China and Japan share the academic research results of East Asian ancient fiction, having followed a similar path of development. Kim's introduction of China's new literature and his narrative of the history of Joseon fiction was a work that amply absorbed the existing academic fruits of Korea, China and Japan. In particular, his A History of Joseon Fiction has a noticeable purpose of narrating within the entire composition of East Asian literature based on his understanding of the histories of Chinese fiction and Japanese fiction. To sum up, because Kim Tae-Joon's academic achievement has amply absorbed existing study results by China and Japan on a firm basis of his own system and contents, it is extremely significant in the aspect of academic exchange and discussion among Korea, China, and Japan.

참고문헌 (Reference)

1 朴在淵, "梁白華文集1" 지양사 1988

2 辛島驍, "魯迅追憶" 1949

3 辛島驍, "魯迅回憶" 北京出版社 1999

4 柳浚弼, "형성기 국문학연구의 전개양상과 특성 : 趙潤濟·金台俊·李秉岐를 중심으로" 서울大學校 大學院 1998

5 임형택, "한국근대의 ‘국문학’과 문학사 : 1930년대 趙潤濟와 金台俊의 조선문학연구" 민족문학사학회 (46) : 196-215, 2011

6 金台俊, "조선소설사(21)"

7 김태준, "조선가요집성" 도서출판다운샘 2007

8 김용직, "김태준평전" 일지사 2008

9 백영길, "김태준과동아시아문학― 중국현대문학론및延安行을중심으로―" 한림대학교일본학연구소 2 : 1997

10 김태준, "국문학자삶떨치고공산주의활동｣(발굴한국현대사인물80)"

11 潘建國, "馬廉的藏書及其小說研究" 2011

12 辛島驍, "金聖歎の生涯とその文藝批評｣: 朝鮮支那文化の硏究 (京城帝國大學法文學會第二部論纂第一輯)" 刀江書院 1929

13 金台俊, "金台俊文學史論選集" 現代實學社 1997

14 金台俊, "金台俊全集(1～5)" 도서출판보고사 1998

15 胡適, "白話文學史, In 胡適文集(8)" 北京大學出版社 1999

16 兪鎭午, "片片夜話"

17 梁白華, "文學革命에서 革命文學"

18 天台山人(金台俊), "文學革命後의 中國文藝觀 ― 過去十四年間(1∼18)"

19 辛島驍, "支那小說と奎章閣(上)" 朝鮮圖書館硏究會 1 (1): 1922

20 鹽谷溫, "支那中國文學槪論講話" 開明書店 1929

21 瀨沼三郞, "支那の現代文藝, In 大支那大系(第十二卷) 文學ㆍ演劇篇(下卷)" 萬里閣書房 1930

22 辛島驍, "支那の新しい文藝に就て" 1930

23 金台俊, "外國文學專攻의 辯(6)"

24 崔昌圭, "外國文學專攻의 辯(3)"

25 金台俊, "古典涉獵 隨感"

26 魯迅, "中國小說史略, In 魯迅全集(9)" 人民文學出版社 1981

27 魯迅, "中國小說史略" 學硏社 1992

28 金台俊, "(증보)조선소설사" 한길사 1990