이광수와 영문학 - 신문예로서의 조선문학 수립을 위한 춘원의 도정(道程)

정정호 중앙대학교 외국학연구소 2012 외국학연구 Vol.- No.22

Lee Kwangsu(1892-1950) is generally regarded as the first important builder of modern Korean literature in the early twentieth century. Lee's pen name was Choonwon which means a spring garden. Choonwon was a very prolific novelist as well as a most influential man of letters in various themes and topics. In the 1910's Lee entered Waseda University in Japan majoring in philosophy, but he was exposed to Western literature. Lee was keenly interested in Anglo-Saxons and their language and literature. The purpose of this paper is thus to discuss Lee Kwangsu's preference to Anglo-American literature in relation to his own literary career and his concern for renovation of traditional literature for new modern literature in Korea colonized by Japan. Lee's case for Anglo-American literature could be an antidote to Japanese language and literature under Japanese colonial rule. According to Lee, the strength of Anglo-Saxons is fourfold: their love and respect of freedom, practicality, gradualism and social responsibility. He believed the gist of Anglo-American literature is the common sense with balance and check compared with French and German literatures. Lee wrote several essays concerning the superiority of Anglo-American literature for the new modern Korean literature in the 1920's and 30's. Lee read a lot of Anglo-American poets, dramatists and novelists including More, Shakespeare, Milton, Wordsworth, Byron, Shelley, Longfellow, Arnold, Wilde, Hardy and Lawrence. Lee Kwangsu himself devoted himself to practicing English. He wrote several English poems and kept English diary. He also wrote some lengthy scholarly essays in English. He translated several poems of Anglo-American poets including Wordsworth, Emerson and Whitman in Korean. He also put some parts of Shakespeare's Julius Caesar and Harriet Beecher Stowe's novel Uncle Tom's Cabin into Korean. Lee Kwangsu extolled Korean people and culture in Grass Roof(1931), the novel written by the first Korean-American novelist Younghill Kang. Lee wanted to globalize the Korean literature by translating Korean literary works into English. Lee thought that the quality of Korean literature is never inferior to any Western literature. The themes of Korean literature could bring generality and universality to the world readers. He did never want to imitate the Anglo-American literature but recreate the new Korean literature in his historical sense. Lee is sure to have an innovative view of comparative literature in the global perspective.

논문 : 1920~30년대 한중(韓中) 현대시의 "모더니즘" 수용 양상 비교

이경하 중국어문학회 2010 中國語文學誌 Vol.33 No.-

Modernism has been formed as an opposition against Rationalism in the end of 19th century and a existing tradition and conventionality through the history of Western civilization that is the birthplace. However, Modernism in both countries took on a special aspect with a combination of the general aspect of the western literary and her own aspect and has been accepted by the unique cultural environment of Korea and China only over a decade, while the most trends of western literature that had formed and developed for many centuries. Modernism in the world of poetry of both countries could not but have an aspect different from western Modernism due to refraction that it has to be undergone by the main agent through the process of the acceptance. In Korea, Modernism has a refracted form in accordance with the characteristic of Japanese culture because most intellectuals in Korea didn`t accept it directly, but they did it when they studied in Japan as the children the middle class in colony. For example, `Anglo-American Modernism` is called `intellectualism` which means philosophy in Korea due to the japanese effect. However, in china, they showed a different aspect from Korea because a lot of students went to Europe and U.S.A. to study and they experienced their trend of literature directly. It minimized the refraction of the trend of western literature. On the other hand, Modernism leaned toward Symbolism but were indifferent to Futuristic relatively in the world of poetry of China because contemporary writers in China had a distance from their mental mechanism against Futuristic literature that denied traditional art and thought throughly that human being had made. The point that we have to investigate and reveal the truth carefully is we shouldn`t have to be based on and judge the western Modernism because Modernism of the both countries has a different cultural environment from the western one. Modernism has developed with a clear classification, Anglo-American Modernism and European Modernism in western, but there is no border in Korea and China. The contemporary poets in Korea and China had developed and produced their own Korean and Chinese Modernism that are mixed their wandering, disillusionment, and ideal under the gloomy political reality and western Modernism, symbolism, and traditional philosophy and literature. In other words, Modernism in the world of poetry of Korea and China does not correspond with the western one, but they have their own characteristic through the process of acceptance in their ways.

1950년대 시문학지 『신시학』 연구

우남희(Woo Nam-hee) 한국비평문학회 2021 批評文學 Vol.- No.82

본고는 1959년에 발간된 시문학지 『신시학』을 연구하였다. 『신시학』은 <후반기>로 활동했던 김경린을 비롯해 박태진과 김차영이 모더니즘 운동을 재개하기 위한 일환으로 발간한 시문학지이다. 이들은 변화와 발전을 거듭하는 현대시의 움직임에 발맞추기 위해 새로운 시를 실험할 무대를 마련하기 위해 『신시학』을 발간했다. 『신시학』은 김경린이 <후반기>가 해체된 이후 모더니즘 운동을 펼친 또 하나의 시도라 할 수 있기에 이에 대한 연구가 1950년대 모더니즘을 전체적으로 조망하는 데 필요했다. 이에 본고는 『신시학』 1집과 2집을 대상으로 『신시학』과 영미 모더니즘이 추구한 현대시와의 상관관계를 먼저 살피고 현대시의 실험 무대로서 『신시학』의 활동을 시청각적 감각의 융합을 통한 영상미의 구현과 일상 언어를 통한 시적 언어미의 구현으로 구분해 살폈다. 그 결과 영미 모더니즘 시인들이 감각의 융합을 통해 시적 현대성을 추구했다는 것을 알 수 있었다. 다음으로 당시 미국을 대표하는 시인인 칼 샌드버그와 칼 샤피로의 회견기를 통해 현대시가 현실의 문제를 주제로 일상어를 사용하며 민중의 삶을 형상화한 것이라는 것을 알 수 있었다. 『신시학』지에 실린 시작품에서도 영미 시인이 추구한 현대시와 같이 현실을 바탕으로 새로운 시대 감각을 위한 형식과 가치의 발굴을 이미지를 통해 실현하려는 노력이 담겨 있었다. 뿐만 아니라 『신시학』지에는 시인이 경험한 시대의 일상언어를 시의 언어로 사용해 극적 이미지를 구현한 것을 확인했다. 일상생활의 예민한 의식을 일상어를 사용해 표현함으로써 시인이 사는 시대를 표현하는 데 일조하고 있음을 확인했다. 한국 시문학사에서 누락된 『신시학』을 연구한 결과 『신시학』이 실험한 감각의 융합이 <후반기> 동인이 추구한 이미지의 조형성과 유사함을 확인했다. 그러나 <후반기> 동인이 현대 도시의 메커니즘을 노래한 것과 달리 『신시학』은 전후의 도시적 삶의 피로와 소시민의 삶을 노래했다는 점에서 차이가 있었다. 이는 현실 참여 문제를 제기하는 1960년대 모더니즘 시의 시적 특성과 더 가까운 것으로 『신시학』이 <후반기> 뿐만 아니라 1960년대 모더니즘의 특징도 내포하고 있음을 확인했다. 한국 시문학사에 있어 『신시학』에 관한 연구는 조형적 이미지의 구현 방식에 있어 『신시학』이 1950년대 초 <후반기>의 계보를 잇고 있다는 점을 확인했다는 점에서 의의가 있다고 본다. This study examined the 『New-poetics(Sinsihak)』, a literary journal issued in 1959. The 『New-poetics(Sinsihak)』 was a literary journal, which Kim Gyeongrin, Park Taejin and Kim Chayeong who acted as members of the <Hubangi> issued as a part of resuming the modernist movement. The reason why they issued it was to set the stage for experimenting new poems, to keep pace with the tendency of modern poetry which had been repeatedly changed and developed across the ages. The 『Sinsihak』 may seem to be Kim Gyeongrin"s another attempt to develop the modernist movement after the dissolution of the <Hubangi>, so the study on it was required to view the whole picture of the modernism of 1950s. This study, therefore, initially examined the correlation between the first and second series of the 『New-poetics(Sinsihak)』 and the modern poetry pursued by the Anglo-American modernism and then divided the activity of it as an experimental stage for the modern poetry into embodying the visual style via the fusion of senses and realizing dramatic aesthetics based on routine words. The findings show that Anglo-American modernist poets pursued the poetic modernity by embodying the fusion of senses. Next, it can be also found that the modern poetry gave form to the masses" life with its theme of real-life problems by using routine words, based on the interviews with Carl Sandburg and Karl Shapiro, the contemporary poets representing for America. The poems listed in the 『New-poetics(Sinsihak)』 involve efforts to realize the discovery of forms and values for new historic senses based on real life by using images, like the modern poetry pursued by Anglo-American poets. In addition, the 『New-poetics(Sinsihak)』 embodied the dramatic images by using the routine words in the age experienced by the contemporary poets as poetic ones. It is also found to contribute to expressing the age, as it expressed the sensitive awareness of daily life by using routine words. The 『New-poetics(Sinsihak)』 missed in the history of Korean poetic literature was examined to show that the fusion of senses experimented by it was similar to the formativeness of images, pursued by coteries of the <Hubangi>. Two groups, however, had a difference, in that the former expressed fatigue from urban life and the petty bourgeois"s life after the war, while the latter expressed a mechanism of the modern city. Such a tendency of the 『Sinsihak』 is closer to the poetic characteristics of the modernist poet of 1960s, which raised the question of participating in real life, so it might contain not only the characteristics of <Hubangi>, but also that of the modernism of 1960s. This study on the 『Sinsihak』 in the history of Korean poetic literature may has an implication, in that it verifies that the 『Sinsihak』 inherited the method for embodying formative images from <Hubangi> of the early 1950s.

영미 현대시와 동아시아 전통

장미정 ( Jang Mi-jung ) 영미문학연구회 2020 안과 밖 Vol.0 No.48

This paper reviews recent studies on East Asian influence on modern Anglo-American poetry and their responses to Edward Said’s critique of Orientalism. East Asian influence on modern Anglo-American poetry is a relatively lately established field of study. The study began with pioneering works by a number of distinguished scholars in the 1950’s and 1960’s, but it had not developed significantly until the 1990’s when groundbreaking researches began to appear. This paper explores three major approaches taken by different groups of researchers. The first is by the researchers with Western backgrounds. They seek to redefine Modernism (or modernisms) as an international, multicultural, and cross-cultural movement emphasizing the East Asian vein in it. The second is by those with East Asian backgrounds. While they are still interested in redefining Modernism, these critics tend to underscore the agency of East Asian tradition through which the movement was established. Thirdly, there are Asian American researchers who hold an ambivalent view on the legacy of the modernist orientalism. They contend that the legacy has become both a challenge to and an opportunity for emergent Asian American poetry. Most researchers question the relevance of Said’s critique of Orientalism to the field. While some are deadly negative, others hold skeptical views that Said’s criticism seals off the possibility of representing the Other. However, this paper argues that the Saidian critique does not necessarily negate East-West cultural exchanges and, as a conclusion, proposes that further investigations on this field will help develop new perspectives less prone to the critique.

영미 모더니즘과 흄

봉준수 국제언어인문학회 2008 인문언어 Vol.10 No.-

In spite of his fast-changing intellectual trajectories, T. E. Hulme (1883-1917) tends to be neatly labeled as a precursor of Imagism and Classicism (more precisely, ‘Classicist Modernism’) in many literary histories. This labeling helps literary historians place or demarcate Anglo-American Modernism conveniently in their historical narratives, but the convenience comes with a cost. For example, Hulme the Bergsonian disappears from the view even though his inadvertent Romanticism, as exemplified in his celebration of the French philosopher’s romantic concept of intuition, serves as one of the foundations of his poetic theory. Here, Hulme’s much anthologized essay “Romanticism and Classicism” is a case in point. Although it is often hailed as a seminal text of Modernism, it holds on to Romantic notions of poetry emphasizing individuality and subjectivity; the Hulme of “Romanticism and Classicism” is a transitional figure straddling Romanticism and what is to become Classicist Modernism. In fact, what has been rather uncritically viewed as Hulme’s Classicist and Imagist position is a faithful reflection of his age, and accordingly, he can be seen as a site in which the intellectual currents of the late nineteenth and early twentieth century collide, disappear and/or merge. As a whole, Hulme’s writings reveal how promptly he mirrors his turbulent and dynamic age rather than expressing his own original perspectives or individuality, whether philosophical or literary. It is precisely this lack of originality--“impersonality” if we borrow T. S. Eliot’s term--that makes him significant and ‘useful’ in delving into the dynamic nature of Anglo-American Modernism in its early phase.

Re-presenting the New Woman: A Study in Comparative Modernisms

장근영 한국동서비교문학학회 2004 동서 비교문학저널 Vol.0 No.11

My discussion of The New Woman includes three female precursors of Korean modernism, Hye Seok Na, Won Ju Kim, and Myung Soon Kim. Particularly, I center my study on Hye Seok Na's writings for comparative studies of modernisms between the East and the West. Curiously Mina Loy's poem "Parturition" (1914) finds an almost exact Korean counterpart in Hye Seok Na's (1921), and their poems are explored via comparative frames of modernisms. These female Korean modernists are located outside of traditional Korean patriarchy and go beyond this order by their radical writings and lives. Their modernism would be referred to as early modernism which is doomed to perish, while the modernism of 1930s (presumably a male-centered one) as high or full-bloomed one. Their failed modernism is intended to undermine patriarchy and its Confucian ideas. They are presenting themselves as the tripled others from Western, Japanese, and Korean patriarchy based on Confucianism. Showing a site of the confluence between the east and the west, their appropriation and deployment of Western discourse mediated by Japan are signifying the locus of transgression, subversion, and heterogeneity.

김기림 시론 연구 : 유기체적 세계관을 중심으로

주영중 한국시학회 2012 한국시학연구 Vol.- No.34

Kim, Ki-rim’s Poetics was set up Romanticism in a relationship oppositional. Nevertheless, his poetics were formed based on the theory of the organism that can be key element of Romanticism. This duplicity is somewhat ironic. Then we are necessary to take a look at the reasons and background the reason for why that the theory of the organism has been the foundation of poetics. This article is intented to understand the essence of his poetics based on organic theory. Kim, Ki-rim was always conscious of the organic relationship between the individual and the universal. He was planning of reason to incorporate organically, for example the synthesis of individuals and society, romanticism and classicism, humanity and intelligence, physical and intellectual, human and technical value, content and format, ideas and technology. Such a poetics of the Organicism was submitted through the 1930s. If that does not reflect heterogeneity and crack in depth, it will be an error that the theory of the organicism is discussed only in Pure poetics, Traditionalism poetics and Romanticism poetics or is dicussed only in Totalitarian poetics in connection with struggle to technique. 낭만주의와 대척적인 거리를 형성하고 있었던 김기림의 시론이 낭만주의의 핵심 요소라 할 수 있는 유기체적 세계관을 기반으로 형성되었다는점은 아이러니하기까지 하다. 그렇다면 유기체적 세계관이 왜 김기림 시론의 기저로 작용하게 되었는지 그 이유와 배경에 대해 살펴볼 필요가 있다고 판단된다. 이 글은 김기림 시론의 토대가 되었던 유기체론을 중심으로 그의 시론의 본질적인 측면을 새롭게 조명하려는 목적을 지니고 있다. 김기림의 시론은 부분과 전체과 부분과 부분의 유기적 관계에 대해 늘 의식하면서 전개했다. 개별의 보편의 관계를 정립하면서, 김기림은 움직이는 보편과 개별, 열린 보편과 개별의 문제에 천착하게 된다. 또한 그는 개인과 시대, 낭만주의와 고전주의, 인간성과 지성, 육체와 지성, 인간과 기술적 가치, 내용과 형식, 사상과 기술의 종합 등 이질적이고 대립적인 개념들을 유기적으로 통합하는 사유를 제출하게 되는데, 이와 같은 유기체시론의 전개는 김기림 시론을 관통하면서 30년대를 통해 지속적으로 제출된다. 김기림 시론의 이질적이고 균열적인 국면들을 좀 더 열린 사유 속에서 깊이 성찰하지 않는다면, 앞으로도 이러한 논의들은 반복적으로 재생산될 수밖에 없다. 이는 유기체 시론을 순수시론 혹은 전통 시론 혹은 낭만주의 시론과만 관계한다고 단정하거나, 김기림 시론에서 유기체 시론의 연속성에 있는 전체주의 시론을 기교주의 논쟁과의 연계 속에서만 이해하는 경우, 오히려 김기림 시론의 본질적 국면을 말해줄 수 있는 예외들 혹은 균열들을 제외하는 오류가 발생할 수밖에 없을 것이다.