金来成の新聞小説と京城の読者 : 「探偵小説家の殺人」から「仮想犯人」への改作を中心に

장인순 한림대학교 일본학연구소 2015 翰林日本學 Vol.0 No.26

日本{留学から朝鮮に帰国した金来成は、日本{の探偵雑誌『ぷろふいる』に発表した 二つの作品を朝鮮語で改作⋅翻訳して発表\している。一つは『朝鮮日報』に発表している「仮想犯人」で あり、もう一つは総合雑誌『朝光』に発表\している「殺人芸術家」である。探偵小説や新聞小説 のような小説をめぐって「純文学/通俗文学」の議論が行われていた中で改作⋅翻訳されたこの 二つの作品には、この時期に話題となっていた大衆文学に対する金来成の見解が反映されてい る。本{稿ではとくに新聞小説として改作⋅翻訳された「仮想犯人」に焦点をあてて、金来成が京 城の新聞読者のために原作をどのように改作したのかを通してその見解を分析した。翻訳作には 探偵小説としての位相にも変化が見られるが、本{稿ではとくにモダンな京城表\象の増加や恋愛 小説としての再構\成の部分に重点をおいた。 金来成は当時の新聞小説の読者層の趣向だけではなく、文壇の傾向をも把握した上で、翻 訳作に意識的に大衆小説的な要素を取り入れていた。 とくに、再構\成された恋愛小説には「長恨夢」をパロディ化した恋愛物語が挿}入されていた が、それは当時の恋愛小説のあり方と密接な関係があった。1930年代には李光洙の作品のよう に肉体的な恋愛より精神的な恋愛を強調する理想主義的で啓蒙主義的な恋愛を描いていた作 品が多く発表\されており、読者の反響を呼んでいた。尾崎紅葉「金色夜叉」の翻案作である「長 恨夢」は「金/恋愛」の葛藤物語として親しまれているように、通俗的な恋愛小説としてもよく知られ ていたが、純潔や純情を守る恋や博愛主義的な恋を強調する啓蒙主義的な恋愛小説としても 再構\成されていたので、理想主義的な恋を強調する他の小説らとともに当時の読者に読まれて いた可能\性がある。金来成が 「長恨夢」を朝鮮語作に取り入れていたのは、大衆性を確保する ためだけではなく、大衆的な恋愛観や啓蒙主義的な恋愛観が対立または混在していた朝鮮の恋 愛風俗(恋愛小説の様相)を風刺するためでもあったのだ。 After Kim Nae-sung finished his studies in Japan, he came back to Korea and published his two writings which he once printed in Japanese detective novel magazine Profuiru(Profile in English). The one was A Suspect(仮想犯人) that was published by the newspaper JoSeon Ilbo and another one was Artist and Murderer(殺人芸術家) published by the magazine JoGwang. The two writings which were translated in the time when the debate between pure literature and popular literature of detective novels and newspaper novels were being spread to public reflect the opinions of Kim Nae-sung on popular literature. This article especially focused on A Suspect (仮想犯人) which was translated as a newspaper novel, and analyze the thoughts of Kim Nae-sung by the method he used to modify the original writing into newspaper novel for the readers. The translated version showed the changes in the status of his writing as a detective novel, but the article concentrated more on the increased use of modern symbols of Gyeongseong and restructuring of the writing as a romance novel. Kim Nae-sung consciously added elements of popular novels in his adapted novel after he comprehended the taste of newspaper novel readers and the tendency of literary world. The fact that the adapted novel contains a love story which parodies ChangHanMong shows the close relationship with the aspects of mainstream romance novels. In 1930s, along with the writings of Yi Gwang-su, many writings which give emphasis on ideal and enlightening love that highlights spiritual love were published and popular among the readers. Although ChangHanMong which is modified version of Ozakikoyo’s Konzikiyasha is a popular romance novel that is well known for its story of conflicts on money and love, it is likely that it was read by readers with other writings that emphasizes spiritual and philanthropic love since it is revised as an enlightening novel. Thus, the fact that Kim Nae-sung added the elements of ChangHanMong in his translated version of his writing not only he wanted to have popularity, but also satirize the popular novels, specifically romance novels of that time which consists of a mixture and a conflict of common theory of love and enlightening theory of love.

투고논문 : 김내성의 신문소설과 경성의 독자: 「탐정소설가의 살인」에서 「가상범인」으로의 개작을 중심으로

장영순 ( Young Sun Chang ) 한림대학교 일본학연구소 2015 翰林日本學 Vol.0 No.26

일본유학을 마치고 한국에 귀국한 김내성은 일본 탐정소설잡지 프로필 에 발표한 두 작품을 한국어로 개작, 번역해서 발표한다. 하나는 조선일보 에 발표한 「가상범인」이고, 다른 하나는 종합잡지 조광 에 발표한 「살인예술가」이다. 탐정소설이나 신문소설과 같은 소설을 둘러싸고 「순문학/통속문학」논의가 활발히 전개되고 있었던 시기에 개작, 번역된 이 두 작품에는 당시 화제가 되고 있었던 대중문학에 관한 김내성의 견해가 잘 반영되어 있다. 본 논문에서는 특히 신문소설로 개작 번역된 「가상범인」에 초점을 맞추어 김내성이 경성의 신문소설 독자를 위해 원작을 어떻게 개작했는지를 통해 그 견해를 분석하고 있다. 번역작에는 탐정소설로서의 위상에도 변화가 있었으나, 본고에서는 특히 모던한 경성표상의 증가나 연애소설로서의 재구성 부분에 중점을 두었다. 김내성은 당시 신문소설의 독자층의 취향뿐만 아니라 문단의 경향까지도 파악을 한 후에 번역작에 의식적으로 대중소설적 요소를 첨가하고 있다. 특히 새롭게 재구성된 연애소설에는 「장한몽(長恨夢)」을 패러디한 연애이야기가 삽입되어 있는데 그것은 당시 주류를 이루고 있던 연애소설의 양상과 밀접한 관계가 있었다. 1930년대에는 이광수의 작품과 같이 육체적인 사랑보다 정신적인 사랑을 강조하는 이상주의적이고 계몽주의적인 연애를 그린 소설이 많이 발표되어 독자의 흥미를 끌고 있었다. 오자키코요의 「금색야차(金色夜叉)」의 번안작인 「장한몽」은 돈과 사랑의 갈등 스토리로 알려져 있듯이 통속적인 연애소설로서도 잘 알려져 있으나, 순결이나 순정을 지키는 사랑이나 박애주의적 사랑을 강조하는 계몽주의적인 소설로서도 재구성되어 있기 때문에 당시 정신적인 사랑이나 이상주의적인 사랑을 강조하고 있었던 다른 작품들과 같이 독자들에게 읽혔을 가능성이 있다. 즉 김내성이 「장한몽」을 번역작에 첨가하고 있는 것은 대중성을 확보하기 위한 것 뿐만 아니라, 통속적인 연애관과 계몽주의적인 연애관이 대립 혹은 혼합되어 있었던 당시 조선의 연애풍속(연애소설의 양상)을 「장한몽」을 통해 풍자하기 위한 것이었음을 알 수 있다. After Kim Nae-sung finished his studies in Japan, he came back to Korea and published his two writings which he once printed in Japanese detective novel magazine Profuiru(Profile in English). The one was A Suspect(가想犯人) that was published by the newspaper JoSeon Ilbo and another one was Artist and Murderer(殺人芸術家) published by the magazine JoGwang. The two writings which were translated in the time when the debate between pure literature and popular literature of detective novels and newspaper novels were being spread to public reflect the opinions of Kim Nae-sung on popular literature. This article especially focused on A Suspect (가想犯人) which was translated as a newspaper novel, and analyze the thoughts of Kim Nae-sung by the method he used to modify the original writing into newspaper novel for the readers. The translated version showed the changes in the status of his writing as a detective novel, but the article concentrated more on the increased use of modern symbols of Gyeongseong and restructuring of the writing as a romance novel. Kim Nae-sung consciously added elements of popular novels in his adapted novel after he comprehended the taste of newspaper novel readers and the tendency of literary world. The fact that the adapted novel contains a love story which parodies ChangHanMong shows the close relationship with the aspects of mainstream romance novels. In 1930s, along with the writings of Yi Gwang-su, many writings which give emphasis on ideal and enlightening love that highlights spiritual love were published and popular among the readers. Although ChangHanMong w hich i s modified v ersion o f Ozakikoyo’s Konz ikiyasha is a popular romance novel that is well known for its story of conflicts on money and love, it is likely that it was read by readers with other writings that emphasizes spiritual and philanthropic love since it is revised as an enlightening novel. Thus, the fact that Kim Nae-sung added the elements of ChangHanMong in his translated version of his writing not only he wanted to have popularity, but also satirize the popular novels, specifically romance novels of that time which consists of a mixture and a conflict of common theory of love and enlightening theory of love.

金来成の新聞小説と京城の読者 : 「探偵小説家の殺人」から「仮想犯人」への改作を中心に

張栄順 한림대학교 일본학연구소 2015 翰林日本學 Vol.0 No.26

일본유학을 마치고 한국에 귀국한 김내성은 일본 탐정소설잡지 프로필에 발표한두 작품을 한국어로 개작, 번역해서 발표한다. 하나는 조선일보에 발표한 「가상범인」이고, 다른 하나는 종합잡지 조광에 발표한 「살인예술가」이다. 탐정소설이나 신문소설과 같은 소설을 둘러싸고 「순문학/통속문학」논의가 활발히 전개되고 있었던 시기에 개작, 번역된 이 두 작품에는 당시 화제가 되고 있었던 대중문학에 관한 김내성의 견해가 잘 반영되어 있다. 본 논문에서는 특히 신문소설로 개작 번역된 「가상범인」에 초점을 맞추어 김내성이 경성의 신문소설 독자를 위해 원작을 어떻게 개작했는지를 통해 그 견해를 분석하고 있다. 번역작에는 탐정소설로서의 위상에도 변화가 있었으나, 본고에서는 특히 모던한 경성표상의 증가나 연애소설로서의재구성 부분에 중점을 두었다. 김내성은 당시 신문소설의 독자층의 취향뿐만 아니라 문단의 경향까지도 파악을 한 후에번역작에 의식적으로 대중소설적 요소를 첨가하고 있다. 특히 새롭게 재구성된 연애소설에는「장한몽(長恨夢)」을 패러디한 연애이야기가 삽입되어 있는데 그것은 당시 주류를 이루고 있던 연애소설의 양상과 밀접한 관계가 있었다. 1930년대에는 이광수의 작품과 같이 육체적인 사랑보다 정신적인 사랑을 강조하는 이상주의적이고 계몽주의적인 연애를 그린 소설이 많이 발표되어 독자의 흥미를 끌고 있었다. 오자키코요의 「금색야차(金色夜叉)」의 번안작인 「장한몽」은 돈과 사랑의 갈등 스토리로 알려져 있듯이 통속적인 연애소설로서도 잘 알려져 있으나, 순결이나 순정을 지키는 사랑이나 박애주의적 사랑을 강조하는 계몽주의적인 소설로서도 재구성되어 있기 때문에 당시 정신적인 사랑이나 이상주의적인 사랑을 강조하고 있었던 다른 작품들과 같이 독자들에게 읽혔을 가능성이 있다. 즉 김내성이 「장한몽」을 번역작에 첨가하고 있는 것은 대중성을 확보하기 위한 것 뿐만 아니라, 통속적인 연애관과 계몽주의적인 연애관이 대립 혹은 혼합되어 있었던 당시 조선의 연애풍속(연애소설의 양상)을 「장한몽」을 통해 풍자하기 위한 것이었음을 알 수 있다. After Kim Nae-sung finished his studies in Japan, he came back to Korea and published his two writings which he once printed in Japanese detective novel magazine Profuiru(Profile in English). The one was A Suspect(仮想犯人) that was published by the newspaper JoSeon Ilbo and another one was Artist and Murderer(殺人芸術家) published by the magazine JoGwang. The two writings which were translated in the time when the debate between pure literature and popular literature of detective novels and newspaper novels were being spread to public reflect the opinions of Kim Nae-sung on popular literature. This article especially focused on A Suspect (仮想犯人) which was translated as a newspaper novel, and analyze the thoughts of Kim Nae-sung by the method he used to modify the original writing into newspaper novel for the readers. The translated version showed the changes in the status of his writing as a detective novel, but the article concentrated more on the increased use of modern symbols of Gyeongseong and restructuring of the writing as a romance novel. Kim Nae-sung consciously added elements of popular novels in his adapted novel after he comprehended the taste of newspaper novel readers and the tendency of literary world. The fact that the adapted novel contains a love story which parodies ChangHanMong shows the close relationship with the aspects of mainstream romance novels. In 1930s, along with the writings of Yi Gwang-su, many writings which give emphasis on ideal and enlightening love that highlights spiritual love were published and popular among the readers. Although ChangHanMong which is modified version of Ozakikoyo’s Konzikiyasha is a popular romance novel that is well known for its story of conflicts on money and love, it is likely that it was read by readers with other writings that emphasizes spiritual and philanthropic love since it is revised as an enlightening novel. Thus, the fact that Kim Nae-sung added the elements of ChangHanMong in his translated version of his writing not only he wanted to have popularity, but also satirize the popular novels, specifically romance novels of that time which consists of a mixture and a conflict of common theory of love and enlightening theory of love.

金來成と日本の探偵文壇 -「探偵小說家の殺人」における演劇的要素をめぐって-

장영순 ( Young Sun Chang ) 고려대학교 일본학연구센터 2015 일본연구 Vol.23 No.-

探偵小說の父と稱される金來成は、植民地時代、日本の早圖田大學での留學經驗を有している。彼は、少年時代だけではなく、留學期の日本においても世界及び日本の文學や探偵小說を耽讀し、その造詣も深い人物である。そして、金來成は留學中に日本語作品「楕円形の鏡」を日本の探偵雜誌『ぷろふいる』に發表してデビュ-している。金來成の出發点とも言える日本の探偵小說界での經驗は、彼の探偵文學を理解する上で重要な意味を持っていると考える。本論文では、金來成の日本語創作「楕円形の鏡」や「探偵小說家の殺人」、そして初期評論を中心にして、それらのテクストに1930年代における日本の探偵小說界の話題がいかに書きこまれているのかを考察する。とくに「探偵小說家の殺人」における演劇というモチ-フに注目して、當時の探偵小說界で話題となっていた「本格/變格」論爭や、探偵小說におけるリアリズムに關する議論が、どのように描かれているのかを明らかにする。 Kim Nae-sung studied abroad at Waseda University during the colonial period. He had a profound knowledge about detective novels as he had enjoyed reading them in his youth and devoured Japanese literature and detective novels from all over the world during his studies in Japan. He made his debut as a writer in the Japanese literary world with his publication An Oval Mirror(1935.3) in the magazine Profuiru(Profile, in English). Thus, the experience of being in the Japanese detective literary world, which can be said to be the beginning of his career as a detective novelist, is very important for understanding his novels. This paper will contemplate how situations of the Japanese detective novel world were portrayed in the 1930s in his literature, focusing on An Oval Mirror, The Murder of a Detective Novelist(1935.12), and his essays. In particular, it will consider how the debate over [‘Honkaku(本格)’/ ‘Henkaku(變格’], or realism, which were hot topics within the Japanese detective novel world, is described focusing on “play,” the motif of the novel The Murder of a Detective Novelist. As reevaluation of Kim Nae-sung has been ongoing not only in Korea, but also in Japan, it is necessary to reconsider theories of his literature and his theory of realism.

金?成と日本の探偵文壇 : 「探偵小?家の殺人」における演劇的要素をめぐって

張?順(Chang, Young-sun) 고려대학교 일본학연구센터 2015 일본연구 Vol.23 No.-

探偵小?の父と?される金?成は、植民地時代、日本の早?田大?での留???を有している。彼は、少年時代だけではなく、留?期の日本においても世界及び日本の文?や探偵小?を耽?し、その造詣も深い人物である。そして、金?成は留?中に日本語作品「楕円形の鏡」を日本の探偵?誌ぷろふいるに?表してデビュ?している。金?成の出?点とも言える日本の探偵小?界での??は、彼の探偵文?を理解する上で重要な意味を持っていると考える。本論文では、金?成の日本語創作「楕円形の鏡」や「探偵小?家の殺人」、そして初期評論を中心にして、それらのテクストに1930年代における日本の探偵小?界の話題がいかに書きこまれているのかを考察する。とくに「探偵小?家の殺人」における演劇というモチ?フに注目して、?時の探偵小?界で話題となっていた「本格/?格」論?や、探偵小?におけるリアリズムに?する議論が、どのように描かれているのかを明らかにする。 Kim Nae-sung studied abroad at Waseda University during the colonial period. He had a profound knowledge about detective novels as he had enjoyed reading them in his youth and devoured Japanese literature and detective novels from all over the world during his studies in Japan. He made his debut as a writer in the Japanese literary world with his publication An Oval Mirror(1935.3) in the magazine Profuiru(Profile, in English). Thus, the experience of being in the Japanese detective literary world, which can be said to be the beginning of his career as a detective novelist, is very important for understanding his novels. This paper will contemplate how situations of the Japanese detective novel world were portrayed in the 1930s in his literature, focusing on An Oval Mirror, The Murder of a Detective Novelist(1935.12), and his essays. In particular, it will consider how the debate over [‘Honkaku(本格)’/ ‘Henkaku(?格) ’], or realism, which were hot topics within the Japanese detective novel world, is described focusing on “play,” the motif of the novel The Murder of a Detective Novelist. As reevaluation of Kim Nae-sung has been ongoing not only in Korea, but also in Japan, it is necessary to reconsider theories of his literature and his theory of realism.

김내성의 해방 후 작품에 관한 서지학적 정리 및 작가 생애 고찰

오혜진(Oh,Hey-jine) 중앙어문학회 2011 語文論集 Vol.47 No.-

Kim-nae-sung won the first prize in the mystery novel 〈The mirror of the circle〉 of the Japan’s magazine in the 1935th, and after year, he came back Korea, published 〈The woman of devil〉, and stood unchallenged in the mystery world. However after Korea’s liberation from Japan, he worked romance rather than mystery novels, tum out popular writers. This article focused on Kim-nae-sung’s life, in the literary circles and novels, essays, reviews, translations after liberation. And it added to a chronological listing of the Kim’s works. He very worked hard novels like that 〈The theater of the youth〉〈The human life pictorial〉〈The Lovers〉, and over 10 short-story, children’s fictions, essays. 〈The theater of the youth〉, he started in popular writer. This novel of Kim’s masterpiece were set in Man-ju, Japan and Korea in 1940th, and then was loved by a lot of readers and critics. It was variety characters, suspense structure and many events. Also, it was fresh because leaved a trace the author’s life. He wrote energetic novels, published essays concerned on mystery and popular literature his opinion for popular or young writers. But, he had a fit of apoplexy publishing the last novel 〈The star of Paradise lost〉, finally he died February in the 23rd, 1957Th.

식민지 예술가의 주변적 정체성과 모던 감성 개발 프로젝트 -김내성의 변격탐정소설 연구-

김지영 ( Chiyoung Kim ) 고려대학교 민족문화연구원 2017 民族文化硏究 Vol.77 No.-

이 글은 김내성의 변격탐정소설이 어떠한 시대적 환경과 조건 속에서 탄생하였으며, 공포를 쾌락화하는 이 같은 대중소설 양식이 식민지 후반 현실 위에서 어떠한 사회문화적 욕망과 정체성을 반영하고 있었는지 탐구했다. 김내성의 변격소설은 ‘예술’이라는 생경한 관념에 대한 근대 문인들의 오래된 갈망을 악마파/유미주의라는 문예사조의 재현을 통해 탐정소설의 문법 내부에 구현하려 했던 시도였다. 괴기적 소설 양식의 도입저변에는 세계적 시간성을 지시하는 카테고리로서 근대의 시대감각과 감수성을 자기화하고자 했던 자기교양화의 욕망이 잠재해 있었다. 잔인하고 무서운 사건과 어둡고 음울한 인간 심리의 접속을 통해 예술성을 추구하는 양식의 도입은, 그로테스크한 예술이라는 모더니티의 심연을 내면화함으로써 예술가 자신의 모더니티를 증명하려는 욕망의 산물인 셈이다. 그러나 이 모더니티는 그것이 ‘증명’되어야 하는 만큼 삶의 현실과 거리를 둔 것이기도 했다. 변격소설의 예술가 주인공들은 모더니티에 대한 강렬한 선망과 열정에도 불구하고, 진정한 모더니티의 주인공이 될 가능성이 제한된 식민지 청년이자 예술가들이었다. 살인까지 불사하는 사랑의 갈망과 강렬한 예술의 열정 이면에는 근대적 주체되기의 가능성이 제한된 식민지 청년의 조바심과 우울증이 숨어 있다. 이들에게 열정과 예술은 위기에 빠진 모던 청년의 주체성을 회복하고 우월성을 확인하는 유력한 통로였다. 정열적 연애와 악마적 예술은 스스로 가 닿을 수 없는 모더니티의 심연에 맞서는 무기인 동시에, 저열한 조선의 현실을 초월하는 도약의 지렛대인 것이다. 그러나 괴물성 자체보다 괴물성에 대한 강조가 전경화된 서사구조 속에서 독자 대중은 인간 내면의 불합리 그 자체보다는 불합리의 합리화를 공유해야 했다. 자아 내부의 타자성에 대한 자각보다는 괴기, 공포 예술을 합리화하는 논리가 전면화된 것이다. 청년 주인공들은 사랑에 빠짐으로써 모더니티가 약속하는 자유로운 사랑과 행복에 다가가려 했지만, 자유와 행복이 내재하는 무게와 책임을 감당하지 못했다. 변화를 감내하고 수용하며 끊임없이 새로워질 것을 요구하는 모더니티의 명령, 끝없는 자기혁신과 갱생의 의무를 이들은 이해하지도 수용하지도 못했다. 때문에 이들의 살인은 괴기적 예술성을 알리바이로 질투의 감정 속에 숨은 전래의 윤리의식을 표출하고 정당화하는 복수행위 이상이기 어려웠다. 모더니티의 절정에 도달하고자 하는 열정의 폭주는, 기실 재래의 윤리를 통해, 닿을 수 없는 근대라는 공포에 가하는 엑소시즘에 다름 아닌 셈이다. 근대가 지향하는 자유와 행복의 약속 아래 숨어 있는 자기갱생의 의무와 책임을 극한적 정념의 분출로 묻어버리고 유동하는 모더니티의 공포로 장악하려 한 위악적 태도를 통해, 변격소설의 주인공들은 스스로의 약점을 가리고 우월한 주체되기를 시도했다. 그런 점에서 변격탐정소설이 지향했던 공포의 예술성은 모더니티에 대한 동경과 두려움이 분열적으로 함께 거주했던 식민지적 주체성의 또 다른 발현이었다고 할 수 있다. This article examined what kind of environment and desire made it possible to give a birth of a collateral detective stories of Kim Nae-seong and what kind of socio-cultural meaning was cast on the reality of the later colonial period in Korea in which the emotion of fear had become one of a pleasure in the realm of popular literature. The novel of Kim Nae-seong embodied the old desire of modern literarians for the cosmological notion of 'art' within the structure of a detective novel by recreating the literary trend of diabolism. By introducing the style of horror novel, Kim described the young artists′ desire of self-cultivation for modernity to direct that they were accompanied by global temporality. The introduction of artistic pursuit through brutal and horrific events and through dark and dismal human psychology was a product of desire for the colonial youths to prove their ability to be a modern subject. The protagonists of those novel, who were described as young artists, wanted to internalize the profundity of the alleged modernity by proving their potential to draw grotesque art, which was considered as cutting edge of modernity. However, this modernity was far from the reality of their life as it had to be 'proved'. Despite the intense ambition and enthusiasm for modernity, the protagonists of Kim’s collateral novels were colonial young artists with a limited likelihood of being a true modern hero. In the passion of love and of intense artistic inspiration which was considered to be immortalized by murder, there were such emotion of impatience and depression of the colonial artists whose possibility to be a modern subject were highly limited to be realized. The intense passion which were formed into the art works were a viable pathway to restore the young artists′ subjectivity and to ascertain their superiority in crisis. However, in the narrative structure in which the emphasis on monstrousness was more prevalent than the monster nature itself, readers had to share the ‘rationalization’ of the irrationality rather than the irrationality itself.

번역과 번안 간의 거리

정혜영(Hye Young Jung) 한국현대소설학회 2010 현대소설연구 Vol.- No.44

In March 1939, Nae-Sung Kim presented Arthur Conan Doyle`s <The Speckled Band> as <Night Breed> with his name next to `adaptation`. This clearly defines the difference between translation and adaptation. Based on this, we can tell Nae-Sung Kim was a writer who was `aware` of the difference between `translation` and `adaptation`. His attitude appears in the mix of `word`use, such as translation and writing, but also organizes the chaos of `translation` for that age, which was not clearly stated. If so, did Nae-sung Kim`s adaptation work and the translated work had clear differences to fully admit this consciousness? The translations work of series of Sherlock Holmes, which were introduced to Korea during the colonial period, used a variety of language to state the status of translation but it was more like `adaptation`. Regardless of `paraphrase` or `literal translation`, it could not be accepted to Korea, during the colonial period, besides in the format of `adaptation`, rather than `translation` that emphasized the `excitement of original`. There were huge gap between modern science, modern cognitive structure, modern type of life and Korea, which could not be filled. A study was not done whether this kind of gap only appeared in the translation process of detective novel. When considering the characteristics of detective novels that were created from close association of modern science and logical reasoning process, it is clear that this kind of gap is seriously occurring more in detective novel.

1920~1930년대 아동문학 속 일상의 위기 - 방정환 · 이동규 · 김내성 작품 속 곡마단을 중심으로 -

금보현 ( Kum Bo-hyun ) 한국문학연구학회 2021 현대문학의 연구 Vol.- No.73

이 글은 1920~1930년대 아동문학을 중심으로, 곡마단이 작품 속 위기를 조성하는 소재로서 다루어진 양상을 살피는 것을 목적으로 한다. 이때의 위기는 아동의 일상에 균열을 일으키는 것으로, 개인의 영역에서 국가의 영역으로 확장된다. 곡마단은 아동의 일상 속에 틈입할 수 있는 이방인의 집단이자 유랑집단이었다. 그러나 1920년대 중반을 기점으로 곡마단이 인신매매와 아동학대 등의 범죄와 연루됨에 따라 곡마단은 화려한 스펙터클과 아동을 착취하는 범죄조직의 이미지를 동시에 갖게 되었다. 방정환의 <칠칠단의 비밀>과 이동규의 <곡마단>은 곡마단 내부의 비극을 현실속에서 벌어지는 실제 사건들과 엮어 그것이 특수한 것이 아닌 아동의 일상 가까이에 위치하고 있음을 경고한다. 김내성의 <백가면> 속 곡마단은 적국의 스파이로 이루어진 집단으로 이들은 아동만이 아닌 제국의 위기를 초래한다. 곡마단이라는 위장 신분은 아동으로 하여금 일상속에서 마주할 수 있는 적의 가면을 상상하게 하고 일상에 대한 경계심을 심는다. 방정환, 이동규, 김내성의 작품 속 아동은 자신을 대상화하고 억압하는 적들과 싸워야만 한다. 아동으로서 존재할 수 있었던 일상에 생긴 균열과 그로 인해 발생하는 위기에서 살아남기 위하여 아동은 부단히 투쟁할 수밖에 없으며, 균열에 대한 자각은 곡마단이라는 친숙한 집단에서 시작된다. 즉, 아동문학에서의 곡마단은 아동으로 하여금 개인과 국가의 위기를 자신의 삶과 엮어 쉽게 상상할 수 있게 만드는 소재이자 수단이었던 것이다. The purpose of this study is to demonstrate a depiction of the circus in the early 20th century Korea’s Children Literature. When authors use the image of the circus, they illustrate children as acrobats or audiences. In the early 20th century Korea, the circus was a group of strangers who were on tour around different places. Therefore, the circus was not integrated into Korean society. In addition, because of crimes occurred by the circus, such as kidnapping and human trafficking, the image of the circus had been tarnished. Bang Jung-Hwan’s “The Secret of the ChilChil-dan Gangster” and Lee Dong-Gyu’s “Circus” depict children protagonists as acrobats. Based on actual crimes, they use the child abuse by the circus as the motif for their books. These books emphasize a contrast between the spectacles on the stage and the despair behind the stage. With this method, authors break illusion of the circus and remind the real-life problems to children readers. In the case of Kim Nae-Sung’s “White Mask”, the children protagonists remain as audience members. They did not have to worry about the danger behind the stage. However, at the same time, Kim Nae-Sung did not use the circus as an method to escape from the reality. The circus members in his book were, in fact, the spies from foreign countries. Kim Nae-Sung let spies infiltrate Korea vis-à-vis methods of disguise. At this moment, children’s enemies were not just an individual spy. Their enemies were the countries behind the spies. In this way, the danger, depicted in “White Mask”, is directly related to children’s real life. In short, the authors of children literature use the motif of the circus to draw not only the danger of itself but also the danger of children’s lives. To overcome these dangers, authors of children literature encourage the children to fight against the enemy who wore a mask of the circus.

1930년대 식민지 조선의 소년탐정소설과 아동문학으로서의 위상

오현숙(Hyun Sook Oh) 한국현대소설학회 2013 현대소설연구 Vol.- No.53

This manuscript tried to establish newly the status of colonial ‘Children`s literature’ focused on boy detective novels created in 1930s. Until now, it is very rare to pay attention to the boy detective novels in 1930s. The geography of the boy detective novels created in 1930s would be possible to evaluate more evenly when Bang Jeong-whan`s decedents, Park Tae-won and Kim Young-soo`s newly reorganized trends are included together while not only a trend like Kim Nae-sung as colonial literature pointed by previous studies until now, but also the tradition of the children`s literature in 1920s targeted in this manuscript is inherited. To signify the boy detective novels as Children`s literature, it is to read them, not with western or Japanese detective novels` irregularity, but with intrinsic aesthetic qualification. Thus, this manuscript tried to light up the boy detective novels based on divided aesthetic understanding of the children`s literature. Specifically, the reason why adventurous factors are stood out in the boy detective novels was demonstrated to be an intrinsic phenomenon according to occurrence of the children`s literature and an historical evolution. And, aesthetic features of the boy detective novels were checked to be inherent featuresreflecting cognitive and psychological standard of implied readers called children, not to be artistic faults. Also, an inherent historical evolution of the boy detective novels has important meaning. The children`s literature in 1930s was developed after previous generation`s independent children`s literature and cultural traditions had been established. In this context, though the boy detective novels were flourished under the acceleration of a colonial system of empire, gaps of intrinsic literary tradition and ‘colony’ showed complex transformational aspects, not being domesticated easily into the regime. Park Tae-won embodied critical themes on ‘colonial mobilization of bodies’ for colonized Joseon boys. Kim Nae-sung exposed unstable imperial status under the acceleration of a war basis as compulsive and grotesque masculinity, and Kim Young-soo expressed backing of the crowd ‘outside’ of system under colonial domination order as being romantic within grammatical changes of the boy detective novels. These authors’ boy detective novels will be the concrete examples. These discussions of the manuscript evaluate inherent aesthetic features about the boy detective novels left vacant in history of the children`s literature until now. Also, these will provide some clues to settle down the formation of the children`s literature and evolutional courses. Moreover, rebellious features of the boy detective novels of Park Tae-won, Kim Young-soo, and so on inherited from Bang Jung-whan are expected to make general detective novels mainly which have been studied from the viewpoint of popularization discussed abundantly.