1960년대 패러디 소설의 반영론적 성격 연구 : 이호철과 박태순의 단편소설을 중심으로

이호규(Lee Ho-Gyoo) 중앙어문학회 2009 語文論集 Vol.42 No.-

This study focused on one of the characteristics of parody novels - reflection on realties. That is, it investigated the opinions of writers who reflected and criticized their contemporary realities or social aspects ideologically through parody novels. The purpose of this study was to reveal such characteristics of parody novels in the 1960s based on the short stories written by Lee Ho-cheol and Park Tae-sun and analyze their reality-reflective attitudes and inclination. Reading and analyzing appropriately the parody novels of Lee Ho-cheol and Park Tae-sun who have been regarded as prominent writers of the literature based on progressive and socially critical realism in the 1960s would broaden their literary domain and properly evaluate the diversity that their novels possessed. Furthermore, it would be able to firmly establish the grounds for the reality-reflective characteristics of parody novels in the 1960s. 「Tal-sayukja Hoeui (A Meeting of Post-breeders)」published in 1966 was a work with a noticeably sharp satirical spirit through a fable and clearly revealed the spirit of criticizing realities by Lee Ho-cheol who concentrated more than anyone else on social efficiency of literature. In「Jakka-jimang (a Desire to Become a Writer)」written Park Tae-sun, Lee Gwang-su appeared as a speaker and the work dealt with the relationship between Lee Gwang-su and Choi Seo-hae in the 1930s and showed the self-examination of what literary recognition and practice one should have as an intellectual and novelist. The first volume out of Park Tae-sun's「Samdu-macha(A Three-horse Carriage)」 series was the novel that parodied Heosaeng-jeon. He clearly showed that not an intellectual like Heosaeng but the mass of the people such as Oechon-dong people had strong vitality and its spontaneous and resultant will to reform realities. Moreover, he believed that the writer as an intellectual should depict the lives of people in general vividly and inform others of them and practice the literature, in which the writer should stay with people while being on their side and make efforts to create a society living together with them. The parody novels by Park Tae-sun once again conspicuously demonstrated that he clearly recognized writer's consciousness and his calling as an intellectual and novelist in the given period and society.

이광수와 나쓰메 소세키의 문학교육론이 지닌 근대성 비교연구

권혁건(Kwon,Hyuk-Gun),이호규(Lee,Ho-Gyoo),김주현(Kim,Ju-Hyun) 동북아시아문화학회 2011 동북아 문화연구 Vol.1 No.28

Soseki is representative novelist and theorists of Japanese modern literature, and Lee Gwangsoo (Lee) is known as person who opened doors to Korean modern literature. They are representing not only Korean and Japanese modern literature, but also Oriental modern literature. We focused on the early stages of their literary theories. As well, looked into their arguments based on their ideas of literary education in relation between literature and society. Although Soseki and Lee are both representatives of Korean and Japanese modern literature, we have found their literary theories to have contrasts, as well as undertoned ideal substance. Their findings show identical recognition in defining the workings of human mind as intellect, emotion and volition. Also, their thoughts on the realm of emotion is the characteristic of literature, and explained modern literature by drawing the concepts of rationality and truth. Soseki insisted literary art is not a simple skill; a literary artist could influence others due to their ideals that a literary artist is someone who has the biggest and highest ideals. Lee’s argument resembles Soseki’s argument. Lee contended literary art can be made simply with skill and endeavor. Only highly gifted artist can take charge of a growing self-regulating person who could lead society through literature. Soseki and Lee both, therefore, conclude the Occidental natural science (in other words, education that is logical and substantiate) is modern education, and upcoming Oriental new education need to take after. We found Soseki and Lee have contended education through literature that could produce self-regulating and liberal individuals based on the mentioned Occidental new education.

한무숙 소설의 멜로드라마적 성격 연구 - 〈석류나무집 이야기〉의 사랑의 형태와 의미를 중심으로 : 한무숙 소설의 멜로드라마적 성격 연구

이호규(Lee Ho-Gyoo) 한국문학회 2006 韓國文學論叢 Vol.44 No.-

This paper is to examine how the type, relationship, or meaning of love is described in A Story of Pomegranate Tree House in what kind of plot in order to show popularity and melodramatic characteristics of this novel, and investigate how the love among post-war younger generation is different from the previous age and what the author attempts to tell through love among post-war younger generation. The pomegranate tree house containing contrasting images such as elegance and stylishness and haunted house is a spatial background of this novel and a means of summarizing the destiny of characters vividly and intensively. Young people in this novel are all good. However, the novel follows popular matching plot in which everything is natural and smooth and even beautiful as it is, when good people meet their own Mr. or Miss Right. New history of love begins when tragic history of love and hatred of the previous generation is put to an end by younger generation. In this sense, the union of Young-ho and Sun-young follows the suit of the structure of main charactersin existing popular narratives. We can find a heroic aspect in Young-ho who has a new type of ownerconsciousness with willingness for a new life in the end, embracing pains of the previous generation and even the agonies of his generation. This novel is filled with delicate psychological descriptions of healthy love or romance of the younger generation in the 1960"s. This theme is clearly shown by popular plot, crossing or identification of space and destiny, and relative romance and matching of a good man and woman, that is, contingency in encounter and destiny of main characters having both ability and beauty, as well as happy-ending after overcoming hardships caused by tragic history in the previous generation.

하근찬 전후 소설에 나타난 기억의 복원과 확장

이호규(Lee Ho Gyoo) 한국문학회 2017 韓國文學論叢 Vol.75 No.-

하근찬의 6,70년대 문학의 원류는 “고향”과 “아버지”라는 공간과 주체이다. 그런데 고향이라는 공간은 일제 강점기와 한국 전쟁으로 이어지는 시간과 함께 놓여 기억 속에서 입체적으로 구축된다. 아버지라는 주체 또한 고향이라는 공간과 시대라는 시간과 함께 자리하면서 작가의 기억 속에 존재하는 이웃과 중첩되고 나아가 민중으로 확대된다. 이 글은 그의 등단작 「수난이대」가 발표된 1950년대 후반부터 1970년대 후반까지 하근찬의 단편 소설을 중심으로 아버지와 고향, 유년(아들)의 기억과 현재화라는 시공간적 체험을 통해 하근찬 문학의 근원을 탐색해보고자 한다. 하근찬의 6,70년대 대표작들은 대개 일제 강점기나 한국 전쟁 전후 시기 농촌을 배경으로 한다. 그런데 경상도 사람들의 사투리에 녹아 있는 전라도 사람들의 괴로움과 눈물의 이야기는 하근찬 문학이 갖는 보편성의 근원이자 특수성이며 힘이다. 좌익, 우익 그 어느 쪽도 아니었고 그저 평생 교직에서 충실히 모범적으로 살아온 아버지가 모략과 협잡 속에서 이념의 희생자가 되어 총살을 당한 모습은 그에게 당대를 어느 한쪽에 치우치지 않는 객관적인 시선으로 보게 하였다. 아버지에 대한 기억은 하근찬의 유년시절과 함께 한다. 아버지를 떠올림은 유년 시절을 기억하는 것이고 유년 시절은 또한 일제 강점기와 함께 존재하는 것, 일제 강점기 유년 시절의 기억을 소환하고 정리하고 성찰함은 어쩌면 그의 문학 여정에서 당연한 과제로 떠올랐을 것이다. 그는 아버지의 기억과 함께 일제 강점기 유년의 기억을 불러낸다. 하근찬은 일제 강점기와 한국 전쟁의 부조리와 상처가 여전히 현재형으로 남아 청산되어야 할 고통으로 존재하고 있음을 직시한다. 그것이 하근찬 문학이 과거형으로 머물지 않고 6,70년대 여전히 강력한 현실 비판적 힘을 지닌 이유라고 할 것이다. The origin of 60s’ and 70s’ literature of Geunchan Ha is the space of ‘hometown’ and the ‘main agent’, father. The space of hometown is place together with the time period of the Japanese colonial era and the Korean War and established three-dimensionally in memory. The main agent, father, is also placed in the space, hometown, and the time, the period, overlapped with the neighbors who exist in the memory of the writer, and expanded to the people. This paper focuses on short stories of Ha from the late 1950s, when ‘Sunaneedae’, the story he debuted with, was released to the late 1970s, and tries to explore the origin of Ha’s literature through the experience of spatio-temporal experience of father and hometown, the memory of childhood(son’s memory) and bringing it to present. The 60s’ and 70s’ representative works of Ha take as its background the countryside during the Japanese colonial era or post Korean War era. The agony and story of tears of Jeollado people that are melt in the dialect of Gyeongsangdo people are the foundation of universality, distinctiveness, and power of Ha’s literature. He was neither a leftist nor a rightist and got to see his father who lived his whole life faithfully as a teacher shot as a victim in slander and trickery. That made him look at the period in an objective way without leaning toward one side. The memory of his father stayed with Ha throughout his childhood. Remembering his father is remembering his childhood and his childhood exists with the Japanese colonial era. Recollecting and reflecting on the childhood memory during the Japanese colonial era may be the natural task in his literary journey. Along with his memory with his father, he brings back his childhood memory during the Japanese colonial era. Ha sees it through that the absurdity and wounds during the Japanese colonial era and the Korean War still remains as pain that should be overcome. That is the reason why Ha’s literature does not stay as something of the past and holds the strong critical power of the 60s and 70s.

어문학 : 전쟁 상흔의 현재성과 도시화의 그늘 - 김문수의 1970년대 단편 소설을 중심으로 -

이호규 ( Ho Gyoo Lee ) 조선대학교 인문학연구소 2016 인문학연구 Vol.0 No.51

소설가 김문수는 1939년 출생하여 2012년 사망하였다. 그는 1961년 <이단부흥>이 조선일보 신춘문예에 당선됨으로써 본격적으로 작가의 길을 걷게 된다. 특히 대표작이라고 할 수 있는 1971년 <증묘(蒸猫)>를 시작으로 1970년대에 다수의 작품들을 왕성하게 발표하면서 1970년대 대표적인 작가 중의 한 사람으로 자리잡았으나 동 세대 타 작가들에 비해 본격적인 연구는 거의 이루어지지 못했다. 본 논문은 1970년대 김문수 소설에 나타나는 인물과 역사적, 사회적 상황과의 관계를 습속-권력의 생산논리에 맞추어 분석하고자 한다. ‘주체는 다양한 양상의 습속 내지 배치를 통해 작동하는 권력에 의해 가공되고 생산되는 것’이라 할 때, ‘그 자체 균열된 채 존재하는 사회의 이질성과 투쟁, 개개인을 포섭하고 길들이기 위해 사용하는 다양한 강제와 통제, 그리고 그러한 강제와 통제장치를 통해서 작동하는 효과와 그 효과들의 통접적(統接的, conjonctive) 종합으로서 주체를 포착’하는 습속-권력의 패러다임 해석은 김문수의 소설을 분석하는 데 유효하게 작용하게 될 것이다. 이러한 작업을 통해 김문수의 소설 세계를 본격적인 연구의 장으로 끌어올리고 나아가 동세대 다른 작가들과의 비교 통합적 연구의 가능성도 타진해보고자 한다. 김문수의 1970년대 소설은 전쟁 기 유년기를 겪으면서 전쟁의 상처와 상실을 자신의 탓으로 여기도록 강제되어 1970년대 도시의 주변인, 소외된 자, 배제의 대상이 된 이들과 자본과 권력을 찾아 서울로 몰려든 산업화의 사생아들인 실향민 도시하층민과 자본과 권력에서 배제된 도시 빈곤층들이다. 그러한 사람들의 고통의 근원과 실태에 대한 천착은 자신의 세대적 경험을 통해 이루어진 것이라 할 수 있다. 김문수는 전쟁 전후 유소년기 경험을 바탕으로 가늠할 수도 제어할 수도 없는 거대한 이념의 대립과 그로 인한 전쟁의 광포한 재앙 앞에서 희생되는 동세대 인물들을 통해 사회적 분노심을 드러낸다. 작가는 어리고 무기력하며 그러나 순수한 인물들이 자신의 의지와 상관없이 사건에 휘말려 어처구니없이 당하거나 파멸하는 과정에 대한 분노를 냉정함 속에 감춘 채 보여준다. 그것은 평범한 대다수 피해자들의 상처가 개인의 운명, 무능력, 어리석음의 업보로 치부됨으로써 결국 현실에서 좌절하고 파멸하는 개인의 삶이 차별과 배제의 자본주의적 논리 속에서 소외되는 부조리한 현실의 강고함을 더욱 선명히 부각시킨다. 1970년대 서울에 정착하려고 아등바등하지만 결국 철저한 자본주의 논리 앞에서 무너지는 시골 출신 변두리 인생들을 다룬 작품이나 평범하고 소박한 일상의 꿈조차 현실에 의해 배신당하고 그저 자신의 무능력과 불운을 탓할 수밖에 없는 소시민을 다룬 작품에서도 부조리한 사회에 대한 냉정하지만 뜨거운 작가의 사실 주의적 필치와 비판의식은 분명하게 드러난다. Novelist Moonsu Kim lived from 1939 to 2012. He is one of the writers who belonged to the generation of the dark era. Though he had the fortune of not having to get Japanese education, born at the end of Japanese colonial era, his 20s was spent in the age of fight for freedom and reform, chequered with confusion from confrontation of ideologies after liberation from Japanese rule, separation of the peninsula, destruction and devastation from Korean War, 4·19 democratic movement and 5·16 military coup. Also, his 30s and 40s were the time of oppression from strong military dictatorship and social division due to pariah capitalism. This paper tries to analyze Kim’s novels of the 1970s focusing on characters through convention-power paradigm. If we understand an agent as something that acts through various conventions or deployment, or something that is produced or processed through power, the convention- power paradigm, which grasps an agent as a conjunctive synthesis of coercion, control, and the effects that arise through the tools of coercion and control, is a valid way to analyze Kim’s novels. The characters of Kim’s novels of the 1970s are the marginalized and excluded in the 1970s who were forced to believe the scars and loss war came from their own fault, the victims of industrialization who are the lower class citizens who flocked to cities seeking capital and power, and the urban poor that were excluded from capital and power. The writer’s inquisitive attitude toward the source and reality of pain that people were going through was gained from the experience of his own generation. Based on his postwar childhood experience, Kim expresses social anger through the immeasurably huge confrontation of ideologies and depiction of those who get sacrificed from the berserk disaster coming from the confrontation. The writer describes, hiding his anger behind cool-headedness, how young, powerless, but innocent individuals get involved in incidents regardless of their intention, and absurdly get destroyed and devastated. By describing the reality where scars of most victims are attributed to the fate, incompetence, and stupidity of the victims themselves, the stories clearly demonstrate the preposterous reality where individual’s life is alienated and ruined by the capitalistic logic of discrimination and exclusion. The novels depict marginalized characters who struggle to settle in their life of Seoul but get frustrated by strict capitalistic logic. These people have their plain and simple dreams tramped by cold reality but have no other way but to blame their own incompetence and bad luck. Through the illustration of these characters, Kim clearly reveals his realistic style and criticism toward the absurd society with cool head and warm heart.

욕망의 주체와 실천의 주체, 그 이중적 관계 - 유재용의 70년대 소설을 중심으로

이호규(Lee Ho-Gyoo) 한국문학회 2008 韓國文學論叢 Vol.49 No.-

  「The Life of Others」, published in 1973, describes the life of a young boy who lives a life of other person and even reproduces the man"s death when he dies. Unreasonableness of a subject of desires and another of realization as in 「The Relation」 is the theme of this work. 「The Servant」, published in 1977, as well represents desires of contemporary men through the conflict between a subject of desires and realization by the relation between the weird master and servant. These works well indicate what Jaeyong Yu"s works in 1970"s, at the beginning of his literature activity, were focused on, and that such interests maintained throughout the 70"s, not extraordinarily. By analyzing the link among the three works, we may find out and restore the characteristics of Jaeyong Yu"s works in the 70"s. Besides, works of Jaeyong Yu during his early years reflect his ontological confirmation and acceptance of his own destiny as a novelist.<BR>  The three novels of Jaeyong Yu in the 70"s feature the satisfaction of desires through borrowing Other"s body in the process that a man who has character and sexual disorder tries to fill his crooked desire, and that a paralyzed man who desires the normal life of a common person tries to satisfy the unethical desires. The relation between a master and the servant with money as the medium well shows how thoroughly human relationship can be vertically formed through money and the authority brought with money. In 1970"s, as the rapid industrialization and the American culture of capitalism were established in the Korean society, the insight of the writer on the relation between the master and the servant made with money indicates that the attribute of capitalism is reflected in the extreme inhuman relation of ownership.<BR>  The criticism of Jaeyong Yu on the ownership in the capitalized society with desires as the medium in 1970 can be applied, not only to the 70"s, but also to the modem day society, which is called the age of post-capitalism. Now that the capitalized ownership is regarded as common today, Jaeyong Yu"s novels in the 70"s ask whether such relation distorts the genuinely free human relationship, what is genuine resistance to us, what is resistance for upright human relationship in the capitalized modem society, and what is desirable relationship in the society that a resistant subject can create, requiring of us to realize the ideal relationship.

이병주 초기 소설의 자유주의적 성격 연구 -작가의식과 작중 인물을 중심으로-

이호규 ( Ho Gyoo Lee ) 한국문학연구학회 2011 현대문학의 연구 Vol.0 No.45

이병주 초기 소설은 1940년대 일제 말기 제국주의 전시 체제의 식민지 시기와 해방 정국 그리고 60년대 군부 독재 시기를 대상으로 자유주의 지 식인의 운명과 그 의미를 천착하고 있다. 식민지 일제 말기에 있어서 제국 주의 권력의 통치를 가능하게 하기 위해 조선인들의 삶을 포획하고 그에 특정한 형식을 부여했던 장치는 ``치안, 고쿠고(國語), 이름(창씨개명), 전쟁(징병 및 징용)이었다. 해방 정국은 극단적인 이분법적 선택을 강요하는 좌우익의 대립이 낳은 정치적 슬로건과 집회, 그리고 이데올로기의 강압 적 선택이었다. 5·16 군사 쿠데타 후 6,70년대는 반공 이데올로기와 천 민자본주의가 결탁되어 작동한다. 본 논문은 <소설 알렉산드리아>를 비롯하여 <마술사>, <예낭풍물지>, <변명> 등 1960년대에서 70년대 초기까지 이병주의 소설들을 대 상으로 하여 장치라는 개념을 사용하여 자유주의 지식인의 운명이 한국 현대사에서 어떻게 되었으며 그것의 의미는 무엇인지, 그들의 삶이 가지 는 과거와 현재의 의미는 무엇인지 살펴보고자 한다. 이병주에게 자유의 개념은 매우 중요하며 그의 글쓰기의 원천 및 주제 라고 할 수 있다. 그에게 자유는 곧 개인주의를 의미한다. 질곡의 역사를 지닌 한국 사회에서 자유주의적 개인주의자들이 어떤 희생을 겪으며 살 아왔는지에 대해 이병주는 다른 방법이 아닌 소설로써 드러내고자 했다 라는 사실은 그 역시 자유주의자이기 때문이다. 자신의 식민지와 전쟁 체 험을 바탕으로 한 구체적인 역사적 사건이라는 실제성 곧 리얼리티와 함께 그의 소설 전반에 나타나는 환상적 낭만성의 혼종은 닫힌 사회와 그 안 에서 사회적 개인으로서 역할과 의무를 다하면서 진정한 자유를 추구하는 개인주의자의 관념이 빚어내는 결과라고 할 수 있다. 그의 소설이 지닌 역사성 곧 실제성과 낭만적 관념의 개인은 충돌을 일으키는 것이 아니다. 지금 현재의 억압적 상황과 그러한 상황을 회피하지 않고 자유주의자로 서 한 개인의 삶이 오히려 보장되고 그러한 삶을 누릴 수 있는 사회를 꿈 꾸는 낭만적 자유주의자의 관념, 의지가 내포와 외연을 이룸으로써 한국 사회의 상황과 거대한 역사적 사건 속에서 희생당하고 억압당하며 소외 되어온 개인이 대비적으로 선명하게 부각되고 있다. Lee Byung-joo`s early novels inquired into the destiny and meaning of liberalistic intellectuals during the imperialistic war footing at the end of Japanese rule during the 1940s, the political situation after liberation, and the period of military dictatorship during the 1960s. At the end of Japanese colonial rule, some devices that captured the lives of the Joseon people and endowed specific forms matching their lives which enabled the rule of imperialistic power included ``public security, gokugo (國語), name (forced name change system), and war (draft and conscription). The political situation after liberation faced the forcible selection of the political slogan, rally, and ideology generated by the confrontation between the left wing and the right wing, which forced the extreme dichotomic selection. In the 1960s and 1970s after the 5.16 military coup, an anti-communistic ideology combined with pariah capitalism, and worked together. This paper aims at Lee Byung-joo`s novels throughout the 1960s to the early 1970s, such as <Magician>, <Yenang Pungmulji>, and <Excuse>beginning from <Novel Alexandria>, and to look into how the destiny of liberalistic intellectuals changed in modern Korean history, what its meaning was, and the past and present meaning of their lives using the concept, namely the device. To Lee Byung-joo, the concept of freedom is very important, and this may be the origin and subject of his writing. To him, freedom equals individualism. In Korean society, which has a history of ordeals, Lee Byung -joo tried to reveal what kind of sacrifice liberalistic individualists had experienced in a form no other than as a novel. This is because he was also liberalist. The hybridism of actuality that it is a concrete historical fact based on the author`s experience of colony and war, namely reality, and fantastic romance shown throughout his novels may be the result created by a closed society and by the notion of an individualist who pursues true freedom while being fully faithful to his/her role and duty as a social individual in that society. Historicity in his novel, that is, actuality, and an individual with a romantic notion do not conflict. The current suppressive situation and the notion and will of a romantic liberalist who dreams of a society in which the life of an individual is rather secured and that such a life may be enjoyed as a liberalist without avoiding such a situation forms connotation and denotation. In this way, there is highlighted the clear contrast between the situation in Korean society and an individual who has been sacrificed, suppressed, and isolated in huge historical incidents.

다이쇼 데모크라시와 한ㆍ일 근대 작가의 개인주의적 주체 비교연구

이호규(Lee, Ho-Gyoo),권혁건(Kwon, Hyuk-Gun) 한국문학회 2010 韓國文學論叢 Vol.54 No.-

염상섭(廉想涉, 1897∼1963)과 아쿠타가와 류노스케(芥川竜之介, 1892 ∼1927)는 근대 한국과 일본을 대표하는 작가이다. 염상섭은 1912년부터 1920년까지 8년간 일본에서 유학하면서 일본을 통해 서양의 근대를 받아들였다. 이는 곧 그의 문학 속에 그대로 투영되어 나타났다. 일본이라는 같은 공간, 다이쇼 시대라는 같은 시간 속에 있었던 염상섭과 아쿠타 가와가 당대를 어떻게 인식하고 받아들였는지를 근대적 개인의 관점에서 살펴보고자 한다. 아쿠타가와는 동양에서 근대화를 성공적으로 이룬 제국주의적 일본에서 근대적 개인이 겪을 수밖에 하나의 전형을 보여준다. 그는 철저한 개인주의자였다. 그런 반면 그는 ‘사회적 범절을 조소하면서도 그와 갈등을 일으키지 않는 것은 지혜’라고 보기도 했다. 그런 딜레마와 갈등 속에서 그는 다이쇼 데모크라시 시대 젊은 세대들이 보였던 순응주의 혹은 기회주의적인 세속성에 대해서 아이러니하게도 냉소적 태도를 취하게 되는데, 그것이 아쿠타가와라는 일본의 근대적 개인이 보이는 독특함이 자 보편성이기도 하다. 반면 일본에서 유학생활을 하면서 새로운 변화를 감각적으로, 그리고 인식적으로 받아들였던 식민지 지식인 염상섭은 그러한 조건 속에서 한국문학사에서 개인의 문제, 다이쇼 데모크라시 시대의 용어이자 염상섭 본인의 논문을 빌면 ‘개성’의 문제를 진지하게 드러냈다. 그 역시 아쿠타가와처럼 봉건성과 집단성 속에서 근대적 개인이 겪는 불화와 심각한 정신적 공황상태를 솔직하게 그려내는데, 그는 아쿠타가와와는 다른 행로를 보여준다. 그것은 아쿠타가와가 갖고 있었던 냉소를 갖지 못했고, 아쿠타가와가 갖지 못했던 부끄러움을 지니고 있었다. 식민모국 일본의 근대적 개인과 식민지 백성으로서 근대적 지식인이었던 조선 유학생과의 본질적인 차이였던 것이다. Yeom Sang-sup(廉想涉, 1897∼1963) and Akutagawa Ryunosuke(芥川竜之介, 1892∼1927) are representative Korean and Japanese writers. Yeom Sang-sup received the western modernity through Japan as he studied there for eight years between 1912 and 1920. This is shown in his literature. This study aims to look into how Yeom Sang-sup and Akutagawa Ryunosuke who were in the same place, Japan and the same time, the period of Taisho recognized their time from the modern individual perspective. Akutagawa Ryunosuke seems to show a model that a modern individual could not but experience in imperialistic Japan where the Orient made a success of modernization. He was a thorough individualist, and he ridiculed social manners while he considered not making trouble with it as wisdom. In the conflicts with such a dilemma, he was ironically cynical about conformism or opportunistic carnality young generations showed in the period of Taisho Democracy, which is uniqueness and university of Japanese modern individual like Akutagawa Ryunosuke. On the other hand, a colonial intellectual Yeom Sang-sup who accepted a new change sensuously and cognitively while studying in Japan shows the personal problem of Korean literature history, a term of Taisho Democracy period, or the problem of ‘individuality’ in his thesis. He also honestly expresses discord and serious mental panic a modern individual experiences in feudalism and collectivity, but he shows different way from Akutagawa Ryunosuke. He didn’t have Akutagawa Ryunosuke’s sarcasm and has shyness Akutagawa Ryunosuke didn’t have. That was original difference between the colonial country Japanese modern individual and Joseon student who was a modern intellectual as the colonial people.

막다른 곳, 땅 끝에서 삶은 새로 시작되다 : 전후 소설에 나타난 전쟁과 부산

이호규(Lee Ho-Gyoo) 동남어문학회 2008 동남어문논집 Vol.1 No.26

A life begins anew in a dead end, at the end of the earth. - War and Busan shown in novels after the Korean War. Dongnam Journal of Korean Language & Literature 26. How authors who are refugee themselves generally depict and illustrate Busan during the war? The loss of hometowns and settlements appear different according to the background or origin of the subject, namely, the hometown and hierarchical condition of the subject. This study aims to discover how these conditions appear in novels after the war, what the differences mean, and what meaning the place, Busan, has amid the differences. For Kim Dong Ri, Jo Yeon Hyeon, and others, the Busan-bound train or trip was a spiraling down of depression and despair, which was literally a refuge they could not but choose in hopelessness while losing their own residences. Therefore, the scene at the Busan Port looked extremely bleak in their eyes. Busan, immediately before the cease-fire, was described as an adequate place where the self-awareness and existentialistic nihilism of the author could emerge in ‘On a Raining Day’ by Son Chang Seob in 1953; thus, unrealistic despair and sad emotion appeared overly amplified. Despite the fact that Busan was a place where lives existed in an ordinary place, Busan was still an unfamiliar place to the author, and characters were adrift as if they felt like strangers there. This situation is described in ‘The Third Human Type’ by Ahn Soo Gil, announced in 1953 when the war was under suspension. Nevertheless, in ‘Talhyang (Escape from Hometowns)’ by Lee Ho Cheol, there is a point of reversal ironically changing direction completely at a time when Busan was perceived as a place of despair, which differentiates Busan in the book from Busan as described in other books. Now, displaced people perceived that they needed to be included within the realm of normal people as ordinary working people who transcended themselves as the Other. Busan was recognized as a new space and a new settlement. However, there is a possibility that Busan may be perceived only as a place of success for emigrants, who have by their wiliness and tricks cunningly adjusted to the trends of social conditions since Busan was a place where the snobbish and deteriorated pariah capitalism surged in the midst of the war. Busan was poised to be the new emigrant location while going through the post-war era, and it shouldn’t be overlooked that those emigrants gathered to form a single huge community.

특집논문 : "타자"로서의 발견, "우리"로서의 자각과 확인 -2000년대 이후 한국 소설에 나타난 조선족의 양상 연구-

이호규 ( Ho Gyoo Lee ) 한국문학연구학회 2008 현대문학의 연구 Vol.0 No.36