사관에서 작가로-1900년대 후반 개신유학자들의 소설 구상을 중심으로

구장률 한국문학연구학회 2009 현대문학의 연구 Vol.0 No.39

The purpose of this writing is to review a momentum and a process that the change of recognition on ‘a person who writes’ could appear while a fictitious value is adjusted, in the latter half of 1900s when a cultural system confirming a modern ‘writer’ started to form. The term such as ‘writer’, ‘works’ and ‘creation’ is a product of a literature and arts system that the modern age created. What makes new sentences was unfamiliar in the Confucian tradition, and it was necessary that the meaning of a novel or a falsehood is socially confirmed for appearance of a writer(a novelist) with a modern meaning. Since the Russo-Japanese War, the initial shape of a modern writer’s image started to appear as several forms. The renewed Confucians embodying Chinese literature among them started from a traditional denial theory of a novel. But while the modern pedagogy and overseas historical discourse are accepted, the educational utility of a novel was noticed to develop the national character. The thing that a critical discourse on ‘imperialism’ and ‘nationalism’ was translated around 1908 brought an important change in their novel conception. Especially, Shin Chae-ho encoded main contradiction of a reality as a problem of ‘empire-colony’ and discovered ‘race’ as a base of resistance, and the novel became one of strategic writing for restoring the national history. On the other hand, the process criticizing colony translation circumstances and a novel of Lee In-jik was connected to self-consciousness about what the history and novel are respectively deficient. As a result, the novel considered as the end stream of history was transposed as modern writing for realizing ‘the national character’. The falsehood considered as what distorts the truth in a Confucian world view receives a meaning that restores the national history and shows the national spirit. One type of a modern writer gauging novelization possibility of history could appear from a historiographer distinguishing right and wrong and recording the fact through this process. 이 글은 근대적 ‘작가’를 추인(追認)한 문화적 제도가 형성되기 시작하던 1900년대 후반, 허구의 가치가 조정되면서 ‘지어내는 것(作之者)’에 관한 인식의 변화가 나타날 수 있었던 계기와 과정을 살펴보는 것이 목적이다. ‘작가(作家)’ㆍ‘작품(作品)’ㆍ‘창작(創作)’과 같은 용어는 근대가 창출한 문학예술제도의 산물이다. 유가적 전통에서 새로운 문장을 만들어 낸다는 것은 낯선 것이었고, 근대적 의미의 작가(소설가)가 등장하기 위해서는 소설이나 허구의 의미를 사회적으로 인준 받는 과정이 필요했다. 러일전쟁 이후 근대적 작가상의 초기적 양상이 몇 가지 모습으로 나타기 시작했다. 그 가운데 한학을 체현했던 개신유학자들은 전통적 소설부정론으로부터 출발했다. 그러나 근대 교육학과 국외의 역사담론을 수용하면서 국민성을 계발하기 위해 소설의 교육적 효용에 주목한다. 1908년을 전후하여 ‘제국주의’와 ‘민족주의’에 관한 비판적 담론을 번역한 것은 이들의 소설 구상에 중요한 변화를 가져왔다. 특히 신채호는 현실의 주요 모순을 ‘제국-식민지’의 문제로 코드화하고 저항의 거점으로서 ‘민족’을 발견했고, 소설은 민족사를 복원하기 위한 전략적 글쓰기의 하나가 되었다. 한편 식민지 번역상황과 이인직의 소설을 비판하는 과정은 역사와 소설이 각기 결핍하고 있는 것에 대한 자각으로 이어졌다. 그 결과 역사의 말류로 치부되던 소설은 ‘민족성’을 실현하는 근대적 글쓰기로 전위되었다. 또한 유가적 세계관에서 진실을 왜곡하는 것으로 여겨졌던 허구는 민족사를 복원하며 국민정신을 감발한다는 의미를 부여받는다. 이러한 과정을 통해 시비를 가리고 사실을 기록하는 사관으로부터 역사의 소설화 가능성을 타진하는 근대적 작가의 한 유형이 출현할 수 있었다.

근대 초기 잡지의 영인 현황과 연구의 필요성

구장률 근대서지학회 2010 근대서지 Vol.- No.1

『학지광』, 한국 근대 지식 패러다임의 역사

구장률 근대서지학회 2010 근대서지 Vol.- No.2

낭객(浪客) 신채호와 정명(正名)의 문학-디아스포라적 위치성을 중심으로

구장률 ( Jang Yul Koo ) 민족문학사학회·민족문학사연구소 2010 민족문학사연구 Vol.44 No.-

The purpose of this paper is to explore the literary view and its meaning of Dan-jae Shin Chae-ho as a Diaspora. In the 1900s, Shin Chae-ho had led the modern transformation of literary novel; however, after the Japanese annexation of Korea, his position in the colonial Joseon literature became rather ambiguous. Still, Shin Chae-ho maintained the connection with Joseon literary circles after he had exiled to overseas. It is required to note that he sometimes actively intervened in the matter in Joseon literary circles. Danjae developed the literary views called `Jeong-myeong-lon(正名論)`, which can be translated as `honest and proud cause for the literature` theory. It was a response the aestheticism theory on the literature at the time. Being out of or at the border of Joseon, Danjae argued that there should be a `struggle between the ego (我) and non-ego(非我)` with literature. He thought that the literature can be understood as a format of art in accordance with modern classification of intelligence; however, he established that the `ontological value` and `ethic duty` should complement each other based on the thought of the ego. He also actively realized the `emancipating value` of the novel by anti-standard writings. The argument of Danjae shows the variation in the literary view before the annexation. The dominating view, which explains the history of modern literature focusing on the aesthetic autonomy, becomes unfamiliar by the argument of Danjae. In the time frame, Danjae`s literature exposes the connection between the two periods of `before the annexation` and `after the annexation`. In the spatial horizon, Danjae`s literature suggests that the modern Korean literature should also accommodate the Diaspora literature in other countries than Joseon and Japan.

논문 : "문학지(文學知)"의 번역, 이광수를 중심으로

구장률 ( Jang Yul Koo ) 민족문학사학회·민족문학사연구소 2011 민족문학사연구 Vol.47 No.-

이 글의 목적은 이광수의 문학론을 중심으로 ``식민지-제국 체제``의 지식 편제 속 에서 ``문학지(文學知)``가 번역되는 양상을 살피는 것이다. 문학이 근대적 제도의 하나라고 한다면 그것은 먼저 학제(學制) 및 지식체계의 변화와 연동하는 분과학의 성격에서 찾을 필 요가 있다. ``학지(學知)``는 분과학의 형식을 취하며 학문과 예술에 관한 지식체계인 근대의 학술지(學術知)를 뜻한다. 또한 ``문학지(文學知)``는 문학담론 가운데 문학 그 자체를 탐구의 대상으로 삼는 학지로서의 언술체계를 가리키기 위한 용어이다. 한국에서 최초로 문학지를 구성하고 파급하고자 했던 인물은 이광수이다. 이광수는 와세다 문학과에 재학하면서 근대 학지의 체계와 와세다 문학지를 본격적으로 수용했고, 「문학이란 하오」로부터 「문학강화」에 이르기까지 고등교육이 부재하던 식민지 조선에서 문학지를 구축하고자 했다. 이 과정에서 이광수는 와세다 문학과 교수들의 텍스트를 참조했으며, 문학지와 관계되는 학지 전체의 체계, 문학지를 구성하는 요소들, 문학개론과 문학사의 내러티브·수사·용어를 번역한다. 춘원의 번역은 지(知)의 제국이 경계를 넓히는 데 일조하는 작업인 동시에 식민지 에서 문학지의 균질성을 실현하는 작업이기도 했다. On the basis of Lee Kwang-Soo`s Literary Discourses, this paper aims at examining how ``Literary Knowledge(文學知)`` was translated under knowledge organization of the then colonial- imperial regime. If literature is seen as one of modern institutions, the reason has to be found in characteristics of disciplines in connection with changes in school system and academic system. ``Academic Knowledge(學知)`` in the form of ``disciplines`` means modern Academic & Aesthetic Knowledge(學術知) as knowledge system concerning studies and arts. ``Literary Knowledge(文學知)`` is a term indicating enunciation system as ``Academic Knowledge(學知)`` which is designed to explore literature itself among literary discourses. It was Lee Kwang-Soo who tried to construct and spread ``Literary Knowledge`` for the first time in Korea. While Lee Kwang-Soo was studying at literature department of Waseda University, he actively accepted a modern system of ``Academic Knowledge`` and Waseda style of ``Literary Knowledge``; and intended to construct ``Literary Knowledge`` in colonized Joseon in lack of higher education through numerous literary discourses ranging from 「What is Literature?;」 to 「The Reinforcement of Literature;」. During the course of this process, Lee Kwang-Soo referred to texts of professors at literature department of Waseda University; and translated the whole system of ``Academic Knowledge`` relative to ``Literary Knowledge``, elements constructing ``Literary Knowledge``, introduction to literature, history of literature, and relevant narrative, rhetoric, terminology, etc. Chunwon Lee Kwang-Soo``s translation was not only an effort of contributing to expanding the empire of knowledge but also an attempt to realize homogeneity of ``Literary Knowledge`` in colonized Joseon.

식민지시기 문학개론의 지형

구장률(Koo, Jang-yul) 국어국문학회 2012 국어국문학 Vol.- No.161

The purpose of this paper is to lay a foundation to understand characteristics of literary academism in the colonial era focused on magazines published between 1910~1945. Literature as a science is composed of two axes, the introduction to literature and history of literature, and this article tried to draw up a list of articles corresponding to the introduction to literature in the colonial period, which has not been organized systematically, yet, and to understand the topography. Introductions to literature were 70 pieces in total, which were found out of over 220 magazines. Among the, 3 pieces were published in the 1910s, and 17 were published in the 1920s, 47 were published in the 1930s, and 3 pieces were published from the1940s until national liberation. It was analyzed that the transition of change depending on periods is associated with educational polity and media environment, development of literary in itself etc. Among total introductions to literature, articles corresponding to general literary overview were 38%, essays on novels were 13%, poetics was 17%, essays on play were 6%, and general overview on Chosun literature was 26%. The figure who published the literary overview most was Lee Gwang Soo who graduated from the department of literature, Waseda University, and it was found that those who stood at the center of academism of higher educational institutions mainly wrote introductions to literature including Yang Joo Dong, Jeong In Seop, Choi Jae Seo etc. The magazines which published the introduction to literature most were Samcheonli, Gaebyuk, Chosun Mundan, and Sinsaeng. General magazines were played a key role in this over specialized literary magazines, and the introduction to literature was designed in order to popularize higher knowledge called literature in the colonial situation in which there were not many higher educational institutions as the study found.

논문 : 식민지 문화전략과 복고의 식민성 ; 이해조를 중심으로

구장률 ( Jang Yul Koo ) 민족문학사학회·민족문학사연구소 2012 민족문학사연구 Vol.49 No.-

이 글의 목적은 이해조를 중심으로 강제병합 직후 식민지 규율권력의 문화전략 일단을 살피는 것이다. 이 글에서는 이인직이 선취한 신문소설의 지향과 작법을 이해조가 공유했다는 관점을 취했으며, 도쿠토미 소호와 나카무라 겐타로를 통해 식민화 전략의 구체적 양상을 이해하고자 했다. 총독부는 언론 통폐합과 검열로 공론을 직접 통제하는 방법, 고등교육을 허가하지 않음으로써 식민지배에 대해 비판적 사유를 원천적으로 차단하는 정책, 유교의 도덕률을 복권시켜 자발적 동의를 구하는 가운데 신민(臣民)을 양성하는 전략을 시행했다. 『매일신보』는 이러한 문화전략을 실천한 핵심기구였으며, 초기 『매일신보』 소설연재를 전담했던 이해조는 정책입안자들의 구상을 크게 벗어나지 않았던 것으로 판단된다. 1910년대 이해조의 소설은 새로운 지식과 사상이 소거되고 충군애국의 신민의식을 내장한 복고의 양상을 보인다는 점에서 1900년대의 작품과 구별된다. 그런 점에서 이해조가 『매일신보』에 연재한 소설들은 결과적으로 식민화를 위한 부지불식간의 계도를 수행하는 효과를 산출했다. This paper aims to examine the interrelationship between colonial cultural strategy of the Japanese Government General of Korea and the case of reality of new-style novels focused on Lee Haejo. For this, we were to understand one aspect of the colonial cultural strategy through the directory of 『Mailsinbo』, Tokutomi Soho and the auditor, Nakamura Kentaro. Tokutomi Soho pursued literature of awakening the world which coincided with a direction proposed by 「Chosun Tongchi Yoeui」, and it is thought that as Nakamura Kentaro held real power of operating and editing who had inspected Korean newspapers even before Korea-Japan Annexation, he realized what had been designed before. Works of Lee Haejo who kept publishing novels serially in 『Mailsinbo』 right from the Korea-Japan Annexation are differentiated from works in 1900s in that they pursued sentimentalism and revivalism. The sentimentalism which urged Koreans to repent and reflect on themselves is combined with revivalism by proposing passive Confucian ethics as a way of salvation. Lee Haejo`s adaption of Korean old novels can be understood in the same context as revivalism of Ecriture pursued by 『Mailsinbo』 and 『Sinmungye』 etc. Popularity of the new novels was based on this sentimentalism and revivalism, and in particular, the colonial nature of sentimentalism is continued also in adapted novels of 『Mailsinbo』.

한국문학사의 쟁점 1 - 근대계몽기 ; 『제국신문』의 <서사적 논설> 연구 -사유 기반과 수사적 특성을 중심으로

구장률 ( Jang Yul Koo ) 한국문학연구학회 2004 현대문학의 연구 Vol.0 No.22

신소설 출현의 역사적 배경

구장률(Jang Yul Koo) 연세대학교 국학연구원 2006 동방학지 Vol.135 No.-

사관에서 작가로 -1900년대 후반 개신유학자들의 소설 구상을 중심으로

구장률 ( Jang Yul Koo ) 한국문학연구학회 2009 현대문학의 연구 Vol.0 No.39