안서 김억의 『동아일보』 소재 「花譜」 연구

김권동 ( Kim Kwon-dong ) 한민족어문학회 2021 韓民族語文學 Vol.- No.94

안서 김억의 『동아일보』 소재 「화보」에서 형상화한 꽃은 그 자신이 정서적으로 인식한 꽃이다. 그는 소위 시가(詩歌)라는 것과 민중의 거리를 알아보기 위해 실험적으로 「화보」를 시로 창작한다. 그는 민중을 이해하고 이에 따른 정서를 드러낼 詩形을 모색했다. 그의 「화보」는 민요의 정형성과 한시의 五言絶句나 七言絶句에서 찾을 수 있는 압운 형식을 결합한 詩形을 모색한 결과물이다. 즉 한 행이 음수율 7(4·3, 3·4)·5조를 바탕으로 하고, 네 행이 한 수(首)를 이루며 삼수(三首) 또는 사수(四首)가 한 편의 작품이 되는 시형을 고안한 것이다. 이것은 시에 대한 관습적 욕구와 시인이 지니는 개인적 자질에서 비롯한 것으로, 안서의 시는 구체성을 가지기보다는 관념에 머무르고 만다. 특히 상당 부분 꽃말(花語)의 의미를 염두에 두고 그것을 형상화하려 한 작품에서는 더욱 그러하다. 꽃말은 특정 지역에서 제도적으로 만들어지는 것이 아니다. 인류와 꽃 사이에 어떤 관계가 있는 곳이라면, 어디서나 꽃말은 자연스럽게 만들어진다. 안서는 당시 지식인으로서 민중의 정서를 이해하고, 그 정서에 맞는 시를 창작하려 했다. 그러기 때문에, 그는 대체로 민중들과 친숙한 꽃을 찾아 그것을 형상화하고자 했다. 안서가 「花譜」에서 언급하는 꽃은 매화를 비롯하여, 안즌방이(제비꽃), 진달래꽃, 배꽃, 싸리꽃, 아네모네, 사쿠라, 포도꽃, 해바라기, 아카시아, 냉이꽃, 살구꽃, 민들레, 박꽃, 벚꽃, 코스모스, 복숭아꽃, 마름꽃, 부평초꽃, 우엉꽃, 상사꽃, 나팔꽃, 작약으로 총 23종이다. 안서는 꽃의 관찰을 통해 그 정서를 노래하기보다는 이미 자신이 가진 꽃에 대한 태도로 창작에 임하기에, 「花譜」의 작품은 구체적 보편성을 가지지 못한다. 안서는 민중 속으로 들어가 그들의 노래인 민요를 이해하고자 한 것이 아니라, 민중 밖에서 바라보는 태도로 민요적인 시를 창작하려 했다. 꽃은 대체로 그 생태와 관련해서 이름을 갖는데 그가 「花譜」에서 다룬 꽃의 특성을 살피는 것은, 우리가 자칫 잘못 인식하고 있는 꽃 이름과 변별점을 찾는 작업이 된다. All poems appearing in Anseo Kim Eok's ‘花譜(Hwabo)’ show traces of creation with verse in mind. Like this, his poems, which he explores “the city is a cigar and the streets of the people,” have a negative and regressive aspect. However, this is the focus on finding our poems and our emotions according to them. Anseo Kim Ek-eok consciously sought to shape flowers into poetry through the series of “Pictures” of the “東亞日報Dong-A Ilbo”. In “花譜2” and “花譜3”, prose and poems are also published for “Plum blossom” and “violet,” and “azalea flower”. Through his prose, we can see how he perceives flowers, which does not deviate from the conventional perception of flowers generally known. This can also be confirmed through the ‘flower language’ that is sometimes revealed. In addition, poems from “花譜4” to “花譜23” are published. This effort to explore the “distance between the cigar and the people” eventually results in a “folk song poetry”. His “folk song poetry” devised a form of poem, centering on Articles 7(8) and 5, with four lines as one piece and three or four pieces as one completed individual work. Even in this case, the traces of efforts to apply the rhyme of the time can be confirmed. The work of grasping the meaning of the existing flower and imagining it as a poem cannot escape the concept. Above all, good works are not confined to good content in a good form, but in a dialectical relationship in which the form becomes the content and the content becomes the form. In this regard, it can be positively evaluated for Anseo's search for a form that fits our emotions. However, in that he wanted to limit the meaning of the existing flowers within the frame of the form of poetry he created, his poetry cannot escape the limit flowing into ideas.

近代詩의 剽竊과 模作 樣相 - 『東亞日報』 所載 「文壇探照燈」을 中心으로

김권동(Kim, Kwon-Dong) 한국어문학회 2020 語文學 Vol.0 No.147

A poem contains the poet"s original attitude and their will regarding the poetic object, and reflecting the poet"s sincerity. When the secular desire to focus on literature and to gain fame through one"s work precedes the desire to express the poetic experience, plagiarism or imitation works can be born. However, plagiarism and imitation works can be different depending on how the poetic transformation is done. Literature is like a mirror reflecting the times, reflecting the consciousness of the time. We always see the past from the horizon of "now-here". In other words, the text reads the past in the present situation, and in the process, "fusion of horizons" takes place. For this reason, the meaning of a work is bound to vary according to the times and the readers. Therefore, reading the "gap" between the past and present horizons is always productive. In this way, individual works in literary history exist not in the completion but in the process itself. As we have seen the Literature Searchlight(「文壇探照燈」) in the 1930s, especially in the Dong-A Ilbo(東亞日報), is a publication for exposing plagiarism. While there is room for reconsidering whether this column is intended by the editor, at the time, however, the Literature Searchlight(「文壇探照燈」) contributed to the popularization of literature by proving and reporting individual works. Through this, most of the works in newspapers and magazines are estimated to be plagiarism or imitation works. Of course, it is not easy to set strict limits between plagiarism works and imitation works, so it is not easy to strictly define them. If the rules for plagiarism are clearly defined, there is a possibility of intelligent plagiarism as far as it does not go against this rule.

1930년대 후반 「자화상」의 문학적 특성에 대한 연구 : 노천명, 서정주, 윤동주를 중심으로

김권동 ( Kwon Dong Kim ) 한민족어문학회 2008 韓民族語文學 Vol.52 No.-

김춘수의 명명의식과 언어유희를 통한 무의미시 연구

김권동(Kim, Kwon-Dong) 한국어문학회 2018 語文學 Vol.0 No.141

The human ‘naming’ consciousness has always existed for ‘calling’, and the semantics of naming is always a discourse based on the consciousness of ‘social man’. Through language, humans recognize and communicate each other’s existence, and move toward meaningful existence. However, because the language constantly slips, the sign and the phrase are not always matched. In this sense, the meaning of human language is shared for the reproduction of meaning. Because language expresses some thoughts, the language used is not always constant. And the reproduction of meaning is made from the change of relations. It has a concept in the language, but there is no concept in the cry of the cub. That is, it is hard to catch the concept about the cry of a baby bird with the human language, although there is a concept in language. However, if it looks at the possibility of a bird’s crying and the human language, it can be described to some extent. In this regard, this study examines the meaningless poems related with the linguistic play pursued by Daeyeo Kim Chun-su through a reflection on the name and its relationship. In other words, any object with a name is only a name revealed through a relationship, so it is possible to have any new name depending on what kind of relationship it has. By giving a name to an object, the general perception of the object can be defined by its given language. However, with the union of new relationships between objects, it can lay the foundations for a new awareness from the perception of the name. Recently, a series of phenomena around us have been adding complexity to the extent that we have not experienced before. This complexity has heterogeneous components, which leads to situations where the understanding of phenomena is limited only by the understanding of the characteristics of individual components. Therefore, unlike the existing approach of grasping the mutual impact of objects from individual components, that is, objects and expanding them all over, this paper provides a new method for understanding the relationships among objects and the impact of phenomena all over. The study proposes a method for approaching problems through relation to object, not object to relation and whole to part, not part to whole through the perspective change.

『님의 침묵(沈默)』의 역설, 그 여운으로서의 시학

김권동 ( Kwon Dong Kim ) 반교어문학회 2008 泮橋語文硏究 Vol.0 No.25

戰時 大邱 詩壇 硏究

金權東(Kim Kwon-dong) 동아인문학회 2014 동아인문학 Vol.27 No.-

문학작품은 어느 시대를 한정하여 생산되는 것도 아니고, 한정하여 어떤 결론을 도출해낼 수 있는 것도 아니다. 그럼에도 불구하고 본고에서는 1950년 6?25전쟁 당시 대구에서 발행한 시인들을 중심으로, 시인들이 시 창작에 임하는 문학적 태도를 살펴보고자 했다. 그것은 전쟁이라는 참혹한 상황에서 시인이 노래하고자 한 것은 무엇인가를 밝히기 위함이다. 이에 따른 시인들이 태도는 크게 두 부류로 나눌 수 있었다. 먼저 전쟁이라는 참혹한 현실 속에서 끊임없이 자아를 밖으로 드러내고 그것을 합리화하기 위한 수단으로 시를 이용한 시인이 있다. 이 경우에는 자아를 이념적으로 외화한 것이다. 그리고 시를 통해 끊임없이 자신의 내밀한 세계를 찾고자 하는 시인이 있는데, 이 같은 경우에는 시 자체가 하나의 목적이 된다. 전자의 경우에는 시인으로서의 전사의 면모를 가지고, 후자의 경우에는 전사로서의 시인의 모습을 갖추고 있다. Poets struggle to be liberated from the existing and conventionalized language. This tendency originates from one of their dispositions, which is the spirit of denial and also related to their creative minds. By giving a new order to words, they breath life to a language. Using combined words and images, they integrate logos, pathos and ethos. That integrated expression as existence itself might be called ‘one’ when it is meant to be represented as something beyond the definitive. But their ultimate goal leads to a controversial point that is about ‘poetry as a means or poetry as an end’. Daegu in 1950"s was a refuge where so many poets came in and out as the tide, and this essay examines common views of the worlds mainly in poetry collections published by literary circles of Daegu in 1950"s. The essay divides the views into two groups of poems written by poets who related to the army and those who did not. Some poets who were subordinate to the army used their poetry as a means, while other poets who were not wrote it as an end itself. Since the wartime, our literary landscapes have been changed. Today some of poetry magazines are launched and some discontinued. But the literary means like e-books instead of paper books require that poets need warrior-like attitudes to overthrow existing forms. He who pursuits his literature for the constant self-transformation must be a poet on the way to the literature not as a means but as an end itself.

李相和의 「逆天」에 대한 해석의 일 방향

김권동(Kim, Kwon-dong) 우리말글학회 2013 우리말 글 Vol.57 No.-

이 연구는 시인 이상화 스스로가 대표작으로 밝힌 작품으로 알려진 「逆天」에 대해서 해석학적으로 살펴보는 것을 목적으로 한다. 어떤 자료를 선택하는 것 자체가 해석학의 출발이 되는 것인데, 작품을 더 잘 이해하기 위해서는 작가 연구가 필요하고, 작가 연구를 위해서는 작가와 관련한 어떤 자료도 소중한 것이다. 「逆天」에서 ‘초가을 열나흘날밤’이라는 구절을 통해 이 작품이 창작된 때가 1934년 8월 14일(양력으로 9월 22일)이라는 것을 밝히고, 이를 통해 구체적인 사건을 추정·제시하였다. 이 당시 일본에서는 태풍 피해가 극심했던 반면, 조선에는 피해가 없을 것이라는 기사를 찾을 수 있었다. 이를 바탕으로 이상화의 「逆天」은 인간의 존엄성을 바탕으로 한 인간주의 문학이라는 것을 밝히고자 한다. 아울러 逆天에 나타난 ‘하늘’의 의미를 살펴보고자 한다. 동양에서 자연은 서양과 달리 생활화된 자연, 곧 ‘주체화된 자연’이다. 그렇기 때문에 자연이나 인간은 동일한 도를 지니고 있어서 서로 대등하게 만나는 것이다. 이상화의 「逆天」에 나타난 ‘하늘’은 동학에서 말하는 ‘한울’의 의미와 맥락을 같이한다. 특히 이 작품이 창작된 시기를 추석 전날 밤으로 추정한다면, ‘역천(逆天)’은 그야말로 하늘을 배반하는 일이 된다. 그것은 자연 재해로 말미암아 천지의 곡식을 잃어버렸기에 “하늘이 사람배반하는줄알었”던 것이다. 이에 사람 또한 한울을 섬기지 못하고 약탈하는 실상, 즉 “사람이 하늘을 배반하는줄도” 알게 되는 것이다. In this thesis, a hermeneutic study will be made of Lee Sangwha"s “Against the Heaven( 『逆天』)”. This poem is known for his representative poem that he claimed it was. Choosing a material means the beginning of a hermeneutic work, and a poem"s theme can be discovered by evidences a poet leaves. By revealing the sense of a poet not viewed fully, it may be expected that an prospect of analysis will be enlarged in this process. The phrase ‘Night of the Fourteenth, in Early Autumn’(‘초가을 열나흘 날밤’) in “Against the Heaven” makes it clear that Aug. 14th, 1924(Sep. 22nd in Solar Calender) was the time when Lee Sangwha wrote this poem. According to a report about that time, Japan was damaged critically by typhoon then, while Joseon wasn"t. Any proposition by using a specific incident is assumptively possible. Therefore, on the basis of this proof, “Against the Heaven” can be interpreted as a humanism literature for aiming the coexistence of mankind and improving its welfare based on human dignity. Living a poet might mean seeking for the poetry wandering all his life. On his way, it"s not an easy business for him to define a poem his poetics is reflected by. However, it"s an approach to his original intention to deduce a poem"s meaning accordant to his poetic theory and put an construction proper for the poem. In a hermeneutic conclusion about Sangwha"s “Against the Heaven”, it may be regarded as a practice of social conscience based on kindness in humans.

李相和 詩에 나타난 ‘목거지’와 ‘하늘’ 관련 詩語의 意味 究明

김권동(Kim, Kwon-dong) 한국어문학회 2016 語文學 Vol.0 No.133

Men are affected by their life and the prevailing way of thinking, in which language plays its great part. Especially everyday language originating in daily life has considerable relations with poetic language for personal expression. However, there is a definite difference between using everyday language and poetic words. From this view of point, some of significant poetic words used in Lee Sang-hwa’ poetry need to be explained. The purpose of this study is to examine the meanings of ‘Mokgeoji(목거지)’ and poetical words related with ‘Haneul(하늘)’ in Lee Sang-hwa’ poetry. Firstly, for ‘Mokgeoji’ used in Lee Sang-hwa"s works, it is not easy to find its examples in his translations including his prose writings. Only it is possible to find similar words to ‘Mokgeoji’ in 「艶福」 into which he translated 「Bel-Ami」. Therefore, by discussing whether ‘Mokgeoji’ and its similar forms can be considered to express the same meaning, this study hopes to advance the existing views further. Additionally, each of the poetical words related with ‘Haneul’ written differently, their meanings are required to be examined. For Lee Sang-hwa’s ‘Haneul,’ he delivers the range of its various images from something of the natural or the emotionally experienced by him to something of the absolute. Being in troubles of his reality, he seems to try to present new positive visions through negative ways. In conclusion, experiencing everyday language’s limitation, it is by poetic words that by using his own language, a poet like Lee Sang-hwa plans different worlds and dreams of new words through the niche everyday language cannot fill in. Therefore, understanding poetic words will help readers look into the poet’s attempted words and further offer beginning of understanding his works.

현대문학 : 이용악의 「오랑캐꽃」에 대한 해석의 일 방향

김권동 ( Kwon Dong Kim ) 배달말학회 2015 배달말 Vol.56 No.-

이용악의 「오랑캐꽃」은 북방 오랑캐의 혈통이나 관습과는 전혀 관계없는 야생의 꽃인 ‘오랑캐꽃’을 상으로 시적 형상화를 한 작품이다. 시적화자는 오랑캐와 오랑캐꽃을 동일 선상에 놓고 그 의미를 역사적으로 조명한다. 역 사적으로는 전혀 관계없는 사실임에도 불구하고 시적화자는 오랑캐의 변발 과 오랑캐꽃의 형태의 유사성으로 말미암아 우리 민족의 모습과 비됨을 보여준다. 1연과 3연의 오랑캐에 한 인식은 서로 다른데, 1연에서 오랑캐 는 다소나마 연민의 정을 가진 것으로 보이지만 3연에서는 오랑캐에 한 인식은 부정적이다. 아울러 1연에서는 집단의 이야기를 전하는 방식으로 서 술자의 소망하는 반하고자 했다면, 3연에서는 독백체를 취하며 시적화자의 감정을 그로 노출하고 있다. 이러한 인식의 경계에 2연이 있는데, 회상 이나 추정을 하는 방식으로 세월의 흐름을 공간적으로 잘 드러낸다. 오랑캐 라는 이름은 시간이 지남에 따라 그 의미가 얼마든지 바뀔 수 있는 것이다. The purpose of this study is to discuss Lee Yong-ak``s poem "Orangkaeggot" regarding the ecology of the violet and the poetic words used in the poem. In this poem, he achieves the poetic imagery, which takes the deep likeness to the ecology of the flower, especially after its seedpods burst. The violet is self-pollinating in its buds by becoming cleistrogamous under the clement condition, though it usually gets pollen from other violets and succeeds in pollinating. Like this, on the base of the similarity that the flower looks like a barbarian``s pigtailed style in its shape as well as the fact that it bursts its seedpods in autumn, he acquires rich expression of its narrativity and lyricism with the ecology of the flower and its narratives overlapped in the poem. In "Orangkaeggot," he uses not only the resemblance between a barbarian``s pigtail and the flower``s appearance - which is irrelevant to any historical background - but he presents also the contrast between the flower and the Korean nation. In the first and third stanzas of the poem, he shows his different senses about barbarians; in the first stanza it seems that he bears some slight sentiments of pity toward them, whereas in the third stanza he alludes his negative view about them. For a borderline of these two different attitudes there is the second stanza placed, in which he succeeds in expressing the passing of time by the poetic method of reminiscence or presumption and spatially. Thus, in "Orangkaeggot" he deals with the wild flower named ``orangkaeggot`` but irrelevant to any northern barbarians by blood or in customs, and he reaches its own poetic figuration.

黑鷗 韓世光의 시 연구

김권동(Kim Kwon-Dong) 한민족어문학회 2010 韓民族語文學 Vol.0 No.56

지난 2009년 흑구 한세광 탄신 100주년을 맞이하여 ‘흑구문학상’이 제정된 일은 의미 있는 일이지만 그의 시나 소설에 대한 본격적인 연구가 없었던 것은 안타까운 일이다. 최근 그의 문학선집이 나오긴 했지만 여전히 보완해야 할 부분이 많다. 본고에서는 한흑구의 시를 통해 그의 문학적 자취를 살펴보는 것을 목적으로 한다. 한흑구 시의 특성은 방랑을 통한 낭만의 꿈과 그 인생철학의 반영이라 할 수 있다. 필자는 1930년 6월에 『우라키』에 발표된 「그러한봄은?왓는가」라는 작품을 그의 최초의 작품으로 추정하고, 1940년 6월에 『시건설』에 발표된 「冬眠」이라는 작품이 그의 시로서는 마지막 작품인 것으로 추정한다. 그러면서 그가 더 이상 시를 쓰지 않은 것에 대해 논의한다. 한흑구는 “시는 문학의 모체”라고 밝히고 아울러 “수필은 시의 정신으로 창작되어야 할 것”이라는 것을 강조한다. 이것은 그의 문학 속에 시 정신이 내포되어 있음을 의미한다. 따라서 수필을 통해 그의 시 정신을 살펴보는 것은 오늘날과 같은 산문의 시대에 수필과 시의 관계를 밝히기 위한 근거를 제시할 수 있다. It is of significance that the first Hukgu Literature Prize has been presented to celebrate a centennial anniversary of Hukoo(흑구黑鷗), Han SeKwang(한세광韓世光)'s birth. However, it is a pity that any earnest studies on his novels or poems have never been made. For instance, although his literary miscellany has been recently published, it still need supplementing in many parts of its. Therefore, this study on Han Hukoo's poetry is to search his literary traces left through his poems. Romantic dreams were sung in his poems through his vagabond life. On my presumption, the poem like "Has such spring came again?" published on Uraki in June, 1930 was his first work and "Hibernation" on The Construction of Poetry (『시건설』) in June, 1940 was the last one he had ever written. He does not only say definitely "poetry as the parent of literature," but he also emphasizes that "essays should be written in the spirit of poetry." This means that the poetical spirit is implicated in his literature. Therefore, by looking into his spirit of poetry left through his essays we are able to indicate an important foundation, under which the relation between poetry and essays can be explained in the era when prose prevails like today. In addition, when a completed edition of Han Hukoo's works is prepared on the ground of the published selection of his works, we can expect to form the very basis that his literature can be really discussed on.