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김명숙(Jin, Ming-shu) 국어국문학회 2018 국어국문학 Vol.0 No.184
김환태 인상주의비평은 작가와 비평가지간의 평등관계와 비평가 주체의 창조성을 강조하고 문학의 독립적인 심미영역을 구축하였다. 그럼으로써 카프 비평의 폐해를 시정하는 자세이었는데 그 시기뿐 아니라 오늘에 와서도 중요한 비평사적 의의를 갖는다. 김환태의 인상주의비평에 관한 연구는 실로 풍성하다고 할 수 있겠으나 그의 동양 전통적인 사고방식과의 내적 연관성에 관해서는 연구가 이루어지지 않은 미답의 상태이다. 김환태의 인상주의비평은 동서양 사회에서 똑같이 공명하는 돈오(顿悟)와 직각(直觉)의 사고방식을 취하였는가 하면 동서양 두 가지 자기표현론의 통합의 양상을 보여주고 있는데 이에 연구의 시각을 맞추노라면 김환태만의 비평이론의 모종의 특징이나 와중에 내재한 어떤 논리가 분명하여진다. 본 연구는 한국현대 문예이론의 형성과정을 검토하고 경험을 총결함에 있어 중요한 가치가 있다. Kim Hwan-tae’s impressionist criticism benefits from the critical thinking ways of epiphany and intuition that are both praised highly by the East and the West. And as it plays an overkill role targeting the shortcomings of the Left Literary Criticism at that time, its significance in the history of Literary Criticism was particularly popular and Kim Hwan-tae’s unique criticism theory has been attached great importance by scholars. When discussing the merits and demerits of Kim Hwan-tae’s Korean impressionist criticism, it is necessary to adopt a multi-angle and three-dimensional research method. And when we take the perspectives of East-West study, the core, inherent characteristics and internal causality of Kim Hwan-tae’s criticism can be clearly straightened out. There is still a blank space in the study of the inner correlation between the Korean impressionist criticism of Kim Hwan-tae and the traditional way of thinking and literary theory in the East. This paper holds that the formation of Kim Hwan-tae’s impressionist criticism is subject to the dual influence of the western impressionist criticism and the oriental classical literary theory, on the premise of admitting this point, this paper attempts to give a reasonable explanation to the Korean characteristics of Kim Hwan-tae’s impressionist criticism. This thesis not only involves the essence of literature, but also has important value in summing up the valuable experience accumulated in the forming process of Korean modern literary theory.
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<까마귀>를 통해 본 작가 이태준의 중년기 자화상과 창작 심리
김명숙(Ming Shu Jin) 한국현대소설학회 2015 현대소설연구 Vol.- No.60
The purpose of this paper is to study the creation psychology of Lee Tea-jun. Lee Tea-jun’s works in the academic circle have long been thought the ones of sentimentalism, aestheticism, worshiping of ancient doctrine, lacking of a social content and having strong townsfolk breath. But the writer himself in the social activities shows extremely obvious consciousness of participation. As a result, the writer’s lively tracks, ideological dimensions and the creation of the inward creative tendency form bright contrast, combined with the writer’s growth experience full of hardships and sorrow, which jointly promote the researcher to explore the complex creative psychology of the writer. The Raven is produced in the writer’s peak period of creation, at this time the writer lives in stability, and the writer’s pursuit for beauty and desire for self fulfillment in works have been condensed into several classic art images, from which we can explore the writer’s self-portrait and creation psychology at this time. The self-portrait in works not only differentiates from the male hero ‘he’ but also differentiates from the writer Lee Tea-jun who is as the real life prototype. Depicted in the novel the Raven, set in mountain Villa ‘he’- the poor writer, frail dying woman and the raven have all reflected the specific content of Lee Tea-jun’s self-portrait from different perspectives, which exactly right has the same with the hidden author said by the American scholar Wayne·C Booth. The hidden author plays a matchmaking role between the male hero and the actual writer and we can draw the outline of its true features on the basis of Maslow’s theory of hierarchy of needs. The hidden author has reflected the writer’s pursuit, self abasement and inner desire, in nature which is the manifestation of being split due to Lee Tea-jun’s wandering in being not involved in the material world and being involved in the material world and he can’t seek a balance. If you follow this psychological path, the contradiction shown in the writer’s tracks could be straightened out the reasons.
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