일제 말기 소설을 통해 본 일본어 글쓰기 양상

노상래(Sang Rae Roh) 한국현대소설학회 2005 현대소설연구 Vol.- No.27

‘이경원’의 사망년도와 이효석의 만주 기행문에 대한 연구

노상래 ( Roh Sang-rae ) 한민족어문학회 2018 韓民族語文學 Vol.0 No.82

이효석은 1939년과 1940년, 두 번에 걸쳐 만주(하얼빈)를 여행한다. 이 여행 후 그는 여행 소회를 매번 소설과 수필로 발표한다. 첫 번째 여행 후에 남긴 소설 『벽공무한』과 수필 「大陸の皮(대륙의 껍질)」, 그리고 두 번째 여행 후에 남긴 소설 「哈爾濱」과 수필「新しさと古さ(새로운 것과 낡은 것)」가 그것이다. 그런데 이 두 번의 여행과 관련하여 간과해서는 안 될 중요한 요소가 있다. 그것은 이효석의 아내인 이경원의 사망년도와 관련된 것이다. 지금까지 알려진 그녀의 사망년도는 1940년 1월이었다. 그럴 경우 두 번째 여행에는 어떤 형식으로건 그녀의 죽음이 여행과 기행서사에 영향을 미쳤을 것이다. 하지만 대부분의 자료들은 그녀의 사망년도가 1941년 1월을 가리키고 있다. 이 경우 두 번째 여행을 바탕으로 한 기행서사에 그녀의 사망에 따른 감정이 스며있다고 보기는 어려울 것이다. 이 점은 이효석의 문학 작품을 연구할 때 고려해야 할 중요한 요소이다. 아울러 이 논문에서는 기행 서사를 중심으로 하얼빈을 바라보는 여타 작가들과 이효석의 시선의 차이를 드러내려 했다. 많은 기행 서사들은 하얼빈에서 애로와 향락을 읽어낼 때 이효석은 다른 시선을 보여주고 있다는 사실을 밝힘으로써 이효석의 친일 행위를 가늠하는데 보탬을 주려했다. Lee Hyo-seok traveled to Manchuria (Harbin) twice in 1939 and 1940. After these trips, he published travelogues in the form of novels and essays: a novel titled ‘Byukgongmoohan’ and an essay titled ‘大陸の皮(The Skin of the Continent)’ after his first trip, and a novel titled ‘Harbin’ and an essay titled ‘新しさと古さ(The New and the Old)’ following his second trip. In point of fact, there are certain important factors related to the death year of Lee Kyoung-won, Lee Hyo-seok’s wife that should not be overlooked in connection with these two trips. It has been widely accepted that she died in January 1940. Apparently, her death should have affected his second journey and the subsequent travelogues in some way or the other. However, most of the documents point out that she died in January 1941. If this is the case, it would be difficult to argue that the feelings attached to her death are smeared in the second trip narratives. This is an important point to consider for any researches about Lee Hyo-seok 's literary works. In addition, in the present work, an attempt has been made to reveal the differences between Lee Hyo-seok 's gaze and other writers' point of view on Harbin in their travel writings. The fact that Lee Hyo-seok maintained a different perspective compared to other writers, who focused on the hardships and pleasures in Harbin, might be contributable to some extent on the examination of pro-Japanese activities of Lee Hyo-seok.

『청량(淸凉)』소재 이중어 소설에 대한 일고찰

노상래 ( Sang Rae Roh ) 현대문학이론학회 2008 現代文學理論硏究 Vol.0 No.35

암흑기 김남천 소설 연구

노상래(Roh Sang-rae) 우리말글학회 2006 우리말 글 Vol.37 No.-

Under the period of no-perspectives, anxiety and unrest of life cause him not to establish his outlook on literature and life. He shapes the period of nonconfirmation into A Lamp, One Morning, On the Faith. Through A Lamp which reveals the strong desire for life, 'want to survive', a literary sphere different from ones so far can be expected. And through One Morning which is his sole Japanese writing, he shapes plainly the life of a petit bourgeois who returns to the actual lives of ordinary people successfully. When we reflect his ardent steps for the completion of the theory and the practice of a work, putting them on the same line, to be an ordinary man for lives and to write a novel in Japanese is not an attitude of a Kim Nam-cheon. When we consider an inquiry into the faith of the writer as a question into his work's sincerity, he chooses a way of denying a 'rotten' circumstance rather than serving it. The capability enables him to produce On the Faith and finally, he chooses a way of enduring the hardships of that period by putting down his pen.

죽음의 미적 근대성에 대한 일 고찰 -이광수의 「만영감의 죽음」을 중심으로-

노상래 ( Sang Rae Roh ) 한민족어문학회 2009 韓民族語文學 Vol.55 No.-

채만식의 「냉동어」론

노상래 ( Roh Sang-rae ) 한민족어문학회 2016 韓民族語文學 Vol.0 No.74

채만식의 「냉동어」는 친일성과 관련하여 의견이 분분한 작품이다. 우선 이 작품은 친일로 가는 여정의 작품이거나 친일작품으로 규정하는 논의가 많다. 그리고 친일 여부를 떠나 작품의 내용만을 천착하여 그 특징을 밝히려 한 논의도 있다. 이런 두 가지 시선과는 다르게 채만식의 「냉동어」를 적극적으로 옹호하는 주장도 있다. 이런 상황에서 작품에 치중한 분석의 필요성을 느꼈다. 이를 통해 몇 가지 사실을 확인하였다. 채만식은 당대의 사실을 수리해야 하는 절박한 상황에서 아무 일도 하지 않는 것도 `생활`이라는 사실을 깨닫는다. 그리고 「냉동어」에는 산토리, 고화(古畵)/포도주, 양실이 위계질서를 표상하고 있다는 사실을 확인했다. 아울러 스미꼬의 만주행은 스미꼬식의 생활의 발견을 의미 한다. 그것은 일본이라는 전체주의 국가가 건설하고 있는 제국의 실체를 <사실 수리>하는 것을 의미한다. 하지만 스미꼬의 프리즘에 비춰보면 대영은 분광되지 못한 색깔이었다. 왜냐하면 대영은 중원의 이야기를 <우리들의 이야기>로 공유하지 않았기 때문이다. 스미꼬와 동행한다는 것은 천황의 충실한 신민이 됨을 의미하는데, 대영은 스스로 그 자리에서 미끄러진 것이다. <우리들의 이야기> 속의 주인공이 될 수 없는, 초대 받지 못한 자로서의 대영이 동경행을 망설였던 것은 당연한 귀결이다. 채만식은 대영을 그런 자리에 둠으로써 자기식의 `사실 수리`를 하고 있는 셈이다. Chae Man Sik`s 『Frozen Fish』 is a novel which inspires a variety of opinions and viewpoints regarding its status as a `pro-Japanese` work. It is said that 『Frozen Fish』 is either on the way to being, or is an obvious example of, a pro-Japanese novel. However, others try to defend the novel and inquire into its characteristics purely on its own terms. In these circumstances, I felt the necessity of undergoing a thorough analysis of the novel. In the process of analyzing the novel, some facts were confirmed. First, Chae Man Sik realizes that to do nothing is itself also `to live` in the desperate situation in which Koreans were forced to accept the contemporary ideological `fact` of Japanese colonialism. He embodied this realization through `Moon Dae Young` in 『Frozen Fish』, whose way of escaping the contemporary dominant situation embodies this ideological fact. Second, the author confirms that `Suntory`, `Old Painting/ Wine`, and `Western Room` in 『Frozen Fish』 represent the hierarchic relationship. This hierarchic relationship can also be applied to Sumiko and Dea Young, who hold Orientalist views. Although Dae Young is sometimes portrayed as a character who has internalized the colonizer, this does not mean he reaches the extreme point of the Japanophilism. Third, Sumiko`s going to Manchuria means the discovery of Sumiko`s way of living; it means that she accepts and adopts the ideology of the imperialism which the totalitarian state called Japan is building. Manchuria is the field Sumiko has to witness directly the story of the Japanese people, while Koreans like Dae Young have to learn and practise the moral and physical values of Japanese imperialism. A way of living that accepts the substance of imperialism in such a manner is regarded by Sumiko as a `healthy way of living.` It is also only through this way of living that her love for Dae Young finds its vitality. However, Dae Young`s color is not to be found clearly on Sumiko`s spectrum. This is because Dae Young does not share `our story` as `the story of Japanese people in China.` The reason he did not follow Sumiko to Manchuria was that he did not want to do so: for him, to accompany Sumiko is to become the faithful subject of the Japanese emperor, and he chooses to renounce this. It was a natural sequence that Dae Young, who cannot be invited as a protagonist in `our story`, hesitated to go to Tokyo. Eventually, by placing Dae Young in this undecided position, Chae Man Sik seems to be revealing his own ideological standpoint.

김남천 소설에 나타난 자기식민화 양상과 근대초극론

노상래 ( Sang Rae Roh ) 현대문학이론학회 2008 現代文學理論硏究 Vol.0 No.33

참예술가 노릇하기

盧相來(Roh Sang-Rae) 동아인문학회 2008 동아인문학 Vol.13 No.-

Lee Tae-jun's A Fanner is a faithful report on what Manchuria is like as a public memory which can not be hidden. A Fanner, with a demonstration against the distorted lives of Chosun people by imperialist Japan, sublimates a space of Manchuria in art, not presenting Manchuria as a supply center for a literature in line with a national policy. Owing to this value, Kim Nam-Cheon evaluates that the world of A Fanner is faithful. A Fanner is not made in a day suddenly. The fact that it is created in a series of motivations as a momentum can be confirmed in his works, It's time to make a resolution to perform the duties of a true artist, Observing an emigrant's village. The latter work is a travel work which shows objectively that the former work is a work going beyond the characteristics of national policy literature. In this travel work, the realistic sense which Lee Tae- jun finds out in historical field is contained. What Lee Tae- Jun sees with his own eyes during the travel over the emigrant's village is not a rosy Manchuria as the Royal Paradise(王道樂土), but 'humble' lives of the others who were slanted through the modem and pushed to an extreme situation. The space in which the lives spread is considered as a space of misunderstanding resulting in the cultural difference. It is never described as a space dominated by a dichotomous thought, civilization vs barbarity. Such his historical sense is linked to his determination, To perform the duties of a true artist. Therefore, he can create A Farmer. A Farmer shows excellently how the instinctual desire for life by people who were pushed to an extreme situation can bind the individuals into one, rather than reveals the collective nationalism. On account of this quality, Some devaluate this work as a work of revealing the collective nationalism, but it is proper that this quality is a fellowman ship which is made by common condition of life. This fellowmanship is not relevant to an image of colonist which imperialist Japan aggravated. That is to say, by representing the painful lives of the others rather than describing Five Peoples in Harmony, the Royal Paradise which the national policy literature presented as a symbol, it performs a role faithfully as a brilliant public record.

李光洙의 自敍傳的 글쓰기에 대한 一考察

盧相來(Roh Sang-Rae) 동아인문학회 2009 동아인문학 Vol.16 No.-

Due to the death of Lee Kwang-Soo's second son, Lee Bong-Geun, his outlook on literature is supposed to assume a different aspect, and it serves as momentum for him to consider a change of direction for his social practices before. This thesis is to primarily inquire into his aspects of change, and especially, this thesis is to examine out the difference of his outlook on literature in comparison with his previous outlook, that is, before his second son's death. And this thesis is to analyze the influence of the death of his second son on his literary outlook, focused on The Star-Spangled Banner. It is found out that shaking himself free from the grand discourse based on nationalism or the heroic individuals such as Ahn Chang-Ho and Lee Soon-Shin, he is on the way to the writing on common people. It is only after he loses his son that he begins to see literature with a view of aesthetic object, not with a means of enlightening the public. This change of view on literature can be a essential basis for clarifying the layer and characteristics of his so-called pro-Japanese literature. It is asked to have a minute approach and analysis to identify his pro-Japanese literature. And also, that's why an objective judgement and a close understanding are needed for the process of change in his literary outlook.

일제하 이중어문학의 연구 성과와 기대 효과

노상래(Roh Sang-rae) 한국어문학회 2008 語文學 Vol.0 No.102

There are two cautions in observing the dual language literary researches related with pro-Japanese literature. One is a relativism. This term means that, weighing the anti national behavior, he who thinks of the antinational behavior as a light thing relatively jumps to a conclusion that he himself is a nationalist. The other is a totalitarianism. As there was no one who was not benefitted by Japan for 36 years under the Japanese ruling, the discussions on the pro-Japanese are unreasonable. This totalitarian logic is a mere political trick which has a intention to neutralize the specific individual's pro-Japanese behavior. The careful point when one studies the dual language literature is that he should not make a thing of nationality of the Japanese language. Language should be considered as a 'Sign' for a literary expression. This deideologic viewpoint is one of the virtues that researchers should have for the suppleness of thinking suitable for the writing in the 21th century. When the researchers just do, 'the peculiar literature' in one period that was gloomy can radiate its value in our history. If the researches on the dual language literature is carried out well, the anticipations for that will prove fruitful. The anticipations can be summarized into five details. Firstly, the restoration and reanalysis of history of Korean modern literature can be possible. Secondly, the objective evaluation for the dual language writer can be made. Thirdly, the objective materials for discriminating between good and bad work can be constructed. Fourthly, finding obscure writers, neglected writers, and works unfounded, the extension of Korean literature can be enlarged. Fifthly, the foundation for Korea·Japan comparative literature can be built up.