현대문학: 1954년 대구, 피난지 소년의 가족 로망스 -이동하 『장난감 도시』, 김원일 『마당깊은 집』 읽기-

류동규 ( Dong Gyu Ryu ) 한국문학언어학회(구 경북어문학회) 2011 어문론총 Vol.55 No.-

<The Toy City> written by Lee Dong-ha and <The Deep-grounded House> written by Kim Won-il, are set in the city of Daegu, year 1954. These two novels describe the growth of the respective main character, both young boys. In both works the boys` condition of refugee is narrated in first person, but their stories evolve differently to show how each overcame the wounds caused by war. "The Toy City" pictures the loss of three motherly figures in a row. That is, the act of leaving ones hometown, the death of ones mother and the rape of ones sister. The protagonist boy can`t find an outlet to such feeling of loss, so he is either afflicted by depression in his shanty or abandons himself to violence on the streets. In the end the boy leaves the refugee city. In "The Deep-grounded House" the boy is a member of a family deprived of the fatherly figure. For this reason his mother imposes the father`s role on his son, and this causes conflicts between them. This kind of forced fatherhood is internalized by the protagonist, and he narrates the story of "The Deep-grounded House" from a patriarch`s standpoint. At last the boy transfers to a different school and adapts himself to the refugee society. These two narrations of growth represent the refugees` society through family romance. Such kind of novel can be thought of as the epitome of how our society has got through the wounds of war.

서기원의 『혁명』과 1960년대의 르상티망

류동규(Ryu, Dong-Gyu) 한국어문학회 2018 語文學 Vol.0 No.141

Seo Ki-won’s 『The Revolution』 is a historical novel depicting the Donghak Revolution. As one of the post-war writers, Seo Ki-won released works expressing his post-war consciousness even after the 1960’s. This work was published in the 1960’s which was the period of social revolution that led to the events such as 4·19 Revolution, 5·16 Military Coup, and the Movement against the Korea-Japan Normalization Treaty. This novel reflects the writer’s post-war consciousness as well as the circumstances of the 1960’s. Although this novel follows the process of development of the Donghak Revolution, it does not reproduce the Donghak Revolution historically. The events are not developed according to historical necessity, and particularly the process of its main characters becoming involved in the Donghak Revolution is rather accidental. What this novel describes more importantly is the main characters’ inner status shown in the process of being involved in the revolution. The work depicts ‘rebellion’ that is aroused within the main characters’ inner side. The main character named Heon-ju, a child from yangban family, realizes the fallacy of hierarchical order they all belong to and rebels against it. This rebellion forms a driving force that allows him to be engaged in the revolution. This rebellion, however, fails to lead to solidarity with others and ends up becoming a form of totalitarian violence. In the end of this work, Heon-ju attempts to kill Jeon Bong-jun, and it shows his refusal against totalitarian violence. Behind this rebellion, there is ethical emotion, so-called Ressentiment. Ressentiment involves a grudge or vengeance and expresses chronic lethargy, but it also forms potential power for revolution. Ressentiment found in The Revolution seems to have been formed through historical experiences leading from frustration with the Donghak Revolution up to the 1960’s revolution. In the end of The Revolution, the direction of Ressentiment is changed with ‘to be a scapegoat’ by Heon-ju. The self-extinction through ‘to be a scapegoat’ is to pursue self-affirmation paradoxically. With this process, ‘individuals’ are newly found in the place where the revolution has failed.

1960년대 손창섭 장편소설에 나타난 가부장제 이데올로기 비판

류동규(Ryu, Dong-gyu) 한국문화융합학회 2009 문화와 융합 Vol.31 No.-

This study aims at examining the criticism of Patriarchal Ideology of Son Chang-seob s novel in the 1960 s. Son Chang-seob published 9 volumes of novels serially in the newspaper during 10 years in the 1960 s. The principal themes are marriage and sexuality. Leading characters desire to get a position of patriarch through finding-wife narrative. A hero of <As time goes by(세월이 가면)>(1960) and a heroine of <My Name is Woman(내 이름은 여자)>(1961) have a strong desire to return to traditional patriarchy, but these trials are ended in failure. Patriarchy connects with modernized ideology at that time. In <Husband and Wife(부부)>(1962) and <The Class of Human(인간교실)> (1963), the principal characters show ambivalent attitudes toward traditional patriarchy and modern patriarchy. In Son Chang-seob s novels, a sexuality means resistance against patriarchal ideology. But patriarchal ideology controls this kind of sexuality. It appears as a separation of spirit and body. The spirit (tends to) control the body efficiently with modernized ideology.

난민의 정체성과 근대 민족국가 비판

류동규(Ryu Dong-gyu) 한국비평문학회 2008 批評文學 Vol.- No.29

Yumaeng(流氓), the first novel Son, Chang-sup published after moving to Japan, dealt with the identity problem of the-then Korean residents in Japan, who were refugees stuck in very peculiar circumstances. Their lives in Japan shows the paradox of the modern nation-state. As for the primary narrative style, the novel has the characteristics of nation narrative. All the characters are conditioned and arranged by the positions of nation states. Moreover, the origins and formations of modern states are the principles of the narrative. In this narrative style, the Korean residents in Japan experience splitting identity, which represents the specific identity state Korean refugees in Japan came to possess. Meanwhile, the nation narrative shows ambiguity as the narrator's personal accounts are added. The narrator's personal stories are almost identical with the writer's real experience, so that, in the end of the novel, things end up differently from the usual nation narrative. Thus, the novel Yumaeng(流氓) shows the explication of an isolated individual in a modern state system and carries the significance of criticism of the modern nation state.

상호문화성 형성을 위한 다문화 소설교육

류동규(Ryu, Dong-gyu) 국어교육학회 2017 국어교육연구 Vol.65 No.-

이호철의 역사소설과 식민지 역사의 재현

류동규(Ryu, Dong-gyu) 국어교육학회 2014 국어교육연구 Vol.55 No.-

문학교육 정전으로서의 『만세전』 텍스트 다시 읽기

류동규(Ryu, Dong-gyu) 국어교육학회 2016 국어교육연구 Vol.62 No.-

The purpose of this study is to analyze the way the text of 『Mansejeon』 contained in high school literature textbooks is intended to be read and to propose a new direction of reading. The literature textbook interprets 『Mansejeon』 as an integrated narrative. Unlike this approach, this paper has adopted the viewpoint of reading 『Mansejeon』 as a conflicted narrative in a bid to seek the possibility of interpreting the work in a more abundant manner. The literature textbook interprets 『Mansejeon』 as one of those ‘national narrative’ and contains no more than two scenes out of the 『Mansejeon』 text. Both scenes depicted the leading character Lee In-hwa discovering the reality of his nation and people. From this perspective, the journey of the main character in 『Mansejeon』 is intended to lead him to find the reality of his nation and people. However, reading 『Mansejeon』 is anything but being fixed. The narrative in Mansejeon has cracks here and there. The incident of meeting a ‘gat’ (Korean traditional hat) peddler is laid out in different direction from the description of Lee In-hwa, creating an irony. In addition, readers are also able to read the mixed feelings of the leading character Lee In-hwa in the scene where he identified colonized Joseon as a ‘grave’. The debate so far has been an attempt to decanonize the text of 『Mansejeon』 contained contained in high school literature textbooks. This will bear significant implications in that it has secured diversity in ways of interpretation in literature education.

자아정체성 확립을 위한 성장서사 읽기-쓰기 통합 교육

류동규(Ryu Dong-gyu) 韓國批評文學會 2010 批評文學 Vol.- No.37

The aim of this essay is to present a model of literary education for establishing self-identity by examining the theory and procedure of organically integrating the Growth Novel reading activity with Self Growth-Narrative writing activity. For this purpose, this essay develops a discussion with the main idea of ‘the Family Romance’. Family Romance is a useful point of view to explain the structure of the Growth Novel and students’ growth experiences. In chapter 2, the process of reading the Growth Novel through the structure of the Family Romance is presented by 3 steps. The Growth Novel has structures such as the crisis of an ego a child suffers during the independence from parents, solidarity or conflict between a sibling, attempt of restoring families, the growth of an ego, and so forth. Students find self experiences by understanding structures like these. Chapter 3 presents the process of self Growth-Narrative writing by 3 steps. Students write 2 to 3 short narratives about the sub-topics the Family Romance offers. Then, in the activity of connecting short narratives, they form the upper narrative to link short narratives, and finally they write a long narrative covering self experiences inclusively. The Self Growth-Narrative Writing activity helps students establish self-identity by letting them perceive themselves as a integrated self.

개인발표 : 웃음의 맥락을 활용한 풍자소설 교육

류동규 ( Dong Gyu Ryu ) 한국문학교육학회 2010 문학교육학 Vol.31 No.-

Satire novels make often use of sharp and cynical laughter and they have been a main topic of novel education. Satire novels give a significant contribution to education because they offer the learner multiple reading experiences. This paper intends to suggest a more effective method to teach satire novels by leveraging on the context of laughter. One of the novels of Chae Man-sik, "Chisuk", is used to exemplify the method. First of all, this work presents the context of laughter as shown in the following figure, which is an adaptation of S. Chatman`s narration model.Next, based on such model, a step?wise method for teaching satire novels is introduced. By following the presented method, learners will be able to fully enjoy a satirical novel through personal interpretation of the communication structure and the ideas of the main characters.

65년 체제 성립기의 학병 서사

류동규(Ryu, Dong-gyu) 한국어문학회 2015 語文學 Vol.0 No.130

Lee Byung-Ju’s 〈The Gwan-Bu Ferry Boat〉 was released when the ‘1965-Year System’ was established. As the ‘1965―Year System’ was established, experienced student soldiers constructed their group identity using methods that were different from those of before. To those experienced as student soldiers, being student soldiers was an experience of contradictoriness. 〈The Gwan-Bu Ferry Boat〉 was a piece which exposed this with the most depth. 〈The Gwan-Bu Ferry Boat〉 reproduces the contradictoriness experienced by student soldiers through a frame structured story. This reveals two types of formal characteristics. First, 〈The Gwan-Bu Ferry Boat〉 crosses four different layers of time. The protagonist Yoo Tae∼rim, who is a Japanese student studying abroad at the end of the colonial era, explores colonial history with his Japanese friend E. Also, the narrator of the late 1960s records the whereabouts of Yoo Tae-rim during the liberation period. 〈The Gwan-Bu Ferry Boat〉 attempted to view the student soldier experience as a historical one through such time intersections. Next, different narrative egos are overlapped. The viewpoints of Yoo Tae-rim and E overlap in their exploration of colonial history. Also, in reproducing Yoo Tae-rim’s student soldier experience, the viewpoints of the narrator ‘I’ and Yoo Tae-rim overlap. Such overlaps in narrative egos also coincide with the viewpoints of the writer Lee Byung-ju. 〈The Gwan-Bu Ferry Boat〉 attempted to reproduce the experience of contradictoriness within the experiences of student soldiers through these overlaps of narrative egos.