韓日飜案小說의 實際 : 『金色夜叉』에서 『長恨夢』으로 『金色夜叉』から『長恨夢』へ

신근재 세계문학비교학회 2003 世界文學比較硏究 Vol.9 No.-

『金色夜叉』は1890年代の近代化の過程における日本社會を背景に若者たちの欲望に滿ちた生を描いた作品である。急速な西歐化·開放化·資本主義化される世の中で靑年たちが「沒價値化された人間」(卽ち、金色夜叉のような人間)に轉落してゆく過程をきわめて寫實的に描寫した。『長恨夢』は原作の展開にほとんどそのまま追っているが、『金色夜叉』の悲劇的構造をハッピ一·エンドに置きかえた。 まず、原作に現われている近代意識を簡略に要約してみる。①家門·金力の側面で、身分制社會における名門について資本主義社會での新興家門を對應させることによって、急速に變わってゆく明治時代の一般意識を表現した。②エリ一トと女性の美貌の側面から、新しい時代に相應しい新進知識人と女性の華麗な美貌、流行を大衆的趣向で强調した。③女性の自我の側面から見ると、この作品は非倫理的で非人間的な生を批判していると評價することもできる。しかし、より積極的にとらえるならば、そのような人生を通じて作家は「一人の女性が自我を探し求める過程」を描こうとしたといえよう。作家は宮の抵抗精神と複雜な心理を通じて自己正體性ならびに自己存在性を求める女性の現實を描寫しようとしたものと解釋できる。 つぎに『長恨夢』に現われた近代意識について、①因習の打破という側面から、金重培は留學を通じて西歐の個人主義思想に接した人物である。妻になる女性の選擇基準は、やはり開放的かつ個性的で女性の容貌をまず第一の條件とした。李守一が沈順愛と結婚するだろうという.がひろがると、守一の友だちは結婚の祝いの言葉を送る。それは、傳統的な結婚と家庭生活から.け出て新しい方式で二人の未來を設計せよという忠告である。このように因習の打破はいたるところで提起されている。②自由戀愛という側面から、男女の愛は近代的意味における個人の個性と自立ならびに自律を意味するという槪念を力說 した。③資本主義という側面から、作品に滿ちている拜金思潮は、資本主義精神の擴散を見せる證據である。とくに高利貸の論理と精神は、初期プロテスタントの資本主義精神の追求と一脈通ずるところがある。但し、資本主義精神の肯定的機能よりは否定的機能において、より廣く受容されたということが物足りなさとして殘る。これは、植民地下において隷屬狀態に陷った當時の經濟構造と密接な關連があることを見落してはならない。 終りに文體について考察すれば、『金色夜叉』の文體は、尾崎紅葉のいうように言文一致がすっかり台頭していた時期に、彼は時代の異端者のように『新しい文體』を創りだそうという野心を抱き、流行に振り回されず精進した結果得たものである。古典的な格調ある雅文に一脈の歐文脈を流がして、新鮮味を出そうとした彼の鏤刻の文章は、暗誦を强いられるほどの美文であり、讀者を魅了させた。よってこのような文體が『金色夜叉』の大衆的人氣をもたらした一つの要因でもあった。だが一方で、彼の文學は『洋裝せる元祿文學』という批判も免れないのであった。 번案作『長恨夢』の文體は、直接に人物を描いて說明する仕方を自制し、充分に余裕をおいて觀察したあとに、讀者が認知できるよう配慮した。人物に對する關心を呼び起こし、後にその人物について紹介するという仕方は當時としてはかなり特異な方法であった。さらに人物の性格は大體間接的な方式で傳えられた。心理の描寫はかなり精巧に行われているほうである。心理の描寫に二つの特徵がある。一つは括弧を使って文面に人物の心理をじかに表わした場合である。もう一つは、登場人物の氣持ちを情景に照らし出し表現した場合である。情景に心理を投影させる仕方は各回の最後におもに用いられている。 紅葉文學は日本の資本主義と國粹主義が結託して帝國主義化される時期に、そのような傾向に同調し、復古調の戱作で大衆の感情および感覺に迎合したということであるが、このような点からすると、批判は免れない。しかし、江戶時代の傳統を繼承しながら幅廣い構成で新しい時代を對象にしたロマネスクを編み出したという点では、一人の匠であるに間違いない。 『長恨夢』には大衆が好む男女間の愛と三角關係の葛藤、金と義理、衝擊的な事件、苦難から幸福への結末、淚と笑い、善と惡の對決、敎訓的な內容などが適當に配合され、いつでも愉しい娛樂として受け入れることができたのである。このような娛樂的機能を强化するため、趙重桓は「鮮明で潑剌とした文章」と「センチメンタリズムの極致という淚に訴える表現」が目立ち、「幻想的な雰圍氣」と「異國的情趣」を高調させる場面を適切に作り出している。 これは作家が當代の民衆の情緖をよく捉え理解していたという證據である。したがって趙重桓の文體は、このような娛樂的機能に最大限便乘して讀者の感情を左右するのに一翼を단っていたといえよう。 原作と飜案作との間には一六年の差がある。當時、韓國は政治的に植民地體制の基礎造りの時であり、經濟的には植民地的資本主義構造が日增しに擴散される狀況であった。傳統的な經濟基盤は急速に崩壞し、政治力を背景に强大な日本の資本が韓國の都市ごとに押しよせ、 經濟秩序は一樣に混亂と歪曲の暗い現實を脫することができなかった。したがって、飜案者の力量によっては韓國の現實を素材にした極めて劃期的な社會小說を世に出すことができる時期でもあった。

韓ㆍ日 兩國國民의 社會意識에 대한 比較考察 - 1970年代後半의 意識調査를 中心으로 -

愼根梓 동국대학교 일본학연구소 1981 일본학 Vol.1 No.-

戰後日本의 社會變動과 社會意識變化 - 高度經濟成長期를 中心으로 -

愼根縡 동국대학교 일본학연구소 1987 일본학 Vol.7 No.-

한ㆍ일 번안소설의 실상 - 『호토토기스(不如歸)』에서 『두견성』ㆍ『유화우』로

신근재 한국일본근대문학회 2004 일본근대문학 - 연구와 비평 - Vol.3 No.-

19世紀末 ~ 20世紀初 韓ㆍ日小說에 나타난 近代意識의 比較硏究 - <雪中梅> 를 中心으로 -

愼根縡 동국대학교 일본학연구소 1984 일본학 Vol.4 No.-

개화기소설에 반영된 일본상과 대일관

신근재 한국일어일문학회 1988 日語日文學硏究 Vol.13 No.1

The purpose of this study is to inquire into the image of Japan demonstrated in the Korean novels during the period of modernization under the assumption that our modernization had modeled after Japanese experiences, and that their examples on the modernization process of Korea having been profound. This study has examined and analyzed Korean novels where students played as heroes in ten novels, Japanese who also manifested themselves in ten different works, and descriptions about contemporary Japan which revealed in seven separate literatures. Furthermore, a total of twenty-one works published during this period were compared and analyzed on the author basis, namely that Lee In-jik, Lee Hae-jo, Choi Chan-shik and Cho Il-chae, etc. Also carefully examined such novels as the "Dialogue between the Blind and Crippled" and "The Misunderstaning of Rickshaw Boy" on conceptual framework. As a result of such thorough examination of the said materials from various angles, this study came to the following conclusion: Residential studies in Japan by the Korean students at that time were utilized for either sloganeering for modernization of the country or evasion of the reality. The love stories at that time of ten preoccupied with triangular relationships involving Japanese. The Japanese, at this early part of mdernization period, were generally described as representing foreigners who were portrayed as ideal modern men. They were characterized as being good, faithful and scientific, and were not given the evil role in the plots. Japan as land and culture became the objects of yearnings, and being openly interpret as a civilized, modernized and advanced country. At the same time, there was hardly any attempt by those writers at that time to see Japan in international context. Generally speaking, the writers at that period were deficient of the wider perspectives based on the sociological observations as well as historical understandings in one hand, and blindly subservient to and unconditionally idolized of Japan and its modernization process on the other. Through these writings, the Korean writers were suffering themselves from inferiority complex, and then exposed their inner wanderings and impatience for imitation of Japan. Therefore, it is evident that such an immature psychology was an basic ingredient toward the development of pro-Japanese and betrayal of fatherland activities in the early twentieth century Korea. The ideas shown in the early novels such as "Dialogue between the Blind and Crippled Men" and "The Misunderstanding of Rickshaw Boy" that critical satire and pure patriotism fell short of developing any further than their embryonic stages.

戰後 日本의 社會變動과 社會意識變化 - 高度經濟成長期를 中心으로 -

愼根縡 동국대학교 일본학연구소 1989 일본학 Vol.9 No.-

프롤레타리아文學論의 受容樣相 - 韓ㆍ日 關係를 中心으로 -

愼根縡 동국대학교 일본학연구소 1991 일본학 Vol.11 No.-

번안소설에 반영된 사회의식 : < 금색야차(金色夜叉)> 와 < 장한몽(長恨夢)> 을 중심으로 In the Case of Konjikiyasha and Changhanmong

신근재 한국일어일문학회 1985 日語日文學硏究 Vol.7 No.1

The adapted stories were the major trend in the beginning of the twentieth century, when the modern literature of Korea was still in its infancy. They were generally based on the Japanese version of the Meiji period. Changhanmong which is the subject of this paper was the adaptation of Konjikiyasha, a widely read popular novel during the period. The purpose of this paper is to clarify the Japanese social consciousness reflected in Konjikiyasha during the Meiji period and that how the social situations and consciousness in Korea were revealed in Changhanmong during the same period. There were no basic differences between them in the setting of characters and the conflicts the main characters felt. The two stories also showed no basic differences in themes the authors represented. When the themes could be divided into two, the major and minor, the latter might be the infidelity in love and the revenge for it, and the former would be that money was ephemeral but love was eternal. Both stories shared these common themes. But they had some differences that caused by the modification from the original into the adapted stories. The comparative study revealed following differences: Firstly, Shim, Soon-ae and Omiya showed different attitudes toward the family life. Secondly, the circumstance surrounding the meetings of Shim, Soon-ae to Paik, Nak-kwan was different from that meeting of Omiya and Arao Jyosuke. Thirdly, while the original story employed the indirect style of suggestive allusion, the adapted version used direct description regarding the scene in which the respective heroine went insane. Fourthly, although Lee, Soo-il' dream inspired him to be successful in the happy reunion with shim in the adapted story, the similar dream in the Konjikiyasha had only a symbolic significance. Lastly, the adapted story ended in a happy reunion, but the original story showed tragic end. These differences reflect two different philosophies which deserve further analysis and interpretation. Since Changhanmong was an adapted story from the Japanese version, it is understandable that it represents the Japanese characteristics which could not possibly reflect the true picture of Korea at that time. Therefore, it became necessary to change and modify the original version in order to fit into the Korean situation at that period. The story of the Changhanmong concerning loan sharking, usury and other ruthless means of money making schemes gives distinct impression that it borrowed heavily from the Konjikiyasha. And the fast life style of some Korean students in Japan with "gisaeng" and prostitutes that was vitidly described in the Korean version that helped make it hit. Compare to Konjikiyasha, the following aspects of the aspects of social consciousness expressed in the work of Changhanmong should be noted: 1. The work reflected mammonism which prevailed in the 1910's. Since the original work was written in the capital society of the latter part of the Meiji era, and the adapted one was also under the influence of the rapidly changing society where money became the master, there are every reason to believe that both works should reflect mammonism. 2. The work broadly revealed the attitudes toward the love between men and women. It is interesting to note that the main characters were bound by the traditional confucian ethics on love affairs, while the other characters were comparatively free from such bondage. 3. Observing such characters as Kim, Jung-bae and Choi, Man-kyong, once the tight moral on the sex was getting loose. 4. The work emphasized the special responsibility of those educated in the changing society. Especially Paik, Nak-kwan and Kim, Do-shik showed this trend in their cours of actions. 5. It is a pioneer work in the field of modern literature of Korea in terms of the plot and writing style, and thus contributed itself to the development of the modern literature in the early part of the twentieth century of Korea. The significance of Changhanmong as a literary work is that it represents the transition from the tradition to the modern period. Firstly, the novel prominently displayed the social problems arising from the modernization process in Korea, and secondly, that this work demonstrated both power and influence of a popular novel in a developing society. However, it must be pointed out two major side effects in the novel that the entire work is permeated into cheap sentimentarlism and the sweeping popularity of this novel confused the public with the real value of a true literary work.

「 불여귀(不如歸)」 의 번안양상 : 「 사견성(社鵑聲)」 과 「 유화우(榴花雨)」 를 중심으로

신근재 한국일어일문학회 1989 日語日文學硏究 Vol.15 No.1

For the purpose of study on the subject of Modern literature of Korea, it is necessary to have a prior understanding of the Meiji literature of Japan in terms of comparative literature as well as mutual influences between the two literatures. It is under such a presumption that this writer herewith examine and compare Doo-kyon-sung and Yoo-wha-wu, the Korean works, to that Hotodogis, one of the popular novels during the Meiji Japan, and thus to determine the extent of influences of the Japanese novel on the Modern Literature of Korea in its embryonic stage. Also, it should be noted that no one has yet worked on this particular subject matter. Hotodogis was, along with Konzikiyasha, on the best seller list throughout the Meiji period and that these two works swept over the readers of whole nation. The content of Hotodogis was introduced into Korea not only in the form of literary form but also was adapted into a popular play in Korea during the 1910's. The version of Hotodogis as adapted forms were played in theatres and published as novels in Korea and were well received by the Korean public at the turn of this century. Both Korean works, Doo-kyon-sung and Yoo-wha-woo are adapted versions from the original Hotodogis, a popular novel belonged to Meiji Japan. In Doo-Kyon-sung's case, it generally followed Hotodogis in the areas of structure as well as contents. The differences there were only in abridgment and omission of the concluding part in the Korean version. Yoo-wha-wu, however, borrowed the main ideas and basic story from Hotodogis, and that it rearranged the plot to fit into the traditional style of Korean novel. While there are similar characters in Doo-kyon-sung to Hotodogis, different characters appear in Yoo-wha-wu, and shows a drastic revision of the original version. But both Korean works are in common in providing an importance to mother-in-law whose role was described as source of family conflicts, and thereby demonstrate the traditional conception in Korea. As for the literary style as well as plot, the former made a strong effort in modernization, and yet the latter still clung to the traditional writing style. Although somewhat immature formulating ideas and less than refined in literary style, the adapted novels stressed on the need of modernization of the hermit kingdom. Emphasis was placed on the learning of foreign languages as well as Western lberalism, and the necessity of reform in life styles, old custom and social institutions was duly indicated. The novels clearly exposed and vividly described such social problems as divorce, rampant materialism and shameless careerism. As the traditional value system collapsed in the face of creeping Westernization, a new set of ethics was called for. In this sense, these literary works were quite contributory in that transitional period. The acceptance and employment of the Western literary style, pursuit of new writing style, reflection of the modern ideals are among others that the adapted novels' contributions toward the modernization of society. It is, however, uncritical imitation and adaptation of the Japanese elements that would remain as stigma to these adapted literary works.