황순원 단편소설의 인물 성격화의 방법에 대한 연구

임환모 한국현대소설학회 1994 현대소설연구 Vol.- No.1

한국 소설의 근대성 실현에 관한 연구 : 근대성 담론과 연구사를 중심으로

임환모 현대문학이론학회 2004 現代文學理論硏究 Vol.0 No.23

By researching a discourse and a study of modernity, this study intends to stand out that what is a frame of modernity to spread over phenomenon in global and how a frame of modernity is embodied to connect in a Korean particularity. It should be to show a direction of study on the Korean Modern Fiction. The result of this study is following; 1) The Modernity is an effort that a human being is to realize productive rationality. The positive aspect of productive rationality is the bourgeoisie's social-historical modernity, the negative aspect is an aesthetic modernity. 2) The origin of Korean Modern Fiction had been searched in period from the new-style fiction, Sinsosuhi written in 'the time of flowering' to the Mujung, the work written by Lee, Kwang-su in 1917. The narrative discourse in this time was not a subordinate genre of literature as art but a writing of a rhetorical dimension. 3) In Fiction, the productive rationality was regularized from the Inhyungjojongsul written by Kim, dong-in in 1919, and had been realized to the Gamja a(1925). 4) The aesthetic modernity that was characterized by self-deconstructed planning mainly had been gotten accomplished by writers of the "Guinhwi" , the literary group in the middle of 1930s. 5) While the research of the origin and a rational modernity in the Korean Modern Fiction have made a through investigation of the modernity as contemporary or regime, the formation of autonomous identity etc, the research of aesthetic modernity have made a object of study that was experiences of the writer and reader about modernity, the subject's confronted aspect, a contravention and deviation, a inner form and nan-ative layer in fiction. 6) As the necessity about a study among departments enlarged, the study of modernity got activation. It is available that have been to examine the nature of Korean Modern Fiction through negotiating between a internal and external modernity, but, is criticized that simplifies only one frame. Drawing deduction from the result of this study, the study on Korean Modern Fiction have an important matter that brings light on how to have some connection with a convention, modern and post-modern that mixed in a social situation and an aspect of complicated discourse.

서평: 정재완의 『한국현대시인연구』 : 한국현대시의 정체성을 찾아서

임환모 전남대학교 인문학연구소 2001 용봉인문논총 Vol.30 No.-

김남천의 모랄과풍속론 연구

임환모 한국언어문학회 1992 한국언어문학 Vol.30 No.-

이청준 소설의 지형도

임환모 순천대학교 남도문화연구소 2009 南道文化硏究 Vol.16 No.-

The fictional world of Lee's fictions, in totality, has been formed at a meeting point living axis that makes a round trip to a country-a city and artistic axis that maintains tension between an actuality and a language. He was shy about a sense of guilt and an injurer consciousness that remained original and experienced a wound in living progress. Then, he wanted to express that the inside traces and vibrations was accepted essence of life himself. That was his fiction. As the inside writing, his fictions's map was described going along a point of coordinate that got imprinted with meeting a horizontal axis of his hometown-city and a vertical axis of an actuality-language. The way that the author was suited to actuality cloud embody three aspect. The first way was to make a diagnosis with seeking a liberty of an intellectual through to reveal a prohibition that the time inflicted to him. The second way was to seek self-identity with enduring poverty and shyness as destiny from childhood since, and with converting it into living energy. The third way was to grope to reach a way of reconciliation and a vision of superiority that made for a healthy condition with art, religion and myth. According to this map of his fictions, we cloud make mention of that Lee, cheong-joon had demonstrated of existence through creating fiction style. Lee's writing was to construct 'frame of spirit' that fixed to be equal to his time and living. The world of seeking by him was opening word that was not to be fill up same type, same size of spiritual shoes like a shoes-store but to deconstruct the one frame and to organize diversity of harmony and enrichment that was set forth beforehand trust about diversity of our living and spirits To reveal through his the whole works were wounded person in this actuality, by actuality as substance of a oppressed negative power. He is not so much to struggle against to oppress actuality as to bring a substance of oppression to light by searching the wounded inside, futhermore he sat his face toward to present, by implication, from a origin of being to the problem of a human eternity. Especially, the sensitive nature that complains being's hurt under the name of a human that was very incomplete being like a bug sometimes in a base of the writer spirit. With Such a sensitivity, It was the ultimate end of life as a writter that he was to practice an eager desire that rejects totalitarianism. In this point of view, the dynamic power of his works is rather 'the spirit of liberty' than the will to live. In consequence, he had got self-eternity and had practiced a dream as space of a liberal living.

시조에 나타난 자연관 연구

임환모 한국언어문학회 1990 한국언어문학 Vol.28 No.-

이청준 소설의 지형도

임환모 현대문학이론학회 2009 現代文學理論硏究 Vol.0 No.37

The fictional world of Lee's fictions, in totality, has been formed at a meeting point living axis that makes a round trip to a country-a city and artistic axis that maintains tension between an actuality and a language. He was shy about a sense of guilt and an injurer consciousness that remained original and experienced a wound in living progress. Then, he wanted to express that the inside traces and vibrations was accepted essence of life himself. That was his fiction. As the inside writing, his fictions's map was described going along a point of coordinate that got imprinted with meeting a horizontal axis of his hometown-city and a vertical axis of an actuality-language. The way that the author was suited to actuality cloud embody three aspect. The first way was to make a diagnosis with seeking a liberty of an intellectual through to reveal a prohibition that the time inflicted to him. The second way was to seek self-identity with enduring poverty and shyness as destiny from childhood since, and with converting it into living energy. The third way was to grope to reach a way of reconciliation and a vision of superiority that made for a healthy condition with art, religion and myth. According to this map of his fictions, we cloud make mention of that Lee, cheong-joon had demonstrated of existence through creating fiction style. Lee's writing was to construct 'frame of spirit' that fixed to be equal to his time and living.

『광장』의 서사성과 서사 담론 연구

임환모 한국문학이론과 비평학회 2000 한국문학이론과 비평 Vol.7 No.-

중앙아시아 고려인 단편소설의 지형도

임환모 한국문학이론과비평학회 2012 한국문학이론과 비평 Vol.57 No.-

Ethnic Koreans’ Literature is work to write and make public that were written by Ethnic Koreans for them who emigrate from Vladivostok to Central Asian. The purpose of this study is to find how to make shot story that was described diaspora living trajectory of ethnic Koreans and what gained meaning and value through analysis to Kim, gi-chol’s Bok-byeol(1969), Han, jin’s Fear(1989), Song, lavrenggi’s Area of Triangle(1989). I want to find the reason why Ethnic Korean writers wrote shot story with ethnic korean to disappear. It is because of this to be a shortcut to take aim what is the identity of their, where are the goals. Writing of fiction for Ethnic Korean writers in Central Asia is the act of writing “History live on in people’s memories” in oder to show “How they lived and how would they live”. Bok-byeol (1969) is that specifically reproduced the determination of the act to join to ranks of the armed struggle against the forces of imperialism in japan voluntary. Fear(1989) creates of a space of struggle to keep words and character of Ethnic Korean through determination of the action to preserve “Choson classic books” with a spirit of the patriotic hero at death. Area of Triangle (1989) shows a novel format to consider as a friendly relations between Kazakhstani and ethnic Korean, that sympathy and decidedness in life is assimilation strategies of local adaptation for survival. If ethnicity or homeland is a social and cultural edifice that was formed a posteriori by other nations conflict or contacts rather than this is an essential element to exist from the original, we can say that their short stories which are to reproduce and create a novel format of their life were an ‘imagined community’. After all, to relive the past by ethnic Korean writers is the task of reviving memories, it is that they reproduce and create the motherland in the imaginary. That is what to reproduce Ethnic Koreans’ life along with joys and sorrows is the creative act to build the motherland as ‘imagined community’. 고려인 문학은 1937년 블라디보스토크에서 중앙아시아로 이주한 고려사람들이 고려인을 대상으로 그들의 민족어인 한국어로 창작하고 발표한 작품이다. 이 논문은 고려인 단편소설, 특히 김기철의 「복별」(1969), 한진의 「공포」(1989), 송 라브렌찌의 「삼각형의 면적」(1989)을 중심으로 고려인들의 디아스포라적인 삶이 어떤 궤적을 그리며 어떻게 소설화되고 있는가, 그것이 어떤 의미와 가치를 갖는가를밝히는 것을 목적으로 한다. 고려인 작가들이 사라져가는 고려말로 굳이 소설쓰기를 계속하는 이유를 밝힘으로써 그들의 정체성은 무엇이고, 그들이 지향하는 바가무엇인가를 가늠할 수 있을 것이기 때문이다. 중앙아시아 고려인 작가들이 소설을 쓰는 일은 “그들이 어떻게 살아왔으며 또어떻게 살아가야 하리라는 것”을 보여주기 위해 “사람들의 기억 속에 살아 있는 역사”를 쓰는 행위였다. 억압과 망각 속에 그 자체로 보존된 과거를 ‘지금 여기’에 되살리는 작업이 그들의 소설쓰기였다. 「복별」은 고려인들이 일본 제국주의의 세력에 대항하여 무장투쟁의 대열에 주체적으로 참여하는 행동의 결단성을 구체적으로 재현하고 있고, 「공포」는 죽음을무릅쓰고 광복을 염원한 애국열사의 혼이 담긴 ‘조선고전서적’을 보존하는 행동의결단성을 통해 고려인의 말과 문자를 지켜내기 위한 투쟁의 공간을 창조하였으며,「삼각형의 면적」은 카자흐사람과 고려인의 우호적 관계 및 삶에서의 동정과 결단성이 생존을 위한 현지적응의 동화전략임을 소설형식으로 보여준다. 민족이나 조국이 원래부터 존재하는 본질적인 요소라기보다는 여타 민족들과의갈등이나 접촉 등을 통해 후천적으로 형성된 사회적, 문화적 구성물이라고 한다면,억압되었던 집단적인 기억을 되살려 그들의 삶을 소설형식으로 재현하고 창조한그들의 소설세계는 고려인들의 ‘상상의 공동체’라고 할 수 있다. 결국, 고려인 작가들이 그들의 과거를 재현하는 일은 기억을 되살리는 작업이고, 이것은 고려인의 조국을 상상 속에서 재현하고 창조하는 일이었다. 고락을 함께한 고려인들이 자신들의 삶을 재현하는 일이야말로 그들의 ‘상상의 공동체’로서의 조국을 건설하는 창조적인 행위였다.

최인훈 『화두』의 글쓰기 전략

임환모 한국문학이론과비평학회 2015 한국문학이론과 비평 Vol.68 No.-

Author Choi, Inhoon saw that human consciousness that is distinct from the animals is like the evolution of creatures. He was named an inflection point of conscious that was made in a kont of life to Hwa-doo. He analyzed an abyss of memories to turn out to be over recalls. And then, he said that conscious of how to generate and to convert. Through this process, to expose the face of self-identity is Hwa-doo. Such archaeological methods of consciousness depended on the memory of Phenomenology that was recognized self as others. He drew out all the memories of his life since long ago childhood until recently that was like stars without number on a night sky. And then, he created a montage through connected and put side by side between memories and others. Then he used to writing strategies for the real problem to solve now. But, to solve problem was appeared to reconcile and to be collectively responsible with others. The word of Hwa-doo that was realized as such writing strategies was to be his own master that was fictional type of refugee awareness. To be his own master could be described to repeat differently that was already realized to painter Lee, Jungsub's life in Novelist, Mr. Goo-bo's daily. The main character of Hwa-doo searched how will do to live by self-reflection how did to live as writer through four rounds of hwa-doo. To be selected a measure of search was colonial writers, especially Jo, Myonghee's life as exile writer. He began wirting as a writer in life of Jo, Myunghee that he was worthy of a true socialist practice of Das Kapital Marx and built his subject directly. But Hwa-doo that the creation and conversion process of consciousness to describe this almost picks. It was not only extremely relevant as narrativity but also based solely on memories of the past. Then, we have hard to find anywhere the views and practice for the future in Hwa-doo. 작가 최인훈은 동물과 구별되는 인간의 의식이 생물처럼 진화한다고 보았다. 그는 삶의 매듭에서 생성되는 의식의 변곡점을 ‘화두’라고 명명한다. 회상을 통해 드러난 심연의 기억들을 분석함으로써 이 의식이 어떻게 생성되고 변환하는 지를 밝혀서 자신의 정체성의 얼굴을 드러내려는 것이 『화두』이다. 이러한 의식의 고고학적 방법은 자기를 타자화하는 기억의 현상학에 의존하고 있다. 여기에는 밤하늘의 무수한 별처럼 아주 오랜 유년부터 최근까지 생애의 모든 기억들을 끄집어내어 기억과 기억을 연결하고 병치하여 몽타주를 만듦으로써 지금의 현실적인 문제를 해결하려는 글쓰기 전략이 사용되고 있다. 그러나 그 ‘해결’은 과거의 ‘나’와 현재의 ‘나’가 철저하게 의식의 영역에서 화해하고 타자와의 연대를 이루는 것으로 나타난다. 그래서 자칫 자기 합리화나 자기기만에 빠질 우려가 없지 않지만 이러한 글쓰기 전략으로 실현된 『화두』의 세계는 난민의식의 소설적 형식인 스스로 ‘자신의 주인-되기’이다. 이런 주인-되기는 『소설가 구보씨의 일일』에서 이중섭 화가의 삶에서 이미 실현되었던 것을 다르게 반복한 것이라고 할 수 있다. 『화두』의 주인공은 네 차례의 화두를 통해 어떻게 살아왔는가는 자기반성하고 작가로서 어떻게 살 것인가를 탐색한다. 그 탐색의 척도로 선택되고 있는 것이 식민지 시대의 문학인들, 특히 망명 작가로서의 조명희의 삶이다. 작가는 조명희의 삶에서 마르크스의 『자본론』에 합당한 진정한 사회주의의 실천을 경험하고 자신의 주체를 바로 세워 작가로서의 글쓰기를 시작하게 된 것이다. 그러나 의식의 생성과 변환 과정을 기술하는 것이 거의 전부인 『화두』는 서사성이 극히 미약할 뿐만 아니라 과거의 기억에만 의존하기 때문에 미래에 대한 전망이 다소 불투명하다.