자의적 순응과 패북의식

정덕준 한국언어문학회 1980 한국언어문학 Vol.19 No.-

중국 조선족 시문학 연구

정덕준,노철 현대문학이론학회 2003 現代文學理論硏究 Vol.0 No.20

This paper examines the development of the verse of the Korean-Chinese from 1949 through 1990, and presents the features and significance of each period. Instead of treating the Korean-Chinese literature as subordinate to Chinese verse, the writer divides each period with a new perspective considering particular features of the Korean-Chinese. The writer tries to cast off the narrowness of the Chinese Marxism, and applies various South-Korean perspectives toward verse. The years from 1949 to 1957 are defined as the period of Enlightenment; from 1957 to 1976, the period of Darkness, as the period under Political Influence; from 1976 to the first half 1980's, the period of Recovery, from the latter half 1980's to he latter half 1990', the period of Maturity. In the verse of the period of Enlightenment, the writer studies the formative process of the Korean literature as literature of the political arty, the characteristic features of narrative verse as a creative method of realism, hymns as an expression of romantic revolution, and lyric epics as national dignity. In the verse of the period of Darkness, the writer, displays how verse was degraded to be used as an instrument of propaganda. The period of Recovery, the writer shows the process in which the verse of the Korean-Chinese regains its native language, and turns back to the province of lyric poetry. The period of Maturity, the verse of the Korean-Chinese links together nationality and personal values. Ultimately, it is a model of the search for the inherent features of the nation. It provides a view that sees the literature of the north and the south as the one national literature, getting over difference in social systems.

재중 조선족 문학비평 연구 : 1949년~1990년대 후반

정덕준,이상갑 한국현대문예비평학회 2003 한국문예비평연구 Vol.- No.13

After liberation the literary criticism of a Chinese-Korean people was begun with the basic enlightenment in a blank condition. The literary enlightenment had an extreme left-trend as a political instrument of propaganda. But in the first half of the 1957's the literary criticism of a Chinese-Korean people worked for the essential phase of literature. And yet the attempt died on its' feet by the struggle against the right faction. After the struggle the instrument of propaganda in literature was strengthened, and in the middle term of 1960's the tendency of a class struggle in literature was more deepened. Moreover after the great revolution of culture the three projection-principle required the class consciousness of literature more thoroughly. But after the middle term of 1980's the revaluation of realism and the controversy on the idea-renewal was attempted to overcome its' difficulty. Herewith the literary world was diversified. The open realism, that's it. Hereby the literary world of a Chinese-Korean people arrived at puberty.

포석 조명희의 현실인식 : < 김영일의 사 > , < 파사 > 를중심으로

정덕준 안암어문학회 1981 어문논집 Vol.22 No.1

한국 대중문학에 대한 반성적 고찰 : ' 열린 시각 ' 의 가능성을 위하여

정덕준 안암어문학회 2000 어문논집 Vol.42 No.1

일제강점기재중 조선인 문학비평 연구

정덕준,이상갑 한국문학이론과비평학회 2004 한국문학이론과 비평 Vol.25 No.-

This thesis specifies the Aspect of Development of Chinese-Korean Literary Criticism under Japanese Colonial Period in 1910's~1949. Before liberation the materials of the literary of Chinese-Korean people is very poor. This does not mean that literary action itself is poor as the words of writers at that time. By the conveyed materials to the present , the literary action seems to be active. But by the various historical causes, the related materials is mostly extinct. Therefore this thesis focuses on the extant materials. Before liberation the literary criticism of the Chinese-Korean is not full-scale, but piles up the fair achievements in both the theoretical search and the field criticism. Especially the discussion on paper, namely 'the new proposal of the Chinese-Korean literature in Manchuria for construction' is very valuable. Because it shows the will and effort that construct independently the chinese-korean literature in Manchuria. Before and behind this discussion the writers in Manchuria are willing to construct the chinese-korean literature more consciously. And the result from the discussion offers the famous beginning that explains the character of Chinese-Korean literary criticism at that time and today too. Conclusively, this thesis specifies the character of Chinese-Korean literary criticism and furthermore must have view on the orientation of our national literature.

CIS 지역 고려인 소설 연구

정덕준 한국문학이론과비평학회 2007 한국문학이론과 비평 Vol.36 No.-

일제 강점기 재중 조선인 시문학 연구 : 1910년~1949년의 전개 양상을 중심으로

정덕준,김정훈 현대문학이론학회 2004 現代文學理論硏究 Vol.0 No.23

From this dissertation I divided the Korean Poetry on China in the Japanese Colonial Period into quarters as the exile, the emigrant, the early settlement, and glorious restoration in their exile times. And I briefly investigated quality of the poetry which is announced in each time. The poetry of the exile period is not an particular different point from with homeland in to charge class of poem or to select poetic form. Only, in contents, it frequently appears strongly foregrounds combative consciousness of anti-Japanese from domestic. The poetry of the emigrant period is individually show racial consciousness of different kind from poetry of KAPF or nationalism at home. This is natural that the Manchuria when is because is a base of anti-Japanese independence movement. This period is the one side which the revolutionary ballad soaks plentifully, also the free verse is seriously created with effect of domestic. The most poetic form of the early settlement period is anti-Japanese song and free verse. The free verve is various and developed. It have the romantic poem of the contents which inspires the racial consciousness and combative consciousness of anti-Japanese, and realistic poem described that hard and uncontrollable life in fixation process in China, and modern poem puts in self-consciousness. Many poets who had many works in this time was not referred almost from the history of literature. Reasonable research of its works is urgent for just corroboration of Korean literature. The poetry of the glorious restoration is most rapture of regain of country and ovation of land reform This poetry becomes the strong and steady base of poem of Chinese-Korean.

時計 時間의 파괴, 또는 李箱의 自由意志

鄭德俊 又石大學校 人文科學硏究所 1985 人文論叢 Vol.1 No.-

李箱小說의 時間,「現在-過去」의 構造

鄭德俊 우석대학교 국어국문학연구회 1983 又石語文 Vol.1 No.-

우리의 30년대 소설은 그 구조적 변화를 내보인다는 점에서 20년대 소설과는 그 성격을 달리한다. 이 시기의 소설에는 이전의 소설과 크게 구별 짓게 하는 특징적 성격, 세계와 가치인식에 있어서 다원화현상이나 기법에 있어서의 확대 심화가 드러나 있다. 비교적 한정되어 있던 관심 영역의 확대는 박태원, 유진오, 채만식의 소설에서처럼 현대사회의 여러 가지 병리적 현상이나 도시적 삶의 양상에 대한 비판적 제시로 나타나기도 하고 이효석의 후기소설이나 이무영, 김유정의 작품에서처럼 식민지 농촌의 궁핍화 현상을 날카롭게 들추어 내보이는 경향을 띠기도 한다. 또 한, 당대 사회 상황을 총체적으로 그려냄으로써 식민지 현실의 실상과 삶의 양상을 재구해 보이는가 하면, 이상의 소설에서처럼 분열된 자아, 의식의 심층세계를 파헤치는 경우도 있다. 이러한 관심의 확대 심화는 풍자와 해학, 역설과 아이러니 등의 수사적 기교와 함께 이 시기 소설을 처음으로 현대문학적 성격을 띠기 시작하게 했다. 우리의 20년대 소설에서의 이와 같은 변화 가운데서도 가장 특이한 것은 새로운 시간관, 베르그송적 시간 개념의 대두라 할 것이다. 이 시기의 소설은 서구의 현대소설에서처럼 뚜렷이 드러난다거나 또는 대부분의 작품이 다 그러하다고는 말할 수 없지만, 20년대와는 달리 재래의 순환적 반복구조나 연대기적이고 직선적인 연속구조가 아니라, 새로운 시간구조를 내보이고 있다. 이상의 소설은 특히 그러하다.