비평의 시대와 그 무수한 흔적들 - 90년대 문학의 매체와 그 지형도

노태훈(Roh, Taehoon) 한국현대소설학회 2021 현대소설연구 Vol.- No.83

Looking back on the 1990s as political and social changes, the decade between the June 1987 revolution and the 1997 IMF crisis could be defined into the 90s. In other words, the rapid change in social reality after the ‘87 years system’ continued to 1997, however, the sociological analysis cannot be applied to the history of literature. Nevertheless, if we look at the media of literature, we can use the boom in publications that began with liberalization of publications in 1987 and the decrease of the IMF in 1997 as the appropriate base. Accordingly, the decade of 87-97 can be a valid criterion for reviewing literary media in the 1990s. Existing research on literary media in the 90s usually focuses on the creation of Munhakdongne[Literature Village], but these studies are usually reconstructed as a result of literary and publishing power disputes around the 2000s. Also, the literary development of the 1990s, which is visualized as major publishers, magazines, and literary writers, is a way of returning various aspects of the 1990s that have been shown by research achievements to commerciality and literary power. What we need to pay attention to first is the retrospection and archiving of how the media as a form of literature has changed with social and cultural context, and the various literary landscapes of the 90s, which have been omitted by traditional literary history. Based on the various magazines of the 90s, this paper tried to reconstruct the historical landscape of the 90s and examine its media flow. If the literary field in the 1980s was an era of political, social, and scientific criticism to overcome the harsh reality, the 1990s was an era of cultural and artistic criticism. Resistance to student movements and political struggles has shown its potential through new media such as computers and PC communication, and has placed literature as a genre of culture and art amid various cultural trends and sought interchange. Furthermore, it was also intended to note that it consisted of cultural practices that resisted capitalism and theoretical exploration to overcome chaotic times. At the same time, these 90s literary attempts have limits. Various possibilities through new technologies or devices did not eventually bring about fundamental changes in the production or distribution of literature, and efforts to expand cultural base were difficult to overcome literary centrism and elitism. Nevertheless, it is clear that these media played a major role in breaking down the rigidity and solemnity of literature.

최인훈 문학에 나타난 “연작”의 의미

노태훈(Tae Hoon Roh) 한국현대소설학회 2015 현대소설연구 Vol.- No.60

Choi In-hun is known, not just in name, but to truly be the greatest and deepest of all the Korean authors currently living today. Not only is he an author who penetrates history, but he is also a craftsman who never ceases to blaze new trails in his art. Over the years Choi’s works have attracted attention and been analysed equally as much for both their form and their plot, but there are still many aspects of his literature that have yet to be explored. This paper aims to contemplate the meaning of ‘serialization’ in Choi In-hun’s literary works. The path that Choi’s literature takes shows emphasis on the stories ‘serialized’ nature, a fact to which the author himself has also admitted. However that quality does not necessarily coincide with the concept of ‘serialized literature.’ In this paper I intend to discover what the meaning of ‘serialization’ is in relation to Choi In-hun’s novels which can clearly be labled as having been ‘serialized.’ Serialization was important to Choi at once for being an experiment with the literary form, as well as playing an important role in his personal exploration of the critical mind. This paper will discuss Choi’s three most important serialized novels, while attempting to avoid reading the author characters and their opinions as Choi’s personal views. Instead, I look to the author’s essays on ‘genre’ and attempt to extract his true opinions from there. For example, one must think of Choi In-hun’s never-ending process of refining his texts in the face of reality as a manifestation of his authorial point of view.

표준 H<SUB>∞</SUB>제어와 LQ제어의 성능 비교 연구

노태훈(Tae-Hoon Roh),박진배(Jin-Bae Park),문영현(Young-Hyun Moon),이태식(Tae-Shik Lee) 대한전기학회 1993 대한전기학회 학술대회 논문집 Vol.1993 No.7

80년대를 건너가는 방식과 문학 체제 재편 - 『창작과비평』, 『문학과사회』의 복·창간 전후를 중심으로

노태훈(Roh, Taehoon) 한국현대문학회 2020 한국현대문학연구 Vol.0 No.61

1987년 6월 항쟁 이후 출판 자유화 조치가 시행되면서 1980년 강제 폐간되었던 『창작과비평』이 복간되고, 『문학과사회』가 창간되었다. 주지하듯 이 양대 문예지는 1970년대 한국문학의 담론을 주도하면서 비평적 대립 구도를 형성해 왔다. 그간 ‘창비’와 ‘문지’에 관한 연구는 이 시기에 집중되어 있고, 폐간 이후 1980년대를 이 두 진영이 어떻게 헤쳐 나갔는지, 1988년 복간에 이르기까지 어떤 활로들을 모색했는지에 관해서는 그 연구 성과가 많지 않다. 80년대 초중반 『창비』와 『문지』는 각각 부정기간행물의 형태로 몇몇 단행본을 펴내면서 나름의 문학적 대응을 해왔고, 그것은 정치적 탄압에 따른 현실적 선택이기도 했지만 88년 이후 빠르게 계간 체제의 문예지가 안착할 수 있는 토대가 되기도 했다. 1988년 봄호로 다시 복간된 『창작과비평』과 이름을 바꾸어 『문학과사회』로 재창간한 ‘문지’는 정기간행물 체제에서 빠르게 문학적 헤게모니를 회복하기 시작했고, 그 과정에서 민중·민족문학, 노동자/지식인 문학 등에 관해 논쟁이 벌어지기도 했다. 이 두 잡지의 복·창간은 결과적으로 다양했던 무크지 시대의 축소와 맞물리면서 70년대 양대 체제로의 회귀로 일부 귀결된 측면이 있고, 문학 매체로서의 편집과 기획에 대한 쇄신이 크지 않다는 점, 또 시대적 무게에 짓눌려 문학적 담론이 다소 제한적이었다는 아쉬움이 있지만 이 시기 『창비』와 『문사』는 한국사회의 1980년대를 문학적으로 정리하고 90년대로 넘어갈 수 있는 교두보 역할을 했다고 평가할 수 있겠다. After the June 1987 struggle, the liberalisation policy for publication has been implemented. Accordingly, Changbi("Creative and Criticism") was revived and Literaure & Society was (re)founded which was forcibly closed in 1980. As a matter of fact, these two literary magazines have formed a critical confrontation in the 1970s, leading the discourse of Korean literature. So far, studies on "Changbi"[創批: Creation and Criticism] and "Munji"[文知: Literature and Intellect] have focused on this period, and there is not much research on how the two groups worked through the 1980s since the closure and what channels they sought from republishing in 1988. In the early and mid-80s, "Changbi" and "Munji" each had their own literary actions by publishing several books in the form a mook(irregular magazines), and it was a practical decision due to political oppression, but it quickly served as the foundation for the quarterly system"s literary magazine to settle down after 1988. “Munji”, which was re-named as Literature &Society and Changbi which was re-released in the spring issue of 1988, quickly began to recover its literary hegemony from the regular publication system, and in the process, there was an argument in the magazine about the literature of the people, the ethnic literature, the laborer/intellectuals literature. Consequently the republication of these two magazines has resulted in a partial return to the two big rival systems of the 1970s, following the reduction of the diverse era of mook. It is also regrettable that literary discourse was somewhat limited due to political rigor and there is not much reform in editing and planning as a literary media. Nevertheless, Changbi and Literature & Society during this period were considered to have served as a bridgehead for the literary arrangement of the 1980s and the 90s in Korean society.

`논설`과 `서사`의 이분법적 구도를 넘어 -『자유종』을 통해 본 작가 이해조의 소설관-

노태훈 ( Roh Tae-hoon ) 한민족문화학회 2017 한민족문화연구 Vol.57 No.-

이해조(李海朝, 1869-1927)는 개화계몽기를 대표하는 작가이며, 조선이라는 정체성 아래에서 개화의 방식을 고민했던 인물이다. 그에게 소설이란 대체로 교육 과정을 위한 어떤 수단으로서 존재했다고 볼 수있는데, 그동안 『자유종』의 계몽적, 현실참여적 성격에 관해서는 많은 논의가 있었지만 소설미학적 측면에서는 논의가 부족했다. <토론소설□유종>이라는 형식적 측면과 그 소설적 구성 방식에 주목해 이를 다시 읽어내면 작가 이해조가 소설의 두 가지 측면, 즉 인물이 어떤 시공간적배경 속에서 여러 사건을 겪는 과정을 보여주는 한 측면과 텍스트를 통해 독자에게 전달하고자 하는 작가의 주제 의식이나 사상적 측면 모두를 고려하고 있었음을 알 수 있다. 다시 말해 `논설`과 `서사` 사이의 균형이 이해조가 인식한 소설이라는 장르의 속성이었다고 할 수 있는 것이다. 본 논문은 『자유종』을 형식과 내용 측면에서 모두 꼼꼼하고 섬세하게 다시 읽음으로써 이러한 이해조의 소설관을 입증해내는 것을 목표로 한다. Lee Haejo(이해조李海朝, 1869-1927) is one of the most famous author in the period of enlightenment in 20th Century. He was concerned about a way of enlightenment in Joseon`s identity and his conception of novel was a method of education. There are many studies about in terms of enlightment and in reality on Jayujong but a few studies about aesthetics of novel. Jayujong is a “debate novel”, so I`d like to re-read focus on a form and format of it. Here by I could prove that Lee Haejo recognized two side of a novel: A character go through some event in one day at a certain place and A themes or messages of text. In other words, his perspective on novel was a balance between editorial writing and fictional narrative. This paper is aimed at demonstration Lee Haejo`s perspective on novel through close reading Jayujong in a form and content.

임상 : 크기가 큰 전상돌기 수막종의 수술적 치료

노태훈 ( Tae Hoon Roh ),홍창기 ( Chang Ki Hong ),김창현 ( Chang Hyun Kim ),안정용 ( Jung Yong Ahn ),장종희 ( Jong Hee Chang ),이규성 ( Kyu Sung Lee ) 대한뇌종양학회 2009 대한뇌종양학회지 Vol.8 No.2

Objective:Clinoidal meningiomas represent a surgical challenge. The purpose of this study was to analyze our clinical experience with clinoidal meningiomas. Methods:A retrospective analysis was performed on data obtained in 23 consecutive patients with large clinoidal meningiomas who underwent surgical resection at our hospital between August 1999 and June 2008. All patients underwent surgery through the pterional approach with zygomatic osteotomy. A skull base approach with combined extra- and intradural anterior clinoidectomy was used in 8. The follow-up period ranged from 14 to 120 months(56.3±8.8 months). Results:The mean tumor size was 4.82(±1.62) cm. A gross total resection was accomplished in all patients. Seven patients( 30.4%) had giant tumor(largest diameter>6 cm). Nineteen patients(82.6%) had a good outcome, one had a mild hemiparesis because of postoperative epidural hematoma, but she was fully recovered after the physical rehabilitation. Three patients(13.0%) developed third nerve palsy after surgical removal. One(4.3%) of the 23 tumors recurred during follow-up and was retreated with surgery. Twelve patients(52.2%) had significant visual deficits preoperatively, and the majority of the patients experienced significant visual improvement. Conclusion:The primary goals of surgery are to achieve aggressive tumor removal with avoidance of morbidity and mortality. With the use of the skull base technique, total resection and excellent visual outcome may be achieved with minimal morbidity in most patients with clinoidal meningiomas.

논문 : 세계문학으로서의 조선근대문학 기획 -김동인 단편소설을 중심으로

노태훈 ( Tae Hoon Roh ) 민족문학사학회·민족문학사연구소 2015 민족문학사연구 Vol.58 No.-

김동인은 조선근대문학의 1세대 작가로서 근대적인 의미에서의 문학 개념에 대해 치열하게 고민했던 사람 중 하나였다. 그는 서구적 의미의 문학 개념이 곧 세계적 동시성을 담보할 수 있는 것으로 믿었으나, 식민지 조선의 현실 앞에서 보편성이라든가 관념성 등의 가치는 쉽게 획득되는 것이 아니었다. 김동인은 소설이 결국 ‘이야기’라는 원천을 공유하고 있으며 그것을 작가가 얼마나 잘 조직하고, 통제할 수 있느냐에 따라 소설의 예술적 가치가 결정된다고 보았다. 이러한 김동인의 인식은 그의 창작 행보에 잘 반영되어 있다. 특히 그가 당대의 형식적 보편성을 담보한다고 여겼던 단편소설은 그의 문학적 변모를 설명하기에가장 적합한 텍스트라 볼 수 있다. 본고는 김동인의 창작 활동을 세 단계로 분절하고, 이를‘공상’과 ‘재현’의 위상학적 관계로 바라보았다. 공상은 보편으로서의 문학, 작가가 구상하는이야기로서의 문학 등을 뜻하며 재현은 식민지 조선의 현실, 당대 사회의 문제들과 맞서려는노력 등을 의미한다. 김동인의 내면에서는 늘 이러한 인식들이 충돌하고 있었으며, 그것은그가 조선의 근대문학이 세계문학이어야만 한다는 기획 아래에서 출발했기 때문이기도 하다. 김동인은 끝내 세계문학으로서의 조선근대문학이 아니라 ‘조선적 문학’의 수준에서 적당히 타협하는 방식을 취했지만, 그가 고민했던 문제들은 여전히 되새겨 볼 필요가 있다. This article is about Kim Dongin`s plannig of modern Korean literature. Kim was a first generation author of modern Korean literature and he had considerd it in ‘what is literature’ enthusiastically. Kim thought that a concept of the West literature guarantee to make sure of literary universality. However, it wasn`t easy to get universality or ideality in the Japanese colonial period. Kim tried to find literary universality through source of story and he believed that achievement of author is depend on how controll character properly in the story, how degine the story skillfully. This is reflected in Kim`s literary walking. He insisted short story is contemporary main genre of world literature. So Kim`s short stroy is appropriate to seek his literary transformation. I categorize Kim`s literary evolvement by three phases through topology of imagination and representation. Imagination means literary universality and the story degined by author. Representation means a reality of Korea in the Japanese colonial period and to struggle that situation in a literary way.

사회주의 마스터플롯의 형성과 서사적 실패 - 한설야 『황혼』 다시 읽기 -

노태훈(Roh, Tae-Hoon) 우리문학회 2023 우리文學硏究 Vol.- No.77

불구(不具)의 시대(時代)와 문학(文學) -박경리(朴景利) 단편소설(短篇小說)을 중심(中心)으로-

노태훈(盧泰勳) ( Roh Tae-hoon ) 한국어문교육연구회 2022 어문연구(語文硏究) Vol.50 No.1

본고는 박경리의 단편소설을 두루 분석하여 1960년대 문학을 4·19를 중심으로 독해하는 흐름에서 벗어나 그 시대가 여전히 ‘전후’였으며 그것이 근대화와 경제 성장이라는 문제와 맞물려 이중의 고통으로 작동하고 있었음을 지적하고자 한다. 박경리의 초기 단편소설을 소설의 인물 형상화에 따라 크게 두 가지 유형으로 구분하였고 개별 작품들의 특징을 조망하면서 그동안 주목받지 못했던 작품들에서 그 의미를 추출해내려고 했다. 박경리는 시대적 현실에 일방적으로 매몰되지 않고 그 속에서 의외의 인물과 상황을 찾아내고 있다. 그러한 ‘의외성’은 박경리의 작품에서 다양한 방식으로 ‘반복’되면서 하나의 흐름을 형성하고 있는데, 그것이 ‘不具者’형의 인물이다. 이 인물들은 신체·정신적 외상 등을 가진 채 살아가고 있지만 시대적 현실에 대한 분노나 증오를 넘어 그 한계를 극복해보려는 시도를 보여준다. 그들이 개인적인 ‘비관’의 단계를 지나 사회 현실에 관한 ‘비판’의 시선을 획득하기까지 어떤 일들을 겪어야만 했는지 박경리는 날카롭게 묘사하고 있다. 박경리의 단편소설을 읽어내는 일은 『토지』의 근원을 모색한다는 차원에서도 의미가 있지만 무엇보다도 1960년대 문학을 풍성하게 읽어내기 위한 단초가 될 수 있다. By analyzing Pak Kyongni's short stories, I hope to gain a new perspective toward the features of 1960s literature. Although most of the literature in the 1960s has been analyzed only in connection with the April 19th Revolution, it still occurred in the midst of a dual pain that involved economic growth and the post-war era, which is reflected in Pak’s short stories. I tried to distinguish Pak’s stories into two categories, particularly those that have never been noticed. Pak was sensitive and aware of the era of the 1960s, but it is not only unilaterally buried in the reality, but also found in unexpected situations and characters. Such unexpected aspects are repeated in various ways, forming a unique stream, which is a “disability” type. These characters have physical and mental trauma, but they have attempted to overcome their limitations beyond anger or hatred over the past decade. Pak describes how they had to undergo the phase of individual pessimism and shows what they had to do until they finally caught the attention of the critical aspect of social reality. Reading Pak’s short stories is also meaningful in discovering the origin of the land, but it can be a great read in the literature of the 1960s.

Manufacturing 2.25Cr-1Mo Steel In Hot Rolling Strip Mill

TaeHoon, Roh(노태훈) 한국소성가공학회 1999 압연 심포지엄 Vol.1999 No.8