서평: 정재완의 『한국현대시인연구』 : 한국현대시의 정체성을 찾아서

임환모 전남대학교 인문학연구소 2001 용봉인문논총 Vol.30 No.-

3⋅1운동의 소설 형식 - 염상섭의 「만세전」과 현진건의 「고향」을 중심으로 -

임환모 한국언어문학회 2019 한국언어문학 Vol.110 No.-

This study contemplates the spirit of the 3⋅1 Movement as a significant event of human kind in the scale of world history and its lasting legacy passed down to Korean novels of 1920s, such as Yeom Sang-seop's Mansejeon and Hyun Jin-keon’s Hometown. This investigation will be followed by a modest proposal on the direction the contemporary Korean literature is obliged to pursue. The 3⋅1 Movement was a series of nationwide resistance, which started in March 1919 and continued the year around to achieve independence from Japanese occupation. It was essentially a process to establish Korean nationality and identity as an imagined communities by solidarity of multiple subjects from all stages of life and social strata. It marked a watershed in the modernization process of national subjectivity, separated from the colonial civilization governed by Japanese imperialist. Yeom Sang-seop's Mansejeon delineates the absurd and deserted reality of colonized Joseon, derived from the intrinsic contradiction, and the servility that degraded the life of people into that of the living dead. This medium-length narrative conjures up an aspiration towards certain 'event' in the literary form of novel and describe its capability to break through the 'reality of Joseon' and what inevitably led the 3⋅1 Movement with the circumstances. Hyun Jin-keon’s short novel, Hometown, by the way, depicts 'the face of Joseon' to explain how the individuals as unclad existence are expelled from their hometowns and become refugees in Joseon where the intrinsic contradiction seized the power. Then what would be the capability and responsibility of Korean literature after 100 years from the 3⋅1 Movement? It would be achieving complete autonomy and independence from invasive oppressions as Mansejeon exemplifies. It also would be the efforts to protect rights and interests of minority groups and enhance the life condition of those who have been the victimized others under social hierarchy and ended up being homo sacers with abject lives as displayed in Hometown. This endeavor can only be rightfully valid when it achieves the universality in the context of human history.

김남천의 모랄과풍속론 연구

임환모 한국언어문학회 1992 한국언어문학 Vol.30 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.

한국 근대소설의 복에 대한 의식

임환모 전남대학교 인문과학연구소 1999 용봉인문논총 Vol.28 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.

시조에 나타난 자연관 연구

임환모 한국언어문학회 1990 한국언어문학 Vol.28 No.-

『광장』의 서사성과 서사 담론 연구

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

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.

한국 근대소설의 복에 대한 의식

임환모 전남대학교 인문과학연구소 1999 용봉인문논총 Vol.28 No.-