옛이야기의 환상적 함의와 어린이 독자/청중의 환상성에 대한 문화적 재규성

최기숙 ( Key Sook Choe ) 한국문학연구학회 2009 현대문학의 연구 Vol.0 No.39

탈경계를 위한 도전: "고전-여성-문학-사"를 매개하는 "젠더 비평"의 학술사적 궤적과 방향 -"한국고전여성문학연구"의 학술사적 의의와 과제-

최기숙 ( Key Sook Choe ) 한국고전여성문학회 2012 한국고전여성문학연구 Vol.0 No.25

이 논문은 13년의 연구 이력을 지닌 ``고전여성문학연구``가 사실상 ``고전-여성-문학-사``를 어떻게 매개하고 규정해 왔는지, 또한 그 관계들을 둘러싼 학술장의 제도적 변화와 문화사적 역할에 어떠한 비전을 제출하면서 ``통제/관리/조율/확산``해 왔는지에 관해, 학회와 학술지의 학술사적 역할이라는 차원에 주목하여 살펴보았다. 나아가 인문학 자체에 ``젠더적 시각``에 관한 어떠한 문제의식과 응답을 추동해 왔는지에 관해, 비판적이고 반성적인 성찰적 검토를 시도했다. 첫째, 학술사적 차원에서 해당 학회는 콜로키움, 하계워크숍, 학술대회 등을 통해 젠더 이슈와 관련한 고전문학 연구 주제를 선도적으로 기획하고 수행함으로써, ``고전-여성-문학``을 링크하는 학술적 공론장을 마련해 왔다. 또한 젠더 스터디의 연구 방법론으로서 학제간 연구를 지향함으로써, 문학주의를 벗어나 문화사/생활사 연구로 범주를 확장했다. 아울러 인접 학문의 페미니즘 연구의 성과를 수렴하여 케이스 스터디를 축적해가고, 이를 이론화하는 작업을 수행하기 시작했다. 둘째, 해당 학회에 투고한 논문의 필자는 총 275명으로, 남녀 비율은 31% 대 69%로 여성 필자가 2배를 넘는다. 그럼에도 불구하고, 여성고전문학은 대학의 분과 학문 체제의 전공 구분에서 독자적인 연구 영역으로 인정받지 못했다. 이는 여전히 대학의 전공 체제가 연구 방법론이 아니라 연구 대상을 중심으로 영역화되었기 때문이다. 셋째, 젠더적 시각에서 ``고전-문학-사``를 다시 읽는 작업은 기존의 전공 구분에 대한 학문 관행을 넘어서 젠더 연구를 영역화하는 선도적 역할을 했다. 국문 글쓰기 과정에 대한 주목, 생활사나 문화사 연구, 학제간 연구 등은 이전의 ``고전-문학-사`` 연구의 경계를 뛰어넘은 성과라 할 수 있다. 이러한 본 학회의 활동은 젠더 연구의 고전문학연구의 보편적 연구 의제이자 시각으로 설득하는 문화적 힘을 발휘했다. 이러한 성과에도 불구하고 ``고전-여성-문학-사``에 대한 연구는 다음의 해결 과제를 남겨두고 있다. 첫째, 연구의 대부분이 여성성 및 여성 연구에 집중되어 있어, 남성성에 대한 연구를 아우르려는 젠더적 관점으로의 전환이 필요하다. 둘째, 조선시대(조선후기) 연구에 집중된 연구를 확장하고, 동아시아적 관점과 방법을 연계함으로써, ``시기``와 ``지역``으로 제한된 연구 범주를 확장할 필요가 있다. 셋째, 학회 차원의 장기 지속적인 학술 기획을 마련함으로써, 신자유주의 체제의 학문 제도화의 관행이 갖는 한계를 적극적으로 극복해 나가야 한다. 넷째, 이를 위해서는 현재의 학문 평가 시스템에 대한 전면적인 전환과 개편이 필요하다. 다섯째, 이를 위해 젠더 관련 학회 간에 문제의식을 공유하고, 콜라보레이션 네트워킹을 적극적으로 모색할 필요가 있다. 여섯째, 향후 젠더 연구는 단지 연구 영역이나 방법론으로서의 개념과 역할로 제한되지 않고, 여성적 시각을 고려했을 때 필요한 인문학 연구의 ``태도``란 무엇인가라는(예컨대, ``돌봄``이나 ``배려``, ``공생`` 등), 사회·문화적 실천의 내용과 접합하려는 학적 노력이 필요하다. This paper researched the roles and outcome of the ``Korean Classical Woman Literature Studies`` by analyzing the journals, academic projects and works; 1) how this academic society redefine of the category of ``Korean classical literature`` and ``history of literature`` with the view point of gender criticism, 2) how this working affected to the academic system and cultural roles, 3) what are effects of these gender issued scholarly process to the Humanities itself? First, at the level of academic history, this academic society have been planned long-term projected colloquium for 8 yeard, interdisciplinary summer-workshops, and conferences with the feministic view. By doing so it played a leading roles amongst researchers and academic societies with regard to the Korean classical literature. By using the gender criticism as a methodology, and using the concept of cultural studies and a study of ordinary life, this academy made enlarge the category of literature, accumulated the case studies and got to academicize as a gender theory. Second, the total contributors are 275, amongst 31% are male-writer, and 69% are female-researcher. However, the gender criticism could not be considered as one of academic fields in the department of ``Korean Language and literature.`` These phenomena resulted from the fixed academic system of university depending on the category and objects, not on methodology and viewpoint. Third, in the engendered perspective, the critical reading with considering of the concepts of ``Classic-literature-history`` can be estimated as a leading role; crossing the border of academic system which is limited by the department system of university; a highlighting on the woman`s writing with Korean alphabet and oral narratives, newly focusing on the cultural history and interdisciplinary/multidisciplinary approach as a methodology. Nevertheless, this academy is in dept to the next issued studies; 1) Most studied are focused on the analysis of feminity, not positively including the studies of masculinity/manhood. So it need to be changed from the feminism study into the gender studies. 2) Most researched are converged on the Joseon period, especially late Joseon. It should be linked with the East Asian studies crossing the boundaries in limited in category of Korea. 3) It should be suggested a series of long-term projects at the level of academic society, by doing so it should be overcome the limitation resulted from neo-liberalism which had a decisive effect on the academic system. 4) To do so, it needs to change and reorganize of academic valuation system totally. 5) The collaboration amongst academic societies with regard to gender issues or perspectives should be linked by networking continuously.

특집논문 : 제도로서의 "매체" ; 1950년대 대학생의 인문적 소양과 교양 "지(知)"의 형성 -1953~1960년간 <연희춘추/연세춘추>를 중심으로-

최기숙 ( Key Sook Choe ) 한국문학연구학회 2010 현대문학의 연구 Vol.0 No.42

둔갑의 생리, 그 욕망과 수용의 문화적 맥락 -둔갑 설화와 『옹고집전』에 투영된 둔갑 행위의 문화적 전제와 문학적 상상력-

최기숙 ( Key Sook Choe ) 연세대학교 국학연구원 2008 동방학지 Vol.141 No.-

17세기 고소설에 나타난 여성 인물의 유랑과 축출, 그리고 귀환의 서사

최기숙 ( Key Sook Choe ) 한국고전문학회 2010 古典文學硏究 Vol.38 No.-

여주인공의 일생을 연대기적으로 그린 17세기 소설 <최척전>과 <숙향전>, <사씨남정기>를 대상으로 고소설에 재현된 길 위의 여성에 대한 문학적 형상화, 그들이 텍스트에서 보여준 지리 감각과 귀환의 의미를 규명해 보았다. 소설 속의 여성 인물들이 길 위에서 종종 불의와 위협으로부터의 ``도망자``, ``난민``으로 형상화된 것은 그들에 대한 신체 구속과 더불어 자유로운 교섭을 제한했던 역사·문화적 조건에 기인한다. 고소설에서 여성의 형상화 방식은 현실의 ``재현`` 범주를 넘어서기 어려웠다. 그럼에도 불구하고 고소설의 여성 인물들의 절대 다수가 길을 잃지 않고 무사히 귀환한다. 고소설의 여성 수난은 극복을 위해 예고된 안전장치라는 아이러니한 의미 맥락을 갖는다. <최척전>의 옥영은 유리표박의 생애를 살아가지만 장육금불과 희망의 접속을 이룬 뒤, 귀환 의지를 갖게 되며, 어머니로서의 정체성을 환기하고 수난의 경험을 위기 극복의 자산으로 삼아 귀환을 달성한다. <숙향전>의 숙향은 자연물·신과 소통하는 과정에서 자신의 운명을 이해하고 여인으로 성장하여 귀환한다. 그러나 이후 그녀의 활동적 편력은 중단되고, 안전한 여성의 처소인 집안의 존재로 귀착한다. <사씨남정기>의 사정옥은 배덕의 경험을 통해 자살을 결심하지만 꿈의 체험을 통한 내면과의 대화를 통해 ``자기의 역사화``를 경험하고 ``억울한 추방자``, ``버림받은 존재``로서의 자기규정에서 벗어나 삶의 의지를 탈환한다. 이 작품의 여주인공들은 모두 자살을 결심할 정도로 극단의 위기에 처한 순간, 초월적 존재와 만난다. 이를 통해 희망과 접속하고, 운명을 이해하며 존재 이유를 깨닫는다. 이는 역으로 현실에서는 이들을 이해하고 심층적 소통을 나눌 존재가 없었음을 뜻하다. 이는 문학 공간이 외부적으로 ``묵음 처리``되고, 내적으로 ``억압``되었던 여성의 내면을 신과의 만남, 이계 체험, 꿈 등의 장치를 통해 경험하는 영적 체험의 도구이자, 무의식을 의식화하는 서사 기제로 기능했음을 시사한다. 그런 의미에서 고소설은 독자와 정서와 감정, 무의식으로 연대하는 ``감응의 체계``이자 도구였다고 볼 수 있다. 여기에는 고통 받는 선한 여성인물과 ``눈물``로 연대하는 독자와의 공감을 상정하는 ``감성의 정치학``이 정교한 서사 장치로서 작동하고 있었다. This paper researched on the female characters` geographical sense and meaning of their returning home through analyzing representative Korean classical novels red in the 17th Century; ChoeChuck Zeon, SookHyang Zeon, and SaXsiNamJung Ki. Those three heroines were portrayed as runaways and refugees, because at that time, woman`s body and personal liberty were controled by the patriarch based on the Confucianism. The way of portraits of female characters were hardly get over the limitation of representing reality. However the most female characters came back home without losing their ways. Ironically, the female characters` suffering played a role as a safety device to let the readers predict their returning successfully. The first, OkYoung, the heroine of ChoeChuck Zeon, lived at subsistence level and got in touch of the Buddha in her dreams five times, and got to have a will toward survival. She recognized her identity as a mother and changed her attitude for life positively from frustrative way. Finally she return her husband`s hometown successfully. The second, SookHyang, the heroine of SookHyang Zeon, abandoned in the refugee way and endlessly suffered from dangerous cases outside. However she had an opportunity to understand her inevitable destinies arranged in a previous existence after communicating with the supernatural existences like deer, monkey, blue bird, goddess of the earth and god of the fire, etc, and she got to change as a matured lady from weak crying girl. After returning home, she never tried to behave actively and stayed at home ever and after safely without any quest. The third, SaXsi, the heroine of SaXsiNamJung Ki. decided to commit suicide after experiencing immoral betrayal and conspiracy. However she changed her attitude toward life after being invited by the historical great ladies in her dream. Such an experience suggested her an opportunity of ``self-historicizing``. After all, she recover her self-esteem through abandoning her identity as a mistreated exile or compelled person. When all three heroines encountered extreme crisis to compelling commit suicide, they came to meet supernatural existences. Through such chances, they could got in touch with the hope, and could understand their own destiny and their raison-d`etre. Contrary, it means that they couldn`t have any other persons who could deeply understand them in reality. Such phenomenon showed that the Korean classical novels took a role for the readers of spiritual devices to make the rearder`s unconsciousness change into consciousness during their reading the novels. In a sense, the novels were effective media to connect the public readers as a sympathetic mass and also a thick chain of sense. And such a process work some narrative devices of the politics of sense between the painful good heroines and crying readers.

자선과 저금: 『매일신보』 “경제” 기사의 문화사적 지형과 <연의각> 연재의 맥락

최기숙 ( Key Sook Choe ) 한국고전문학회 2014 古典文學硏究 Vol.46 No.-

이 논문에서는 『매일신보』에 연재된 <연의각>(1912.4.29.~6.22)의 두 주인공인 흥부와 놀부에 대한 독자의 관점이 근대적 매체라는 신문의 기사들 속에서 재맥락화되는 과정을 해명했다. 『매일신보』에는 <연의각 예고>가 실리는 1912년 4월 27일부터 총 37차에 걸쳐 「저금권면」 기사가 연재되었다. 이 연재는 저금을 문명(국)의 모범으로 간주하면서 ‘부자 되는 비결’을 소개했다. 구체적인 성공사례와 더불어 ‘이자놀이’, ‘슛것 저축’, ‘근검저축’의 이념을 소개했다. 이를 통해 경제의 근대를 확립하기 위한 『매일신보』의 계몽 기획을 관철시키고자 했다. 같은 시기에, 『매일신보』는 빈민구제와 재난구휼을 중심으로 한 자선 기사를 지속적으로 게재했다. 그 과정에서 사욕을 채우는 축재 행위나 타인에게 인색한 수전노를 부정적 인물로 위치시켰다. 자선을 통해 공생을 실천하는 부자의 도리를 강조했으며, 언론의 보도를 통해 자선가의 명예를 드높이는 사회적 인정 구조를 형성했다. 연재가 계속됨에 따라 자선의 방식은 재난구제에서 세금 감면, 물건값 인하 등 현실적인 방안으로 확산되었다. 또한 자선을 부자만의 도리로 특화하지 않고 공동체 소속원의 보편적 윤리로서 규범화했다. 이러한 경제 담론의 지형은 같은 기간에 실린 <연의각>의 인물을 재맥락화하는 배경이 되었다. 이 논문에서는 바로 이러한 상황이 독자로 하여금 흥부를 가난에서 벗어나 부자가 되어야 할 인물로, 놀부를 수전노의 행색에서 벗어나 자선을 행해야 할 인물로 사유하도록 작용했다고 판단한다. 신문을 읽는 독자의 층위에서 『매일신보』의 경제 기사는 <연의각>를 읽는 독자로 하여금 ‘저금을 통해 흥부에서 벗어나기’, ‘자선을 통해 놀부에서 벗어나기’라는 새로운 독법을 경험하게 했다. 이는 고소설을 근대적으로 재맥락화라는 비평의 관점을 생성했다. This paper explain the inter-relationship between article, a series of economic column of ‘encouragement of saving’ and a group of article on charity. and Yeon-ui-gak, an old novel (1912.4.29.~6.22), published in Mail Sinbo, a representative modern newspaper. The column of ‘encouragement of saving’ were serialized at Maeil Sinbo since 27th of April in 1912, totally 37th. This columns introduced the way of becoming rich, which was based on the idea that saving itself was regarded as exemplary way of Western cultivated nation with the concept of saving bearing interest, saving first, thrift and saving, etc. The Mail Sinbo built the theory of economic enlightenment by enforcing the meaning of saving. On the other hand, Maeil Sinbo published a lot of articles about charity; poor relief and disaster relief. These articles criticized harshly the rich miser who saved money for himself and not care for the other poors and encouraged the manner of the rich; help and care the poor as a duty of modern citizen by way of poor relief, tax cut, and reduction of prices, etc. The Maeil Sinbo suggested the idea that all the modern citizen should practice the charity. In these topography of economic articles, the reader naturally came to re-criticized the meaning of two main characters of Yeon-ui-gak; Heung-bo, a good poor brother and Nol-bo, malicious rich elder one. The reader came to rethink on Heung-bo as a character who should be rich, and on Nol-bo who should give charity. Such articles and columns were works as background context of the novel which leaded the readers way of reading perspective on Yeon-ui-gak.

여성의 잘 나이들기 노년기 여성적 삶의 공론장, 17~19세기 여성 대상 수서(壽序) -여성의 잘 나이들기에 대한 생애 성찰과 여성적 삶의 전범화

최기숙 ( Key Sook Choe ) 한국고전여성문학회 2011 한국고전여성문학연구 Vol.0 No.23

Suseo(壽序), a writing for birthday congratulations is one of genres of prose written during Joseon period from the 17th century, to open a party to celebrate family member`s 60th birthday. There was written of their life stories, social careers, anecdotes and personalities, etc. In such points, it is similar to biography(傳), records of a deceased persons(行 狀), funeral oration(祭文), and epitaph(墓碑銘). However, it was differentiated from those genres in such points; focused on life not death, and written for living person not the deceased one. It has some value to let the contemporary people reflect their own lives, especially evoke some questions regarding how to aging-well. There are 210 pieces of writing for birthday congratulations(壽序) edited in the anthology of Joseon literary writings(Han-kuk-mun-jip-chong-gan), 123 texts amongst of them were written for man, and 24 for woman from the 17th until the 19th century. Generally, writings for birthday congratulations for women were written by male family members or their friends, and their main topics were about commemoration and empirical relationships between them. Besides, in case of written by asking for the other`s family members, there should be written the detailed reasons how they could write such writings for the person whom not knowing. It was a cultural manners at that times could not be permitted to writing about women`s aging-well, except family members like mother, sisters and daughters. In such point, a writing as a birthday congratulations takes a significant role as a commemoration and formalization of women`s lives. It was only permitted to women who could be son`s mother over 60 years old. By those possibility, a birthday congratulations for senescent woman was replaced by the narration of short description of that woman`s son or family history. Writings for birthday congratulations were written by Joseon literati, so there were reflected their view points on old women, as it were, man`s perspective. The contents of women`s supreme happiness were healthy long life, wealthy and noble circumstance and matured personality like calmness, virtue, chastity and benevolence, etc. There were not exposed fear for death, but worked some reality and practicality regarding the concept of ``aging-well``. Most birthday congratulations for women were written for noble class, so it was limited to understand the whole situation of the concepts and thought during Joseon period. Nevertheless, a writing for birthday congratulations give some opportunities for reflection to not only the object but also to the writer himself. In such reasons, research on the writings for birthday congratulations have value for thoughtful materials regarding ``aging-well`` amongst contemporary people who lives in these the 21th century, an aged society.

옛 것의 근대적 소환과 옛 글의 근대적 재배치: 『소년』과 『청춘』을 중심으로

최기숙 ( Key Sook Choe ) 민족문학사학회·민족문학사연구소 2007 민족문학사연구 Vol.34 No.-

문학교육과 환상 : 조선시대 사대부 문인의 환상 인식과 문학적 향유

최기숙 ( Key Sook Choe ) 한국문학교육학회 2009 문학교육학 Vol.30 No.-

Traditionally, literary fantasy was considered negatively and excluded generally in Joseon period. However, there were lots of writings which used fantastic imagination written in Chinese characters by the intellectual and noble class in Joseon period; they used the literary fantasy as poetic imagination and episode for everyday life writing like diaries on fantastic dream. This paper analyzed the dual point of view of the intellectual in Joseon period on literary fantasy through researching their writing collections and alsoa nalyzed the topology of the literary fantasy .The first, this paper analyzed the words corresponding literary fantasy; strange(奇), unfamiliar(異), mysterious(怪/怪), ghostly(神), uncertain(愧), unbelievable(虛), queer(誕) etc. And also analyzed their examples amongst their writing like proses and poems. Such words were chosen as fantastic meaning related something suspicious, doubtful, curious, interesting, critic, negative, and hospitable attitude. Such nuance were mixed and fluctuating in each writing. The second, there were remained some critical essay regarding Shanhai jing(山海經), Soushen chi(搜神記), Liao-chai-chih i(聊齋志異) etc. These records showed that the fantasy was regarded positive and general imaginative points amongst the noble class in Joseon period. The third, the intellectual used the fantasy in their writings like these; imaginative motives in poems, ordinary life`s curiosity and taste, specific objects should be proved, and narrative logic and structure of a series of narrative genres like novel, yadam, biographies on extraordinary persons. Most of all, the fantasy was regarded some cultural media of noble class as some sort of encyclopedic knowledge. Some series of encyclopedic collections contained some fantastic section; Lee, Ik(李瀷)`s Seonghosaseol(星湖僿說), Jo, Jae-sam(趙在三)`s Songnamjapji(松南雜識), Lee, Kyu-kyung(李圭景)`s Ozuyeonmunjangzeonsanko(五洲衍文長箋散稿), Kweon, Mun-hae(權文海)`s Daedongunbukunok(大東韻府群玉) etc. Such tendency showed that the fantasy was regarded some knowledge and culture which the noble class should know at that time. The intellectuals in Joseon period showed dual point of view on the literary fantasy. They had been considered the fantasy as literary motives and imaginative media continuously in their every day records, poems, and fictional narratives written Chinese characters. And the other hand they strongly criticize the fantasy on the noble genre. Such tendency showed that the literary imagination could be ranked by the characteristics of writers` and readers` group and the confusing view point on the fantasy was the literary reality in that period.

감성적 인간의 발견과 감정의 복합성,순수성,이념화 -19세기 국문소설 <남원고사>의 사랑의 표상화 맥락-

최기숙 ( Key Sook Choe ) 한국고소설학회 2012 古小說 硏究 Vol.34 No.-

Namwongosa is one of the most complete versions of Chunhyangjeon that was circulated in 19th century Seoul in the form of books for lending. Namwongosa depicts a narrative design in which human beings are rediscovered as an agent of emotions through a holistic investigation of emotional factors that are physically perceived, experienced, and exchanged. Namwongosa defines emotions as being natural, placing sex, love, and emotions on equal levels, and establishes that emotional relationships determine the superiority of human relationships. At the same time, by shedding a light on the hybrid and complex process by which emotional factors work out according to differences in social, academic, economic, or gender status, it paradoxically captures the process in which purity of emotion is created. The circumstance, method, and process by which the young Master Lee and Chunhyang approach love is shown to be a hybrid composition due to difference in class and gender. However, Namwongosa tells the story of the ideology of the purity of love by capturing the emotional relationship which homogenizes such differences. The emotion of love is considered good, while lust is considered evil. The difference lies in the mutual exchanging of the emotions. Therefore, the readers are conditioned to perceive Magistrate Byun, the interrupter of love from the outset, as evil and develop sentimental hostility towards him. In Namwongosa, love is portrayed as a factor in a fluid and complex system where it is intricately interwined with emotional factors depending on social, cultural, and political conditions. Love became an ideology through the continuity and reciprocality of the emotion, ultimately being re-determined as a factor with social identification by becoming associated with ethics. Furthermore, love went beyond the scope of private life to be seen as the target of public opinion stirring the issue of social responsibility. Through the “vulgar genre” of novel which is true to the grammar of emotions, Namwongosa made the readers accept the experimental design that defines human as an agent of emotions. Namwongosa considers emotional factors as a physical and experiential factor universality seeing all humans ad equal in a novel, a cultural mode of sympathy.