문학도시 ‘하이토(俳都)’ 마쓰야마(松山)의 형성 과정에 관한 고찰

문순희 ( Moon Soon-hee ) 한국일본근대학회 2021 일본근대학연구 Vol.0 No.71

본고는 근대에 형성된 풍경 체계 속에서 당시 발견된 지역의 인문학적 자산이 현재도 적극적으로 관광자원으로 이용되고 있다는 점에 주목하고, 일본 에히메현(愛媛縣) 마스야마(松山)가 문학도시 하이토(俳都)의 이미지를 구축해 나간 과정을 통시적으로 확인하고자 했다. 이를 위해 근대 발간된 안내서를 통해 하이쿠의 도시로 창출되는 과정을 확인하고, 나아가 전후 ‘하이토’의 장소성을 어떻게 계승해나갔는지를 살펴보았다. 마쓰야마의 지역 안내서는 1900년대 중반부터 주로 하이쿠를 창작하는 시인들이 중심이 되어 집필되었는데, 안내서 속 명소마다 해당 장소와 관련된 하이쿠를 게재하면서 마쓰야마가 근대 문예 하이쿠의 탄생지라는 것을 인식시켰다. 애초에 하이쿠 시인들의 네트워크를 통해 하이쿠가 수집되고 안내서가 서술되었다는 점에서 문학성이 강한 안내서가 완성된 것이다. 본격적으로 마쓰야마가 ‘하이토’로 표상되는 것은 1930년대 후반 1940년대 즈음으로 추정된다. 이 시기에는 과거 마쓰야마 명소 목록에 없었던 시키나 소세키와 관련된 유적지가 명소로 포함되고 있으며 ‘하이토’라는 용어가 실질적으로 사용되었다. 전후에도 마쓰야마는 ‘하이토’의 이미지를 계승 확대시켰다. 전쟁 직후 곧바로 소실된 시키당을 재건하고 이를 사적으로 지정했으며, 시키의 문인이었던 교쿠도, 교시 등이 중심이 되어 시키를 우상화하는데 큰 역할을 했다. 이와 함께 마쓰야마에 사는 시키 문인들이 하이쿠를 지속적으로 수집하고 시비를 짓는 등 적극적으로 활동하면서 마쓰야마는 ‘하이토’의 역사를 이어나갈 수 있었다. 또한 1980년대에는 시키기념박물관을 건립, 1990년대에는 하이쿠 창작과 관련된 행사를 지속적으로 진행하면서 문학도시의 이미지를 더욱 강화했다. 이처럼 어느 한 시점이 아닌 시대를 거쳐 지역 문인들이 의도적으로, 그리고 지속적으로 노력을 기울이고, 한편으로 지자체와 주민들이 정책적으로 경제적으로 뒤받쳐 준 결과 문학도시로서의 장소성을 확고하게 구축할 수 있었다. The present paper notes that local places of humanities discovered under the landscape framework during modern times are still actively used as tourism resources today, and examines how Matsuyama established its image as a city of literature (俳都: Haiku-city) among other small cities across Japan. As the hot spring town named Dōgo Onsen is located in the suburb of Matsuyama, and the city was introduced for its popularity in the tour guidebooks that had been published nationwide since the early 1900s. However, these guidebooks introduced Matsuyama simply as a city near Dōgo Onsen, and Matsuyama was nothing but additional information for Dōgo Onsen. It was the late 1900s that Matsuyama published its own local guidebooks and began to express its local characteristics. The guidebooks that introduced Matsuyama were written by Haiku authors (俳人: Haijin) in Haidan since the mid-1900s. The guidebooks included Haiku related to each attraction, which strongly reminded that Matsuyama is the birthplace of modern literature Haiku. In the 1910s when local guidebooks were published across many different parts of the country, Haiku was collected by a network of Haiku authors in Matsuyama and organized by place and figure. Given that Matsuyama’s local guidebooks were written and described by those who created Haiku themselves, it was no surprise that the completed local guidebooks had strong literature value. During the 1920-30s, no guidebook published by Matsuyama was found, and Matsuyama was represented simply as a city of Jōkamachi or hot spring during this period where there was no local guidebook. As seen in Matsuyama’s guidebooks in the 1940s, guidebooks including many Haiku were newly written and published, transforming the image of Matsuyama from the city of history Jōkamachi into the city of literature Haito. By introducing the city in connection with Shiki and Sōseki, two of the greatest authors in modern Japanese literature, the guidebooks further reinforced Matsuyama’s image as the city of literature.

일제강점기 한국작가의 일어작품 재고

에비하라유타카(Yutaka Ebihara) 한국현대소설학회 2009 현대소설연구 Vol.- No.40

<Chosun Modern Writer`s Special> was published in 《Bungaku annai》, japanese magazine in February 1937. This <Special> has a significance with the first japanese work special by korean writers. First of all, this paper examines the relation with active magazine publications by Proletarian writers and the decline of Proletarian literature in Japan during 1930`s. And examines a cause of being dismantled of NALP(Nippona Alianco Literaturistoj Proletaj) through the artistic popularization dispute among NALP. Because this dispute was a major factor which made 《Bungaku annai》(by Kishi Yamaji), 《Bungaku hyoron》(by Tokunaga Sunao) after being dismantled NALP. And their magaginzes provided Chosun`s, Taiwanese, Chinese writers with the space. The following part looks in korean writer`s a message what they send to japanese readers through an analyzing individual work. Their works is japanese works by korean writer`s but they was able to freely express than the original work. So, this paper is aimed at the finding a meaning of their japanese works through analyzing their japanese works in detail.

『文学案内』誌 研究 : 行動主義文学論議を中心に

海老原豊(Ebihara Yutaka) 동북아시아문화학회 2011 동북아 문화연구 Vol.1 No.28

〈Bungaku Annai〉 magazine published in July, 1935. This magazine(the chief editor: Kishi Yamaji) was an expression of his belief after conversion, for the purpose of construction of new literature by the working masses. However this magazine has planed tie-up with activist workers in the early times. Therefore, this magazine was different from before Marxists. This paper aims for analyzing the point of contact between 〈Bungaku Annai〉 magazine and Literary of Activism in japan. First of all, I will examine of the literary argument of activism in japan on 1930’, the following part, examining how was it developed the literary argument of activism on 〈Bungaku Annai〉 magazine in the last stage of it’s argument. Through this study, I think what is the point of contact between 〈Bungaku Annai〉 magazine and literary of activism workers.

문학교육의 ‘교육적 상상력’

최지현(Cboi Ji-Hyun) 국어국문학회 2007 국어국문학 Vol.- No.147

'Imagination' is one of the most important term as the aim and content of literary education in Korean language education. But in generally its conceptual property and practical significance has been dealt with a matter some carelessly. So to speak. imagination is confirmed its reality with evading to refer to. The main approach. as a etymological. genetical. or taxonomical approach. can make an explanation on imagination. The usefulness of the explanation from each approach on literary education is to show us the value in being of imagination and the developmental process of its power. and furthermore to qualify 'the practicable and safe' boundary of imagination. Those approaches try to take the explanatory object of imagination. what is called 'literary imagination' or 'aesthetical imagination'. But in spite of these approaches. the imagination in literary education still remains to be unexplained. The imagination that teachers have assumed as something educative is defined in that way not by its inherent value but by the fact that it is taught. Moreover the imagination corresponding to the imaginary world of a literary work and the educative imagination are not connected intentionally but tuned with the stream of the times. In this study. I examined the three way of teaching imagination. that is. 'transmission'. 'guidance'. and 'influence'. But any of these methods could not teach 'the educative imagination'. According to my investigation. imagination in literary education would co-evolve between teacher and learner. I called this process' co-evolution of imagination'. In co-evolution of imagination learner's imaginary experience is connected with teacher's imaginary experience not his instruction. In co-evolution of imagination not only learner but also teacher. as the subject of literary experience. become to vary and grow. I suggested four consideration to obtain the educative value of imagination in co-evolutionary experiences as follows; The first. make the environment of learning to imagine the unimaginable. The second. admit the various bypasses of imagination without presupposing the logical consequence of it. The third. permit the so-called 'bad imagination' above the obvious. And the fourth. own the imaginary experiences jointly between teacher and learner. Because it is necessary for a literary teacher to grow his own imaginary experience as a learner.

청소년 문학교육을 위한 교사의 역할

선주원 ( Ju Won Seon ) 한국문학연구학회 2008 현대문학의 연구 Vol.0 No.34

만오(晩悟) 박래겸(朴來謙)의 『심차일기(瀋차日記)』 硏究

박영호 ( Young Ho Park ) 동방한문학회 2012 東方漢文學 Vol.0 No.51

본고에서는 『瀋차錄』의 구성을 살핀 다음 『瀋차日記』를 일정별로 분석하여 그 가치와 의의를 고찰하였다. 박래겸은 당시 40세의 나이로 瀋陽問安使書狀官에 제수되어 正使李相璜과함께 燕行하였는데, 왕복한 일정에 따라 『瀋차錄』을 기록하였다. 『瀋차錄』은 [瀋차日記], [啓本], [聞見事件], [頒詔] 등 크게 네 부분으로 구성되어 있다. [瀋차日記]는 한양을 출발하여 심양까지 왕복한 98일간의 일기이고, [啓本]은 귀국하여 복명할 때의 보고서이며, [聞見事件]은 심양에 체류하며 견문한 사건을 10개 조목으로 기록한 것이고, [頒詔]는 淸나라 道光帝가 심양을 순행하고 奉天府에서 반포한 조칙이다. 심양문안사의 일정에 따라 『瀋차日記』의 내용은 上行-滯留-下行日程으로 구분되는데, 상행에 43일, 체류에 31일, 하행에 24일이 소요되었다. 상행은 한양을 출발하여 의주에 도착하는 일정과 압록강을 건너 심양에 도착하는 일정으로 양분된다. 암행어사로서 이미 경유했던 지역은 간략하게 소개하고 처음 지나는 지역에 대해서는 자세하게 기록하였다. 특히 압록강을 건넌 이후에는 장편의 일기로 바뀌었다. 심양에 체류하는 동안에는 문안사로서의 공식 일정을 중심으로 기록하였는데,황제를 접견한 사실, 황제의 일정과 행차하는 모습, 황궁의 규모와 청국의 풍습, 중국 인사들과의 교유 양상, 명승지 관람 등이 주된 내용이다. 하행에서는 복명할 기한이 정해져 있고 상행할 때 경유한 지역이므로 매우 간략하게 기록하였다. 『瀋차日記』는 역사에 대한 史料로서의 가치, 역사적 현장이나 명승, 유적 등에대한 안내서로서의 가치, 逸話, 說話, 儀式, 風俗등에 대한 풍부한 자료집으로서의 가치를 지닌다. 『瀋차日記』는 당시 지식인들이 국제적으로 교류한 실상을 보여주고 있으며, 작가의 정서 표출과 경물에 대한 묘사를 통해 문학성을 제고하고 있다. 『瀋차日記』는 내용이 다양하고 풍부할 뿐만 아니라 견문과 체험을 종합하여기록한 점에서 그 의의를 가진다. 그의 일기에는 체험의 구체성과 정서의 진솔한표출, 문학·역사·외교·문화의 유기적 결합, 사실적 기록과 구체적 描寫의 혼합등이 구비되어 現時性, 事實性, 眞實性등이 두드러진다. 앞으로 19세기 전기의 정치, 사회, 외교, 역사, 문화 등 다방면의 연구에 기여할 것이다. This paper examines the composition of 『Simsalok(瀋차錄)』, analyze 「Simsa diary(瀋차日記)」on schedule, and consider its value and meaning. In those days, Parkraegyeom(朴來謙) is appointed of Simyangmunansa(瀋陽 問安使) Seojanggwan(書狀官) at the age of 40, is dispatched with Jeongsa(正使) Leesanghwang(李相璜), and record 『Simsalok(瀋차錄)』 according to the schedule. 『Simsalok(瀋차錄)』 is composed of four parts, 「Simsa diary(瀋차日記)」, 「Gyebon (啓本)」, 「Mungyeonsageon(聞見事件)」, 「Banso(頒詔)」. 「Simsa diary(瀋차日記)」is a diary of 98 days from Hanyang(漢陽) for Simyang(瀋陽), 「Gyebon(啓本)」is a report on the business of diplomacy when he arrived home, 「Mungyeonsageon(聞見事件)」is a record of 10 clause on the information while diplomatic activities, and Emperor Dogwang of Qing(道光帝). 「Banso(頒詔)」is a bylaw which is promulgated by Emperor Dogwang of Qing after a round of inspections of Simyang(瀋陽), it is declared in Bongcheonbu(奉天府). The contents of 「Simsa diary(瀋차日記)」are divided into going to Beijing, staying, and returning home. It is required for 43 days in going to Beijing, 31 days in staying, and 24 days returning home. Going to Beijing is bisected by two routes which departing from Hanyang(漢陽) arriving in Uiju(義州), and departing from Aprok River(鴨綠江) arriving in Simyang(瀋陽). He briefly introduces a place where he has been as a secret royal inspector, and records a place where he needs to go in full. After crossing Aprok River(鴨綠江), he keeps a diary in full-length. The record in staying in Simyang(瀋陽) revolved around the official schedule as a Munansa(問安使), including an audience with the emperor, the ceremonial walk of the emperor, the size of the palace, a social gathering with the important figures of Qing dynasty, and a tour of the scenic spots. On the way of homecoming, it is limited to a deadline, and has been passed through that area, so he records the route briefly. 「Simsa diary(瀋차日記)」has a worth of a historical data, a guide book introducing to scenic spots, historic site, and a source book for custom, ceremony, anecdote, and tales. 「Simsa diary(瀋차日記)」shows clerisy`s cultural exchange aspect in those days and enhance the literary value through emotional response and the scenery description. 「Simsa diary(瀋차日記)」has worth as a diary with different and plentiful contents, and a record of a comprehensive knowledge and experience. Reality, facticity, and veracity are characteristics of 「Simsa diary(瀋차日記)」. Consequently, 「Simsa diary(瀋차日記)」will contribute to different fields of study in the early of 19th century.

『文學案内』誌研究(2) - 実録文学論と田村栄太郎の「大衆文学のよみかた」-

海老原豊 동북아시아문화학회 2012 동북아 문화연구 Vol.1 No.30

The study of <Bungaku Annai>magazine(2)-Focusing on the literary criticism of the documentary stories and 'How to read the popular literature' by Tamura Eitaro Ebihara Yutaka Kishi Yamaji proposed the literary criticism of the documentary stories as an outcome of the efforts that criticized the absurd popular literatures and was going to approach the reader from the writer side in healthy popular literatures for the fourth the art popularization discussion in the proletarian literature. And what was serialized in “Bungaku Annai Magazine” as the first step of the literary criticism of the documentary stories was “How to read the popular literature” by Tamura Eitaro. Because the documentary stories of the late Edo period was becoming basic of the established popular literatures. First of all, this study investigates how it was proposed with the literary criticism of the documentary stories of Kishi Yamaji and how it is taken up with “Bungaku Annai magazine”. The following part looks into how the documantary storie of the late Edo period was becoming basic of the popular literatures. Finally part looks into “how to read the popular literature” by tamura. Tamura criticized on the documantary storie of the late Edo period, “Tyuji Kunisada” “Hikozaemon Okubo” “Komon Mito”. So This study aims to re-examine the validity of Tamura's essay through each works.