‘고향’이라는 미정형의 기호 - 1980년대 김현 비평의 전개 과정과 숨은 원리 -

한순미 ( Han Soon-mi ) 전북대학교 인문학연구소 2016 건지인문학 Vol.17 No.-

Hometown shown in Kim Hyun Criticism is not limited to his actual hometown only. The hometown in his criticism implies more than a specific place, showing the images with different context. It is a certain place which raises a critical question at the intersection point of various hometowns including the writer’s actual hometown as a subject for analysis, the hometown as a background of work, and the character’s hometown. Gwangju in May 1980 had a decisive effect on his criticism to get sharper in “his historical point of view” compared to his criticism before 1980. Since Gwangju Democratic Uprising, he set ‘the hometown’ as his subject of discussion, drastically exploring “the meaning of violence” and “the root of desire.” The hometown in his criticism in 1980’s appears as different context and meanings. His study on the meaning of violence drastically made since 1980 has been led to the analysis of internal experience of art. In the process, he saw the desire wriggling out of the violent world in Namdo Sori. Sori is what allows to let out of the world of violence which totally destroys and damages to human life, that is, the hometown as the space where art exists. As shown above, the hometown shown in Kim Hyun Criticism has been getting close to hometown in Namdo since Gwangju in 1980. But, we can not define the hometown in his criticism as a single image or meaning. The hometown(s) exists in the process of building and constructing a new world, destroying and destructing the existing world. It is why we call the hometown still alive in Kim Hyun Criticism as ‘Undetermined Sign.’

정몽주와 김삿갓의 고향시 비교 연구

안장리 포은학회 2022 포은학연구 Vol.30 No.-

This study set out to compare Jeong Mong-ju, who was away from his home often for his envoy missions, and Kim Sat-gat, who spent his entire life wandering around, in hometown-related poems, figuring out the same and different characteristics between them and understanding their meanings. The study specifically identified living away from home, the aspects of a hometown, life in hometown, and hometown-related elements in their respective poems for comparison. Jeong was well treated on his envoy missions, but he said he missed his home due to the long and rough routes. In his mind, the willows he took care of and his children were waiting for him in his hometown. He was also able to lead a leisurely life in his hometown. He usually missed his hometown when seeing elements that were found in his hometown or related to it such as the sun and the moon, clouds, seawater, and wild goose cries, and feeling that he was far away from his home. Kim was a vagabond begging for food and dwelling. He would always be kicked out. Poor ordinary people rather than the rich noble would pour a warm heart on him, who then experienced their difficult situations. He would miss his home, but his home would feel sad and difficult for him. When he, in fact, returned to his hometown, he was merely drowned in sadness out of his remorse for the past years that he spent by himself. Like Jeong, he also missed his home when he was far away from it and often longed for his home in his dreams. For Jeong, his hometown was a place that he wished to live in but could not. Working away from his home was for the country and for his achievements. For Kim, his hometown was a place that he could live in but would not wish to. He could not work for the country because some of his ancestors did something very wrong, which means that being as far away from his hometown as possible was an inevitable choice for him. His hometown was a place that he would wish to return to only in his dreams. Although the two were widely different in the perceptions of hometown and life trajectories, they were the same in that they were recognized for raising values for a new era by being away from their homes. 본고에서는 오랜 사행으로 자주 고향을 떠나야 했던 정몽주와 방랑으로 일생을 보낸 김삿갓의 고향 관련 시를 비교하여 동이점을 밝히고 그 의미를 고찰하였다. 정몽주와 김삿갓의 시에서 타향살이, 고향의 모습, 고향에서의 생활, 고향 관련 요소 등을 추출하여 비교하였다. 정몽주는 사행 중에 융숭한 대접을 받았으나 행로가 멀고 험란하였기에 고향이 그립다고 하였다. 고향에는 자신이 일군 버드나무, 자식들이 기다리고 있다고 생각했기 때문이다. 또한 고향에 있을 때는 여유로운 삶을 누릴 수 있기 때문이기도 하였다. 정몽주는 해와 달, 구름과 바닷물, 기러기 소리 등 고향에서도 볼 수 있거나 고향과 연관된 요소를 볼 때 그리고 고향과 멀리 떨어져 있음을 느낄 때 주로 고향을 그리워하였다. 김삿갓은 방랑객이었기에 거처와 먹거리를 구걸하는 처지여서 쫓겨나기 일쑤였다. 부유한 양반보다는 가난한 서민이 그나마 온정을 베풀어 주어 그들의 어려운 처지를 체험할 수 있었다. 그렇기에 고향을 그리워했지만 사실은 고향이더라도 쓸쓸하고 어려울 거라고 생각했다. 정작 고향에 갔을 때도 지난 세월에 대한 회한으로 슬픔에 빠질 뿐이었다. 김삿갓도 정몽주처럼 멀리 떨어져 있는 상황을 고향을 그리워하는 요소로 삼았지만 꿈을 통해 고향을 자주 그렸다. 정몽주에게 고향은 살고 싶지만 살 수 없었던 곳이다. 고향에서 멀어지는 것이 국가를 위하는 길이요, 자신의 지향을 성취하는 방법이었기 때문이다. 김삿갓에게 고향은 살 수 있지만 살고 싶지 않았던 곳이다. 폐족이기에 가능한 한 멀리 떠나는 것은 어쩔 수 없는 선택이었다. 고향은 꿈에서나 가고 싶은 곳이었던 셈이다. 정몽주와 김삿갓의 고향인식과 삶의 궤적은 현저히 달랐지만 고향을 떠남으로써 새로운 시대의 가치를 세운 인물로 지금까지 인정받게 된 점에서는 동일하다고 할 수 있다.

박병순 시조의 고향 의식 연구

권성훈 한국문학이론과비평학회 2012 한국문학이론과 비평 Vol.56 No.-

My aim is to examine the changing pattern of hometown consciousness shown in Gureumjae Park Byeong-soon’s Sijo. First of all, the changing pattern of his poem consciousness was examined through selected poems related to the motive of hometown among Park Byeong-soon’s Sijo. This is to inform the public of the literary accomplishment of Park’s Sijo and encourage the public to be aware of the meaning of his hometown by means of exploring his hometown as well because Park Byeong-soon has been considered to be one of the best students of Garam Lee Byeong-gi who can be called “the father of modern Sijo”. As a poet and intelligent on Sijo renaissance movement and Hangeul distribution movement after Korea’s Liberarion from Japan, Park Byeong-soon was recognized because he changed the postion of modern Sijo from peripheral to central of the realm of Korean literature. To take a look at his literature world, the study of selected poems taken rooted on his hometown consciousness out of his poems written from 1956 to 1991 based on his hometown was made especially as to literary acception course and its pattern according to each period. It’s because the literature nature of some of poems related to his hometown has much to do with Zeitgeist, meaning the spirit of time and life as well. This kind of examination as to 16 works about his hometown shown in “The Anthology of Gureumjae Sijo” was thoroughly made in this study. First, his poems can be diveded into three stages such as beginning, intermediate,later stage respectively, which also was been focused on the unit year, ten, from his age 40, which changes his poetic transition pattern and theme consciousness. For example, the period(1956-1965) when he left his hometown, in his forties, can be decided to be beginning stage, mean-while, the period(1966-1975)when he took root in strange place, in his fifties, can be decided to be intermediate stage and the period(1976-1991)when he left his strange place, in his sixties, can be decided to be later stage. Based on this division, the study of his hometown consciousness was made. In his beginning poems, he described that he identified hometown when he left hometown in 1956. The hometown of developing period or pre-modern period was depicted to be hometown filled with periodic contradiction and chasm instead of space of comfort which was stemmed from the negative consciousness about developing or pre-modernism. Actually the hometown shown in his poems was construed that a sense of tradition was collapsing, being described to be poverty-stricken countryside not picturesque and pastoral space. In his poem consciousness,hometown was identified with his mother, that is, hometown was understood to be land that had a variety of lifeness like mother’s heart. In his intermediate poems(1961-1973), he left only one poem in twelve years as to his hometown. As his hometown became barren land because of his mother’s death, he depicted the image of lifeness-lost hometown. as an example, he only left a poem after his mother died. In addition, at the time when this poem was written, he wrote works most postively in the literary world and the industrialization gained momentum. In the period,he also did a couple of things such as education and writing poems, further coping with the time, doing his responsibility, not forgetting Zeitgeist or time spirit. However, the experience which he got oparated for seven years made him recognize his inner realization through the consciousness, which meant that his consciousness of poem was reflection of negative feeling about his hometown as well as reconciliation. In his later poems, it was a period when he moved from Jinan to Iksan in 1956, and to Seoul from Jeonju to Seoul in 1979. At that time he was over 60. Mostly poems at the time were written around Korean-version Thanksgiving day or Chooseok day while he was plying from Seoul and Jinan. By means of poems, he tried to tie his ancestor and his ... 이 글은 구름재 박병순(1917~2008) 시조에 나타난 고향 의식 변화 양상을 연구했다. 박병순 시조에서 고향을 모티브로 한 시를 선별하여 시의식의 변모 양상을 시기별로 살펴보았다. 이것은 현대시조의 태두라고 불리는 가람 이병기의 수제자인 전북 진안군 출신 박병순 시조의 고향 시편을 탐구함으로써 작가 정신과 고향의 의미를 고취시키기 위함이다. 박병순은 ‘시조문예부흥운동’과 ‘한글보급운동’에 앞장선 ‘해방 1세대 지식인’이자, ‘해방 1세대 시인’으로서 현대시조의 권역을 주변부에서 중앙부로 이동시킨 주역으로 평가받고 있다. 그의 문학적 세계관을 알아보기 위해 고향 의식에 천착하여 1956년~1991년까지 창작한 시편 중 고향을 모티브로 한 시를 선별하여 문학적 수용과정과 양상을 시기별로 살펴보았다. 그것은 그의 시에 드러나는 고향시편의 문학적 성격이 시대성과 생명성과도 무관하지 않기 때문이다. 이것을 박병순의 『구름재 시조전집』에 나타난 고향을 모티브 한 작품 16편을 통하여 분석했다. 그의 고향 시편을 초기, 중기, 후기 등 3단계로 구분하면서 그가 고향을 떠나온 40세를 기점으로 하여 10년 단위로 시적 변화 양상에 대하여 주목한 것이다. 박병순이 고향을 떠나는 시점인 40대 시를 초기(1956~1965)로, 이향에서의 정착기인 50대 시를 중기(1966~1975)로, 다시 이향을 떠나는 60대 시를 후기(1976~1991)로 설정하고, 시조에 나타난 고향 의식을 규명했다.

김기림의 시에 나타난 고향의 의미

이미순 한국문학언어학회 2022 어문론총 Vol.94 No.-

In Kim Ki-rim’s early poems, his hometown is not described based on its actual appearance but as a fantasy. This is done by juxtaposing or compressing space through the expansion of space and time. In Kim Ki-rim’s poems, his hometown is not an imaginary place separated from reality, but a heterotopia that overlaps with reality. From the mid-1930s, Kim Ki-rim’s hometown gained a more realistic appearance in his poetry. In the works from this period, time and space in the poem itself are presented as the current living space, and fragmentary narrative situations are presented based on the narrator’s description. The narrator does not maintain an emotional distance from his hometown and is critical toward modern civilization. After the liberation period, Kim Ki-rim began viewing his hometown as a utopia. This utopia, which Kim Ki-rim recognized in the city after liberation, is modeled after his mythical hometown. After liberation, he presented his mythical hometown, like the hometown of Genesis or the hometown of Zion, as the prototype of a new country to be built in the future. Although this hometown exists in mythology, it is characterized by the combination of nature and civilization. In addition, Kim Ki-rim tried to find the home of the national community in his utopic hometown. In Kim Ki-rim’s poems, his hometown is a channel through which he could peer deep into ’his own individual unconsciousness and a medium to clarify his vision of utopia. Analyzing the role of the hometown in Kim Ki-rim’s works could help us understand his poetic world from a new perspective.

이문구 『관촌수필』에 나타난 고향의 양상과 의미

용석원 ( Yong Seok-won ) 겨레어문학회 2017 겨레어문학 Vol.58 No.-

1970년대 초반부터 한국 소설에서 도시와 농어촌의 이항대립 구도가 나타나면서 고향의 위상이 달라진다. 이문구도 예외는 아니다. 그의 연작소설인 『관촌수필』은 이 변화의 흐름에 위치한다. 이 소설에서 이문구는 이전과 달리 노스탤지어로서의 고향을 등장시킨다. 이 글은 고향과 농어촌에 대한 그의 태도 변화를 이해하고자 그가 창조한 고향을 분석한 이후 그 의미를 재고했다. 이문구는 『관촌수필』에 이르러서야 과거 경험을 총체적으로 서사화하기에 이른다. 그는 회상을 통해 과거와 적극적으로 마주한다. 과거의 것들은 긍정성을 지니고 가치가 높아짐에 따라 현재와 미래보다 의미론적차원에서 우위를 점하게 되었다. 특히 과거-고향이 그렇다. 특권화된 과거-고향은 소파 고정점으로 기능하며, 의미화 차원에서 일종의 심급으로 작용했다. 그것은 현재-고향에 대한 비판의 준거가 되었다. 과거-고향이 특권화됨에 따라 고향은 세 가지 분열상으로 나타났다. 첫 번째는 전쟁 이전의 과거-고향이다. 그곳은 지금은 상실한 본원적인 `나`가 존재하는 장소로서 자기동일성의 실현이 가능한 장소이다. 두 번째는 전쟁 이후의 과거-고향이다. 이곳은 비록 자기동일성에 균열이 발생했지만 전후 복구 가능성으로 말미암아 복원에 대한 기대가 충만한 장소이다. 세 번째는 근대적 상징 질서에 의해 재편된 현재-고향이다. 흥미로운 것은 전쟁 전의 과거-고향이 그리움의 대상이지만, 이문구와 『관촌수필』은 전쟁 후의 과거-고향을 부각시키고 있다는 점이다. 『관촌수필』에서 `할아버지`는 `시원적 아버지`로서 기능한다. 그는 주체의 부재를 증명하는 환상을 매개로 등장한다. 할아버지는 `나`의 자기동일성으로서의 향락과 결부되어 있는 것이다. 그렇다면 할아버지의 세계를 따르겠다는 `나`의 선언은 일종의 자기동일성에 대한 요구로 해석된다. 할아버지가 담지한 지혜와 예도, 그리고 인정은 `나`의 자기 구성요소인 동시에 공동체를 지지하는 핵심요소이다. 특히 인정은 소파 고정점으로 기능하며, 이른바 인정주의로서 공동체를 꾸리기 위한 공생의 윤리와 나눔의 실천을 의미한다. 할아버지 외에도 `나`의 정체성을 보증하는 인물로서 `석공`과 `옥점이`가 있다. 이 인물들의 공통점은 근대화의 흐름과 무관하게 변하지 않는 모습과 행동을 보여주는 데 있다. 그들은 모두 공동체 지향적일 뿐만 아니라 과거-고향의 가치와 행위 가능성이 일치되어 있다. 그런데 이들의 서사에는 일종의 물신주의적 부인이 발견된다. 그것은 “그/그녀들은 노스탤지어로서의 고향이 복원될 수 없다는 것을 잘 알지만 마치 그것이 가능한 것처럼 행동할 것이다”로 요약된다. 이러한 이데올로기의 재현은 농어촌과 고향의 존속을 위한 이문구의 전략으로 읽힌다. 그는 현실성을 담지한 인물형을 창조하는 데에 역점을 두는 게 아니라 손상된 공동체를 복원할 수 있는 힘을 지닌 상징적인 인물을 구축하고자 한 것으로 보인다. Since the early 1970s, the position of the hometown has changed with the emergence of a binary opposition between urban and rural areas in Korean novel. Lee-moon-goo is not an exception. His serial novel, 『Gwanchon Supil』 is located in the flow of change. In this novel, unlike before, the hometown of nostalgia is introduced. This article reconsidered its meaning after analyzing the hometown that he created to understand his attitude change to his hometown and rural areas. Lee Moon - goo made narrative of the past experience through 『Gwanchon Supil』. Through his reminisce, he positively faces the past. As the value of the past has increased, it has become more dominant in semantics than present and future. Especially the past - home. The privileged past - hometown functions as a point de capiton and it acted as a sort of instance in the level of meaning. It became a criteria of criticism of the present-hometown. As the past-hometown became privileged, the hometown appeared in three divisions. The first is the past - the hometown before the war. It is a place where the original `I`, which is now lost, exists. And it is a place where self - identity can be realized. The second is the past - the hometown after the war. This is where self - identity cracked. However, it is a place full of anticipation for restoration due to recoverability. The third is the present-hometown reorganized by the modern symbolic order. What is interesting is that the past-hometown before the war is longing for, but 『Gwanchon Supil』 is highlighting the past-hometown after the war. In 『Gwanchon Supil』, `Grandfather` functions as a `primitive father`. He emerges through the illusion of proving the absence of subject. Grandfather is associated with the pleasure of my self - identity. Then the declaration of `I` to follow Grandfather`s world is interpreted as a kind of demand for self-identity. The wisdom, example, and acknowledgment carried by my grandfather is a self-component of I and a key element in supporting the community. In particular, warmth serves as a point de capiton and means the practice of symbiosis ethics and sharing in order to build a community as a paternalism. In addition to his grandfather, there are `Suk-gong` and `Ok-jum`, which guarantee the identity of `I`. The common features of these characters are to show their unchanging form and behavior regardless of the flow of modernization. They are not only community-oriented, but are also consistent with past-home values and behavioral possibilities. However, their narratives are found to deny a kind of fetishism. It is summarized as "he / she knows well that his hometown as nostalgia can not be restored, but it will act as if it is possible". This representation of ideology is read by Lee Moon-gu as a strategy for the survival of rural areas and hometowns. He does not emphasize the creation of realistic character figures but seems to have built a symbolic figure with the power to restore damaged communities.

정지용과 대망서 고향시에 대한 비교연구

주만만(朱曼曼) 전남대학교 한국어문학연구소 2015 전남대학교 한국어문학연구소 학술지 어문논총 Vol.- No.28

하이데거가 시인의 천직은 환향이라고 말한 적이 있다. 고향 콤플렉스는 인간이 고향을 향한 무의식적인 강렬한 정감이다. 고향 주제는 1930년대 한 · 중 현대시의 가장 중요한 주제 중의 하나이며, 이 시기의 고향시는 두 나라 현대시의 발전에 대해 아주 큰 의미를 가지고 있다. 그러나 비록 같은 고향을 대상으로 쓴 시라 하더라도 국가별, 개인별 차이가 없는 것은 아니다. 이것은 시인이 처하고 있는 자연 경관이나 역사적 · 문화적 배경, 그리고 인생 체험 등 개인적 상황에 따라 얼마든지 다를 수 있기 때문이다. 여기서 비교연구의 필요성이 제기된다. 본고는 한 · 중 두 나라 1930년대 대표 시인 정지용과 대망서의 고향시를 연구대상으로 하여, 시에 나타난 고향 공간과 고향 의식을 비교함으로써 두 시인 고향시의 공통점과 차이점을 찾아내고자 한다. 시에 나타난 고향 공간에 있어서 도시에 살고 있던 정지용과 대망서는 모두 과거 고향에 대한 기억을 바탕으로 고향을 아무 고통 없는 유토피아로 그려내면서 짙은 향수와 강한 환향 의식을 표현하고 있다. 도시 생활에서 소외감과 외로움을 느낀 당대 지식인들에게 고향은 탈역사적인 유토피아이며 이상세계이다. 또한 근대와 전근대가 충돌하는 공간으로서 도시와 고향을 구분하는 사고도 확인할 수 있다. 이어서 본고는 두 시인 작품에 나타난 고향 의식의 변모 양상을 고찰하고자 한다. 두 시인은 유토피아적 의미를 상실한 고향의 현실과 고달픔을 있는 그대로의 모습으로 인식하게 된다. 정지용 시에 나타난 고향 의식은 일제강점기의 식민지 현실에서 기인하는 고향상실감이며, 대망서 시에 나타난 고향 의식은 국민혁민 실패 이후의 혼란스러운 사회 현실에서 벗어나고자 하는 방락의식이라고 할 수 있다. 두 시인 시에 나타난 고향 의식의 변모는 모두 암흑 시대의 현실에서 기인하던 것이다. 또한 두 시인의 고향시는 이미지의 선택이나 미각화적 수법 등에도 큰 유사성이 있다. 두 시인에 대한 기존의 비교연구는 모두 한국 연구자에 의해 이루어졌는데, 이 과제는 더 많은 중국 연구자의 관심이 필요해 보인다. 본 연구가 부족하나마 향후 관련 연구에 도움이 될 수 있기를 기대한다. Martin Heidegger once said, it is a bounden duty for a poet to express homesickness. As a concrete manifestation of human complex, the hometown complex is people’s powerful feeling to their hometown. “Hometown” can be regarded as the most important theme of Chinese and South Korean poems in the 1930s, during which the hometown poems play a very important role in the development of modern poems in both countries. Likewise, the poems are themed by hometown, but there are still great differences in the hometown poems of China and South Korea, resulting from the country environment and poets’ life experience and writing techniques, which is exactly the reason and necessity of this comparative study. Taking the hometown poems of representative poets Dai Wangshu and Jeong Jiyong in the 1930s as the object of study, this paper explores the common traits and difference of their poems from such two aspects as hometown space and hometown complex with the research method of parallel comparison. With regard to the hometown space in poems, both Dai Wangshu and Jeong Jiyong living in city describe their hometowns as a Utopia without any pain based on their memories of childhood hometown, and meanwhile express their strong nostalgia and intense homecoming consciousness. Due to the suffering by loneliness and torment in city life, they regard their hometown-countryside as a fictitious land of peace opposite to city, and seek for the psychological comfort therefrom. Then, this paper takes a comparative study to the hometown complex embodied in these two poets’ hometown poems, and meanwhile analyzes the reason of changes of hometown complex based on the historical background and social reality. The hometown complex of Jeong Jiyong derived from the feeling of hometown loss during the Japanese colonization, while the hometown complex of Dai Wangshu is the vagrant consciousness of attempting to escape the chaotic social environment after the failure of Great Revolution. Besides, there are many common traits and differences in the acceptance to imagism and poems’ creative techniques, etc. At present, the subject of comparative study to Dai Wangshu and Jeong Jiyong is almost researched by Korean researchers, thus we are expecting attentions to this subject from more and more Chinese researchers. Although there are many shortcomings in this research achievement, the certain reference meaning can be expected to the follow-up studies.

문학 장르별 한국 문화교육 연구 -고향과 관련한 작품들을 중심으로-

김지안 ( Kim Ji An ),이정희 ( Lee Jung Hee ) 한국사회복지경영학회 2021 사회복지경영연구 Vol.8 No.2

고향에 대한 한국인의 정서는 문학작품에 녹아들어 대를 이어 향유되고 있다. 한국어학습자들 또한 고향을 떠나 한국사회라는 타향에서의 삶을 살기에 고향에 대한 남다른 의미를 가질 것이다. 따라서 한국어학습자 자신을 비추어 볼 수 있기도 하며, 한국인들이 갖는 남다른 ‘고향’에 대한 정서를 여러 문학 장르의 문학작품을 통해 함께 공유하고 소통하고자 한다. 본 고에서는 한국어교육에 있어서 한국어 학습자에게 읽기 텍스트로서의 접근성과 언어 수준을 고려한 문장의 길이 그리고 내용 파악의 용이성을 염두에 두고 고향이라는 주제와 소재가 포함된 문화요소를 고려하여 단편소설, 수필, 현대시, 시조의 장르를 선정하였다. 소설에서는 고향 상실과 고향 회귀에 대해 심도 있게 다룬 황석영의 ‘삼포로 가는 길’과 문순태의 ‘징 소리’를 선택하였다. 외지를 떠도는 주인공들에게 고향은 마음속에 담겨 있고, 돌아가고 싶은 곳으로 정착하고픈 곳이다. 수필에서는 수필가로 인지도가 있고, 내 고향에서 고향에 대한 애착을 잘 표현한 치옹 윤오영의 ‘내 고향’과 우리나라의 대표적인 국어학자로서 국어사연구 및 국어정책 발전에 힘썼으며, 월남 학자로서 고향에 대한 의식이 남달랐고, 고향과 어머니를 그리워하는 마음도 강하게 나타난 해암 김형규의 ‘고향’을 중심으로 논의하였다. ‘내 고향’에서는 고향에 대한 애착과 자부심이 ‘고향’에서는 두고 온 고향과 홀로 계신 어머니를 생각하며 회한에 빠진 모습이 잘 나타난다. 시에서는 정지용의 ‘향수’와 이시영의 ‘마음의 고향6 초설’을 선택하였다. ‘향수’에서는 고향의 정경을 잘 묘사하고 있고, 감각적 이미지를 사용하여 고향에 대한 그리움을 나타내고 있고, ‘내 마음의 고향’에서는 고향을 잃은 상실감과 그리움의 정서를 반어적으로 강조하고 있다. 시조에서는 고향에 대한 작품을 많이 남긴 백수 정완영의 ‘고향생각’과 초정 김상옥의 ‘사향’을 선택하였다. ‘고향생각’에서는 단지 태어나 자란 곳이 아닌 조상 곁으로 돌아가는 공간으로의 고향으로 그려지고 있다. ‘사향’에서는 고향을 떠나 일경의 추적을 피하면서도 고향에 대한 애틋한 생각을 담고 있다. 작품들에서 고향은 한국인들에게 고향은 자기가 태어난 곳을 넘어 자신의 뿌리가 되고 힘들 때 생각나고, 언젠가는 돌아가야 할 곳으로 생각하고 있다. 문학 장르별 문화 교육 방안으로 소설과 수필은 고향을 주제로 써보는 것을, 시와 시조에서는 모방시 짓기와 시조 창작 활용을 제시하였다. 고향이란 테마에 한국인의 효와 가족 사랑을 묶는다면 한국어 문화교육 현장에서 좋은 소재가 될 것이고, 한국의 문화를 교육하는데 일조할 것이다. Koreans' emotions about their hometown have been melted into literary works and enjoyed for generations. Korean language learners will also have a special meaning for their hometowns because they leave their hometowns and live in other regions of Korean society. Therefore, Korean learners themselves can be seen in light of themselves, and they intend to share and communicate with Koreans through literary works of various literary genres. In this paper, short stories, essays, modern poems, and sijo genres were selected in consideration of cultural elements including the theme and subject of hometown, with Korean learners in mind of accessibility as reading texts, language level, and ease of identification. In the novel, Hwang Seok-young's "The Way to Sampo" and Moon Soon-tae's "Jingsori," which dealt with in-depth loss of hometown and return to hometown, were selected. For the protagonists wandering around the country, their hometown is contained in their hearts and they want to settle down as a place they want to return to. In his essay, he was recognized as an essayist, and he worked hard to study Korean history and develop Korean language policies as a representative Korean scholar in Korea, and discussed Haeam Kim Hyung-gyu's hometown, which showed a strong sense of longing for his hometown and mother. In My Hometown, attachment and pride to my hometown are well seen in regret, thinking about my hometown and my mother who is alone. The poem chose Jeong Ji-yong's "Nostalgia" and Lee Si-young's "Hometown of Heart 6." In "Nostalgia," the scenery of the hometown is well described, the longing for the hometown is expressed using a sensuous image, and in "Hometown of My Heart," the emotion of loss and longing for the loss of hometown is ironically emphasized. In the progenitor's book, Baeksu Jeong Wan-young's "Hometown Thoughts" and Chojeong Kim Sang-ok's "Sahyang" were chosen. In "Hometown Thinking," it is depicted as a hometown that goes back to the ancestor's side, not just a place where he was born and raised. ‘Sahyang’ contains affectionate thoughts about the hometown while avoiding the pursuit of Ilgyeong, leaving his hometown. In the works, I think of my hometown as a place for Koreans to go beyond where I was born, become my roots, think of when I have a hard time, and go back someday. As a cultural education plan for each literary genre, novels and essays were written on the theme of hometown, and poems and sijos suggested writing imitations and the use of sijo creation. If Koreans' filial piety and family love are tied to the theme of hometown, it will be a good material in the Korean language culture education field and help educate Korean culture.

오장환 후기시와 고향의 동력

박민규(Park, Min-kyu) 한국시학회 2016 한국시학연구 Vol.- No.46

이 논문은 ‘나 사는 곳’의 일제 말기뿐 아니라 해방 후 오장환의 시편에서도 ‘고향’ 모티프가 주된 동력으로 작용했음을 밝히고자 하였다. 오장환의 후기시는 해방기의 새로운 현실에 부응하는 고향 찾기와 모색의 과정을 보여준다. 현실에의 기대와 환멸, 실천과 좌절, 내적 성찰로 이어진 그의 시의 과정은 ‘새 고향’과 ‘옛 고향’의 상보적 관계를 통해 구성된 특징이 있다. 시 「병든 서울」을 통해 서울을 이념의 ‘새 고향’으로 설정하게 된 오장환은 1945년 말부터 “똥수깐”으로 변한 현실과 마주하면서 회의와 환멸에 빠지는 모습을 보인다. 이에 따라 새 고향에 계속 남아야 할지, 어머니가 있는 ‘옛 고향’으로 돌아가야 할지의 고민은 1946년 초의 그에게 중요한 문제가 된다. 새 고향의 방법적 모색을 위해 일단 서울에 남게 된 그는 문학가동맹과 함께 하면서 문예 대중화를 실천하기도 하지만, 미소공위 결렬에 따른 현실의 벽 앞에서 다시 옛 고향을 찾는 모습을 보인다. 어머니의 “크나 큰 사랑”이 있는 옛 고향에서 새로운 가능성을 발견한 그는 이후 농민시론을 모색하거나 농촌 현실의 구조적 문제를 시화하면서 옛 고향의 생명력을 통해 “다시한번 용기와 히망”을 얻기에 이른다. 이 용기와 희망의 에너지로 ‘새 고향’ 수립을 위해 다시 한 번 대사회적 실천을 전개한 것이 1947년 오장환의 모습으로 볼 수 있다. 하지만 동시에 그의 시는 집단적 목적의식과 투쟁의식에 일체화되는 모습을 보임으로써 과거와 달리 현실에 대한 주체적 모색을 상실하고 만다. 이후 총검거로 상황이 열악해지자 그는 소월의 말년을 거울삼아 또 한 번 옛 고향으로의 귀향 가능성을 타진한다. 새 고향의 추구가 어려워질 때마다 옛 고향에서 활로를 찾으려는 태도가 반복적으로 나타난 것이다. 그런 점에서 고향은 일제 말뿐 아니라 해방 후의 오장환 시까지를 움직여간 중요한 시적 원천이었다 할 수 있다. This study attempted to prove that the ‘hometown’ worked as a major poetic dynamic not only in ‘Where I Live’ during the late period under the rule of Japanese imperialism but also in Oh, Jang-hwan’s poems after the Liberation. Oh, Jang-hwan’s later poems show the process of his search for and pursuit of hometown in response to the new reality during the liberation period. His later poems consist of expectation and disillusion from the reality, practice and frustration, and inner reflection, and these represent the structural characteristic of complementary relationship between ‘new hometown’ and ‘old hometown.’ Just after the Liberation, Oh, Jang-hwan defined Seoul as ‘new hometown’ through his poem ‘Sick Seoul,’ but seeing the reality that the city turned into “toilet,” he fell in skepticism and disillusion. At the beginning of 1946, consequently, he wandered between staying in the ‘new hometown’ and returning to the ‘old town’ where his mother was. In methodological search of new hometown, he remained in Seoul and was involved in the Literature and Art Popularization Movement with progressive literature groups, but faced with the barrier of political reality, he appeared to search for the old hometown again. In the old hometown where the mother’s “great love” was, he discovered new possibility and sought peasant poetics or created on the theme of the structural problems of farm villages. Going further, he came to attain “courage and hope once again” through the vitality of the old hometown. With energy from the courage and hope, in 1947, he waged another pro‐social campaign for constructing ‘new hometown’ in Seoul. At the same time, however, his poems showed the tendency of being incorporated into a collective sense of purpose and a sense of struggle, losing the trait of subjective searching for the reality. As the situation grew unfavorable due to the mass arrest, Oh, reflecting calmly on Kim, So-wol’s later years, considered returning to the old hometown again. That is, it appeared repeatedly that he tried to find a breakthrough in the old hometown whenever it became difficult to pursue new hometown. In this sense, hometown was an important poetic source that directed Oh, Jang-hwan’s poems not only during the late period under the rule of Japanese imperialism but also after the Liberation.

고향납세제도에 관한 일본 최고재판소 판결에 대한 검토 - 고향납세대상단체로서의 지정거부처분을 중심으로 -

황헌순 제주대학교 법과정책연구원 2023 法과 政策 Vol.29 No.2

Terms such as regional crisis and local extinction are no longer unfamiliar in our society. Accordingly, the current government’s 120 national tasks also include “preventing local extinction and strengthening the balanced development promotion system” under the “local era that is good to live anywhere in Korea.” From January 1, 2023, the “Hometown Love Donation Act” took effect. Donations through this law are intended to serve as an effective factor that can revitalize the depressed area based on the affection felt by people living outside their hometowns. The hometown love donation system is similar to Japan’s hometown tax system, and Japan has introduced and operated this system since 2008. It can be said that the hometown love donation and hometown tax system in Korea and Japan are designed to solve the crisis in the provinces caused by the concentration and overcrowding of the population in certain areas such as the metropolitan area. In Korea, given that the Hometown Love Donation Act has been in effect since 2023, discussions have not yet emerged that specific problems should be solved. In this regard, this study examines Japan’s recent Supreme Court ruling, in which the hometown love donation system was introduced earlier, to see what implications these discussions in Japan can have for Korea in the future. Based on this research purpose, we will examine the related contents based on the recent ruling of Japan’s Supreme Court. In Korea, attention is being paid to what role the hometown love donation will play in expanding the finances of local governments. Like the ruling of the Supreme Court of Japan examined in this article, overheating related to donations and returns may occur in Korea in the future, and a zero-sum game related to donations may occur, as mentioned in the supplementary opinion of this ruling. With the introduction of a new system such as the Hometown Love Donation, it is believed that the purpose of the delegated regulations deviates from the scope of delegation should be clearly understood in the legal text or at least at the stage of legislative discussion. In addition, when looking at Article 15 of the current Hometown Love Donation Act as a comparative legal review with this ruling, it can be seen that there are insufficient regulations on what coercion can be exercised to fulfill the demands if local governments do not comply with the recommendations of the Minister of Public Administration and Security. In this regard, it seems necessary to make a policy judgment on whether to prepare a separate system with coercion in the future. Also, for reference, a separate review is needed in the future regarding the area subject to the hometown love donation. In addition, it seems necessary to discuss violations of the return provision regulations. It hopes that donations of love for hometown will play an important role in local finance in the future, and that what we have seen in this ruling in such discussions will serve as a reference for the future operation of the system. 우리 사회에서 지방의 위기 혹은 소멸과 같은 용어는 더 이상 생소하지 않다. 현 정부의 120대 국정과제에도 ‘대한민국 어디서나 살기 좋은 지방시대’ 하에 ‘지방소멸방지, 균형발전 추진체계 강화’가 포함되어 있다. 2023년 1월 1일부터 「고향사랑 기부금에 관한 법률」(약칭: 고향사랑기부금법)이 시행되었다. 이 법을 통한 기부금은 고향을 떠나 외지에 살고 있는 사람들이 느끼는 애향심에 기반하여, 침체된 지역에 활력을 불러올 수 있는 효과적인 요소로 작동시키고자 하는 것이다. 고향사랑 기부금제도는 일본의 고향납세제도와 유사하며, 일본은 이 제도를 2008년부터 도입하여 운용하고 있다. 한국과 일본에서의 고향사랑기부금 및 고향납세제도는 수도권 등 특정 지역으로의 인구집중 및 과밀화로 인해 발생하게 된 지방의 위기를 해결해 보고자 마련된 것이라 할 수 있다. 우리나라에서는 2023년부터 고향사랑기부금법이 시행되고 있다는 점에서, 아직 특정 문제를 해결해야 한다는 논의는 크게 대두되지 않고 있다. 이러한 점에서 본 연구는 고향사랑기부금제도가 우리나라보다 일찍 도입된 일본의 최근 최고재판소 판결을 살펴봄으로써 일본에서의 논의가 향후 우리나라에 어떠한 시사점을 줄 수 있을지 살펴보기로 한다. 우리나라에서도 지방자치단체의 재정확충에 있어 고향사랑기부금이 어떠한 역할을 할지 향후 귀추가 주목되는 상황이다. 본 글에서 살펴본 일본 최고재판소 판결과 같이, 우리나라에서도 향후 기부금 및 이에 대한 답례품과 관련한 과열경쟁이 발생할 지도 모르며, 본 판결의 보충의견에서 언급하는 바와 같이 기부금과 관련한 제로섬 게임이 초래될 수도 있다. 본 판결은 고향사랑기부금과 같은 새로운 제도가 도입됨으로 인해서, 위임받은 규정이 위임범위를 일탈했는지 여부에 대해서는 그 취지가 법률 문언 혹은 적어도 그 입법논의 단계에서 분명하게 이해될 수 있도록 해야 한다는 시사점을 주고 있다고 판단된다. 또한 본 판결과의 비교법적 검토로서 현행 고향사랑기부금법 제15조를 함께 살펴볼 때, 지방자치단체가 행정안전부장관의 권고사항 등 요구를 따르지 않은 경우, 어떠한 방법으로 지방자치단체 간 기부금 수령에 대한 형평성을 도모할 것인지에 대한 논의와 별도의 제도 마련에 대한 정책적 판단이 필요하다고 보여진다. 또한, 참고로 고향사랑기부금의 대상이 되는 지역과 관련해서는 향후 별도의 검토가 필요하다고 생각된다. 또한, 답례품 제공규정의 위반에 대한 논의도 필요하다고 보여진다. 향후 지방재정에 있어 고향사랑기부금이 중요한 역할을 하게 될 것을 기대하며, 그러한 논의에 있어서 본 판결에서 살펴본 내용 등이 해당 제도를 추후 운용해 감에 있어서 참고자료가 되기를 희망한다.

고향을 매개로 한 도시공동체 연구

이승수(Seung Soo Lee),이규빈(Gyu Bin Lee) 서울대학교 비교문화연구소 2012 비교문화연구 Vol.18 No.2

The purpose of this study is to approach the organization and activity of a group called Jaegyeong Yulgokmyeon Hyangwuhui (a friendship group of people who are from the same hometown) in a township unit as a research case from the perspective of "hometown." In detail, the study is to find out how people who left their hometown and moved to Seoul as the city of their main livelihood have organized, operated, and communicated in interchanges and against which background. Meanwhile, the study intends to review their thoughts about their hometown, the kind of activities their hyangwuhui has performed for the advancement of their hometown, and what are the expectations of local residents who reside in the hometown and social organizations of people who left their hometowns from an anthropological perspective. The results include the following. The Jaegyeong Yulgokmyeon Hyangwuhui mentioned in this study was established in 1983. The founding of this organization did not stem from the need for a psychological exit through which people who left their hometown desired to be freed from any sense of alienation, loneliness, or complexes that they had felt in urban life. That is, the need for establishing a hyangwuhui was proposed as some figures from a specific hometown became representatives of their region and country, and, meanwhile, such hyangwuhui was founded centering on school ties, namely an alumni reunion. The interpersonal combination of members is not continued only by any thought about the villages from which they come or the hometown of each individual. The hyangwuhui can be a sustainable meeting only when the vertical relationship between juniors and seniors in age from the same hometown and the horizontal relationship between alumni is in harmony, and it may be an alumni reunion that provides its foundation. The formation of interpersonal relationships that highly regard the reinforcement of friendship and bonding of a hyangwuhui makes the members feel nostalgia for their hometown even while in a city and functions as a locomotive for the continuation of the meeting. In detail, not only formal meetings such as a regular general assembly or athletic meeting, but also informal meetings including participation in family events and alumni reunions by class year serve to deliver the customary practice of strong attachment in the lifestyle of their hometown to people who left their hometown to live in a city. Also, at the same time, it supports their gathering together; however, such cohesion of a hyangwuhui does not revert to an identity simply by the members being from the same hometown. That is, it can be identified that a hometown that they imagine as persons who left the hometown where they were born and grew up is not a simple conceptual hometown in which the village living of the past is idealized, but it is a field on which they can newly restructure their living and be rooted with their unification. The way of their involvement in hyangwuhui activities for the advancement of their hometown and in personal and social organizations in their hometown for the advancement of the hyangwuhui may be a transformed form of the mutual aid that may be seen in today`s society, although it is not of the same kind in terms of contents. In other words, it may be seen to be for the promotion of friendship between members while everything is converged superficially under the name of "for the advancement of hometown"; however, it can be in a strained relationship in which they agree on the principle of mutual benefit in an implicit manner in depth. From the perspective of research history, the organization and activity of the Jaegyeong Yulgokmyeon Hyangwuhui introduced in this paper may offer a view that people who left their hometown are building a new group while maintaining and developing the relationship from the "hometown" even in a city; however, according to the researcher, the link that binds them is not a past memory but various r