근대 중국 미술 개념과 문학의 조우 및 소통 시탐(試探) - 미술의 공리적 가치 부여에서 문예의 독립적 지위 획득까지-

정해리,류창진 중국인문학회 2020 中國人文科學 Vol.0 No.74

This study aims to shed light on the concept and value perception of modern Chinese art, and to re-examine it from the overall perspective of literary theory. Specifically, this study is based on trends and perceptions of modern art concepts in East Asia, encounters in contemporary Chinese art and literature, and communication between modern Chinese art concepts and essentialism of literature: The process was divided into three parts, from the utilitarian value of art to the acquisition of independent status in literature. First, the trends and perceptions of East Asian modern art concepts were examined. In the case of Japan, it can be seen that utilitarian values are perceived to promote national policy in the trend of modernization. In terms of China, Kang Youwei(康有爲) insisted that "the social function of art and artists should be emphasized, and national education and nationality reconstruction should be carried out together." Cai Yuanpei(蔡元培) emphasized the universality and transcendence of beauty. Since the 1900's, it has been discussed in Liang Qichao(梁啓超), Wang Guowei(王國維) and Lu Xun(魯迅). The fact that the concept of beauty or art mentioned in Chinese modern literary literature is connected with Western and Japanese modern times serves as a clue to the formation of Chinese modern literary discourse. Therefore, as a first step of the study, this study examined the concept of Japanese art, the accepting aspect of China, and the trend of modern Chinese art. Second, the encounter between modern Chinese art and literature was examined. If the use of the term art mentioned in literary literature is largely focused on utilitarian aspects, Wang Guowei disagrees with the discussions of the time. He considered "fiction belongs to the category of art," and he considered "the best of Chinese poems, plays, and novels." Huang Ren(黃人) also said that "fiction is one of the aesthetically oriented literatures," which is the beginning of the encounter between beauty and literature. Zhou Zuoren(周作人) also recognized that the novel was clearly a sentence and a work of art. Guan Daru(管達如) and Lu Simian(呂思勉) then systematically organized the theory of the novel in general. In particular, Guan Daru attempts to position each of literature, art and fiction on the premise that "literature is a kind of art, fiction is also a kind of literature."In short, as art begins to be discussed with literature, journalists link "beauty and literature" and "beauty and novels." And with the understanding of literature in general, the position between art, literature and fiction becomes clearer. Third, this study examined the process from granting utilitarian value of art to acquiring independent status of literature, focusing on communication between modern Chinese art concept and literary essentialism. Xia Ren(俠人) talks about the ratio of fiction between fiction and history, emphasizing the creation of fictional realms and focusing on the essential characteristics of fiction. In other words, the literary value of the novel is highlighted. In addition, he pays attention to the utility values and literary characteristics of novels and moves his eyes to the aesthetic values of novels. Huang Ren paid attention to the useful value of the novel based on an aesthetic angle. Wang Guowei, on the other hand, strongly argues that if philosophy and art are the means of morality and politics, then the work is ultimately worthless. This claim completely overcomes the view of traditional Chinese literature and emphasizes the true independence of literature. Lu Simian systematized theories of novel creation based on the recognition that novels are artistic creations. In particular, the point of meaningfully discussing the fictional novels by dividing the novels is that they also pay attention to the value of literature itself.

1920년대 한·중 문예논쟁시기 유기석의 아나키즘문예인식에 대한 재고

張慧雯 ( Zhang¸ Huiwen ),金哲 ( Jin¸ Zhe ) 중국어문연구회 2021 中國語文論叢 Vol.- No.107

The purpose of this study is to research Yu Kiseok’s views and cognitive characteristics on literature and art. Yu Kiseok (1905-1980) was an Korean anti-Japan independence activist and anarchist who had been active in China. In the early and middle 1920s, Yu Kiseok was influenced by anarchism through the exchanges and communication with Korean anarchists in China and Chinese anarchists, and began to pay attention to anarchism literature and art. Later, influenced by Kropotkin’s and Tolstoy’s literary thoughts, in the late 1920s he participated in the literary debates between anarchism and marxism in Korea and China and published a number of articles to clarify his unique views on literature and art. This paper investigates Yu Kiseok’s opinions and views on literature and art from three aspects: the subject attribute, the social attribute and the essential attribute, deeply explaining the equality consciousness and the public, the resistance consciousness and social utility, the life consciousness and individuality, and further extracts the reasonable factors to discuss the significance of them. Generally speaking, Yu Kiseok’s opinions and views on literature and art have the following special historical significance. Firstly, the “subjectivity of literature and art”, the life consciousness and the emphasis on the importance of individuality reflected the independence and originality of literature and art. It is directly related to the essence of literature and art, and gives us quite a few enlightenments that enables us to understand them more deeply. Secondly, he integrated class consciousness and ideology into literature and art, and emphasized the resistance and struggle of literature and art against imperial oppression, which has very important practical significance. Thirdly, his opinions and views on literature and art made a certain contribution to enhancing the vitality and combat effectiveness, enriching the literary theories at that time. This paper hopes to provide some reference for a more comprehensive understanding of Yu Kiseok and his views on literature and art, and objectively evaluate the significance and value of his anarchism literary thought in the history of Korean and Chinese literary criticism in the 1920s.

식민지시대 문인들의 미술평론의 두 가지 양상 ― 임화와 권구현을 중심으로 ―

김미영 서울대학교 규장각한국학연구원 2008 한국문화 Vol.44 No.-

The purpose of this study is to reveal how to have an effect the critics of the modern paintings written by novelists & poets or critics such as Lym-Whoa & Gyeun-Gu-Hyun on the building up the Korean Modern Fine Art and Modern literature. This paper also wants to show analysing the relationships between the theory of transplantation modern art(I-Sik-Mi-Sul-Non) and the theory of transplantation modern literature(I-Sik-Moon-Wha-Lon). This study shows that novelists & poets or critics were participated to write the critics of paintings are influenced the traditional thought which was poem, calligraphy and paintings are constructed one thing as the work for the intellectuals. So the literature stuff writers had played an important role to build up the modern fine art from traditional calligraphy & drawings. The conclusion of this thesis are shows two kinds of the facts. One thing is that The critics of the modern paintings written by novelists & poets or critics such as Lym-Whoa, Gyeun-Gu-Hyun & Lee-Tae-June had made Korean modern novels were realized the value of description and art has gotten self-regulation. The Other thing is that the specific characters as the Korean style in the most genre of arts should created during modernization in order to overcome the theory of transplantation modern art(I-Sik-Mi-Sul-Non), the theory of transplantation modern literature(I-Sik-Moon- Wha-Lon) and the process of civilization. Find art and literature were cooperated each others. However some critics did not known what is the points of dissimilarity between paintings and literatures. But still their participations of critics on fine arts could helped the period of the enlightenment in Korean modern literatures. The purpose of this study is to reveal how to have an effect the critics of the modern paintings written by novelists & poets or critics such as Lym-Whoa & Gyeun-Gu-Hyun on the building up the Korean Modern Fine Art and Modern literature. This paper also wants to show analysing the relationships between the theory of transplantation modern art(I-Sik-Mi-Sul-Non) and the theory of transplantation modern literature(I-Sik-Moon-Wha-Lon). This study shows that novelists & poets or critics were participated to write the critics of paintings are influenced the traditional thought which was poem, calligraphy and paintings are constructed one thing as the work for the intellectuals. So the literature stuff writers had played an important role to build up the modern fine art from traditional calligraphy & drawings. The conclusion of this thesis are shows two kinds of the facts. One thing is that The critics of the modern paintings written by novelists & poets or critics such as Lym-Whoa, Gyeun-Gu-Hyun & Lee-Tae-June had made Korean modern novels were realized the value of description and art has gotten self-regulation. The Other thing is that the specific characters as the Korean style in the most genre of arts should created during modernization in order to overcome the theory of transplantation modern art(I-Sik-Mi-Sul-Non), the theory of transplantation modern literature(I-Sik-Moon- Wha-Lon) and the process of civilization. Find art and literature were cooperated each others. However some critics did not known what is the points of dissimilarity between paintings and literatures. But still their participations of critics on fine arts could helped the period of the enlightenment in Korean modern literatures.

‘한문 고전 리더십’ 과목을 통한 새로운 ‘한문 교양’ 유형의 모색

송병렬 한국한문고전학회 2022 漢文古典硏究 Vol.44 No.1

This paper seeks Measures to develop the types of ‘Chinese classics as a liberal art’ through the subject ‘Leadership in Chinese Classics’. Recently, “Liberal arts subject” that have been traditionally conducted in universities such as ‘Korean language’ and ‘English language’ are changing into various forms. There may be various factors of change, but the main factor of change is the transition of the ages. As a result, changes in “the liberal art subjects related to Chinese character” have also become inevitable. The Chinese language subjects operated by universities as liberal arts include “Basic Chinese Literature”, “Chinese Literature”, “The classics of the Orient”, “Chinese Character in living”, “Story Chinese Literature”. The contents of these subjects are mainly Chinese characters, Chinese characters, idioms, and sentences in Chinese characters. This is the reading of basic knowledge of Chinese character-related. Such ‘Chinese literature reading’ is a liberal arts subject that requires a considerable level in the field, such as ‘English language’ or ‘Korean language’. Of course, these subjects are still valid. However, for the changing generation, it is necessary to develop non-reading “Chinese character-related Liberal art subject”, and various non-reading “Chinese character-related Liberal art subject” needs to be developed. In the midst of this situation, it has already been confirmed that ‘Leadership in Chinese Classics’ has been developed as a non-reading “Chinese character-related Liberal art subject”. Analyzing the process of developing “Leadership in Chinese Classics” and categorizing it, it will be possible to develop various non-reading “Chinese character-related Liberal art subject”. Therefore, the process of developing ‘Leadership in Chinese Classics’ was analyzed. The first is a new perception of liberal art. The second is the composition of content related to ‘leadership’ in Chinese classics. The third is a shift in perception of classics. It was confirmed that what was developed through this process was ‘Leadership in Chinese Classics’. These classical development processes can be summarized into three categories. The first is to break away from the existing concept that “Chinese Literature” should deal with the original of Chinese characters, Chinese literatures, idioms in Chinese characters, and sentences in Chinese characters in order to cultivate non-reading “Chinese character-related Liberal art subject”. The second is the theme of ‘leadership’. The third is to organize the contents of the Chinese classics related to ‘leadership’. In this way, it was confirmed that a ‘the leader who meets through classics’ was created as a “Chinese character subject in liberal art” The key element of typification here is the theme of 'leadership'. In other words, it is content related to Chinese characters. It is to set contents and organize contents related to Chinese characters. It was categorized as content-type Chinese literature culture. There are three processes necessary for 'content-type Chinese literature culture'. First, 'Chinese literature culture' abandons the idea of 'reading Chinese literature materials'. Second, a subject that can be used as a culture among the 'Chinese Literature Classical Contents' is decided. Third, it is organized according to the content of 'Chinese Literature Classic'. Relatively, ‘Chinese Literature Classic’ is a rich repository of materials containing the value and culture of East Asian classics. Accordingly, ‘Chinese character in Liberal art’ developed as a 'content type' can serve as a rich value and cultural provider. 이 논문은 ‘한문 고전 리더십’ 과목을 통한 ‘한문 교양’ 유형의 개발을 논의한 것이다. 최근 대학에서는 ‘교양 국어’ ‘교양 영어’ 등 전통적 교양 과목이 다양한 모습으로 변화하고 있다. 다양한 변화 요인이 있겠지만, 주요한 변화요인은 시대적인 변화이다. 이에 ‘한문 관련 교양’의 변화도 불가피해졌다. 대학들이 교양으로 운영했던 한문 과목은 ‘기초한문’, ‘교양한문’, ‘동양의고전’, ‘생활한자’, ‘이야기고사성어’, ‘생활한문’ 등이다. 이들 과목의 내용은 주로 한자, 한문, 고사성어, 한문 문장이다. 이는 기초적인 한문 지식의 강독이다. 이러한 ‘강독형 한문 교양’은 ‘교양 영어’ 또는 ‘교양 국어’와 같이 해당 분야에 대한 상당한 수준을 요구하는 교양 과목이다. 물론 이러한 과목은 여전히 유효하다. 다만 변화하는 세대를 위해서는 비강독형 한문 교양이 필요하며, 다양한 비강독형 ‘한문 교양’을 개발할 필요가 있는 것이다. 상황이 그런 가운데 이미 비강독형 ‘한문 교양’으로 ‘리더십 한문 교양’이 개발된 것을 확인했다. ‘리더십 한문 교양’이 개발된 과정을 분석하고, 이를 유형화하면 다양한 비강독형 한문 교양을 개발할 수 있을 것이다. 이에 ‘리더십 한문 교양’이 개발된 과정을 분석해 보았다. 첫째는 교양에 대한 새로운 인식이다. 둘째는 한문 고전에서 ‘리더십’과 관련한 콘텐츠 구성이다. 셋째는 고전에 대한 인식의 전환이다. 이러한 과정을 거쳐서 개발된 것이 ‘리더십 한문 교양’이다. 이러한 고전 개발 과정을 정리하면 세 가지로 정리할 수 있다. 첫째는 비강독형 한문 교양을 위해 ‘한문 교양’은 ‘한자, 한자 어휘, 한문’의 원전을 다루어야 한다는 기존 개념을 탈피한 것이다. 둘째는 ‘리더십’이라는 주제를 정한 것이다. 셋째는 ‘리더십’ 관련 한문 고전 내용을 구성한 것이다. 이것이 ‘리더십 한문 교양’으로 ‘고전에서만나는리더’가 만들어진 과정임을 확인했다. 여기서 유형화의 핵심은 ‘리더십’이라는 주제이다. 즉 한문 관련 콘텐츠이다. 콘텐츠를 정하고 한문 관련 콘텐츠를 구성한 것이다. 하나의 주제 유형이 콘텐츠형 한문 교양으로 유형화 된 것이다. ‘콘텐츠형 한문 교양’에 필요한 과정은 다음과 같이 세 가지이다. 첫째, ‘한문 교양’은 ‘한문 자료에 대한 강독’이라는 생각을 버린다. 둘째, ‘한문 고전 내용’ 가운데 교양으로 삼을 만한 주제를 정한다. 셋째, ‘한문 고전’ 콘텐츠에 맞게 구성한다. ‘한문 고전’은 동아시아 고전의 가치와 문화를 담은 풍부한 자료의 보고이다. 이에 ‘콘텐츠형’으로 개발된 ‘한문 교양’은 풍부한 가치와 문화 제공자가 될 것이다.

김정일 문예론 연구 서설

김성수 한국문학연구학회 2022 현대문학의 연구 Vol.- No.76

북한의 주체문예론은 김정일의 『영화예술론』(1973)에서 이론적 단초를 보였다. 그가 주도한 ‘문학예술혁명’을 통해 특유의 이론체계를 갖추었다. 즉 ‘문예리론총서 주체적문예사상,’ ‘김정일의 문예리론총서,’ ‘주체적문예리론연구총서,’ ‘주체음악총서, 주체미술총서, 주체영화리론총서, 주체문학전서’ 등이 100여 권 간행되어 ‘주체문예리론체계’로 정립되었다. 동시에 김정일의 문학예술부문 이론과 실무지도를 정리, 연구한 총서도 간행되었다. 그의 문예론은, (1)‘영화예술론’등 8대 장르론(8권, 1973~92), (2)‘문학예술의 영재’(20권, 1985~2005), (3)‘김정일의 문예리론총서’(40권, 1982~87), (4)‘주체문학예술에 대하여’(5권, 1989~1990), (5)‘김정일의 문학예술 지도업적’(12권, 1990~95), (6)‘20세기문예부흥과 김정일’(13권, 2002), (7)‘선군혁명문학예술과 김정일’(5권, 2005) 등이 나와 방대한 ‘유일이론체계’가 확립되었다. 김정일의 문예론‘체계’는, 개념과 본성, 역사적 전통, 장르별 이론, 사업과 조직론 등 4개 패러다임으로 구성되어 있다. 즉, ‘혁명적/김일성주의/주체적/주체’라는 새로운 문학예술의 개념과 건설원칙, ‘항일혁명문학예술’의 전통, ‘문학, 영화, 가극, 연극, 음악, 미술, 무용, 교예’ 순서의 장르별 이론, ‘종자론, 속도전’ 등 문예 창작방법과 조직사업 지침 등의 논리구조로 되어 있다. 그의 문예론과 실무지도는 주체문학예술의 이론과 창작을 전일적으로 지배하였다. 유일 이념인 주체사상체계로 북한 문학예술 전체를 꿰뚫는 일관된 논리와 수령의 절대적 영도력을 관철시켰다. 김정일이 이론과 실무를 주도한 ‘주체문예리론체계’는 문학예술을 전일적으로 지배하는 사상, 이론, 방법의 백과전서 집대성이다. 동시에 최고지도자의 명령이 예술적 상상을 규율하는 절대 규범이자 지침서로 작동된다. ‘혁명, 주체, 수령’이라는 마법의 레토릭으로 최고의 문학예술을 창조할 수 있다고 자화자찬하지만, 타자의 시선에서 볼 때 자기완결적 주장만 무한반복하는 폐쇄적 논리에 갇혀 있다. North Korea’s Juche Literary and Artistic Theory showed the theoretical foundation in Kim Jong-il’s Theory of Film Art(1973). Through the ‘Revolution of Literature and Art’, which he led, a unique theoretical system was established. In other words, “A series of theories on Juche’s literary and artistic thought,” “A series of Kim Jong-il’s Theory Book of Literature and Art,” “Juche Music Series, Juche Film Theory Series, and Juche Literature Series” were published and established as ‘Juche Litratary and Artistic theory system’. At the same time, a a series of book was published that summarized Kim Jong-il’s theory and practical guidance on literature and art. (1) Eight kinds of genres, including Theory of Film Art(1973-92), (2) ‘Genius of Literature and Art’(20 volumes, 1985~2005), (3) ‘A series of Kim Jong-il’s Theory Book of Literature and Art’(40 volumes, 1982~87), (4)‘On the Juche Literature and Art’(5 volumes, 1989~1990), (5)‘Kim Jong-il’s guiding achievements on literature and art’(12 vols, 1990~95), (6)‘20th Century Literary Revival and Kim Jong-il’ (13 vols, 2002), (7)‘Military-first literary Art and Kim Jong-il’ (5 vols, 2005) and so on, a vast amount of ‘unique theoretical system’ was established. Kim Jong-il’s Literatary and Artistic theory ‘system’ consists of four paradigms: concept and essence, historical tradition, genre theory, and creative business and organization theory. In other words, (1) the concept and construction principles of new literature and art called ‘Revolutionary/Kim Il-sungism/Juche’s/Juche’, (2) the tradition of ‘Anti-Japanese Revolutionary Literary & Art’, (3) ‘Literature, film, opera, theater, music, fine art, dance and circus’ genre theory, (4)the “Seed Theory, Speed ​​Battle Campaign”, such as creative method and organization theory, etc. are 4 paradigms. His literary theory and practical guidance dominated Juche Literature and Art’s theory and creation entirely. In other words, with North Korea’s only idea, the Juche Ideology, it carried out a consistent logic that penetrated the entire literature and art and the absolute leadership of Suryong(supreme leader). ‘Juche Litratary and Artistic theory system’ led by Kim Jong-il in theory and practice is an encyclopedic compilation of ideas, theories, and methods that dominate literature and art. At the same time, the orders of Suryong(supreme leader) act as absolute norms and guidelines that govern artistic imagination. The ideologues of the Juche literary theories claim to themselves that the best literature and art can be created with the magical rhetoric of ‘Revolution, Juche, Suryong’. However, from the other’s point of view, he is trapped in a closed logic that repeats only self-completed arguments.

북한문학의 종류와 형태, 갈래에 관한 고찰

오창은(Oh Chang-Eun) 중앙어문학회 2009 語文論集 Vol.42 No.-

In order to understand North Korean literature from more diverse viewpoints, we should take interest not only in substantial context but also in changes in the formof literature. However, researches on North Korean literature that have been made in South Korea have been inattentive to the interest in the discussion on ‘the characteristics and the form of North Koran literature in terms of genre.’ This study was planned to examine the system of North Korean literature through a study of its types, forms and offshoots. Based on this, what characteristics North Korean literature has in forms and what kinds of names it utilizes will be examined. The types of North Korean literature seem to be clearly distinguished between before and after the establishment of the juche ideology (1967). It is possible to compare the catalogues of the National Central Library of North Korea published before the establishment of the juche ideology with the forms of North Korean culture and art that were systematized in accordance with Kim Jeong-il’s ‘the theory of juche literature and art’ after the establishment of the juche ideology. The texts used for this study include Jeong-Seong-mu’s “The Times and the Forms of Lierature and Forms” (Social Science Publishing, 1987), Ahn Hee-yeol’s ‘the times and literary art form’ ‘research on literary art theories of juche 22 - types and forms of literary art’ (Literary Art General Publishing Company, 1996), Lee Hyeon-su’s ‘Literary Morphology’ (Literary Art Publishing Company, 2007). North Korean literature is roughly categorized into epic literature, lyric literature, and dramatic literature as the Russian literary critic Vissarion Grigoryevich Belinsky discussed. The early researches by Jeong Seong-mu at al, after having classified it into epic, lyric, and dramatic literature, classified it further into depiction means, depiction methods, depiction objects, capacity of works of art, and literary styles. Ahn Hi-yeol substituted formal means, depiction methods, depiction object, and composition form for this in adopting the classification methods of 3 stages of type, form, and offshoot. Lee Hyeon-soon who has discussed most recently the mode of literature classifies literature into ‘novel literature, poetry literature, dramatic literature, and juvenile literature. Also, what is characteristic of the discussion on the form of North Korean literature is that ‘the Joseon-style form’ emphasizing ‘Great Leader phenomenon’ is being highly evaluated. ‘Imperishable history series’, ‘village shrine-style drama’, ‘sea of blood-style words of an opera are some of the examples. The present state of North Korean literature is bound to be unfamiliar to South Korean literature. However, it can be seen that North Korean literature is not so exceptional when we examine the history of controversies over literature. It can be said that North Korean literature attaches great importance to the relations of literature with a non-literature world and more emphasizes the utility function of literature. Such attitudes of North Korean literature made it possible to classify genres on a relatively rational level before the juche literature theory was established in 1967. However, North Korean society underwent changes after it was at a crisis by external pressures and ‘the juche ideology’was established in the course of overcoming the crisis. The tradition ofanti-Japanese revolutionary struggles was reinforced and it came to possess individualistic character that reinforced nationalistic characteristics. Accordingly, for South and North Korean literature, we need to understand more deeply the difference from each other and refer to each other instead of holding each other in check and reinforcing antipathy. This is the way to explore ‘coexistence’ through differences, rather than simple integration.

해방기(1945~1950) 북한 문학의 ‘고상한 리얼리즘’ 논의의 전개 과정 고찰 - 『문화전선』, 『조선문학』, 『문학예술』 등을 중심으로

오태호 우리어문학회 2013 우리어문연구 Vol.46 No.-

This paper concretely and empirically examined the development processes of 'nobel realism' through 『Cultural Front line』(July 1946~Aug. 1947) 5 volumes, 『Joseon Literature』(Sep. 1947~Dec. 1947) 2 volumes, and 『Literary Arts』(April 1948~July 1950) 19 volumes, which enable us to foresee creation methodology of North Korean literature during Liberation period. If it is said that existing study results looked into definitive processes of 'noble realism' with only certain texts of a few theorists such as An Hamgwang, Han Hyo, etc., this paper can be said to have had more three-dimensional accesses by examining the bulletins of 'BukJoseon Literature & Arts Total Union (March 25, 1946) to foresee trends before and after 'noble realism. ‘Noble realism’ seems to have been proposed in the end of 1946 for the purpose of positively reforming the populace through heroic struggle and is evaluated to have started schematic trends of North Korean literature. Especially, together with New Year's message of Kim Ilseong in 1947, 'Noble Idealism' and 'Noble Artistry' was publicly notified according to decision of 'The first standing committee of BukJoseon Literature & Arts Total Union', the realism becomes public as creation methodology of North Korean literature to around the Korea War. At that time, 'noble realism' is realized as revolutional romanticism based on positive heroism and as creation methodology close to social realism. Like this, ‘noble realism’ is prescribed as the only North Korean creation method during Liberation period as it is established as 'Social realism' after the war. It analyzed the process in which discursive guidelines of North Korean literature are unified during Liberation period and, in conclusion, North Korean creation process handed down from includes 『Culture Front Line』 first issue includes the developmental process of ‘revolutional romanticism→noble realism(+revolutional romanticism)=→social realism’. 본고는 해방기 북한문학의 창작방법론을 조망할 수 있는 『문화전선』(1946. 7~1947. 8) 5권, 『조선문학』(1947. 9/1947. 12) 2권, 『문학예술』(1948. 4~ 1950. 7) 19권을 통해 ‘고상한 리얼리즘’의 전개과정을 구체적이고 실증적으로 검토하였다. 기존 연구 성과들이 안막, 안함광, 한효 등 몇몇 이론가의 특정한 텍스트만을 대상으로 ‘고상한 리얼리즘’의 확정 과정을 검토하고 있다면, 본고는 ‘고상한 리얼리즘’ 이전과 이후를 조망하기 위해 ‘북조선문학예술총동맹(1946. 3. 25)’의 기관지를 검토함으로써 더욱 입체적인 접근을 시도하였다. ‘고상한 리얼리즘’은 헌신적이고 희생적인 투쟁을 통해 인민 대중들을 긍정적으로 교양하려는 목적으로 1946년 말에 제기되면서 북한 문학의 도식주의적 성향의 시발을 알린 것으로 평가된다. 특히 1947년 김일성의 신년사와 더불어 동년 1월 ‘북조선문학예술총동맹 제1차 확대상임위원회’의 결정에서 ‘고상한 사상성’과 ‘고상한 예술성’을 천명한 뒤, 한국전쟁 무렵까지 북한문학의 창작방법론으로 공식화된다. 이때 ‘고상한 리얼리즘’은 긍정적 주인공론에 기초한 혁명적 낭만주의로서 사회주의 리얼리즘에 가까운 창작방법론으로 인식된다. 이렇듯 ‘고상한 리얼리즘’은 전쟁 이후 ‘사회주의 리얼리즘’으로 고정되면서 해방기에 북한 유일의 창작 방법론으로 규정된다. 해방기에 북한문학의 담론적 지침이 획일화되는 과정을 분석하여, 결론적으로 『문화전선』창간호부터 이어진 북한의 ‘새로운 창작방법론’의 모색이 ‘혁명적 로맨티시즘→고상한 리얼리즘(+혁명적 로맨티시즘)=→사회주의 리얼리즘’으로의 전개과정을 담고 있음을 규명하였다.

1920년대 후반 임화 평론에 나타난 아방가르드 수용과 예술의 정치화

이성혁 한국미학예술학회 2013 美學·藝術學硏究 Vol.37 No.-

1차 세계 대전 전후에 등장한 아방가르드는 기성의 예술이 삶으로부터 분리되어 제도화되었다는 점을 비판하면서 예술과 삶의 일치를 꾀한 집단적인 예술 운동이다. 아방가르드는 기존 예술의 재현 양식을 파괴하고 여러 실험을 통해 실생활을 예술적으로 재조직하고자 했다. 일제 강점기 한국에서 이러한 아방가르드의 요건과 상당히 부합하는 활동을 보여준 이는 임화이다. 그는 당시 아방가르드 예술의 급진성을 그 누구보다도 열정적으로 수용했고, 이를 소화하여 전위적이고 정치적인 시의 창작으로까지 나아갔다. 그는 창작만이 아니라 아방가르드 이론을 수용한 평론을 발표하면서 전위적인 예술 활동을 전개했다. 임화는 이탈리아 미래주의와 소용돌이파를 소개하는 평론을 발표하면서 아방가르드 이론을 수용하기 시작했다. 하지만 그는 현대의 속도와 새로움을 재현하고자 했던 이탈리아 미래주의를 비판하고, 원시적 생명력을 비재현적으로 표현하고자 했던 소용돌이파를 받아들였다. 아방가르드의 이러한 선별적인 수용을 통해, 그는 "프로문학"을 프롤레타리아의 억압된 생명력이 표출되는 문예로서 이론화했다. 또한 그는 프로문학은 아방가르드처럼 미리 정해진 양식이 없기 때문에 어떠한 "물건"도 가능하다고도 주장하기도 했다. 여기에서 프로문학이라는 "물건"을 어떻게 제작할 것인가의 문제에 봉착하게 되는데, 이때 그는 무라야마 토모요시와 마보(MAVO)의 예술론과 만나게 된다. 1920년대 중반, 일본의 예술계를 뒤흔든 무라야마와 마보는 직업예술가로서의 전문가가 되길 거부하고 비예술 영역을 횡단하면서 작품 제작을 아방가르드적으로 실천해나갔다. 이들에게 중요한 것은, "형성예술"(buildende kunst)의 제작 활동을 통해 혁명하고 창조하고 첨단에 서는 일이었다. 조각가 김복진은 마보의 예술론을 수용하여 프롤레타리아 예술운동과 "형성예술"을 결합시키려고 했다. 임화는 이를 이어받아 마보의 횡단적인 예술 활동 방식을 선전선동 활동으로 전환시켜 의식적으로 정치화하자는 주장을 폈다. 그는 "프로문학"이 현실을 담는 재현물이 아니라 아방가르드처럼 현실에 직접적으로 작용하여 현실을 변화시키려는 선전선동 예술이라고 주장했다. 그런데 임화는 선전선동 문학을 의식적으로 창작해야 한다는 주장을 펴기 위해서 프롤레타리아 생명력의 표출이라는 프로문학론에서 더 나아가야 했다. 이는 무라야마 토모요시가 다다(DADA)와 결별하고 프롤레타리아 예술로서 러시아의 구축주의를 수용하는 전환과 관련된다. 이 수용을 통해 무라야마는 기능적이고 실용적인 예술관을 받아들이게 되는데, 이 예술관은 바로 임화가 주장한 프로문학의 실용성인 선전선동과 상통하는 것이다. 더 나아가 예술을 부정함으로써 예술을 미학에서 해방시키려고 한 러시아 구축주의를 수용하면서, 임화는 예술이란 범주를 완전히 지양해야 한다는 과격한 발언까지 하게 된다. 이와 더불어 임화는, 기술과 실험, 재료의 조직이 사회를 전진시킨다는 러시아 구축주의의 주장을 받아들여, "프로 예술"을 세상을 바꾸는 "무기로서의 기술"이라고 정의한다. 그 이후에 그는 당시로서는 첨단적인 기술이 필요한 예술 장르인 영화계에 들어가고, 여기서 습득한 영화적 기술을 활용하여 "단편서사시"를 창작하게 된다. Avant-garde of around the First World War was the collective art movement which tried to keep a balance between art and life. It criticized the existing art as institutionalized. Avant-garde not only has destroyed the representation of the existing art but also has tried to reorganize a real life artistically through several experiments. It was Lim Hwa that did active work of such an avant-garde in the Japanese Occupation of Korea. While Lim Hwa accepted the radicalism of avant-garde impassionedly at that time, he wrote the radical and political poems digesting this avant-garde. He announced not only a literary creation but also the literary criticism which had accepted avant-garde theory. Lim Hwa started to accept the avant-garde theory while publishing the literary criticism of introducing the Italian Futurism and Vorticism. But he criticized the Italian Futurism as representing the modern pace and freshness. He accepted the Vorticism of expressing the primitive life force with non-representational. He had made the "proletarian literature" as the literature expressed by the repressed life force of proletarian through selective acceptance of avant-garde. He had insisted that proletarian literature could be "something" because proletarian literature did not have fixed-method. Thus he was getting into trouble how to make the proletarian literature. At that time he met Murayama Tomoyoshi and the art theory of MAVO. In the mid-1920s, Murayama Tomoyoshi and MAVO who shook the Japanese art world had refused to be a professional artist. They had practiced the avant-garde work while going across the non-art world. It had been important for them to revolute, to create and to stand on state-of-the-art through manufacturing the "buildende kunst". Sculptor Kim Bok-jin tried to combine the proletarian art movement and buildende kunst accepting the art theory of MAVO. Lim Hwa insisted that the artistic activities ways of MAVO should be politicized consciously by converting it into the propaganda-agitation activities. He insisted that "proletarian literature" should not be the representation of reality any more but it should be the propaganda-agitation art of changing a reality like avant-garde. In order to create the propaganda-agitation literature consciously, Lim Hwa had to surpass the proletarian literature theory which expressed the proletarian life force. It was related that Murayama Tomoyoshi not only broke with DADA but also accepted Russian Constructivism as the proletarian art. Murayama Tomoyoshi accepted the functional and practical view of art. This practicality was equivalent to the propaganda-agitation of proletarian literature practicality which Lim Hwa had insisted. Accepting the Russian Constructivism which tried to liberate the art from the esthetics, Lim Hwa employed violent language to sublate the art category completely. Simultaneously accepting the Russian Constructivism which insisted that technology, experiment and material should develop the society, Lim Hwa defined the "proletarian art" as the "art for weapons" of changing the world. Since accepting the Russian Constructivism he entered the movie world which needed the state-of-the-art technology at that time. He created the "short epic" making full use of cinematic skills acquired there.

민중미술의 반(反)도시적 귀향의식과 향토문학

채효영 ( Hyo Young Chai ) 한국기초조형학회 2015 기초조형학연구 Vol.16 No.2

현실과 발언’, ‘임술년’으로 대표되는 1980년대 민중미술 1세대의 반(反)도시적 귀향의식은 근대화를 비자발적으로, 급속하게 겪은 한국사회에서 공감대를 형성했던 정서였다. 소통의 회복을 제기하는 과정에서 민중미술은 이러한 정서를 형상화하면서, 예술에 있어서 이를 선구적으로 다룬 향토문학에 주목했다. 민중미술작가들 대부분이 문학을 통해 현실비판의식을 형성했고, 그 문학이 참여문학에 국한된 것이 아니라 한국현대문학 전체에 걸쳐 있었다는 사실에서, 향토문학의 산업사회 비판과 귀향의식 또한, 명백히 민중미술에 영향을 끼쳤다고 본다. 산업사회-도시의 물질문명에 대한 민중미술의 강도 높은 비판은 전통적 공동체-향촌에 대한 그리움과 대비되며 표현되었다. 본 연구는 이점이 향토문학과 밀접한 연관성이 있다는 문제의식에서 1980년대 민중미술 1세대의 작품과 향토문학을 비교분석하는 방법을 적용했다. 따라서 본 연구는 먼저 민중미술이 소통을 회복하는 과정에서 한국 향토문학의 반도시적 귀향의식에 주목하게 된 배경을 고찰해 보았고, 두 번째로는 민중미술의 반도시적 자연예찬이 향토문학과의 관계에서 어떻게 형상화되었는가를 분석했다. 이러한 연구과정을 통해 1980년대 민중미술의 반(反)도시적 귀향의식이 근본적으로는 한국의 근대화에 대한 시선에서 출발했지만, 예술적 형상화라는 문제에 직면해서는 이미 이점에 있어서 선구적이었던 향토문학에서 영향을 받았다는 점을 조명해 봄으로서 한국현대미술사에서 미술과 문학이 갖는 긴밀한 관련성의 단면을 구체적으로 규명해 보려 했다. Anti-urban homecoming dream from ``Min-joong Art`` in the 1980s is represented by ``Hyun-sil and Bal-un`` and ``Im-sul-nyeon``. This was a consensus sentiment in Korea, which experienced modernization rapidly and involuntarily. ‘Min-joong Art’ is in the process of restoration of communication, while shaping these sentiments. The arts focus on local Korean literature dealing with it as a pioneer. Most artists of the ‘Min-joong Art’ form a reality criticism through literary works, which is not confined to Koreanparticipated literature but from all parts of modern Korean literature. From this criticism to industrial society and homecoming dream of local literature has clearly influenced ``Min-joong Art``. Industrial society - intense criticism of Min-joong Art to the material culture of the city in traditional community - were appearing against it with sentiments for the hometown. This study applied the method to analyze comparing the works of Min-joong Art in the 1980s and folk literature, the first generation of consciousness that is closely related to the problem of local literature. First in ``Min-joong Art``, Anti-urban homecoming attention of local literature to the background looks to regain consciousness to consider the communication. Secondly, it has been analyzed how ``Min-joong Art`` visualizes the concept of the relationship between Anti-urban homecoming dream and the relevant local literature. Through this research process it also has been defined that Anti-urban homecoming concept from ``Min-joong Art`` in the 1980s has been influenced by Korean local literature although it was basically from the sight for the modernization of Korea. Finally this research paper concludes that there has been somewhat close association between literature and art.

대학 교양으로서의 한문교육과 동아시아 한자문화권

신상필 ( Sang Phil Shin ) 한국고전연구학회 2010 한국고전연구 Vol.0 No.22

본고는 한국고전연구학회가 주최한 <고전문학과 대학 교양 교육: 고전문학 교양 과목 개발을 중심으로>라는 주제로 발표되었으며, 그 중 한문학 분야에 주목한 것이다. 대학의 교양 교육은 근대 서구 학문 체계의 수용과 역사를 함께 하였고, 고전문학 역시 국문학의 교양 과목으로 자리 잡게 되었다. 이 점에서 한문학은 문학이라는 관점에서 비슷한 과정을 거쳤으리라 여겨지지만 실상은 그렇지 않다. 먼저 2천년 역사를 축적한 한문학은 근대 국민국가 수립을 위한 자국어의 위상 강화로 폐기되었다가, 1960년대 후반 한문학 유산에의 관심과 함께 70년대 초반 대학에 한문교육과가 개설되면서 한문교과 교육이 이루어졌고, 대학 교양으로서의 자리도 잡힐 수 있었다. 또한 한문학에는, 단순히 한문을 표기 수단으로 삼은 문학에 그치지 않고, ``문(文)·사(史)·철(哲)``로 통칭되는 인문학적 위상을 지닌다는 특성이 내재되어 있다. 이러한 한문학의 특성은 경세(經世)의 문장으로 문학을 숙성시킨 동아시아 한자문화권의 의미망이 함께 고려되어야 한 다는 것이기도 하다. 더구나 대학 교양 과목으로서의 한문 교육은 식민지, 한국전쟁, 군부정권, 민주화, 신자유주의의 과정에서 그 특성과 의미망이 고려될 수 있는 기회를 제대로 갖지 못하였다. 이 점에서 교양이 인간의 상호 이해를 위한 의사소통 수단으로 정의될 수 있다면, 이제 한문학은 문·사·철을 포괄한 동아시아 인문으로 재인식되어야 함과 동시에 한문학을 비롯한 대학 교양으로서의 고전문학에 대한 진솔한 고민이 경주될 필요성이 요청된다. This article was made public with the theme of <Classical Literature and university`s liberal arts education: Focusing on development of classical literature`s liberal arts courses> sponsored by the Korea Society of Classical Studies and was paid attention to the Chinese literature field among them. The history of liberal arts education of universities gets together with the acceptance of Modern Western learning systems and the classical literature also became to settle down as a liberal arts course of Korean literature. In this point, although it is regarded that Chinese literature would go through a similar process in a viewpoint of literature, the reality is not like that. First, Chinese literature with the history of two thousand years was disposed due to strengthening of a phase of its own language for establishment of a modern national state, but while the department of Chinese characters education was established at universities in the early half of 1970s with the interest of Chinese literature`s heritage in the latter half of 1960s, the education of a Sino-Korean subject was carried out and could be also settled down as university`s liberal arts. In addition, Chinese literature has characteristics keeping a phase of humanities called as “literature·history·philosophy” without stopping as literature that simply used Chinese characters as notation means. It means that characteristics of Chinese literature like this should together consider a semantic network called Chinese characters`s cultural area of East Asia matured with the sentence of statecraft. In addition, the education of Chinese characters as university`s liberal arts didn`t properly get an opportunity capable of considering these characteristics and a semantic network while going through a process of colony, the Korean War, Juntas, democratization and neoliberalism. At this time, people have a new understanding that liberal arts capable of being defined as communication means for mutual understanding of human beings are Chinese literature as humanities of East Asia including “literature·history·philosophy” and need to devote ourselves to frank worries and efforts on classical literature as university`s liberal arts in addition to Chinese literature from now on.