한국에서의 일본문학 연구 현상

권혁건 일본연구학회 1994 일본학연보 Vol.6 No.-

나쓰메 소세키와 염상섭의 유학체험과 소설의 형상화 비교 고찰

권혁건 한국일본학회 2014 日本學報 Vol.99 No.-

This study aims to compare and analyze the experiences of Natsume Soseki and Yeom SangSeop - typical novelists of modern Korean and Japanese literature - while they studied abroad, including the influence on their novel imageries. The results of the analysis and the comparison can be summarized as follows: in both cases their respective overseas experiences as students appear to have catalyzed their decision to become novelists and were also found to influence their novel imageries considerably. Natsume Soseki obtained his knowledge by visiting art galleries, museums, and parks in London, and by reading books. He subsequently exploited this knowledge when creating his literary works. In contrast, Yeom SangSeop acquired his writing skills by learning from modern Japanese novelists such as Natusume Soseki, Takayama Chogyu, Yanagi Muneyoshi, Shiga Naoya, and Arishima Takeo. He obtained his knowledge from his school education and as a result of exchanges with Korean friends such as Na HyeSeok during the time he studied in Japan. These experiences shaped the creation of his literary works. 본 연구는 한국과 일본의 근대문학을 대표하는 작가 나쓰메 소세키와 염상섭의 유학체험과 소설의 형상화를 비교 고찰한 것이다. 논자가 이제까지 분석한 것을 요약하면 아래와 같다. 나쓰메 소세키와 염상섭 두 작가의 유학체험은 소설가로서의 삶을 선택하게 한 기폭제 역할을 했으며 작품 형상화에 크게 영향을 미친다. 나쓰메 소세키는 런던의 미술관과 박물관 방문, 공원 방문, 그리고 초라한 하숙집에서 책과 씨름하며 독서를 통해 얻어진 지식을 작품에 형상화시켰다. 그에 비해 염상섭은 나쓰메 소세키, 다카야마 조규(高山樗牛), 야나기 무네요시(柳宗悅), 시가 나오야(志賀直哉), 아리시마 다케오(有島武郞) 등 일본 근대작가를 통해 수법상 영향을 받으며, 학교교육을 통해 얻어진 지식, 유학시절 나혜석을 비롯한 조선인 친구들과의 교유(交遊) 관계 체험 등을 작품에 형상화시킨 차이가 있다.

나쓰메 소세키 작품 『夢十夜』 「第七夜」와 구로사와 아키라 영화 『夢』 「第六話․赤富士」 비교 연구

권혁건,박성은 한국일본학회 2011 日本學報 Vol.88 No.-

First, Soseki creates an air of anxiety increasingly and maximized in the novel, 「The seventh night」. He describes the color change of sea and wave: from blue to violet, and the violet becomes black at the end. Kurosawa shows fear and anxiety and maximized these in the movie, 「Mount Fuji In Red」 through the color change description also. He vividly expresses the color change of flowing lava, from dark red to bright red, at the volcanic outburst process in Mount Fuji. This can be considered that the writer and the movie director have generated the ultimate in artistry because they successfully express emotion and notion(idea), which are hard to draw, through the color change description. Second, characters in 「The seventh night」 and 「Mount Fuji In Red」 share a similarity to attempt to suicide into the sea by feeling severe anxiety. Third, “I” in 「The seventh night」 feel anxiety because modern science civilization and western culture have been flowed in and the conversation with a foreigner on a shipboard is not serious, not even exciting. “He” in 「Mount Fuji In Red」 feels anxiety because he is too concerned and feared of cataclysm and a radiation exposure from the volcanic outburst in Mount Fuji after the explosion of six nuclear power plants. Fourth and last, there is a difference between these two works. Soseki's work, as a novel, 「The seventh night」 in 『Ten Nights of Dream』 represents the anxiety of modern science civilization and western culture in 1908, which is the time of modern civilization flowing into Japan from the West. Kurosawa's work, 「Mount Fuji In Red」 in 『Dream』 is made in 1990 instead, which is the time of Japan has become the greatest advanced in the world in the economy and technology by absorbing the modern science civilization from the West. Kurosawa gets further to make a film representing the anxiety of radiation releases through a 'dream' as a medium.

나쓰메 소세키의 『산시로』와 염상섭의 『해바라기』 속 여성주인공의 결혼관 비교

권혁건,전수진 한국일본근대학회 2014 일본근대학연구 Vol.0 No.45

본 논문에서 분석한 것 가운데 핵심적인 것만 요약하면 다음과 같다. 첫째, 미네코는 도쿄제국대학의 근대교육을 받은 여성으로, 대학재학시절 연애 감정의 줄타기를 하던 노노미야도, 산시로도 아닌 오빠의 친구라는 제3의 인물과 결혼을 한다. 미네코가 당대를 대표하는 엘리트 여성으로서 그녀의 결혼은 자신이 바라던 조건들을 두루 갖춘 배우자를 선택하기 위한 스스로의 탐색 과정을 거쳐 가장 이상적이고 합리적인 주체적결정을 내린 결과였다. 둘째, 최영희는 도쿄 유학을 한 엘리트 여성으로 첫 사랑 홍수삼과의 연애가 실패로 끝난 후 리순택의 열렬한 구애끝에 결혼하지만 결코 마지못해 하는 결혼은 아니었다. 그녀는 자신의 결혼에 대해 철저히 이해득실을 따져 본 후에여러 안전장치를 설정한 이후, 자신의 욕구에 부합하는 합리적인 결정을 내린다. 셋째, 두 여성의 결혼 결정은 각자의 조건에 부합한 합리적인 결정이었다는 유사점이 있다. 동시에 결혼이라는 사회제도를 이용해 자신의 이상이나 욕망을 충족시키려 했다는 점과 지고지순한 순애보적 사랑 때문에 결혼한 것이 아니라는 점에서도 유사성을 지닌다. 넷째, 두 여성이 근대 초기 도시여성의 면모를 보인다고는 하나 여성해방에 관련된 사고와 실천적인 측면에서 최영희가미네코보다 신여성에 부합되는 인물이다. 개화기 최고의 근대 엘리트 대학교육을 받은 미네코와 최영희는 결혼에 이르기까지 타인의 간섭이나 강요를 배제한 채, 배우자가 될 상대들을 끊임없이 시험하고 반응을 살폈다는 점에서 주체적인 결혼관을 가진 여성으로 생각된다. 하지만 최영희는 결혼식장에서 하객들에게 남녀평등을 몸소 실천하는 답사(答辭)를 통해 억압적인 여성에서 벗어나 좀 더 개방적이고 자주적인 여성이 되기를 피력한다. 이에 비해 미네코는 도쿄제국대학 재학시절부터 자유연애를 지향하고 실천했으나 자신보다 연애 강자적 입장에 있던 노노미야에게는 건방져 보이는 것을 염려하는 등 되도록 순종적이고 유순한 여성의 이미지로 묘사되었다. If I summarize the only core point analyzed in this letter, is as follows: First, Mineko is female who was touched the modern education in Tokyo International college and got married to third person who is brother’s friend other than Nonomiya, Sanshiro that she had rope dancing. Mineko is the elite female and her marriage was a result decided with most rational, subjective passing through search by herself to select her spouse who equipped conditions that she hopped. Second, Choi, yeong hui is an elite female to have overseas to Tokyo, and since she failed love between Hong, Su Sam and got marriage since passionate love from Lee, Sun Taek, however, it was not forced to get marriage since she checked loss and gain and she settled a lot of safety equipment and she decides the reasonable decision to meet her desire. Third, Decisions of two female’s marriage have the similar points decided by the resonable decision to each one’s condition agreed by each other. At the same time, it has the same point that they will fill up their perfection or desire by using the social system saying marriage. Fourth, Even two females are showing the recent urban female looks, but in the essential side, Choi, yeong hui is the more agreeable person to the new female than Mineko. Mineko and Choi, yeong hui, most highest and recent elite college had excluded interference from others to her marriage and we think that she has the marriage idea in the point that she has the endless test and reaction. However, Choi, yeong hui says to become to more open and independent female from getting ride of the suppressive female thru address in reply. Comparing this, Mineko heads for free love from being in school of Tokyo International College. To Nonomiya positioned as an erotic love, she worried to be shown a pretentious to Nonomiya who stands as love stronger.

나쓰메 소세키의 『그 후』에 묘사된 나가이 세이고(長井誠吾) 고찰

권혁건,다케이치 치에 고려대학교 글로벌일본연구원 2006 일본연구 Vol.6 No.-

나쓰메 소세키의 『산시로』와염상섭의 『만세전』비교 연구 ―기차 안 승객의 현실인식을 중심으로―

권혁건 한국일본근대학회 2012 일본근대학연구 Vol.0 No.35

This study looked over the meaning of the train having been developed and used as the means of modernization, and passengers’ perceptions of reality on the train. The ‘train’ shows modern people in Korea and Japan the power of western civilization in the beginning of modernization, and as a representative of twentieth century civilization as well as meaning which makes people feel the impact of the reality of enlightenment. Soseki described ‘train’ as ‘a long snake’ which represents a civilization in his work ‘Kusamakura’, and Sang–Seop Yeom reflected a gloomy picture of the Joseon period during the Japanese Ruling through the train passengers’ various lives in his work ‘Mansejeion.’Hirota teacher in ‘Sansiro’ declared his worries about that Japan’s modernization was done rapidly from adopting western culture and civilization, and is also warning that modern civilization based on the western scientific experiment not only has rationality and convenience, but also contains dangerousness. By contrast, gat-seller(gat: Korean traditional hat) in the ‘Mansejeon’ shows that modernization of the Joseon period was made up by Japan-concretely by the policy of the Japanese Government General of Korea, not by the West, and that even though Joseon people used trains representing modern civilization offered by Japan, it is difficult to find their consciousness being thankful to Japan for that. The Joseon People have a characteristic that they would rather resist, not submit, to the violence modernization policy of the Japanese Government General of Korea that made a mass grave law and pushed for it without understanding well about the funeral institution culture including burial custom and cemetery preservation in the Joseon period. Therefore, the ‘Sansiro’ and ‘Mansejeon’ are judged to have some voice messages from the two authors, Soseki and Sang-Seop Yeom, who are the representatives of the modern literature in Korea and Japan and are worrying, blaming, concerning, and warning about the reality of the radical modernization that people tried to achieve, presenting the catchphrase, ‘ civilization and enlightenment’ 본 연구에서는 소세키의 『산시로』와 염상섭의 『만세전』을 비교하여 근대화 수단으로 이용되고 발전되어 온 기차의 의미, 두 작품의 주인공들이 관찰한 기차내 승객들의 현실 인식을 살펴보았다. 근대화가 시작되는 시대에 한국과 일본의 근대인들에게 기차는 서양문명의 위력을 보여주고, 20세기 문명을 대표하는 것으로 개화의 실상을 피부로 느끼게 하는 의미를 갖고 있었다. 소세키는 『풀베개』에서 기차를 문명이라는 긴 뱀으로 묘사했으며, 염상섭은 『만세전』에서 기차 안 승객들의 다양하게 살아가는 삶의 모습을 통해 일제강점기 조선의 무겁고 어두운 현실을 투영시켰다. 『산시로』의 히로타 선생은 일본의 근대화가 서양으로부터 문화ㆍ문명섭취에 아래 급진적으로 이루어지는 것에 대해 우려를 표명하며, 서양의 과학실험을 바탕으로 하는 근대문명에는 합리성과 편리함만이 있는 것이 아니라 위험성이 내재되어 있다는 것을 경고하고 있다. 그에 반해 『만세전』의 갓장수는 조선의 근대화는 서양이 아니라 일본, 구체적으로는 조선총독부의 정책에 의해 이루어지고 있고, 조선인들이 일본인들이 개설해 놓은 근대문명을 상징하는 기차 등을 이용은 하고 있지만 일본인들에게 고맙게 생각하는 의식은 찾아볼 수 없다. 오히려 조선 민중들의 생사장제의 고유한 문화와 매장관습, 묘지보존문화 등을 제대로 이해하지 못하고 공동묘지법을 만들어 밀어붙이는 조선총독부의 폭력적 근대화 정책 등에 굴종하지 않고 저항하려고 하는 특징을 나타내고 있다. 결국 『산시로』와 『만세전』에는 한ㆍ일 근대문학을 대표하는 소세키와 염상섭 두 작가가 요란스럽게 문명개화라는 캐치프레이즈(catchphrase)로 내 걸고 성취해 내려고 하는 급진적인 근대화의 현실에 대해 고민(苦悶)ㆍ한탄(恨歎)ㆍ우려(憂慮)ㆍ경고(警告)하는 육성(肉聲) 메시지가 담겨져 있다고 판단된다.

일본 근대문학에 나타난 에도시대의 전통 고찰 : 나쓰메 소세키의 『그 후』에 묘사된 참살과 할복

權赫建,金泰寬,車珉庚 한국일본문화학회 2009 日本文化學報 Vol.0 No.42

Following is the summary of what the writer has analyzed. First, the fight between Hogiri, and the Nagaitoku brothers was not「Single Combat」kept traditionally among Japanese warriors. Nagaitogu could beat Hogiri through 「One on Two fight」, which was against the traditional standards of behavior of Warriors. Second, the Nagaitoku brothers, who decapitated Hogiri, had to finish their lives by self-disembowelment, but could have a narrow escape from it. That was because a power, Takagi, who was a distant relative on the maternal side , persuaded the lord of a manor and the senior statesmen. Third, in the late Edo era, warriors couldn't keep their honorable tradition in the course of a change to Meiji era. They deserted themselves and resorted to an expedient to survive. That is, the tradition of warriors only remained in a bluff in the Meiji era. It is said that the warriors' bluff is well and openly described in Nastume Soseki's works.

나쓰메 소세키의 ??그 후(それから)?? 고찰

권혁건,신윤주 한국일본학회 2007 日本學報 Vol.72 No.-

The question resolves itself into the following three points. First, Taisuke could have come by a proper job if he had wanted to but he spent his time doing nothing. That is why we can say that he was not an unemplyed intellectual in Meji Era but a creative one, Soseki wrote. Second, considering that he rushed out into the street to get a job only after his family stopped offering the financial help, he seemed to consider himself as a noble person and so he didn't want to find his vocation. That made him feel anxious. Third, there were some changes in Taisuke's mind and behaviour after Hiraoke and Michio got married. He let them meet and get married three years ago because of the obligation as a friend and chivalry. That caused him to feel some uneasiness. Through this study I can make clear why Taisuke was under some uneasiness. In a word, he regarded himself as a noble person, which made him lazy and he made Michio, he loved, get married to Hiraoka. These two things are the main reasons for his anxiety. The question resolves itself into the following three points. First, Taisuke could have come by a proper job if he had wanted to but he spent his time doing nothing. That is why we can say that he was not an unemplyed intellectual in Meji Era but a creative one, Soseki wrote. Second, considering that he rushed out into the street to get a job only after his family stopped offering the financial help, he seemed to consider himself as a noble person and so he didn't want to find his vocation. That made him feel anxious. Third, there were some changes in Taisuke's mind and behaviour after Hiraoke and Michio got married. He let them meet and get married three years ago because of the obligation as a friend and chivalry. That caused him to feel some uneasiness. Through this study I can make clear why Taisuke was under some uneasiness. In a word, he regarded himself as a noble person, which made him lazy and he made Michio, he loved, get married to Hiraoka. These two things are the main reasons for his anxiety.

日本 近代文學에 描寫된 大學 圖書館 考察

權赫建,孫順玉,全修進 한국일본학회 2014 한국일본학회 학술대회 Vol.2014 No.02

韓國人에 의한 日本 近現代文學 硏究의 過去․現在․未來 照明― 나쓰메 소세키(夏目漱石)를 중심으로 ―

권혁건 한국일본학회 2010 日本學報 Vol.84 No.-

最初に、2000年1月から2009年12月までの最近10年間に、韓国を代表すると思われる六学会の学会誌に韓国人による漱石関連論文は85編掲載されており、韓国と日本で刊行された単行本や著書は12冊に及んでいる。そのことから考えると、この10年間韓国人による研究が充実しており、多様に進められていることがわかる。第二に、日本近現代文学研究の発展のためには、日帝時代に朝鮮と満洲で発行された『朝鮮及満洲』等の新聞や雑誌の文芸欄に載せられた日本語の作品を発掘、収集、分析し、研究する必要性がある。また、韓·日·中の近現代文学を比較研究する必要性を強く提言したい。そして「近現代文学と映画芸術との椄木」などをはじめとする創造的な融合研究が活性化されることを望んでいる。第三に、最近韓国内で爆発的な人気を誇っている村上春樹や吉本ばなな、根強い人気で飜訳本が出刊され続けている桐野夏生ら日本作家と、韓国の李文烈、崔仁浩、韓水山らの作品に対する比較研究はもちろん、彼らの生存中に、直接訪問したりして、研究の基礎となる資料を集めておく必要があることを提言する。