「가락국기」를 통해본 가야 건국주체세력 출자에 관한 연구

김명옥(Kim Myungok) 한국문화융합학회 2021 문화와 융합 Vol.43 No.8

이 글은 가야계 건국주체 세력 출자에 관해서 살핀 글이다. 금관가야 건국신화인 ｢가락국기｣는 난생신화이고, 고령 대가야 건국신화는 감응신화인데, 다 동이족계 신화이다. 두 설화는 건국주체 출자를 ‘하늘’이라고 했다. 그런데 삼국사기 ｢김유신열전｣에 김유신의 조상을 “헌원의 후예요. 소호금천 씨의 후손”이라고 밝히고, ｢문무왕릉비문｣에는 “하늘에 제사를 지내는 투후의 후손”이라고 했으며 ｢대당고김씨부인묘명｣에는 소호금천 씨가 세조世祖이며, 중시조는 일제日磾라고 했다. 이러한 자료들에 따르면 가야 건국세력들의 세조는 소호금천 씨이며 중시조는 김일제이다. 소호금천 씨는 중국 산동지역에 있는 대문구문화의 주인공인데, 새를 토템으로 삼은 동이족이다. 소호금천 씨는루공토기를 제작하고, 편두를 했으며, 새를 숭배했다. 새는 태양을 상징한다. 소호금천 씨의 문화와 가야계의 문화는 매우 유사한데, 낙동강 유역에서 새 모양의 토기가 출토되고, 망자 넋을 하늘로 인도하기 위해 큰 새의 깃털을 사용하는 장례풍습, 편두 흔적, 낙동강 유역에서 출토된 루공토기 등에서 문화의 상관성이 확인된다. 김일제는 가야계 중시조로, 전국시대 동호(고조선)의 일부가 흉노에 흡수되었다가 한漢나라에 포로가 되었는데, 그의 후손들은 왕망이 세운 신新나라 조정에서 활약하다 후한이 들어서면서 요동까지 와서 은거했다. 이때 고조선유민과 융합되었고, 그 세력의 일부는 남하해서 가야를 건국했고 일부는 신라의 김 씨 왕족이 되었다. 다만 가야계 신라인들이 원시조와 중시조만을 언급하고 수로왕에 관해서는 언급하지 않는 점은 정치적 상황으로 파악했다. 이러한 역사는 천손사상을 내포한 난생신화가 고조선 이후, 은나라 및 진나라, 서국, 부여, 고구려, 신라, 가야의 건국신화로 계승된 점에서도 확인된다. 따라서 가야계의 건국세력의 원시조는 소호금천 씨, 중시조는 김일제이며, 김일제의 후손세력과 고조선의 유민이 결합한 세력을 건국세력으로 파악했다. This paper examined the power generation of founding subjects of Gaya region. The “Record of the State of Gaya” is the founding myth of Geumgwan Gaya and the myth of human birth from egg. The founding myth of Goryeong Great Gaya is the worshiping myth. Both of myths are from Eastern babarians world. In two myths, the founding subjects came from the ‘heaven.’ However, the “Biography of Kim Yu-shin” in the “History of Three Kingdoms” describes that the ancestors of Kim Yu-shin were the ‘“descendants of Heonwon and of Soho Geumcheon”. The “King Munmu Stele Inscription” says, “the ancestors of Kim Yu-shin were the descendants of Tuhu performing the religious rites for the heaven”. The “Epitaph of Daedanggo Mrs. Kim Tomb” shows that Soho Geumcheon was the founding leader and the ancestor flourishing the clan was Ilje( ). In accordance with the records above, the founding leader of the founding power was Soho Geumcheon and the ancestor flourishing the kingdom again was Kim Ilje. Soho Geumcheon is the subject of Dawenkou culture in Shandong, China, which was Eastern Barbarians worshiping a bird as totem. Soho Geumcheon made Longquan earthenware, shaped a head by pressing it and worshipped bird. The bird symbolizes the sun. The culture of Soho Geumcheon is very similar to that of Gaya world. The bird-shaped earthenwares have been found along the Nakdonggang riverside. The funeral custom using a feather of a big bird for guiding the deceased to the heaven, shaping a head by pressing and Longquan earthenware found along the Nakdonggang riverside verified the cultural correlation between Soho Geumcheon and Gaya. Kim Ilje is the ancestor flourishing Gaya world again. A part of Dongho(Gojoseon) during the age of civil wars was occupied by the Huns and he was captured by the Han. His descendants served in the royal court during the Xin dynasty established by Wang Mang and retired to Liaodong as the Later Han was established. At that period, they were united with migrants of Gojoseon. Some of them went south and built Gaya. A part of them became the royal family of Silla, the Kims. However, it is understood that Silla people included in Gaya world talked about the ancestors who founded the country and flourished the country again but didn’t mention about King Suro because of the political circumstances. The history above was confirmed by the fact that the myth of human birth from egg containing the belief on the descendants of the heaven was continued to the founding myths of Eun dynasty, Jin Dynasty, Seo dynasty, Buyeo, Goguryeo, Silla and Gaya since Gojoseon. Accordingly, the original founding father of Gaya world was Soho Geumcheon and the ancestor flourishing Gaya again was Kim Ilje. It was understood that the power combining the descendants of Kim Ilju with the migrants of Gojoseon was the founding power.

아동문학을 통해 본 벌거벗은 생명이야기 - 탈북민을 중심으로

김명옥 ( Kim Myungok ) 건국대학교 동화와번역연구소 2018 동화와 번역 Vol.35 No.-

이 글은 재현된 벌거벗은 생명의 삶을 들어다보았다. 그것은 난민을 타자화하는 우리의 민낯을 응시하는 일이다. 인간 존엄성의 실현만이 아니라 현대사회 자본주의 체제에서 우리 또한 난민이 될 가능성을 배제할 수 없기 때문이기도 하다. 그동안 우리는 탈북민을 난민으로 인식하지 못했다. 탈북민이 같은 민족이라는 점과 북한을 반민족 단체로 규정하고 국가로 인정하지 않았기 때문이다. 하지만 북한은 UN에 가입된 국가이므로 탈북민을 난민으로 인식하는 일이 필요하다. 탈북민을 소재로 한 작품은 그들에게 냉대와 차별의 시선을 보내는 우리 민낯의 재현이라고 해도 과언이 아니다. 우리가 어떻게 그들을 분리시키고 배제하는지를 서술하기 때문이다. 차별과 배제의 서술 바탕에는 그들을 대하는 우리 태도를 비판하고 동족이기 때문에 그들을 받아들여야 한다는 작가 의식이 깔려 있다. 그러나 민족주의를 바탕으로 한 이러한 서술은 탈북민을 난민으로 인식하는 데 장애가 될 뿐 아니라 다른 난민에게로 관심이 확대되는 것을 저해한다. 전 지구적으로 경제와 정치 때문에 수많은 난민이 발생하는데, 민족주의적으로 탈북민을 바라보게 되면 우리 민족이 아닌 난민에 대해서는 여전히 타자화하는 문제가 남기 때문이다. 탈북민을 난민으로 인식하는 일은 모든 발거벗은 생명들 고통을 공감하는 일의 시작이다. 고통을 응시하고 공감하는 일은 모든 생명에 타자화 시선을 거두는 일이기도 하다. This paper takes a look at North Korean(NK) refugees’ bare lives. It is to gaze at our bare faces who are refusing refugees. It is not only the realization of human dignity, but also because we can not rule out the possibility of becoming a refugee in the modern capitalist system. In the meantime, I have not recognized NK refugees as refugees because NK refugees are the same people and have not recognized North Korea as a nation. However, since North Korea iwas a member of the UN, it is necessary to recognize North Koreans as refugees. The book, based on the theme of North Korean defectors, gives the same ethnic North Koreans a cold and discriminatory look. It is a naked face to say that it is the representation of our. It explains how we separate and exclude them. The descriptions of discrimination and exclusion are based on the writer's awareness that we should criticize our attitude toward them and accept North Korean defectors because we are related. However, this explanation based on nationalism not only impedes the recognition of North Korean Refugee as refugees, but it also hinders the expansion of to other refugees. There's a lot of refugees around the world because of the economy and politics. If we look at North Koreans from a nationalistic perspective, we will still have a problem with refugees who are not Koreans. Recognizing the North Korean refugee as refugees is the beginning of empathy for the suffering of all naked lives. To stare at and sympathize with pain is to reap what you see as someone else in every life.

『붉은저고리』와 『아이들보이』의 역사인물 이미지 연구

김명옥 ( Kim Myungok ) 건국대학교 동화와번역연구소(구 건국대학교 중원인문연구소) 2021 동화와 번역 Vol.41 No.-

이 글은 최남선의 수신담론이 어떻게 역사인물이야기에 형상화되어 있는지를 살핀 글이다. 최남선은 1900년대 초부터 스마일스의 『자조론』을 접했고, 1913년부터는 이 책을 번역해 1918년에 일부 출간한 바가 있다. 즉 『자조론』 번역 시기는 아동 잡지인 『붉은저고리』ㆍ『아이들보이』의 발행 시기와 겹치게 된다. 따라서 ‘자조론’은 두 잡지에 영향을 미쳤을 것이라고 보았다. 『붉은저고리』ㆍ『아이들보이』 등에 수록된 인물들 대부분은 평범하거나 평범의 기준에 못 미치는 어린 시절을 보내지만 노력해서 위대한 인물로 거듭난다. 즉 모두 ‘노력형’ 인물인 것이다. 수신 방법론은 수련이다. 수련은 ‘정성’이자 ‘애씀’이다. 이에 대해서 구체적으로 「세 가지 시험」으로 보여주고 있다. 솔거가 세 가지 시험을 모두 통과하고 믿음이라는 구슬을 얻는데 이 구슬이 상징하는 바는 ‘자조’ 즉 독립정신이다. 최남선은 솔거 이야기를 통해 ‘배달민족의 일꾼’이 세워야 하는 국가건설의 주체 상으로 근면ㆍ성실ㆍ 인내ㆍ애씀을 제시한 것이다. 그런데 자조하는 인물들에는 반드시 조력자가 등장한다. 조력자는 최남선이 생각하는 ‘선배’의 역할이다. ‘선배’인 조력자들이 대상을 계도(啓導)하는 내용은 ‘노력’ㆍ‘인내’ㆍ정직’ㆍ‘순결’ㆍ‘고결한 성품’ 등에 관한 것이다. 최남선이 ‘자조’를 인물이야기에 형상화한 이유는 아동이 개인의 역량을 쌓아서 민족의 미래에 대한 자조를 말하기 위한 것이다. 따라서 최남선의 ‘자조’ 의미는 개인의 입신출세를 넘어 민족 전체의 자조(독립정신)를 위한 것이다. This study examined how the moral training discourse of Choi Nam-seon was embodied in the stories on historical figures. Choi Nam-seon came across the “Self-Help” by Samuel Smiles from early 1900s and translated it from 1913. Then, he published a part of “Self-Help” in 1918. In other words, the period when he translated “Self-Help” was overlapped with the period when the children’s magazines “Red Jacket” and “Idle Boy” were published. Accordingly, it seems that “Self-Help” might have influence on both magazines. Most figures published in “Red Jacket” and “Idle Boy” were ordinary persons and spent childhood which was far below the criteria of mediocrity but became the great men through infinite endeavor. In other words, most figures were a kind of ‘hard-working’ persons. The method of moral training is practicing. Practicing is the ‘endeavor’ and the ‘painstakingness’. Practicing is explained by ‘three tests’. Solgeo passed through three tests and got the marble named ‘trust’. The marble ‘trust’ symbolizes the ‘self-help’, that is, the spirit of independence. Choi Nam-seon proposed diligence, integrity, endurance and painstakingness as the identity of state construction which had to be built by the ‘workers of Korea’ through the Solgeo Story. However, the helpers were always with the self-help figures. The helpers played the roles as the ‘senior’ whom Choi Nam-seon thought. What the helpers, that is, the ‘senior’, tried to enlighten was about ‘endeavor’, ‘endurance’, ‘honesty’, ‘purity’ and noble personality. Most figures published in “Red Jacket” and “Idle Boy” were ordinary persons and spent childhood which was far below the criteria of mediocrity but became the great men through infinite endeavor. In other words, most figures were a kind of ‘hard-working’ persons. The method of moral training is practicing. Practicing is the ‘endeavor’ and the ‘painstakingness’. Practicing is explained by ‘three tests’. Solgeo passed through three tests and got the marble named ‘trust’. The marble ‘trust’ symbolizes the ‘self-help’, that is, the spirit of independence. Choi Nam-seon proposed diligence, integrity, endurance and painstakingness as the identity of state construction which had to be built by the ‘workers of Korea’ through the Solgeo Story. However, the helpers were always with the self-help figures. The helpers played the roles as the ‘senior’ whom Choi Nam-seon thought. What the helpers, that is, the ‘senior’, tried to enlighten was about ‘endeavor’, ‘endurance’, ‘honesty’, ‘purity’ and noble personality. The reason why Choi Nam-seon embodied the ‘self-help’ in the stories on figures was to emphasize the ‘self-help’ for the future of the Korean people by inducing children to developing their own capabilities. Accordingly, the ‘self-help’ for Choi Nam-seon was for the self-help(spirit of independence) of all Korean people beyond the success of individual life.

어린이 책에 나타난 고구려 건국신화의 전승양상

김명옥(Kim Myungok) 한국아동청소년문학학회 2016 아동청소년문학연구 Vol.- No.18

This study investigated the tradition of a founding myth which has an influence on the establishment of national and ethnic identities, focusing on the founding myth of Goguryeo Kingdom ‘Dongmyeong wangpyeon(Saga of King Dongmyeong).’ Dongmyeongwangpyeon is a saga navel written based on ‘Gusamguksagi(former History of the Three Kingdoms).’ It describes the founders of Goguryeo Kingdom and the people’s worldview at that time. For example, the perspective of ‘a descendent of God’ in Dongmyeongwangpyeon was expressed as sage and divine difference motives. They include Haemosu(sun god)’s descent, Haemosu VS Habaek (water deity), King Jumong batched from an egg, bridge built by a softshelled turtle with reeds and King Jumong VS Songyang. However, sage and divine difference haven’t been properly transmitted in children’s books. The ‘Haemosu’s descent’ scene is an incident which clearly announces that Goguryeo is the ‘Kingdom of Son of the God,’ justifying the founding of the kingdom. The ‘Haemosu VS Habaek’ scene implies the ‘Son of the God governing the Universe.’ A scene of governing matters on the earth and in heaven and being transformed into animals such as an otter, a coyote and a falcon refers to the universal imagination. After all, it is the founding myth of Goguryeo Kingdom which was created with universal imagination which transcends historical reality and time & space constraints. In children’s books, however, ‘Haemosu’s descent’ and ‘Haemosu VS Habaek’ scenes and a transformation motif aren’t found. In other words, the mother of the founder of Goguryeo Kingdom’s reputation changed as well. In Dongmyeongwangpyeon, Lady Yuhwa is an oeyunaegang (literally means ‘tender exterior and strong inner will’)-style mother with the nature of earth goddess. She had the ability to deliver the seeds of grains through her envoy ‘dove’ and identity a great steed. After all, King Jumong was able to found his kingdom because she drove him away, sensing a danger to her son. In children’s books, however, Lady Yuhwa was described as a weak person without any nature of earth goddess. The goal of a kingdom’s founding myth with divine lineage is to make descendants find out who they are and feel proud of themselves. There aren’t many genres which are as helpful as a founding myth in the establishment of national and ethnic identities for children. Therefore, a handing-down of a founding myth in a correct and right manner is to make children have a love for and pride in their country.

우리나라 화학섬유의 발달

김명옥,김정숙,안유실,제화선,주신아 연세대학교 생활과학대학 1977 婦學 Vol.9-10 No.-