공동 브라우징을 지원하는 웹 기반의 동기적 원격 학습 시스템

이성제(Sung Je Lee),신근재(Shin Keun Jae),김엄준(Eom Jun Kim),김문석(Moon Suk Kim),성미영(Mee Young Sung) 한국멀티미디어학회 2001 멀티미디어학회논문지 Vol.4 No.5

「 불여귀(不如歸)」 의 번안양상 : 「 사견성(社鵑聲)」 과 「 유화우(榴花雨)」 를 중심으로

신근재 한국일어일문학회 1989 日語日文學硏究 Vol.15 No.1

For the purpose of study on the subject of Modern literature of Korea, it is necessary to have a prior understanding of the Meiji literature of Japan in terms of comparative literature as well as mutual influences between the two literatures. It is under such a presumption that this writer herewith examine and compare Doo-kyon-sung and Yoo-wha-wu, the Korean works, to that Hotodogis, one of the popular novels during the Meiji Japan, and thus to determine the extent of influences of the Japanese novel on the Modern Literature of Korea in its embryonic stage. Also, it should be noted that no one has yet worked on this particular subject matter. Hotodogis was, along with Konzikiyasha, on the best seller list throughout the Meiji period and that these two works swept over the readers of whole nation. The content of Hotodogis was introduced into Korea not only in the form of literary form but also was adapted into a popular play in Korea during the 1910's. The version of Hotodogis as adapted forms were played in theatres and published as novels in Korea and were well received by the Korean public at the turn of this century. Both Korean works, Doo-kyon-sung and Yoo-wha-woo are adapted versions from the original Hotodogis, a popular novel belonged to Meiji Japan. In Doo-Kyon-sung's case, it generally followed Hotodogis in the areas of structure as well as contents. The differences there were only in abridgment and omission of the concluding part in the Korean version. Yoo-wha-wu, however, borrowed the main ideas and basic story from Hotodogis, and that it rearranged the plot to fit into the traditional style of Korean novel. While there are similar characters in Doo-kyon-sung to Hotodogis, different characters appear in Yoo-wha-wu, and shows a drastic revision of the original version. But both Korean works are in common in providing an importance to mother-in-law whose role was described as source of family conflicts, and thereby demonstrate the traditional conception in Korea. As for the literary style as well as plot, the former made a strong effort in modernization, and yet the latter still clung to the traditional writing style. Although somewhat immature formulating ideas and less than refined in literary style, the adapted novels stressed on the need of modernization of the hermit kingdom. Emphasis was placed on the learning of foreign languages as well as Western lberalism, and the necessity of reform in life styles, old custom and social institutions was duly indicated. The novels clearly exposed and vividly described such social problems as divorce, rampant materialism and shameless careerism. As the traditional value system collapsed in the face of creeping Westernization, a new set of ethics was called for. In this sense, these literary works were quite contributory in that transitional period. The acceptance and employment of the Western literary style, pursuit of new writing style, reflection of the modern ideals are among others that the adapted novels' contributions toward the modernization of society. It is, however, uncritical imitation and adaptation of the Japanese elements that would remain as stigma to these adapted literary works.

번안소설에 반영된 사회의식 : < 금색야차(金色夜叉)> 와 < 장한몽(長恨夢)> 을 중심으로 In the Case of Konjikiyasha and Changhanmong

신근재 한국일어일문학회 1985 日語日文學硏究 Vol.7 No.1

The adapted stories were the major trend in the beginning of the twentieth century, when the modern literature of Korea was still in its infancy. They were generally based on the Japanese version of the Meiji period. Changhanmong which is the subject of this paper was the adaptation of Konjikiyasha, a widely read popular novel during the period. The purpose of this paper is to clarify the Japanese social consciousness reflected in Konjikiyasha during the Meiji period and that how the social situations and consciousness in Korea were revealed in Changhanmong during the same period. There were no basic differences between them in the setting of characters and the conflicts the main characters felt. The two stories also showed no basic differences in themes the authors represented. When the themes could be divided into two, the major and minor, the latter might be the infidelity in love and the revenge for it, and the former would be that money was ephemeral but love was eternal. Both stories shared these common themes. But they had some differences that caused by the modification from the original into the adapted stories. The comparative study revealed following differences: Firstly, Shim, Soon-ae and Omiya showed different attitudes toward the family life. Secondly, the circumstance surrounding the meetings of Shim, Soon-ae to Paik, Nak-kwan was different from that meeting of Omiya and Arao Jyosuke. Thirdly, while the original story employed the indirect style of suggestive allusion, the adapted version used direct description regarding the scene in which the respective heroine went insane. Fourthly, although Lee, Soo-il' dream inspired him to be successful in the happy reunion with shim in the adapted story, the similar dream in the Konjikiyasha had only a symbolic significance. Lastly, the adapted story ended in a happy reunion, but the original story showed tragic end. These differences reflect two different philosophies which deserve further analysis and interpretation. Since Changhanmong was an adapted story from the Japanese version, it is understandable that it represents the Japanese characteristics which could not possibly reflect the true picture of Korea at that time. Therefore, it became necessary to change and modify the original version in order to fit into the Korean situation at that period. The story of the Changhanmong concerning loan sharking, usury and other ruthless means of money making schemes gives distinct impression that it borrowed heavily from the Konjikiyasha. And the fast life style of some Korean students in Japan with "gisaeng" and prostitutes that was vitidly described in the Korean version that helped make it hit. Compare to Konjikiyasha, the following aspects of the aspects of social consciousness expressed in the work of Changhanmong should be noted: 1. The work reflected mammonism which prevailed in the 1910's. Since the original work was written in the capital society of the latter part of the Meiji era, and the adapted one was also under the influence of the rapidly changing society where money became the master, there are every reason to believe that both works should reflect mammonism. 2. The work broadly revealed the attitudes toward the love between men and women. It is interesting to note that the main characters were bound by the traditional confucian ethics on love affairs, while the other characters were comparatively free from such bondage. 3. Observing such characters as Kim, Jung-bae and Choi, Man-kyong, once the tight moral on the sex was getting loose. 4. The work emphasized the special responsibility of those educated in the changing society. Especially Paik, Nak-kwan and Kim, Do-shik showed this trend in their cours of actions. 5. It is a pioneer work in the field of modern literature of Korea in terms of the plot and writing style, and thus contributed itself to the development of the modern literature in the early part of the twentieth century of Korea. The significance of Changhanmong as a literary work is that it represents the transition from the tradition to the modern period. Firstly, the novel prominently displayed the social problems arising from the modernization process in Korea, and secondly, that this work demonstrated both power and influence of a popular novel in a developing society. However, it must be pointed out two major side effects in the novel that the entire work is permeated into cheap sentimentarlism and the sweeping popularity of this novel confused the public with the real value of a true literary work.

개화기소설에 반영된 일본상과 대일관

신근재 한국일어일문학회 1988 日語日文學硏究 Vol.13 No.1

The purpose of this study is to inquire into the image of Japan demonstrated in the Korean novels during the period of modernization under the assumption that our modernization had modeled after Japanese experiences, and that their examples on the modernization process of Korea having been profound. This study has examined and analyzed Korean novels where students played as heroes in ten novels, Japanese who also manifested themselves in ten different works, and descriptions about contemporary Japan which revealed in seven separate literatures. Furthermore, a total of twenty-one works published during this period were compared and analyzed on the author basis, namely that Lee In-jik, Lee Hae-jo, Choi Chan-shik and Cho Il-chae, etc. Also carefully examined such novels as the "Dialogue between the Blind and Crippled" and "The Misunderstaning of Rickshaw Boy" on conceptual framework. As a result of such thorough examination of the said materials from various angles, this study came to the following conclusion: Residential studies in Japan by the Korean students at that time were utilized for either sloganeering for modernization of the country or evasion of the reality. The love stories at that time of ten preoccupied with triangular relationships involving Japanese. The Japanese, at this early part of mdernization period, were generally described as representing foreigners who were portrayed as ideal modern men. They were characterized as being good, faithful and scientific, and were not given the evil role in the plots. Japan as land and culture became the objects of yearnings, and being openly interpret as a civilized, modernized and advanced country. At the same time, there was hardly any attempt by those writers at that time to see Japan in international context. Generally speaking, the writers at that period were deficient of the wider perspectives based on the sociological observations as well as historical understandings in one hand, and blindly subservient to and unconditionally idolized of Japan and its modernization process on the other. Through these writings, the Korean writers were suffering themselves from inferiority complex, and then exposed their inner wanderings and impatience for imitation of Japan. Therefore, it is evident that such an immature psychology was an basic ingredient toward the development of pro-Japanese and betrayal of fatherland activities in the early twentieth century Korea. The ideas shown in the early novels such as "Dialogue between the Blind and Crippled Men" and "The Misunderstanding of Rickshaw Boy" that critical satire and pure patriotism fell short of developing any further than their embryonic stages.

20 세기 초엽을 전후한 한 일지식인의 문화의식에 대한 고찰 : 문화접변의 몇가지 사례

신근재 한국일어일문학회 1981 日語日文學硏究 Vol.2 No.1

The purpose of this study is to identify the interaction between Korean and Japanese intellectuals in a broad sense and to review some cases of acculturation among the intellectuals of the two countries at the turn of the 20th century. As is well known, modern Korean culture beginning in 1876, when Korea opened her ports to foreigners, came into frequent contact with Japanese culture. Japanese culture was absorbed and borrowed actively especially after the Japanese annexation of Korea. In this study the following case studies were analyzed: (1) The Japanese colonialistic view of history, which was established by a Japanese economist Tokuzo Hukuda and passed on to some Japanese government-sponsored scholars such as Ichiro Wada, Hirotami Kawai, Ichitaro Shiogawa, Hirosi Shigata, Takeo Suzuki, Katsumi Moritani, Akihide Mishina, was utilized as a methodology to Justify Japanese rule over Korea. Korean scholars before the liberation were so deeply affected by these scholars that they contributed to the distortion of their own history. (2) The theory of stagnation was first developed by a German scholar, T.S. Wittfogel and introduced in Japan by Moritani. This theory, strengthened by Moritani's theory of natural environment provided the basis for the Japanese rule over Korea. (3) Kil-Jun Yoo, Yeoung-Ho Pak, Chi-Ho Yoon and some other Korean intellectuals studied the enlightened ideas of Yukichi Hukuzawa who was then the leading Japanese scholar, and Ok-Gyun Kim was also greatly affected by him. Yoo's "Seo Yoo Kyon Moon" and Pak's memorial to the throne were closely connected with Hukuzawa's ideas. (4) New education in Korea was planned and carried out by Kosuke Sone, Magoichi Tawara, Chuzo Sansi under the direction of Hirobumi Ito, the first Japanese governor in Korea. Wan-Yong Lee, the Korean minister of education at the time, was inclined toward the new Japanese style education program and carried it out actively. (5) In-Jik Lee who pioneered a new literature in Korea was also under the influence of Japanese writers such as Bimyo Yamada, Gensai Murai, and Sansi Tokai. From that time the strong influence of some Japanese writers such as Dogbo Kunikida, Homei Iwano, Kadai Tayama, Toson Shimazaki and Shusei Tokuda has appeared clearly in the realistic and natualistic works of Korean literature. (6) With Ito's active encourgement and the administrative support of the colonial government, the new drama flourished in Korea with Korean dramatists fervently accepting it. Most of them went to Japan to study modern drama and the new schools of drama. (7) The translation of Japanese books prevailed and this publication in Korea developed in the course of the acceptance of the new culture through Japan. Translations from Japanese books occupied more than half of the total publications from 1876 to 1910. Most of the articles printed in "Seonyeon", the first modern magazine in Korea, were translations from Japanese. As the above cases show, the acculturation between Korea and Japanese intellectuals was not one of true mutual exchange, but a onesided flow from Japan to Korea. It is clear that the Japanese elaborated the tactics and strategy of cultural aggression while the one-sided acceptance and adaptation by the Korean side resulted in many problems and much damage. It remains a great task in the study of the modern history of Korea to overcome this colonialistic consciousness and the spiritual legacy left over from the colonial age.