근대 사명당 담론과 밀양 지역문학

이순욱(Lee, Soon-Wook),이상원(Lee, Sang-Won) 한국문학회 2010 韓國文學論叢 Vol.55 No.-

근대문학에서 사명당 담론이 폭넓게 재생산되지 못한 까닭은 복합적이다. 근대 이후 역사위인전기의 전통에서 '서산대사전'의 부차적 서사로서 '사명당전'의 독자성 부족, 무인(武人)을 존숭하는 시대적 분위기와 이순신 담론의 주류화와 그에 따른 과소평가, 승려라는 신분적 지위와 허약한 법맥에 따른 역사적 주변화 등의 문제와 관련 있다. 근대계몽기 이후 오늘날까지 생산된 사명당 담론의 가장 큰 줄기는 서사담론으로서 딱지본 대중소설과 역사소설, 희곡의 세 갈래다. 물론 교과서 제도와 밀착된 어린이 위인전기나 만화가 지속적으로 생산되었다. 이 글은 근대계몽기 역사위인담론의 지형과 사명당 전기의 위상, 1970년대 후반까지 재생산되었던 딱지본 대중소설 『사명당전』의 판본 비교, 광복기 사명당 위인전기의 교과서 수용 문제를 검토하여 사명당 담론의 역사적 맥락과 성격을 고찰하였다. 이를 통해 현재 밀양 지역문학에서 사명당 담론을 어떻게 생산하고 확장할 것인가를 제안하였다. 첫째, 근대계몽기 영웅 전기 『休靜大師傳 附惟政 靈圭』는 민족의 주체성을 고양하고 외세에 대응하기 위한 전략적 방편이었다. 둘째, 문헌기록을 충실히 따른 덕흥서림본(1926) 『西山大師와 四溟堂』은 조선의 문화적 우월성에 대한 자각과 역사의식을 강조하고 있었다. 설화적 성격이 강한 영화출판사본(1954) 『壬辰倭亂 四溟堂傳』은 후처에 대한 복수를 중심적 서사로 삼아 통속적인 재미를 추구하고 있었다. 영화출판사본은 출판사와 편집자의 의도에 따라 변개되면서 대조사본(1958), 향민사본(1978)으로 재생산되었다. 넷째, 광복기 교과서 제도에서 사명당은 승병장이나 정치외교의 영웅으로서 수용되었으나 『壬辰錄』 계열의 구비문학적 성격을 그대로 이어받은 측면이 강했다. 다섯째, 밀양 지역문학에서 사명당 담론은 활발하게 생산되지 못했다. 사명당 유택이나 표충사, 표충비각 등의 장소에 대한 감각을 회복하여 지역가치를 창출할 수 있는 가능성을 모색해야 할 것이다. Most of the studies on Samyeongdang, a Korean Buddhist monk, take a historical approach focusing on the journey to Japan. From literary perspective, the studies concentrated too much on the history of novels similar with Imjinrok or on folk tales. There are several reasons behind the underestimation of Samyeongdang recently. First, considering the tradition of biographies since the modern period of enlightenment, the discussion on Samyeong has been almost always secondary to the Story of Great Master Seosan, making it difficult to obtain its own identity. Second, it was prevalent at that time to admire military leaders such as General Eulji Mundeok and Admiral Lee, Sun-sin who devoted themselves to overcoming national crisis, and Samyeong fell short of these national heroes. Third, movies about Admiral Lee, Sun-sin and the Imjin War became the mainstream of popular culture, while only one movie about Samyeongdang was produced in 1963. During the period of modern enlightenment and the Korean War, therefore, the discourse on Samyeongdang was relegated to the status of Ttakjibon popular novel and had to be published in different printings. This is a far cry from the discourse on Admiral Lee, Sun-sin, which was produced, reproduced, distributed and consumed in various ways. The primary object of this study is to examine the status and characteristics of the discourse on Samyeongdang in the history of modern literature.

4월혁명과 북한문학

이순욱(Lee, Soon-Wook) 부산대학교 한국민족문화연구소 2011 한국민족문화 Vol.40 No.-

이 글은 조선작가동맹 중앙위원회 기관지 『문학신문』 1960년 3월치부터 12월치까지를 대상으로 4월혁명 시기 북한문학계의 인식과 동향을 살피고 4월혁명시의 성격과 특징을 규명하는 데 목적을 두었다. 『문학신문』은 북한당국의 시각을 적극적으로 반영하고 있는 주간지로, 당시 4월혁명에 대 한 북한의 인식과 성격을 이해할 수 있는 가장 기본적인 매체이다. 당시 북한문학계에서는 남한의 문학을 제국주의 침략 정책을 예찬하고 퇴폐적 부르조아 문학의 직접적인 영향 아래에 놓여 있는 반동문학으로 간주하였는데, 4월혁명은 1950년대부터 지속적으로 이루어져 온 남조선해방에 대한 주제를 더욱 증폭시키고 강화하는 계기로 작용하였다. 북한은 4월혁명을 ‘남조선 인민봉기’로 인식하였으며, 인민봉기가 미제국주의의 지배와 이승만 정권의 폭압 정치에서 비롯되었다고 보았다. 따라서 반동적인 부르조아 문학을 청산하고 항쟁에 궐기한 인민의 혁명적 이상을 작품에 담으라는 요구는 천리마시대의 북한문학이 강조하는 공산주의적 창작기풍이자 핵심주제였다. 4월혁명 시기 북한문학계에서는 당과 조선작가동맹의 요구에 따라 4월혁명을 형상화한 작품을 두루 창작하였는데, 대체로 당 중앙위원회의 호소문이나 공동성명의 내용을 그대로 수용하고 있었다. 4월혁명을 형상화하는 일은 북한 문학인들의 긴급한 임무 가운데 하나였다. 이를 통해 인민대중에 대한 정치사상교양을 제고시키고 사회주의 체제의 우월성을 고취시키고자 했던 것으로 보인다. 『문학신문』에서 4월혁명을 형상화한 작품은 시가 지배적이었는데, 호흡이 긴 소설이나 희곡보다는 시 갈래가 당시의 급박했던 상황에 대한 대응 논리를 갖추는 데 적합했기 때문이다. 대체로 미국과 이승만 정권에 대한 노골적인 비판, 국군 장병의 시위 참가 독려, 마산과 김주열의 영웅적 투쟁성 강조, 조국통일에 대한 이상, 사회주의 체제의 우월 성 등을 일관되게 표출하고 있었다. This paper aims to examine the perception and trend of North Korean literature during the April Revolution and identify the characteristics of poems about the April Revolution by taking a close look at the Joseon Writers Alliance Bulletin 『Munhak Sinmun』 from March to December editions in 1960. 『Munhak Sinmun』 is a weekly newspaper which states the official position of the Joseon Writers' Alliance, but firmly reflects the logic of the Communist Party and the government. Newspapers, the medium with highest mobility, is the best source to have a three-dimensional look at North Korea’s perception of the April Revolution in South Korea. The findings of the study are as follows: The 『Munhak Sinmun』 editions published in 1960 unusually devoted a lot of space to the April Revolution with relevant political analysis, editorials and literary works published from the front page to fourth page. In particular, its political analysis and editorials reflected the North Korea’s perspectives on the April Revolution as they mirrored political position of the Communist Party as well as the viewpoints of the Joseon Writers’ Alliance. Through political analysis, where key members of the Joseon Writers’ Alliance contributed, North Korea’s perception of the April Revolution can be found. North Korea sees it as a ‘popular uprising in South Korea,’ derived from American rule and oppressive politics by the Lee, Seung-man regime. It urges South Korean writers, therefore, to disclose the repressive policies of the American rule and the then South Korean President Lee, Seung-man. The North Korean literary circles, which thought of the literature in South Korea as a reactionary literature directly influenced by the British and American bourgeois literature, demanded that South Korean writers should abandon the bourgeois literature and reflect revolutionary ideals of the popular uprising in their literary works. These requests were in line with the communist ethos and key subjects of the North Korean literature during the Cheollima Period. In addition, the North Korean literary circles produced various literary works embodying the April Revolution at the request of their party and the Joseon Writers’ Alliance. These works mostly embraces a letter of appeal to South Korea or a joint statement by the Central Committee of the Communist Party. As a result, it seems that not only newspapers with a high level of mobility but many other fields in cultural and arts sector produced and distributed diverse April Revolution-themed art works. It was an important challenge facing artists, but also a part of popular culture campaign designed to involve the public in literary works by popularizing literary art activities. This way, the North Korean cultural and art communities strived to further develop general education on political ideologies and instill the superiority of the socialism to the public. Poems accounted for the absolute majority of the literary works describing the April Revolution in 『Munhak Sinmun』, while there were only three plays and novels. North Korean literary community's reaction to the political situation in South Korea during the April Revolution period seems more suitable for poems than novels or plays. Distinctive characteristics of these April Revolution-themed poems are criticizing the United States and the Lee, Seung-man administration, inciting South Korean soldiers to a protest, emphasizing heroic struggle of Kim, Ju-yeol in Masan, dreaming of the reunification and praising the superiority of the socialist system.

카프의 매체 투쟁과 프롤레타리아 동요집 『불별』

이순욱(Lee Soon-Wook) 한국문학회 2004 韓國文學論叢 Vol.37 No.-

The proletarian nursery rhyme, Bul-Byeol, is a children's medium of the classism. This work is the medium which definitely shows the literary ideology of KAPF by means of the words, or pictures, and musical notes through which we can easily recognize the classism ideology. The literary and historical significance of Bul-Byeol can be summarized as the followings. First, as we can see the cover on which a proletarian boy holds a hammer and the outer cover on which 'Proletarian Nursery Rhyme'(푸로레타리아童謠集) is definitely revealed, this work is the nursery rhyme of the first modern classism. We can thoroughly confirm this characteristic from the combative words, and pictures, or musical notes. Second, Bul-Byeol was the published medium in which the nursery writers in Kyeongnam region embossed the role of the nursery literature in the literary movement and positively supported the demand of the younger members who claimed the shift in generations as well. We can seize this characteristic through the inclination and human relationship of the main writing staffs, such as Kim, Byeong-Ho, Yang, Woo-Jeong, Lee, Seok-Bong, Lee, Ju-Hong, Sohn, Pung-San, Shin, Ko-Song, Eom, Heung-Seop. This work strongly contains the characteristic of the media struggle as the nursery medium of the classism in which the Bolshevism literary movement and structure reorganization of KAPF are mutually engaged. We can survey the parallel regional solidarity consciousness in that Bul-Byeol included the national-wide writing staffs, such as Park, Se-Yeong, Jeong, Ha-Bo, Lee, Kap-Ki under the guardianship of Shin, Myeong-Kyun who was well known to the publication world. Third, we can find the apparent orientation of the classism ideology in Bul-Byeol by means of forty-three words, eight musical notes and eight pictures which focus on the struggling and combative consciousness. Therefore, this work can be the medium which positively advocates the literary movement as 'movement' of the contemporary literature, or music, art movement. Accordingly, Bul-Byeol is the intentional work which actively supports the logic of the younger members as the Bolshevism movement and preoccupies the popularity by re-collecting the literary movement of the classism which was in the forked road of decline. Forth, Bul-Byeol reveals the aspect of the second KAPF members who provided the curse of KAPF dispersion beyond the characteristic of regional journal of interested persons, and especially the nursery literary writers in Kyeongnam appear all over the surface of KAPF through this medium. We can infer the media struggle of Bul-Byeol in that the literary writers in Kyeongnam, who slowly strengthened the literary location by means of New Boy(Shinsonyeon), Star Country(Byeolnara) and Music and Poetry(Eumak and Shi) since the middle period of 1920s, obtained their places in this work.

4월혁명과 북한 아동문학 - 『남녘땅에 기’발 날린다』를 중심으로 : 4월혁명과 북한 아동문학

이순욱(Lee Soon-Wook) 한국문학회 2007 韓國文學論叢 Vol.46 No.-

North Korea defines the April Revolution as ""the April People"s Uprising"", ""the April 19 People"s Uprising"" or ""the April 19 Uprising"" and recognizes it as a massive struggle against the Unites States and the Lee Seung-man administration of South Korea and a historic expression by South Koreans of their desire for a national reunification. This paper aims to explore how the April Revolution is described in children"s literature of North Korea by focusing on A Flag is Flying in the South(Children"s Books Publishing Company, September 15, 1960), a collection of children"s literature praising the April Revolution. First, the 1960s falls under the category of the Cheollima(Flying Horse) Movement in the history of North Korean literature. The main subject of the literary works during this time was to create an image of a leader, establish a system of socialism, reflect realistic aspects of the Cheollima Movement, embody people"s revolutionary struggle and seek ideologies for national reunification. Distinctively, many works to describe the April Revolution of South Korea were created. Various types of literature regarding the Revolution including poems, political discussions, essays, plays, critics, and children"s literature were produced as opposed to South Korea. Mass produced in North Korea through such official papers as Joseon Munhak and Munhak Sinmunor separate books, the literary works on the April Revolution focus on disclosing the anti-humanitarian aspect of the South Korean society and describing heroic behaviors and a fighting spirit of the public. In other words, the April Revolution was utilized by the North both as an opportunity to publicize the superiority of the North Korean regime and as an educational means to enhance revolutionary spirit of the residents, to criticize the United States and the Lee Seung-man administration. Second, it was effective for the North Korean regime to turn to children"s literature, which served as a vehicle of political propaganda, in developing and internalizing its ideologies. Children"s literature in North Korea faithfully followed these ideologies, so the antiimperialism sentiment, the criticism of South Korea"s Lee Seung-man administration and the laudation for socialism were prevalent in the literature during the first half of the 1960s. A case in point is A Flag is Flying in the South, which is North Korea"s the only revolutionary literature collection describing the April Revolution in the 1960. This children"s collection can be seen as a educational book meticulously prepared on the literary educational level unlike other literary works published in papers. Third, A Flag is Flying in the South contains eights poems for children, one ocherk, one play for children and one drama. These works mainly depict the tyranny and repression by the US imperialism, the exposure of the anti-humanitarian situation in South Korea and heroic struggles of the general public. It is consistent with the main subject of the Cheollima literature that the resistance and the anti-humanitarian aspects of the South Korean society should be revealed in contrast to North Korea"s socialism. The Cheollima Movement is a part of efforts to preempt the revolution against the powerful class in South Korea and the United Stated in a wide range of areas including ideologies, technologies, culture as well as economy. In this context, the characters of South Korean protests in this collection can be considered ""jockeys of Cheollima(Flying Horse)."" Therefore, A Flag is Flying in the South served as children"s literature textbook for political propaganda and was a result of meeting the demands of the North Korean literary circles to create literary works on the April Revolution of South Korea.

광복기 요산 김정한의 문학 활동 연구(2)

이순욱(Lee, Soon-Wook) 부산대학교 한국민족문화연구소 2013 한국민족문화 Vol.49 No.-

이 글은 광복기 요산의 문필활동과 작품세계를 실증적으로 고찰하는 데 목적을 둔다. 이 시기 요산은 연시조 3편(총12수)과 자유시 3편, 노랫말 1편을 남기고 있다. 이 가운데 자유시 ?유리창?과 ?四二七八ㆍ八ㆍ十五ㆍ十二時?는 목원(牧園), 『인민해방보』에 발표한 연시조 ?옥중투사(獄中鬪士)에게?는 두우(杜宇)라는 필명으로 발표하였다. 특히 요산은 한 제목 아래에 4수를 묶은 연시조 ?해방부(解放賦)?, ?새해에 바침?, ?옥중투사에게?를 통해 당대의 급변하는 현실과 지식인의 자세를 담아내고자 했다. 광복기의 혼란스러운 정국에서 호흡이 짧은 시를 통해 자신의 문학적 태도를 표명했던 것이다. 또한 이 시기 요산은 4편의 소설, ?옥중회갑(獄中回甲)?, ?호출(呼出)의 설날?(?설날?로 개제?), ?서거픈 이야기?, ?하느님?을 통해 새로운 민족국가 건설에 대한 열망과 당대 현실에 대한 비판적 관점을 표명하였다. 글에서는 이제껏 전혀 알려지지 않았던 시 6편과『대중신문』 연재 단편소설 ?호출의 설날?과『산업신문』(『국제신문』의 전신) 연재 단편소설 ?서거픈 이야기?를 발굴ㆍ고증하였다. 특히 10월인민항쟁의 후일담을 다룬 연재소설 ?호출의 설날?(1947. 1)은 『문학?비평』 1호(1947. 6)에 수록하면서 제목을 ?설날?로 바꾸었다. 신문 연재본과 잡지 게재본은 부분적으로 단어를 손질한 것 이외에 내용상 큰 차이를 발견할 수 없으나, 장분할에서 일정한 재편이 이루어졌던 것으로 보인다. ?서거픈 이야기?는 연재 1회분만으로 쉽게 규정할 수 없으나 악질모리배가 판을 치는 광복기 현실을 비판적으로 다루고 있는 세태소설이다. 국민보도연맹에 가입하기 직전에 발표한 ?하느님? 또한 역사 발전에 대한 개인의 책임을 회피하려는 목사 부인을 등장시켜 사회 진보의 주체로서 개인의 책임과 역할을 우회적으로 드러내고 있었다. 시와 소설을 통해 알 수 있듯이, 이 시기 요산은 급변하는 당대의 문화 지형에 즉각적으로 부응하는, 정치적 실천으로서 의 글쓰기를 수행함으로써 조선문학가동맹 부산지부장으로서 당대의 역사적 과제에 부응하여 자신의 이념과 실천에 소홀하지 않았음을 알 수 있다. The purpose of this study is to explore Yosan Kim Jeong-han’s literary world during the Independence Period in an empirical way. Yosan Kim Jeong-han delved himself into political thought and practice more deeply than ever in his literary life during this period. First, previous studies on Yosan’s literary works during the Independence Period over the years did not present a new perspective as they were confined to “Okjunghoegap” which expresses awe and respect toward an old revolutionary and “Seollal”, a story about the popular struggle in October. Due to their heavy dependence on a few well-known resources, they could not provide any comprehensive view encompassing his poems (sijo), novels and essays. During this time, Yosan produced three pieces of stanzaic sijo (12 poems), three free verses and one lyrics. Among these works, he published his free verses of “Yurichang” and “Sa-i-chil-pal, pal, sip-o, sip-i poem” under the pen name of Mokwon and his sijo “Okjungtusa” under the pen name of ‘Duu’ when published in “Inmin Haebangbo”. In particular, Yosan wanted to picture the rapidly changing reality of the time and the intellectual’s attitude through “Haebanbu”, “Ode to the New Year” and “Okjungtusa”, which were his stanzaic sijo works of compiling four poems under one title. He attempted to show his literary attitude through these short-breathed poems in the middle of the tumultuous political situation during the Independence Period. Second, this study discovered and explored his serial short stories “Hochuleui Seollal” published in “Popular Newspaper” and another serial short stories “Seogeopeun Story” published in “Industrial Daily(predecessor of Kukje Daily)”, both of which were never handled in previous studies. The title “Hochuleui Seollal” was changed into “Seollal” when it was listed in the 1st issue of “Literature and Criticism”(June 1946). There were no major differences between the works published in the newspaper and the magazine, but it seems that he reorganized some of the chapters. Though it cannot be easily defined only with its first episode, “Seogeopeun Story” s a novel of manners that critically describes the harsh reality of the Independence Period, infested with heinous profiteers. “Haneunim(God)” which was published just before he joined the Federation of Protecting and Guiding the Public, expressed indirectly the responsibilities and roles that an individual should take as a principal agent of social progress by using a character of a pastor’s wife who tries to avoid her responsibilities for historic progress. As seen from his poems and novels, Yosan did not avoid his ideologies or practicing them and faced the historic challenge of the time as a Chairman of the Busan Branch of the Joseon Literary Alliance by writing literary works that can keep pace with the rapidly changing literary landscape.

부산의 문화지도 그리기 광복기 부산 지역 문학사회의 형성과 창작 기반

이순욱 ( Soon Wook Lee ) 동아대학교 석당학술원 2011 石堂論叢 Vol.0 No.50

This paper aims at studying the formation of Busan`s regional literary society and the foundation for its creation by mainly focusing on the media of newspapers and magazines. Studying media is one of the most effective methods for shedding light on the literary society of Busan during the Liberation Period. By taking a closer look at characteristics of a specific medium and literary activities of writers in the medium, it was found that Busan`s regional literature did not stay away from the mainstream Korean literature of the time, and literary society was realigned based on writers` course of action. First, the regional literature of Busan during the Liberation Period should be seen in a broader context of Gyeongnam literature. Many literary groups including the Joseon New Culture Association, the Busan Branch of Joseon Literary Alliance and the Samnam Literary Association were established, but there was no struggle between ideologies to seize hegemony of the literary circles. To pursue the predominating goal of building a new sovereign state and creating national literature, these groups were set up based on a specific ideology and continued to seek new approaches depending on constantly changing situation. A case in point is the Busan Branch of Joseon Literary Alliance, which was founded during the early Liberation Period and actively engaged in various activities, including the publication of its official paper, but it was restructured into a right wing literature due to the changing times and circumstances. Second, one of the most notable characteristics of Busan`s regional literature during this period is that the regional literature in Busan could obtain its future growth engine from outstanding activities by migrated writers, the exchange of a lineup of the writers based on their hometowns and horizontal alliance among small areas. This can be ascertained by checking the list of writers and their characteristics in such newspapers as 『Minju Jungbo』, 『Busan Ilbo』, 『Busan Sinmun』, 『Jayu Minbo』 and 『Saneop Sinmun (Industrial Newspaper)』. Taking a glance at the media publication during the early Liberation Period shows us a pronounced ideological divide among newspapers. While 『Minju Jungbo』, 『Inmin Haebangbo (People`s Liberation Newspaper)』 and 『Munye Sinmun (Literary Newspaeper)』 were left-leaning newspapers, 『Busan Ilbo』, 『Busan Sinmun』, 『Jayu Minbo』 and 『Saneop Sinmun』 tilted toward the right. It is difficult, however, to research the overall activities and trend of left-wing writers during the early Liberation Period due to the lack of substantial evidence of 『Inmin Haebangbo』 and 『Munye Sinmun』. Third, the regional literature of Busan during the Liberation Period was comprised of various generations, with active contributions from Song, Yeong-taek, Kim Wol, Yun Jae-won and many other students and the emergence of young writers including Yim, Ha-su, Jang Ho, Lee, Seok-in and Jeong, Yeong-tae. Based on the vertical alliance with the established writers, the horizontal alliance with regional young writers and the publication of media, they became the key players in Busan`s regional literary scene. It can be said that contributions from student writers and young writers served as an important catalyst for the formation of an independent literary society in Busan. They were incorporated into the established literary circles, one after another, after the Korean War Period, while solidifying their positions in the regional literary society. As part of Gyeongnam Literature, the regional literature in Busan during the Liberation Period produced a lot of literary works thanks to newspaper media and diversified the lineup of its writers. As the realignment of the literary circles during the Korean War Period gave rise to the war refugee literature, Busan`s regional literature began to build its own literary society.

광복기 시인 염주용의 매체 활동과 『문예신문(文藝新聞)』

이순욱 ( Soon Wook Lee ) 東亞大學校附設 石堂傳統文化硏究院 2012 石堂論叢 Vol.0 No.52

이 글은 염주용의 삶과 문학 활동을 되짚고, 광복기 부산 지역문학의 핵심 매체인 『문예신문』의 성격을 고찰하는 데 목적을 두었다. 문학적 여정에서 가장 치열했던 광복기의 매체 활동은 그를 부산문학사에서 중요한 위상을 차지하는 문학인으로 규정하는 근거다. 논의의 바탕이 되는 일차문헌이 대부분 유실된 상태에서 일부자료만으로 매체의 성격을 규명하는 작업은 어려운 일이다. 그런데도 제한된 자료만으로도 『문예신문』의 됨됨이와 필진 성격, 광복기 부산 지역 문학사회의 지형도와 지역문학의 성장 동력을 파악할 수 있었다. 앞으로 제한된 자료의 한계를 넘어 매체 발굴을 통해 근대 부산 지역문학사를 새롭게 쓸 수 있는 바탕을 마련해야 하겠다. This study aims at examining the life and literary activities of Poet Yeom, Ju-yong, who practically led the modern regional literature of Busan and closely looking at the weekly literary magazine "Munye Sinmum" that he published. There has not been many studies on Poet Yeom, Ju-yong because it was difficult to find his literary works that can shed light on his literary achievement and to verify "Munye Sinmun" that established him as a practical leader and guardian of the Busan`s regional literature, so much so that he was even equated with "Munye Sinmun". To begin with, records of his life continue to cause confusion. The writing on the 5th edition of "Busan Munhak" published in 1973 by the Busan Branch of the Korean Literary Association intensified the confusion. Whenever Yeom, Ju-yong is mentioned, some incorrect information about him has been reproduced again and again base only on Jeong, Soeng-su`s recollection. After high school graduation, Yeom, Ju-yong contributed "Nodongja(Workers)" in the reader`s literary section of the "Chosun Ilbo" and since then he wrote 9 poems, 3 literary criticism and a playscript "The Day of the Fall of the Dongnae Fortress". He was briefly a member of the literary coterie "Saengli" before he joined Manchu State around 1938 and turned to the puppet state. His status in the regional literary history was significantly heightened during the Independence Period. After he secured a recognized place as a right-wing writer in the Gyeongnam Branch of the Chosun Association of Youth Writers and Samnam Literary Club, Yeom, Ju-yong began to make considerable contribution to the regional literature by publishing "Munye Sinmun" since August 1946, which served as a key base sustaining the Busan`s regional literary society. Second, the 2-page weekly tabloid "Munye Sinmun" was published every Monday mainly featuring literary works. Its publisher, located at 1-48, Daegyo-tong, Busan-bu, has a comprehensive system with editorial, printing, publicity, entertainment, general affairs, sales departments. As a literary magazine, its space was mostly covered with poems, novels, essays, criticism, children`s literature (children`s songs, children`s verses and children`s stories) as well as with news from the local music, arts, theater and movie industries and latest trends of the schools. Third, "Munye Sinmun" did not support any particular faction, making it difficult to categorize it into left-wing, right-wing or moderate media by general standards. The magazine is rightly regarded as a middle-of-the-road media thanks to its line-up of the writers who tried to stay away from ideological biases. Given the fact that its writers had various ideological spectrum, it can be said that the publisher remained aloof from the political situation or pursued an apolitical editing style. It was quite a surprise to see this composition of writers because the first half of 1948 when the 6th edition, which is still in existence, was published, was considered the period when the ideological inclinations of writers were very conspicuous. Fourth, the media was marked by its bold projects and page layout designed to guide next-generation writers of the local community into the mainstream literary circles. For example, the annul spring literary contest was introduced to find promising local writers and encourage their literary activities, and competitions for students literary awards and children`s literary awards were held to allocate space in the paper to elementary and middle school students to discover future growth engines for the regional literature. It is fair to say, therefore, that "Munye Sinmun" played a key role in strengthening the base for the regional literature by discovering talented writers from the media landscape of Busan crowded with many newspapers and providing student writers with an opportunity to contribute their literary works.

피고인의 국선변호인 제도에 관한 제언

이순욱(Soonuk Lee) 전남대학교 법학연구소 2019 법학논총 Vol.39 No.3

A lawyer is an assistant whose mission is to supplement the defense rights of the accused and the suspect, but he has more than just a supporting position. In order for the ideology of fair trial to be implemented as the principle of proper procedure among the principles of criminal procedure, arms confrontation is necessary. The prosecutor, as a legal expert and a state agency, has a superior authority over the accused. In order to protect the defendant himself against the prosecutor s involvement in investigation or trial, the defendant s own power is insufficient and needs an assistant, and the role of a lawyer is important here. Through the assistance of counsel, the ideology sought in criminal proceedings can be satisfied by achieving arms equality and further implementing fair trials. In Korea as well as in other countries, it is the system under which the state appoints a lawyer to compete in arms, in addition to the defense counsel appointed by the accused. A public defender is a lawyer selected by the state to practically guarantee the right to defend a defendant when he or she is unable to appoint a private counsel due to economic poverty or other reasons. 2019. 4. A revision to introduce a “criminal and public lawyer system” that would allow public defenders to be designated at the investigation stage. Therefore, the public defender system, which was previously used for some cases during criminal trials, is expected to change its appearance after considerable discussion in the future. It is important at this point to look at the current working conditions of our public defender system and how to improve it. Regarding the selection of public defenders, we will take a general look at the reasons for the selection and point out the problems for each of them. The scope of recognition should be considered wider than the existing working situation when the defendant is arrested, or when a public defender is required due to mental and physical disabilities, and in relation to the procedure for selecting a public defender, it is necessary to shift its view from the conventional theory of trial to one-sided behavior subject to the consent of the lawyer. Laws that have been confirmed by court cases, such as notice of receipt of legal records and reasons for appeal, are important, but it is desirable to expand the part of the public defender as much as possible within the scope of the national budget, not in areas where sophisticated dogmatic is needed, and that is the way to comply with the Constitution to guarantee the defendant s right to defend and to ensure proper procedures. Regarding other practical operations, the government needs to look into matters such as the timing of the selection of public defenders, communication with foreigners and deaf children, the prohibition of leakage of personal information of victims, and the burden of legal costs. The above issues have traditionally been dealt with by public defenders in the problematic areas. Although the support of public defenders has already been available to victims of sexual violence, I think it is necessary to address the typical issues that have been in our criminal system for a long time, at a time when we are about to introduce the criminal public defender system. 변호인은 피고인과 피의자의 방어권을 보충하는 것을 임무로 하는 보조자이지만, 단순한 보조자적 지위 이상의 지위를 갖고 있다. 형사소송의 원칙 중 적정절차의 원리로서 공정한 재판의 이념이 구현되기 위해서는 무기대등이 필요하다. 검사는 법률전문가이면서 국가 기관으로서 피고인에 비하여 월등한 권한을 가지고 있다. 검사의 수사 또는 재판 관여에 맞서서 피고인 자신을 보호하기 위해서는 피고인 스스로의 힘으로는 부족하고 보조자가 필요한데, 여기에 변호인의 역할이 중요하다. 변호인의 조력을 통하여 무기대등을 이루고 더 나아가 공정한 재판을 구현함으로써 형사소송에서 추구하는 이념을 충족시킬 수 있다. 다른 나라 뿐 아니라 우리나라에서도 피고인이 선임하는 변호인 외에 국가가 변호인을 지정하여 무기대등을 이룰 수 있도록 하는 제도가 바로 국선변호인 제도이다. 국선변호인은 피고인이 경제적 빈곤 등의 사유로 사선변호인을 선임할 수 없는 때 방어권을 실질적으로 보장하기 위하여 국가가 선정한 변호인이다. 2019. 4. 수사 단계에 국선변호인이 지정될 수 있도록 하는 ‘형사공공변호인 제도’를 도입하는 ‘법률구조법’ 개정안이 발의되었다. 따라서 종래 형사재판 중 일부 사건에 관하여 활용되던 국선변호인 제도가 향후 상당한 논의를 거쳐 그 모습이 많이 변화될 것으로 예상된다. 현재 우리 국선변호인 제도 중 피고인에 대한 국선변호인 제도의 실무 운용 상황을 살펴보고, 그 개선방안을 살펴보는 것은 현 시점에서 중요하다. 그러한 논의를 바탕으로 피해자에 대한 국선변호사 제도 운용, 피의자에 대한 국선변호인 도입 등 공공변호인 제도 전반에 대한 시스템 구축시 큰 이정표가 될 것이기 때문이다. 국선변호인 선정과 관련해서는, 선정 사유를 개괄적으로 살펴보고 그 각 사유별 문제점을 지적하고자 한다. 피고인이 구속된 때의 의미나, 피고인이 심신장애가 있어 국선변호인이 필요한 경우에 대하여 종래 실무 운용 상황에 비하여 그 인정 범위를 넓게 보아야 하며, 국선변호인 선정 절차와 관련해서는 종래의 재판설의 입장에서 벗어나 변호인의 승낙을 조건으로 하는 일방행위설 등으로 그 관점을 전환할 필요가 있다. 소송기록 접수통지나 항소이유서 등 판례가 여러 차례 확인해 준 법리도 중요하지만 국선변호인 파트는 정교한 도그마틱이 필요한 분야가 아니라 국가 예산의 범위 내에서 가급적 확대하는 것이 바람직하고, 그 것이 피고인의 방어권 보장 더 나아가 적정절차를 보장하려는 헌법 이념에도 부합하는 길이다. 기타 실무 운용과 관련하여 국선변호인 선정의 시기, 외국인과 농아자 등과의 소통 문제, 피해자 인적 사항의 누설 금지, 소송비용 부담 등의 문제 등을 아울러 살펴볼 필요가 있다. 이상의 문제는 전통적으로 국선변호인이 문제된 부분에서 다루어 온 내용이다. 이미 성폭력 피해자에게도 국선변호사의 조력이 가능해 진 상황이기는 하지만, 오랜 시간 동안 우리 형사시스템에서 자리 잡아온 피고인의 국선변호인 제도를 다시 한번 짚어 보는 기회를 가지게 됨으로써 형사공공변호인 제도의 도입이나 피해자 국선변호사를 포함한 국선변호인(또는 공설변호인) 제도 전반에 대한 개선작업이 이루어질 때 참고하여 변호인의 조력을 받을 권리를 실질적으로 보장할 수 있도록 해야 할 것이다.

광복기 요산 김정한의 문학 활동 연구(1)

이순욱(Lee, Soon-wook) 한국비평문학회 2013 批評文學 Vol.- No.47

제도로서 부산 지역의 문학사회가 본격적으로 형성되어 가던 광복기는 요산 김정한의 문학적 생애에서 가장 정치적으로 사유하고 실천했던 시기다. 또한 굴욕의 경험이라 스스로 괄호를 친, 이른바 절필기이기도 하다. 이 글은 광복기 요산 김정한의 삶과 문단 활동을 실증적으로 고찰하는 데 목적을 두었다. 이 시기 서울에서 조직된 문화단체가 자신의 허락도 없이 마음대로 이름을 올렸던 것과 달리, 부산ㆍ경남 지역에서 그의 사회 운동과 문단 활동은 자신의 정치적인 이념에 기초한 것이라 볼 수 있다. 광복기의 격랑 속에서 요산은 배달학원 강사, 건국준비위원회 경남지부와 경남해방운동자구원회 산하의 연극단체 희망좌, 경남 인민위원회에서 문예부문을 담당했으며, 신탁통치배격 부산시위원회 조사연락부 위원, 조선예술동맹 부산지구협의회 위원장, 삼남문학회 회원, 조선문학가동맹 경남도위원장 겸 부산지부장, 조선문화단체총연맹 경남도연맹 부위원장으로 활동했다. 지역의 명망가 문화인으로서 좌파 문화전선을 구축하여 대중 계몽과 민주임정 수립을 전취하기 위한 조직 활동을 치열하게 전개해 나갔던 것이다. 광복 직후부터 공위 재개와 해체에 이르는 시기까지 그는 부산ㆍ경남 지역 좌파 문학사회와 예술단체의 핵심인물이자 매체 발행인이었으며, 문화운동의 최전선에 서 있었던 셈이다. 우파문단으로의 문단재편이 가파르게 이루어진 단정 수립 이후에는 이러한 조직 활동이 문제되어 반동문화인으로 규정되었으며, 그가 주도하던 매체 『문화건설(文化建設)』 또한 발행을 그만둘 수밖에 없었다. 결국 부산ㆍ경남 지역을 거점으로 새로운 민족국가 건설에 대한 열망을 표출했던 좌파 문학인 김정한은 문화운동의 날개를 꺾인 채 국민보도연맹에 가입함으로써 혹독한 전향의 계절을 살아갈 수밖에 없었다. 이러한 논의를 바탕으로 글쓴이는 요산문학을 네 시기로 구분하여 논의할 것을 제안하였으며, 문학의 정치성을 가장 치열하게 표출했던 광복기를 ‘요산문학 2기’로 규정하였다.

광복기 밀양 지역문학과 『화악(華岳)』

이순욱 ( Soon Wook Lee ) 영주어문학회 2009 영주어문 Vol.18 No.-

This paper aims to examine the ideologies and composition of the Hwa Ak(<華岳>) Coterie and how regional characteristics of Milyang are represented by looking at Hwa Ak, which had not been identified, in order to provide a stepping stone for the explanation of Milyang`s literary history. First, Hwa Ak is the literary group`s media that can help shed a light on the regional literature in Milyang during the period of Korea`s independence from Japanese colonial rule, and its first issue was published in June 1947 by the Hwa Ak Coterie. It seems to have been closed down with its second issue on December 1, 1947, because of the lack of their editing skills and struggling printing house. As leftist groups gained ground in Milyang area during the early Independence period, Deungbul(<등불>) could have been published, while the oppression by the American military administration rapidly reshaped the regional culture, leading to the publication of Hwa Ak The Hwa Ak Coterie, which had not involved in media struggles and found no other group to enter into the consciousness of the other at the time of its inauguration, stood for pure nationalism advocating simple regionalism for the improvement of local culture and the integration of different ideologies. Amidst the growing disenchantment at the political reality, the coterie turned its eyes to their native country from political arguments. Therefore, Hwa Ak vividly describes how local figures in Milyang could grab power in the literary circles during the disorderly Independence Period. Second, the Hwa Ak Coterie`s priority was to publish its coterie magazine and to conduct research activities. In terms of its membership, the group was pretty open to new members without special restrictions. Notably, no members had professional writing experiences, and the level of their awareness and understanding of literature as well as the quality of their literary works were relatively low. It is fair to say, therefore, that Hwa Ak is not so much a professional literary coterie magazine as a comprehensive magazine published by like-minded local figures who wanted to raise the awareness and understanding of local culture. Third, when it comes to the magazine`s contents, its collection includes poems, Chinese poems, novels, essays, critics, translated works, criticism on current topics, local news and others. In accordance with the objectives of the group, its first issue contains poems, Chinese poems and criticism about Yeongnamnu Pavilion, but literary works related to the region were excluded in the second issue. The two issues publishes 12 poems, 4 Chinese poems, 2 novels, 2 essays in total, but all of them are short compositions. The tradition of publishing a local medium with in-depth understanding of Milyang region was succeeded by Hyangto Munhwa(<鄕土文化>) and Mun Lim(<文林>) Fourth, poems about Yeongnamnu Pavilion reflect the lifestyle of the speaker by depicting Milyang`s natural beauty. The picturesque views surrounding Yeongnamnu are epitomized as paramount beauty of Milyalng unmatched by any attractions in the country. In particular, the symbol of Yeongnamnu shared by the local residents helped to maintain the public awareness of the place, and it seems that the significance of the pavilion has been reproduced and disseminated through this process. On the contrary, "Ak Mong(Nightmare)" by Park, Tae-Eul set in Milyang has been recognized as an important source for historical records which show the lifestyles of the time. The structuralized binary opposition displays the choice that intellectuals had to make in dealing with the reality and overcoming challenges facing the local community in Milyang at the time. Milyang successfully established a stable regional literary society in a short period of time between the Independence Period and the late 1950s. As literary art fell under the control of the government, literary activities in early 1960s greatly contracted and lost momentum. This example well reflects the destiny of regional literature in the history of Korean Literature. To have a closer look at the Milyang`s regional literature during the Independence Period and the trend among the intellectuals, it is necessary to finish off the study on the unchartered Deungbul. Another useful source is Mun Lim produced during the Korean War. When the in-depth researches on these works are complete, the literary history in Milyang can be fully explained.