정인섭 동요와 악곡 연구

김정호 ( Kim Joung-ho ),이순욱 ( Lee Soon-wook ) 경남대학교 인문과학연구소 2021 人文論叢 Vol.56 No.-

이 글은 식민지시대 울산 출신 정인섭의 색동회 활동과 동요 창작의 현황을 파악하고 악곡을 분석하는 데 목적을 두었다. 이 시기 동요는 신문이나 잡지 등 근대 매체를 통해 창작되고 향유되면서 대중적으로 빠르게 보급되고 안착하였다. 즉 동요는 어린이잡지의 독자투고란이나 일간지의 학예면을 통해서 독자와 만나고 점차 자기 위상을 확립하게 된 것이다. 당시 어린이잡지인 『어린이』의 경우 ‘동요란’을 개설하였으며, 일간지 『동아일보』의 경우에도 학예면의 가장 많은 부분을 차지하는 장르는 동요였다. 그만큼 동요에 대한 독자들의 열망이 높았다. 그만큼 매체가 동요의 대중화에 큰 역할을 수행했던 것이다. 이러한 현실적 토대에서 전문적인 동요작가들이 등장하였으며, 울산에서도 정인섭을 비롯하여 서덕출, 오영수, 신고송 등이 등장하였다. 이들이 남긴 ‘동요’의 문학사적 위치를 실증적으로 추적하는 일은 매우 중요하다고 하겠다. 특히 정인섭은 ‘색동회’와 ‘녹양회’의 회원으로 활동하고, 어린이잡지 『어린이』의 필진으로 참여하는 등 어린이문화운동에 앞장선 인물이다. 정순철 동요집 『참새의 노래』에 수록된 <참새>, <꿈 노루>, <코끼리 코>, <처마 끗헤 새 한 마리>, <굴뚝쟁이>, <가을 나븨>, <설날>과 강신명이 엮은 『아동가요곡집』에 수록된 <봄노래>, <보건체조가> 등은 어린이들을 위한 동심천사주의와 교훈주의, 계몽주의를 잘 드러내고 있으며, 가사의 운율을 음악적 선율로 살려 가사의 의미를 자연스럽게 표현하도록 하였다. 이러한 정인섭의 동요 보급은 어린이문화운동에 기여하였고, 그의 가곡은 아직도 연주회에서 불리는 등 예술적으로 가치를 인정받고 있어 음악사적으로 의의가 크다. The purpose of this article is to analyze the current situation of the creation of songs and the activities of Jeong In-seop’s Saikdonghoi(색동회) movement in Ulsan during the colonial period. The most important part of the media was that the agitation quickly settled into the modern genre. The children’s song, which was created and enjoyed by the previous oral tradition, began to be created and enjoyed through typed media such as newspapers and magazines in modern times. The popular distribution was also made by such media: children’s literature magazines’ readers’ comments or daily journals’ academic section, which led to the meeting with readers and gradually establishing their own status. At that time, readers’ desire for children’s songs was high enough to open ‘swaying’ independently in the case of children, and the genre of Dong-A Ilbo, which occupies the largest part of the curriculum, was children's songs. Therefore, this media plays the biggest role in popularizing agitation. In this realistic foundation of the time, professional children’s songs were born, and Jung In-seop, Seo Deok-chul, Oh Young-soo, and Shin-Go-song were born in Ulsan. It is very important to empirically track the literary history of ‘single’ about them.,In particular, Jung In-seop has been a member of the ‘Saikdonghoi(색동회)’ and ‘Nokyanghoi(녹양회)’ and has led the children's cultural movement by participating as a writer for children’s magazines. The songs of Jung Soon-chul's song of the sparrows include “Sparrow”, “Dream Noru”, “Elephant Nose”, “A Shrine Bird”, “Chimney”, “Autumn Na”, “New Year” and “Spring Song” and “Health Gymnastics” It shows the meaning of the lyrics naturally by utilizing the rhythm of the lyrics with musical melody.,This spread of children’s songs by Jung In-seop contributed to the children’s cultural movement, and his songs are still called in concerts, and their value is recognized artistically, which is of great significance in the history of music.

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.

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.

한국전쟁기 피란지 부산과 전시문학담론

이순욱 ( Lee Soon-wook ) 부산광역시사편찬위원회 2021 항도부산 Vol.41 No.-

이 글에서는 반공주의와 자유 민주주의를 독자적인 사상체계가 아니라 동일한 가치로 인식하였던 한국전쟁기 부산의 문화지형과 매체 환경, 피란문단의 실체와 문학 활동을 고찰하였다. 이를 통해 한국전쟁기 부산 지역문학의 실체에 다가서는 토대를 구축하고자 했다. 한국전쟁으로. 문학사회의 지역 재편이 격심하게 진행되었던 만큼, 갑작스러운 문단 이동과 대규모 피란문인의 유입은 지역 문학사회에 큰 영향을 끼쳤다. 피란이 집중되었던 부산은 충격 여파를 깊이 헤아릴 여유도 없이 피란문인과 토박이 문인이 중층을 이루었으며, 부산 문학사회는 한국문단 전체를 고스란히 옮겨 놓았다고 해도 과언이 아닐 만큼 새로운 문학사회를 구축할 수 있었다. 후방지 부산에서 피란 문인들은 전선의 변화에 따라 종군 또는 참전하였으며, 문총 주최의 문화 행사에 참가하거나 작품 활동으로 생활을 꾸려나갔다. 그런 까닭에 대체로 전쟁에 대한 비판적 성찰보다는 국가주의와 애국주의를 적극적으로 고취하고 선양함으로써 문화전선을 구축하였다고 볼 수 있다. In this article, I reviewed the cultural topography and media environment of Busan during the Korean War, where anti-communism and liberal democracy were recognized as the same values ​​rather than as independent ideological systems, and the reality and literary activities of the refuge literary circles. Through this, we tried to build a foundation for approaching the reality of local literature in Busan during the Korean War. As the regional reorganization of the literary society proceeded violently, the sudden movement of paragraphs and the influx of large-scale refugees had a great influence on the local literary society. In Busan, where the refugee was concentrated, there was no room to measure the aftermath of the shock, and it was possible to build a new literary society as it would not be an exaggeration to say that the Busan literary society has moved the entire Korean literature intact. In the rear area of ​​Busan, the literary men of refugee warned or participated in the war according to the change of the front line, participated in cultural events hosted by Munchong or made their lives through art works. For this reason, it can be said that the cultural front was established by actively promoting and promoting nationalism and patriotism, rather than critical reflection on war.

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.

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 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 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.

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.

조향의 문학독본과 1950년대 대학 문학교육

이순욱(Lee, Soon-Wook) 한국문학회 2017 韓國文學論叢 Vol.76 No.-

이 글에서는 조향의 문학독본 3종, 즉 大學國語 現代國文學粹(서울:행문사, 1948.12), 現代國文學粹(부산: 자유장, 1952.11), 大學國語 現代文學(부산: 자유장, 1958.4)의 체재와 성격을 비교ㆍ고찰하였다. 우선,전체 26과로 편제된 1948년판은 시, 소설, 희곡, 수필, 비평, 문학론, 역사, 미술, 미학 등 다양한 갈래의 글을 수록하고 있었다. 이는 당시 발간 된 문학독본이나 중등학교 현장에서 사용된 중등국어교본이나 중등국어의 일반적인 구성방식이었다. 또한 이 교재는 광복기 국어교과서 나 문학독본에 수록된 기존의 작가정전을 주로 활용했다. 당시 남한 문학사회의 문단재편 결과와는 다르게 이태준, 조운, 정지용, 임화, 함세덕,오장환, 백석, 박치우 등 월북ㆍ재북문학인들의 작품을 대거 수록함으로 써 근대문학사에 대한 균형감각을 유지하고자 했다. 이를 통해 친일과저항, 민족주의와 사회주의라는 이념의 차원에 상관없이 근대시의 전통을 통시적으로 이해할 수 있게 되었다. 다음으로, 1952판은 단정 수립 이후 문단재편의 결과를 고스란히 반영하고 있었다. 제재를 죽 나열하던 초판의 과 중심 편제에서 벗어나 시와소설, Essay(비평과 논문)로 나누어 문학을 집중적으로 배치했다. 1952년판에서는 후반기 동인의 시를 현대시사의 전면에 등장시킴으로써 편집주체가 지향하는 초현실주의의 이념과 문학적 좌표를 분명히 했다는 데 의의가 있었다. 교양교육 교재를 통해 후반기 동인의 문단 권위를 공식적으로 승인하고 상징화하려는 의도가 내포되어 있다고 볼 수 있었다. 마지막으로, 1958년 4월에 발간된 대학국어 현대문학은 1952년판의확장판으로, 시, 소설, Essay로 1952년판의 구성 방식과 체재를 고스란히 계승하고 있었다. 편자 자신의 ｢현대시론｣과 ｢현대소설론｣을 작품의서두에 배치하여 감상의 기초 능력을 기르기 위한 편제를 체계화하였다.특히, 시를 대폭 수록한 까닭은 “형식적인 망라주의”보다는 “중점주의”를 취했기 때문이었다. 1948년판은 1952년판에 비해 문학적 자의식을 교재에 적극적으로 투영하지 못했으며, 1952년판과 1958년판으로 갈수록 초현실주의에 대한 그의 문학적 태도를 선명하게 부각시키고 있었다. 이러한 점에서 1950년대 조향의 문학독본은 초현실주의의 문학을 이론화하고 교육제도에 확산시키고자 한 기획의 산물로 볼 수 있으며, 당대 균형적인 문학 교양과지식을 획득하는 데 주력했던 다른 대학국어 교재와는 확연한 차이를지닌다. 이는 조향이 1949년 여름 결성된 후반기 동인 활동과 그것의 연 장선상에서 현대문학연구회를 거치면서 초현실주의 시와 시론에 대한이론과 실천을 거듭 강화해 나간 결과로 볼 수 있다 The goal of this study is to elucidate the reality of literary education at the Gyeongsangnamdo 慶尙南道 province in the 1950s. For it, I concentrate on the practical activities of Jo Hyang 趙鄕 who had led the society of the Right writers’, especially three reading books edited by him, i.e., (1)Hyundaegungmunhaksu 現代國文學粹 (Essence of Modern Korean Literature) (1948), (2)Hyundaegungmunhaksu 現代國文學粹 (Essence of Modern Korean Literature) (1952, newedition of (1)), and (3)Hyundaemunhaksu 現代文學粹 (Essence of Modern Literature) (1958), all of them were made for literary education in academic classes. I examine the editing and publishing processes and sociocultural context of each book, analyze the set–up of it, and deduce Jo’s thoughts about Modern Korean literature and literary education. As the results, I can draw some meaningful facts. Firstly, while editing the first book (1), in spite of belonging to the Right, Jo tried to keep sense of balance in selecting materials. The book contains works of the Left writers’, for instance, Lim Hwa 林和, Lee Tae–jun 李泰俊, and so on. It is so deferent from the dominant literary landscape of the time. Secondly, however, while editing the new edition (2) of it, he turned his attitude and revealed his own view. It reflected the ideological conflict between the Left and the Right. Thirdly, while editing the third edition (3), he concerned about Korean modern literary history, and especially reflected the trend of modern Korean literature, the change of realism to psychologism. Those results refer that the characteristics of literary reading books changed according not only to editors but also the change of cultural landscape of the times. I hope that this paper is helpful to draw the landscape of literary education after the Independence of Korea.