새로 쓴 〈주몽 신화〉 연구

임금복(Lim Keum-bok) 돈암어문학회 2006 돈암어문학 Vol.- No.19

This paper is intended to study 〈Jumong Myth〉 which's written by many writers newly. It seems to me that there are characters which are represented images of Jumong and Yoohwa in 〈Jumong Myth〉 in their works. First of all, it seems that they showed aspects of Jumong or Yoohwa as the Hero of the founder or the Hero's supporter of wisdom in their poems 『Dongmaeng』 and 『The Four Pillars and Eight Characters of Go, Ju-mong as the founder of Goguryeo Dongmyeongsungwang』by Seo, Jeong-ju, 『Lady Yoohwa』by Song Su-kwon and 『The sky of Jumong』 by Yoon Keum-cho. Only Seo‘s characters are expressed a destiny and a right but Song and Yoon's are represented the Hero itself in the narrative process through agony of realities. The secondly, it seems that Lee, Kwang-su showed aspects of Jumong as a so n?a husband?a father through the life of the Hero in his work 『Dongmyeongwang of love』. And Song Ha-chun showed aspects of Yoohwa in 〈Jumong Myth〉 through a woman as a unusual birth of process and preservation of life in his work 『Daughters of Haback』. In conclusion, it seems that their works either poems or novels are represented and recreated various images of Jumong and Yoohwa in 〈Jumong Myth〉.

유현종의 『들불』연구

임금복(Lim Keum-Bok) 돈암어문학회 2001 돈암어문학 Vol.- No.14

박근모의『춘화가향 사랑가』에 나타난 중국여성 비유 연구

임금복 ( Keum Bok Lim ) 한국현대문예비평학회 2014 한국문예비평연구 Vol.- No.44

이 글은 박근모 시인의 시조인『춘화가향 사랑가』를 중심으로 중국 여성 인명들을 통한 비유를 4가지 부류로 나누어 살펴보았다. 첫째, 중국의 여신인 항아와 직녀, 서왕모를 중심으로 살펴보았다. 항아와 직녀는 몽룡의 마음 상태, 갈구 상태를 대변하기 위해 차용된 비유법이라 할 수 있다. 또 서왕모는 방자 노마를 통해 처음 춘향과 몽룡을 연결시키는 사랑의 매개자, 춘향과 몽룡의 이별 후 둘을 연결시킬 매개자로 등장하고 있다둘째, 중국의 4대 미인 중 3대 미인 서시와 왕소군, 양귀비를 살펴보았다. 서시와 왕소군은 사랑했던 자를 떠난 이별할 수밖에 없었던 미인인데 몽룡의 그리움의 대상자로 비유되며, 또 스스로 통한의 한의 당사자 춘향이 동일시하는 심리로 드러냈다. 또 양귀비는 특별한 사랑 당사자와 이별의 주인공으로 춘향의 심리상태를 비유하고 있다. 셋째, 중국 왕들의 총희들은 척부인, 반첩여, 우미인을 중심으로 살펴보았다. 척부인은 죽음을 앞두고 감옥에 갇힌 통한의 한의 소유자 심리로, 반첩여는 몽룡이 외로운 심사 때 그리움의 대상자로 드러냈다. 우미인은 초패왕과 더불어 특별한 사랑 당사자와 이별 대상자로 비유하고 있다. 넷째, 이상적 부덕의 소유자로 임사, 아황과 여영, 농옥을 중심으로 살펴보았다. 임사인 태임과 태사는 훌륭한 어머니상을 지닌 덕행과 화순심의 소유자로, 아황과 여영은 훌륭한 아내상을 지닌 정절의 소유자로 드러냈다. 이들 공히 현모와 양처로 춘향의 마음을 비유하고 있으며, 몽룡과 춘향의 특별한 연분을 비유하고 있다. 농옥은 통한의 한의 소유자로 춘향의 상황 비유자라고 말할 수 있다. 필자는 중국 여성 인명을 살펴본 결과 중국 여성들의 원래 특징과 캐릭터가 갖고 있는 함의를 박근모의 시조에서도 비유된 의미로 드러냈음을 알 수 있다. 이 측면은 재생산되고 재창작된 한국의 고전 춘향전 역시 중국 여성 인물들의 원래 캐릭터와 특성이 무의식적으로 전승되어 재생산되고 있음을 확인할 수 있다. 그런 점에서 박근모 시인의 시조 춘향전,『춘화가향 사랑가』를 통해서도 동아시아 문화사에 축적되어 재생산된 동양의 여성 군상들의 비유적 다각화로서도 의미가 있다고 본다. This paper is intended to study Sijo which has many-sided views of Chinese women in the name「ChunHwaGaHyang SaRangGa」as a new version of『ChunHyangJeon』by Park Geun-Mo. There are four characters of the women in this Sijo. Firstly, there are two view points. One is represented Mong-Ryong`s desire mind for the girl through Hang-A and Jik-Nyeo in Gwanghallu. The other is showed a messenger Bang-Ja NoMa between Chun-Hyang and Mong-Ryong. SeoWangMo and CheongJo is expressed metaphors for making a knot between them at first time as messengers of love and after parting as messengers of reunion`s hope. Secondly, there are two view points. One is represented Mong-Ryong`s mind for Chun-Hyang like the case of Seo-Shi and Wang So-Gun. And a different side of Wang So-Gun seems to make the same mental state Chun-Hyang`s mind. The other is expressed comparing a mental state of the couple concerned as the special love and the parting between Chun-Hyang and Mong-Ryong to the mental state of Yang Gui-Bi . Thirdly, there are Chinese Kings` many beauties in this Sijo. Most of these beauties are described heroines of misfortune itself. Mrs. Cheok is represented she had deep bitter regrets and sorrowful tears like the case of Chun-Hyang who was in a jail. There are Ban Cheop-Yeo as a symbol of Mong-Ryong`s lonely mind and the beauty U as a symbol of special love and farewell between ChoPaeWang and her. Fourthly, there is an ideal womanly virtue with Im-Sa, A-Hwang, Yeo-Young and Nong-Ok. Im-Sa(TaeIm and TaeSa) are described the symbol of the great mother who has virtuous and peaceful harmony, A-Hwang and Yeo-Young are represented the symbol of the great wife who has faithfulness as the case of a great mother and wonderful wife like Chun-Hyang`s case. And the great relationship between SunImGeum and Ibi looks like the same relationship between Mong-Ryong and Chun-Hyang. Nong-Ok is expressed the case of Chun-Hyang who has full of tears and bitter regret before die in a jail. In conclusion, the poet expressed to show many-sided views of Chinese women in「ChunHwaGaHyang SaRangGa」as a new version of『ChunHyangJeon』. The many-sided views are above-mentioned four explanations. A broad view story『ChunHyangJeon』has changed taking some narrow views of various the Chinese women`s life in the Sijo. So, this rewritten and recreative of the original『ChunHyangJeon』is expressed original characters and special characters of famous women`s in Eastern society and Chinese women`s have handed down understanding works and rewritten works unconsciously by common people and writers. Eventually this Sijo「ChunHwaGaHyang SaRangGa」by Park Geun-Mo has a meaning of many-sided views of Chinese or Eastern famous women and reproduction of special characters from those women through accumulated Eastern Asian cultures.

특집 : 현대문학사의 복원-문학사 밖의 문인들 ; 전병순의 1960년대 대중 장편소설 연구

임금복 ( Keum Bok Lim ) 한국현대문예비평학회 2008 한국문예비평연구 Vol.- No.27

새로 쓴 『황진이』 연구

임금복(Lim Keum-Bok) 돈암어문학회 2004 돈암어문학 Vol.- No.17

This paper is intended to study books of 『Hwangjini』 which are written by many writers newly. It seems that I found each work represented images of Hwangjini.<br/> First of all, Yi Tae-jun showed three kinds of aspects of Hwangjini in his novel 『Hwangjini』(1936). The aspects are like a poor bachelor who has the delicate psychological transitive process from Hwangjini, Jini herself who has awaken different meaning identity against her position and she who is going to be an elegant woman.<br/> The secondly, Park Jong-hwa expressed ‘Hwangjini’ as the poet in his work 『Hwangjini』 in 1950's. The thirdly, Choi In-ho presented ‘Hwangjini’ as the owner of physical aesthetics in his work 『Hwangjini』 in 1970's. The last Yoon jeong-sun drew ‘Hwangjini’ as the one who has realized her free will in her work 『Hwangjini』 in 1980's.<br/> In conclusion, it seems to me that 『Hwangjini』 whom creative writers has been representing and concerning one after another shows irrespective of time or ideology incompatible characters both the incarnation of aesthetic desire and the figure of her seeking after truth.

춘향전 사설에 등장하는 중국 여성 연구 -열녀춘향수절가를 중심으로-

임금복 ( Keum Bok Lim ) 한국현대문예비평학회 2012 한국문예비평연구 Vol.- No.39

This paper is intended to study Chinese women within the 「Chunhyangjeon」. There were the four famous beauties named Seosi, Wangsogun, yanggwuibee in old China. They were represented focusing on how to express concerning them with mise en scene in the work. First of all, the three beauties were shown how to connect with main characters through the writer`s eyes. Even though Mongryoung revealed nostalgia and longing or beautiful poses through the women, Chunhyang expressed them with deep regret that she was taken to jail in face of death. And Yanggwuibee evoked special love of both sexes through the writer`s eyes. The three beauties exposed various meanings through the authors ideas and the main characters view point. Next, many famous chinese women, like HangA, Hwamokran, Seowangmo, Imsa, Ahwang and Yeoyoung, NongOk and Cheokbuin concerned with setting stages and representing who they served in the novel. Some of them were represented nymphs in fairy tale land by metaphors. Some revealed a subplot of the main story in mise en scene. Some intermediated the other self of the special love. Some was carried the virtue with sweet and gentle mind. Some represented deep regrets and mortification. Others were tied up with main characters` unconscious through their dialogues during their dreams. Lastly, it seemed that the three beauties of old China were represented main characters` unconscious and Chunhyang`s position by mise en scene with metaphors through a microscopic approach. It is a chance to consider when the writer in Choseon dynasty wrote Chunhyangjeon, how much he wanted expressed his receptive capacity or quotation of chinese women into his work. As a result the work was figured chinese women were quoted not alone but overlap or enumeration strongly. Why he usually used ways of filing and arranging chinese women in his work, it used to sing Pansori. So, the writer emphasized his values with meaning for readers and audiences, using those quotation and mise en scene with metaphors of chinese women.

도올 김용옥의 「天命」 연구

임금복(Lim Keum-bok) 한국비평문학회 2004 批評文學 Vol.- No.19

This paper is intended to study comparing a book of『Heavenly Mandate(Cheon Myeong)』 with an opera of 『Cheon Myeong』. It seems that I found each work represented the thought of Donghak over 『Cheon Myeong(天命)』was produced by Son Jin-check as well as revealed the thought of that through 『Cheon Myeong』 by Kim Young-oak.<br/> Especially, there are three kinds of aspects in these works.<br/> One of them is main characters who were highlighted leaders of Donghak Jeon Bong-jun and Choi Si-hyung and their state of doings. Firstly, Jeon Bong-jun who is the revolutionist of the Donghak Revolution showed the hero of the times for this record of performances during one year which was taken place Donghak-led people's uprising in Gobu township, entry into Jeonju, negotiations as Jeonju Accord, management of Overseer's Office(Jibgangso) against the Corrupt Government, and the last bloody battle at Ugeumchi in Gongju with him. At last he was captured and executed by government troops on both works. Secondly, Choi Si-hyung who has consciousness of the Creation thought beyond the history of civilization was considered of the times. After all corresponding to Donghak Revolution he who was listened to heavenly mandate had commanded it.<br/> Another is profoundly depicted both main characters bearing the impress of perceiver in this book. It seems to me that the writer has objectivity and balance about two characters against how to acknowledge just one character. He has recognized historical meanings and consciousness of the history of civilization about them. All the more Son's opera which transfigured Kim's work opened out spectator's mind to new aspects of understanding Donghak thought. On the whole the writer, the producer, dance directors, korean classical musicians, and so on various artists collaborated to express exposition more sublimating Donghak thought, figures and culture than those of the existing works.<br/> The other is described a point of view culture from people juxtaposed the times of agitation in the late Joseon Dynasty. The crowed were pursued consciousness of the culture as Donghak thought and religion with Kalchum(The Sword Dance), Jumun(Incantation of What I serve God with in me) and contents of Bible(Donghak Scripture) in these works.<br/> In conclusion, Kim Young-oak represented an expert's eye for Donghak whose meaning is came out the juxtaposition of the history with the history of civilization. In addition to Son Jin-check produced the opera within mixing together how to express and what to mean. It was Kim Young-oak that expressed Donghak thought after considering three lines as history, religion and the people in 『Heavenly Mandate(Cheon Myeong)』.

특집 : 신화와 문학(화) 콘텐츠 ; 단군신화 속의 "호랑이" 의미 부활 창조 -박진규의 「수상한 식모들」 론-

임금복 ( Keum Bok Lim ) 한국현대문예비평학회 2006 한국문예비평연구 Vol.- No.20

고전문학의 현대적 계승과 장르적 변용 연구

임금복(Keum Bok Lim) 한국현대소설학회 2004 현대소설연구 Vol.- No.22

한국문화 교육의 현황과 한국학의 한 통로로서 한국문화 : ‘연세 한국어’ 에 나타난 한국문화를 중심으로

임금복(Lim,Keum-bok) 명지대학교 국제한국학연구소 2010 국제한국학연구 Vol.4 No.-

한국어를 통해서 한국문화를 보급시키는 것은 한국의 이미지를 높이는 역할이 될 수 있다. 한국인의 가치관과 전통, 한국의 예술, 한국의 문화재, 한국의 생활 풍습, 한국의 문학 등을 주요 특징으로 소개하는 한국문화 교육에 대한 강조는 문화적 능력이 의사소통 능력을 향상 시키고, 학습 과정상 흥미와 동기를 강화시키는 측면에서 주요하다. 이 논문에서는 한국어 교육에서 한국문화 교육에 대한 현황을 구체적으로 알아보고 한국학의 한 통로로서 한국문화에 대해 살펴보고자 한다. 그러기 위해 첫째, 한국문화 교육의 현황을 살펴보았다. 둘째, 한국문화의 요소에 대해 살펴보았다. 셋째, 한국학의 통로로서 한국문화의 실황을 중심으로 한국문화 항목을 분석하였다. 특히 한국문화의 실황을 중심으로 '연세대 한국어' 교재에 나타난 한국문화 항목을 비교적 빈도수가 많이 나오는 언어문화, 정신문화, 생활문화로 나누어 그 내용을 분석해 보았다. 언어문화에는 한국문자·경어법·속담·은유·독특한 언어 표현 등 언어학적 문학적 요소 등으로 나누어 볼 수 있고,<연세 한국어>에선, 1급과 3급, 4급과 5급의 문화 항목에 주로 구성되어 있다. 1급의 '호칭' ,3급의 '언어 예절'과 '세종대왕(1397-1450)', 4급의 '한국의 말맛'과 한국의 속담에 나타난 경제 의식'에 언어문화가 나타나 있다. 5급의 '한국어의 호칭이나 경어법을 결정하는 요인', '정보화 시대의 문자-한글'로 구성되어 있다. 정신문화에는 가치관·민족성·세계관·정서·상징체계·사상·종교 및 종교관 등으로 나누어 볼 수 있다. <연세 한국어> 교재에선 4급, 5급과 6급 등 주로 중·고급 한국어 교재에 구성되어 있다. 4급의 '이웃사촌'과 '한국의 가족', '한국의 민간신앙', '한국인의 여유' 등이 있다. 5급의 '배움과 선비', 6급의 '한국의 남성과 여성의 덕목'과 '한국인의 종교' 등이 있다. 생활문화에는 기본예절·의생활·식생활·주생활·여가 생활·관습과 세시풍속 등을 살펴 볼 수 있는데, <연세 한국어> 교재에선 1급과 2급, 3급, 4급과 5급의 문화 항목에 주로 구성되어 있어 골고루 수록되어 있는 편이다. 1급의 '한국 사람의 이름과 한국 사람의 인사 예절', '한국의 식사 문화와 한국인의 음식 인심', 2급의 '한국의 장맛', '특별한 날의 선물', 3급의 '한국인의 여가 활동', '이사 떡', '한국인의 건강식', 4급의 '체질과 성격', '정월대보름', 5급의 '옛날의 공휴일', '3년상과 49재'를 소개하고 있다. 위의 상황을 바탕으로 한국학의 한 통로에선 한국어 학습 담당자는 한국문화 교육을 위해 한국문화 요소를 정신문화, 예술문화, 생활문화 등으로 나누어 충분한 지식과 정확한 이해가 필요하다. 아울러 학습자 간의 문화 차이를 인정하고 서로 존중하는 태도를 갖도록 유도해야 할 것이다. 미적가치를 드러내는 예술문화 부분이 한국문화 교육을 통해서도 배울 수 있게 한국문화 교육자는 한국학 분야를 통한 민간외교자로서 가장 자연스러우며 즐겁게 녹아있는 한국문화의 전파사로서 자세가 필요할 것이다. There is a major function for better communication and interest with motivation in an education of korean culture. It can be updated Korean Image through the education for international students. This paper is for looking into a phenomenon of an education of Korean culture in Korean Language Education. I examined three points as a phenomenon of an education of Korean culture, another elements of it, the other analysis of its items. Specially, I did through 'Yonsei Korean Book'. I found and checked three articles as one is an linguistic culture, another is spiritual culture, the other is life culture in the book. Firstly, Korean alphabet, honorific expressions, proverbs, metaphors, unique expressions, way to call in 'Yonsei Korean Book' Ⅰ, Ⅲ, Ⅳ, Ⅴ. Secondly, sense of values·national characteristics·view of the world·emotion·symbolic system·thought·religions and views of them in 'Yonsei Korean Book' Ⅳ, Ⅴ, Ⅵ. Thirdly, basic manners·life of food, clothing and housing·how to spend leisure hours·custom in 'Yonsei Korean Book' Ⅰ, Ⅱ, Ⅲ, Ⅳ, Ⅴ. In conclusion Korean instructors should know all of Korean Culture well really. Further more they should understand their international students. So they guide to recognize gaps of cultures and respect each other between learners. However there is some lacks of materials which literature works as a text. Korean instructors as a private diplomat do not forget to teach esthetic value through Korean Culture naturally.