백석 시와의 연관성을 통해 본 오장환의 초기시 : 인간을 위한 문학의 옹호와 선택적 부정의 양상

장만호(Jang Man-Ho) 한국시학회 2009 한국시학연구 Vol.- No.25

This paper aims at finding a relationship between Oh Jang-hwan's poetry and Baek Seok's poetry, clarifying Oh Jang-hwan poetry's thematic consciousness, and characterizing the inner logic of Oh Jang-hwan's early poetry. This kind of work helps finding out the logical reasons for the complex aspects of Oh Jang-hwan's early poetry. A desirable poem for Oh Jang-hwan is the one that reveals a poet's emotion, opinions, and visions. The 'sentimentalism' for him is the emotion that a true person has to feel when he confronts with the real life and the natural effect of the contents over the forms. On the one hand, Oh Jang-hwan's criticism for Baek, Seok is caused by this kind of reason. On the other hand, Oh tries to find Baek Seok poetry's good points, the characteristics of returning family and hometown and refinding a value of the present reality and the future directionality. The thematic tendency of Oh Jang-hwan's early poetry is perceiving the past with the present perspective and narrating the past with the vision for future. This kind of tendency is embodied in <Jongga [the head family]>. However, Oh Jang-hwan does not reveal his commentary and critical attitude in the poems depicting the low class whom he empathizes or feels sympathy. This kind of tendency proves that Oh Jang-hwan's critical voice is not his own voice but an intentional one resulted by his poetic theory. The reason why he shows a critical attitude in his many poems in spite of this tendency is that he thinks criticizing the old customs, the false consciousness and the deceptive attitude of the Yangban [the upper class], human alineation of the capitalistic society, and the small businessmen is more important than sympathizing with the lower class. This kind of attitude tells that Oh Jang-hwan does not deny all aspects of the contemporary reality and tradition but negate them selectively differentiating between the objects of negation and the objects of empathy. The reason why the critical poems are more visible than the empathizing poems is that the object of denial is the structure of reality itself.

부정의 아이러니와 환멸의 낭만주의

장만호(Jang Man-ho) 한국비평문학회 2009 批評文學 Vol.- No.32

Oh, Jang-Hwan is the poet who demonstrated the contemporary social reality and its contradictions obviously through his literary practice living through the Japanese colonial period, the emancipation and the division. Oh, Jang-Hwan's perspective covers such a broad range as the denial of old customs, a firm belief in progress, the criticism on the capitalistic modern urban civilization, a decadent experience of sailing, an ambivalent emotion on his hometown, which is regarded as an exceptionally broad spectrum comparing his contemporary poets. This paper aims at grasping an inner logic that can explain Oh, Jang-Hwan poetry's heterogeneous and contradictory characteristics, which are produced by its complex and various aspects. The inner logic is the doubleness of Oh, Jang-Hwan's consciousness of denial, in other words, an irony emergedby negating both reality and self and the attitude of romantic disillusionment. First of all, this paper analyzes that Oh, Jang-Hwan's consciousness of denial is expressed with the double aspects. Oh, Jang-Hwan is the poet who revealed a strong interest on the social reality. While he wrote poems that sympathize the lives of the low-class, he also created the poems that criticize the social reality. They negate tradition and old customs and criticize their fakeness. When this consciousness of the denial is toward his interiority, Oh, Jang-Hwan's poems reveal the artificial pose and the decadent aspects. This paper regards the double negation and the contradictory attitude as the conspicuous characteristics of Oh, Jang-Hwan's early poetry and named it as ‘the Irony of Denial.' Second, this paper analyzes the characteristics of Oh, Jang-Hwan's early poetry as the transformation from the romantic disillusionment to lyricism. This paper named this character as the ‘Romantic Disillusionment' in that the emotions of self disillusionment are expressed with the romantic spaces. The frequent expressions in this early period such as ‘tears,' ‘regret', ‘sorrow', and ‘death' are the results of the lyric attitude that poetic subject inevitably had to arrive after getting through the disillusionment.

식민과 해방; 두 "탑" 사이의 거리 -발굴 작품을 중심으로 본 오장환의 해방기 시-

장만호 ( Man Ho Jang ) 민족어문학회 2011 어문논집 Vol.- No.64

이 논문은 오장환의 해방기 시문학에 관한 연구이다. 해방 후 발간된 『病든 서울』을 중심으로 한 해방기 시편들과 필자가 새롭게 발굴한 월북 이후 오장환의 시를 통해 해방에서 월북에 이르는 오장환의 시적 이력과 정치적 행보 사이의 연관성을 파악하고자 하였다. 특히 필자가 찾아낸 오장환의 시 「탑」과 번역시 「튀스터-氏」, 한효의 오장환 관련 평문은 해방을 맞이한 순간부터 월북에 걸친 시기의 오장환의 시를 이해하는 데 새로운 시각을 제공할 것으로 기대한다. 오장환은 식민지 시기의 행적에 대한 철저한 자기반성을 일회성의 차원에서가 아니라 지속적으로 수행하고 있었고 이 점에서 오장환의 자기반성은 새롭게 조명될 필요가 있다고 판단된다. 그의 해방기 시편들은 피식민의 역사를 건너 온 한 시인의 자기반성과 머뭇거림을 당대 어느 시인보다 선명하게 보여주고 있으며, 이를 바탕으로 한 ``개아적(個我的) 진정성``을 보여주고 있었다. 월북 후 오장환은 「탑」을 발표하는데 이 시는 식민지 시기 「絶頂의 노래」와 상호 참조적인 성격을 보여주고 있다. 그는 「탑」을 통해 새로운 세계에 대한 희망과 다짐을 노래하였지만 북한 내에서 이 시는 봉건적이며 재래적인 시라는 비판을 받게 된다. 두 시의 대상인 ``탑``의 거리는 오장환 개인에게 있어 피식민의 억압으로부터 새로운 세상을 기약하고자 한 바람의 거리였지만, 해방기 시문학사로 보면 해방기 남과 북, 또는 정치와 시의 거리를 보여주는 것이기도 하다. This paper examines the relationship between Oh, Jang-hwan`s career as a poet and political practices from the liberation to detection to North Korea through his poems of the liberation period in ``Byeong-deun Seoul``(Diseased Seoul) published after the liberation and poems written after his detection to North Korea, newly unearthed by the author. Especially, his poem ``T`ap``(Pagoda) and translated poem ``Mister Twister`` newly unearthed and Han, Hyo`s criticism related to Oh, Jang-hwan are expected to offer new perspectives on the understanding of Oh`s poems. It seems that Oh, Jang-hwan had been thoroughly and consistently reflecting on his whereabouts in the colonial period not as a one-off thing and in this respect, we needs to shed new light on Oh`s self-reflection. His poems in the liberation period much more clearly showed self-reflection and hesitation of a poet who had passed the history of colonized nation than any other poets in that period and displayed ``individual sincerity`` based on this. After detection to North Korea, Oh wrote ``Pagoda``, which showed the cross-referential characteristics with poem ``Song of Zenith`` written in the colonial period. He expressed his hope and promise for a new world in poem ``Pagoda``, however, it was criticized as feudal and conventional in North Korea. To Oh, Jang-hwan, the distance between two ``Pagodas``, objects of poems, was the distance of his hope and promise for a new world, free from the suppression due to the colonization, but it also showed the distance between South and North Korean, or politics and poetry in the liberation period from the perspective of poetic history back then.

민족주의 아동잡지『신소년』연구

장만호(Jang, Man-ho) 고려대학교 한국학연구소 2012 한국학연구 Vol.43 No.-

『신소년』은 1923년 10월에 창간되어 1934년 5월에 폐간된 아동 잡지이다. 1926년 창간된『별나라』와 더불어 계급주의 아동문학을 대표하는 잡지로 평가되어 왔으나 이에 대한 별다른 근거는 없었던 것으로 보인다. 잡지의 성격을 구체적으로 파악하지 않은 상태에서 계급주의 아동문학 잡지라는 성격을 부여받았던 것이다. 이 논문은 이에 대한 문제제기로부터 출발하여『신소년』이 창간부터 종간까지 민족주의적인 성격을 유지했던 잡지라는 것을 밝히고자 하였다. 『신소년』의 편집 겸 발행인이었던 신명균은 한글 보급과 교육에 매진했던 개방적인 민족주의자였다. 그는『어린이』지와 관계를 맺고 있던 <색동회> 회원들의 작품을『신소년』에 게재하였으며, 당시 문명을 떨치기 시작한 정지용의 동시를 지속적으로 게재했다. 또한 한글어강좌를 개설하고 띄어쓰기와 한글 전용의 글쓰기를 시도하는 한편 조선의 지리와 역사에 관계된 글들을 집필하고 수록하였다. 이를 통해 이념이나 노선과는 별개로 아동과 소년들에게 동심을 심어주는 한편 민족의식을 고취하고자 하였다. 1929년경부터『신소년』은 계급주의적 성향의 글들을 게재하는데, 민족의 해방을 위해서는 사회주의나 공산주의와도 연대할 수 있다는 신명균의 신념과,『신소년』의 애독자였다가 성인이 되어 작가로 변신한 문인들을 필진으로 적극 수용한 결과라고 할 수 있다. 결론적으로『신소년』의 계급주의적 색채로의 전환은 민족주의적 입장에서 계급주의를 수용한 결과라고 할 수 있다. “Sin-so-nyun” is a children magazine which was published its first issue on October 1923 and was discontinued on May 1934. Together with the “Byeol-na-ra” which was published its first issue in 1926, it has been appraised for representing the classism children literature, but starting by bring up problems about it, the purpose of this study was to clarify that “Sin-so-nyun” was a magazine that kept a nationalistic nature from the start of its first issue until its last issue. Sin Myung Gyun who was the editor and publisher of “Sin-so-nyun” was a straightforward nationalist who strived for the Korean language propagation and its education. He inserted pieces of the “Saek-dong-hwoi” members which had a close relation with the “Eo-rin-yi” magazine in “Sin-so-nyun”, and continuously published the children's poem of Jung Ji Yong that started to become well-known. Also, he established a Korean language lecture, trying a writing exclusive for the Korean language and spacing but also included writings related to the history and geography of Joseon. Through this, separate from an ideology and course, he tried to plant a childhood to the children and teenager and also propagate nationalism. From around 1923, “Sin-so-nyun” began to be published writing with a classism nature, it can be said that it was a result of both together with the belief of Sin, Myun Gyun which can sometimes band together with socialism or communism for the liberation of the people, and by accepting wholeheartedly a writing staff who became authors from being devoted readers of “Sin-so-nyun”. In conclusion, the transition of “Sin-so-nyun” into a socialism color, can be said that is a result of embracing classism in a nationalistic stance.

일제강점기 신문 독자투고시의 시어 사용 양상

장만호(Jang, Man-Ho), 김일환(Kim, Il-Hwan) 우리문학회 2018 우리文學硏究 Vol.0 No.58

이 논문은 일제강점기『동아일보』와『조선일보』에 게재된 독자투고시의 시어 사용양상과 특징을 ‘통계적 키워드'와 ‘공기어 네트워크'의 분석을 통해 살펴보았다. 이를 위하여 1920년부터 1939년까지 두 신문에 투고․게재된 4,032편의 시를 전산입력하여 코퍼스를 만들었다. 이후 시기별 특징을 살피기 위해 1920년대(1920~1929)와 1930년대(1930~1939)로 나누어서 시어 사용 양상을 비교 분석하였다. 면밀한 검토를 위해 단순한 사용 빈도가 아니라 통계적으로 유의미한 ‘통계적 키워드'를 추출하였고, 1920년대와 1930년대 독자들의 시에 나타나는 중요 시어 30개씩을 조사하였다. 워드 클라우드를 통해 시각적이고 직관적인 방식으로 그 특징을 명확하게 살펴보고자 하였다. 또한 ‘통계적 키워드'가 갖는 ‘시어 그 자체'의 고립성을 극복하기 위해 ‘공기어'의 개념을 적용하여 특정 시어와 관련을 맺는 30개의 시어들을 몇몇 사례별로 확인하였다. 일련의 과정을 통해 독자투고시의 시어는 1920년대에서 1930년대로 넘어오면서 근대적 가치를 수용하는 데서 나아가, 가족, 교육, 산업 등 변화하는 시대적 환경을 반영하고 이를 구체적 시어들과 연계하여 시적 맥락을 형성해가고 있었음을 확인하였다. This study examined the characteristics of the poetic words used in the newspapers Donga Ilbo and Chosun Ilbo during the Japanese colonial period by analyzing statistical keywords and co-occurrence relation networks. From 1920 to 1939, 4,032 poems were published in the two newspapers, and a corpus was created. To investigate the trends of the period, we analyzed the usage patterns of poetic words in the 1920s (1920-1929) and 1930s (1930-1939). To conduct a careful examination, we extracted not only the frequency of use but also statistically meaningful keywords, and we surveyed 30 important words in the poems submitted by readers. Through word cloud, we attempted to obtain a clear picture of poems' characteristics in a visual and intuitive way. To avoid an isolation of the poetic words by the statistical keywords, we identified 30 poems including specific poetic words using co-occurrence relation words. Through the above processes, we found that the poetic words in the newspapers during the 1920s - 1930s went from accepting modern values to reflecting the changing environment of the times including changes in family, education, and industry.

산문시의 형식과 근대 문학 담당층의 산문시 인식

장만호(Jang Man-ho) 한국시학회 2006 한국시학연구 Vol.- No.15

This paper aims to study the concept and theory of prose poem of Korea and to examine the awareness of prose poem by the people in charge of early modern poetry. For a long time, prose poem was not properly understood by people. From the beginning of modern literature, prose poem was introduced and written with free verse at the same time, however, meaningful poetics or studies has not been accumulated. Until today, prose poem occupies an important place in contemporary poetry, without being precisely defined nor the aesthetic rules being laid down. Prose poem has been developed through antagonism with free verse and this is not just the problem of prose poem, but it is also deeply related to the various quests and experiments of Korean poetry. Free verse has been continuously developed, on the other hand, prose poem has showed the aspect of reduction and expansion. This means that prose poem is the form in which we can confirm the reduction and expansion of the horizon of Korean modern and contemporary history of poetry. In other word, how prose poem has been created and through which process it settled down as a concrete form become not only the concern of prose poem but the concern of Korean poetry. In this aspect, the question on prose poem can, over the question of 'what is prose poem?', be the indirect answer to question on the birth and self-confirmation of Korean poetry, that is, the fundamental question of 'What was poetry and what was the poetic thing?' This paper is planned as a preparatory study to clarify this question and critical mind and paid attention especially to comments and works of 이광수(Lee, Kwangsoo), 최학송(Choi, Haksong) and 김억(Kim, Eok). This paper tries to examine that prose poem was what kind of form at that time and how it was understood within the practical writings and comments on prose poem by them. It is because 이광수 and 김억 greatly influenced on the formation of modern literature and stated their own theory of literature and poetics. In conclusion, prose poem at that time was variously used not as a fixed form, but as a prose literature, the same concept with free verse. Writings by 최학송(Choi, Haksong) were very close to aesthetical sentence rather than poetry and 김억(Kim, Eok) possessed a form of contemporary prose poem and created ‘님', a part of Korean literary tradition, however, this ended as a one-time and fragmentary, especially exceptional attempt. There could be various reasons for these disorder and confusion, but most of all, the emphasis on musicality, that is, poetry is to recite was rooted. When 'to recite' and 'emphasis on musicality' are perceived as the essence of poetry, poetry with the form of prose poem and prose poem which would be understood as not being possessed with a fixed form as a poetry become estranged from the interest of people in charge of literature in this period.

해방기의 지역문학론 -파성 설창수를 중심으로

장만호 ( Man Ho Jang ) 우리어문학회 2013 우리어문연구 Vol.45 No.-

이 논문은 해방기 지역문학의 성격을 설창수의 지역문학론을 중심으로 논의하였다. 해방기 지역문학은 주장과 결과가 불일치하는 역설적 성격을 보여준다. 좌익이나 북한의 경우 ‘지방문화'와 문학의 확산을 강조했지만 이는 오히려 지역에 대한 중앙의 통제 강화로 이어졌다. 『응향』 사건이 이의 대표적 경우라 할 수 있다. 우익의 경우는 지역문학에 별다른 관심을 보여주지 않았는데, 이 점에서 지역의 자생적이고 개성적인 문학이 가능할 여지가 있었다. 그러나 해방기의 좌익과 우익의 민족문학 담론은 공통적으로 민족이라는 단일하고도 보편적 단위를 전제한 것이었으므로 지역문학이라는 특수성의 문제는 사실 관심의 대상이 아니었다. ‘지역'문학이라는 특성상 ‘지역문학'에 대한 관심은 지역의 중대 관심사일 수는 있었지만, 중앙이 고민해 야 할 문제는 아니었던 것이다. 이런 상황에서 파성 설창수의 활동은 해방기 지역문학 연구에서 매우 귀중한 사례의 하나라고 할 수 있다. 해방기 경남 진주 지역을 중심으로 활동을 전개한 그는 지역문학의 필요성을 역설하고 이에 연계해 지역문학 수립을 위한 다양한 활동을 보여주었다. 이 시기 타 지역의 문학운동이 지역문학의 목적과 수립 방식에 대해 이렇다 할 이론적 전개를 보여주지 않았던 것에 비한다면 설창수의 노력은 단지 진주 지역의 지역문학 수립에 국한되는 것만이 아니라 해방기 지역문학론을 대표하는 예로서 의미를 지닌다. 그는 지역문학을 민족문학의 차원에서 사유했으며 그의 전인문학관은 ‘전인'을 민족과 인류, 신성을 포함하는 전일체로 규정하면서 부분과 전체, 개인과 집단을 유기적으로 연결하고자 한 문학관이었다. 청문협의 민족문학과는 정반대의 입장에서 순수를 지양하고 ‘전선참획(全線參劃)'을 주장한 문학론이었다. 아이러니한 점은 설창수의 문학운동과 이론은 좌익과 북한 문단의 문학이론과 많은 부분에서 유사성을 보이고 있다는 점이다. 경향일체, 문관일체, 문민일체, 문학일체, 문건일체로 이루어진 일체오원칙(一體五原則)은 좌익의 지방조직과 중앙조직의 긴밀한 연계, 문인들의 관료화와 정치화, 인민에 복무하는 예술과 문예대중화, 민족국가 수립을 전제로 하는 민족문학의 건설 등의 방향과 그 실행 방법이나 목표가 크게 다르지 않다고 볼 수있다. 문제는 그가 내세운 ‘전인문학론'에 있었다. ‘전일체'를 주장한 이상문학은 이를 둘러싼 제반 환경 및 제도와 긴밀한 연관을 지녀야 했고, 이는 실천적 측면이 강조된 것이 될 수밖에 없었다. ‘일체(一體)'의 외연이 확대되면서 설창수의 문학론과 좌익의 문학론은 상사적(相似的) 면모를 보여주게 된 것이다. 더불어 개인에서 민족에 머무르는 것이 아닌 인류와 신의 단계까지 포괄하는 문학론이 민족문학론이 될 수 있는지도 의문의 여지로 남는다. This paper discussed the characteristics of regional literature during the period of Korean liberation by focusing on the theory of regional literature from Seol, Chang-Soo. Regional literature for the liberation period shows the paradoxical nature of a mismatch between the claims and the results. Left-wing or North Korea emphasized the spread of the ``local culture``, but this rather strengthened the control of the central area over the regions. <Eung-Hyang> event was the representative case. Right wing gave little attention to the literature of the region, and at this point, it was possible indigenous and distinctive literature was born. Nevertheless, as the left-wing and right-wing`s ethnic literary discourse during the liberation period regarded the nation/ethnic, a single and universal unit as its premise, the uniqueness of local literature was not the target of interest. The ``local literature`` could be great interest for the regions in the nature of ``local`` literature, but for the center, it was not the problem to be concerned. In this situation, The activities of Paseong Seol, Chang-Soo are one of the most valuable cases in the study of the local literature during the liberation time. He did many activities mostly in Jinju area in Kyungnam province during liberation, stressing the necessity of regional literature and showed a variety of activities for the establishment of a regional literature in conjunction. In comparison that the literature movement of other regions in this time didn`t show a significant theoretical deployment for the purpose and the way to establish local literature, Seol, Chang-Soo`s effort has meaning as an example representing the theory of local literature in the liberation period as well as establishing the local literature only in Jinju area. He reasoned the regional literature in the dimension of the national literature and his view of whole-person literature defined ``whole-person`` as one thing including the ethnic, humanity and divinity and organically connected the individual with the collective and the integral part with the whole. It was a theory of literature avoiding purity and claiming ``JunSunChamHoik`` in the opposite position of the national literature of ChungMoonHyup. Ironically, there shows similarity in many parts between his literary movement and theory and the theory of left wing and North Korea. 5 monolithic (Trinity or one body) principals which are tendency Trinity, literature-bureaucracy Trinity, literature-people Trinity, literature-Study Trinity and literature-construction Trinity, has similar way of practicing and its goal to the ones of establishing the national literature whose premises are the close link between the center and the left wing`s regional organizations, the bureaucratization and politicization of literary persons, popularization of the art and literature and establishment of a nation-state. The problem was his theory of whole-person literature``. The literature had to be closely linked to the overall environment, systems and all that surround it with an emphasis on practical aspects as long as it claims ``Monolithic body``. As any extension of the one body expanded, the literary theory of Seol, Chang-Soo and the left wing came to show some aspects similar to each other. In addition, it is still doubtful that the literary theory comprehensive of humanity and the gods could be the national literary theory.

박재삼 시의 시적 주체와 타자

장만호(Jang, Man-ho) 우리문학회 2014 우리文學硏究 Vol.0 No.41

이 논문은 시적 주체의 태도가 먼저 결정되는 것이 아니라 시적 대상, 즉 타자의 존재와 성격이 시적 주체로 하여금 일종의 태도를 결정하게 만드는 것이라고 전제하였다. 이 점에 착안하여 타자의 성격과 시적 주체의 반응, 타자와 시적 주체의 연관성을 통해 박재삼적 서정을 확인하고자 하였다. 의식은 항상 "무엇에 대한" 의식이듯, 시적 주체의 언술 역시 항상, (심지어 그 자신에 대한 언술이라 할지라도) "어떠한 대상(타자)"에 대한 언술일 수밖에 없다 그러므로 시에 나타나는 "대상(타자)"과 시적 주체와의 관계성에 의해 시적 주체의 위치와 성격이 부여된다. 우리가 박재삼적 서정을 논하고자 할 때 타자의 존재와 그 성격에 대해 살펴보아야 할 이유의 하나가 여기에 있는 셈이다. 그리고 이것은 둘 사이의 "동사성"(관계성), 즉 양자가 어떻게 관계 맺고 연관되는가에 주목하는 일이다. 시적 주체가 타자를 결정하는 것도, 그렇다고 타자가 시적 주체를 결정하는 것도 아니라면 중요한 것은 시적 주체와 타자와의 관계인 것이다. 이와 관련하여 이 글은 박재삼 시에 나타나는 타자의 양상을 살피고 이에 반응하는 시적 주체의 반응을 고찰하였다. This paper assumed that it is not the attitude of poetic subject that is decided first, but the poetic target, in other words, the existence and characteristics of others are the ones that make a poetic subject decide a type of attitude. Based on this point, the lyrics of Park, Jae-Sam style was intended to be confirmed through others" characteristics and response, and relevance of poetic subject. As consciousness is always for "what about", the discourse of a poetic subject should always (Even if it is a discourse of himself) be nothing but a discourse about "a certain target (others". Therefore, the position and characteristics of a poetic subject is granted by the relationships of "target (others)" and the poetic subject appeared in a poetry. When we discuss the lyrics of Park, Jae-Sam style, one of the reasons to examine the existence and characteristics of others is right here. And this is the relationship between these two, namely paying attention to how both are related and associated. What is important is the relationship between a poetic subject and other if neither a poetic subject decides others nor others decide a poetic subject. In this context, this paper examines the aspects of others revealed in a poetry of Park, Jae-Sam, and the response of poetic subject is considered.

『문장』: 문학에서 문화로 : 『문장』지 소재 수필의 양상

장만호(Jang Man-ho) 한국근대문학회 2010 한국근대문학연구 Vol.- No.22

??문장??의 수필은 당대 다른 매체들에 비해 그 필자의 분포와 내용의 측면에서 차별화된다. 타 매체들이 문인들을 위주로 수필의 필자를 구성한데 반해 ??문장??은 문인을 포함, 학자, 연극?영화, 미술, 음악, 언론?출판, 의료, 종교 등 다양한 계층의 전문가를 망라했던 것이다. 이것이 ??문장?? 수필의 첫 번째 특징이다. 이 같은 필자의 분포로 인해 ??문장??의 수필은 매우 다양한 영역에 걸쳐 있다. ??문장??의 성과라 할 수 있는 조선학적 지식의 전파는 물론이고, 음악?영화?미술 등의 예술 분야, 의료?경제와 같은 비예술 분야에 이르기까지 ??문장?? 수필의 주제와 대상은 당대 문화 전반을 다루고 있었던 것이다. 이것이 ??문장?? 수필의 두 번째 특징이라 할 수 있다. 결국 ??문장??의 수필은 당대 문화 전반을 아우름으로써 수필을 ‘교양'의 층위로 올려놓게 된다. 이는 ??문장??이 수필을 ‘에세이'와 동일한 개념으로 인식했기 때문이며, 무엇보다 문학을 통해 “문화”를 창안하고자 한 기획의 일환이라고 판단된다. 대부분의 ??문장?? 논의들은 ??문장??이 주력했던 ‘고전의 발굴과 목록화', ‘조선학의 전파'에 주목하고 이 부분을 ??문장??의 최고 심급으로 놓고 있다. 하지만 문화 전반에 걸친 수필의 게재와 예술 및 문화 관련 기획들을 함께 놓고 고려한다면, ??문장??의 전체 기획은 ‘문학을 통한 문화의 전유 및 창안'에 더 가깝다고 할 수 있다. ??문장?? 소재 수필을 고찰하고 이를 “문화”의 관점에서 보고자 한 이 논문의 주장이 여기에 있다. Essays in the literary magazine ??Munjang?? could be differentiated from other magazines of the day in the distribution of the writer and contents. Writers of other magazines were mostly literary person, however, including literary person, essay writers of ??Munjang?? were from various social stratum; academia, play, movie, fine arts, music, media, publication, medical circle, religion, etc. This is the first characteristics of essays in ??Munjang??. The distribution of writers resulted in the variety of areas covered by essays in ??Munjang??. Subjects and objects of essays in ??Munjang?? were overall culture of the day, covering not only the propagation of knowledges on Joseon Studies, the very achievement of ??Munjang?? but also music, movie, fine arts and inartistic fields such as medical circle, economy. This is the second features of essays in ??Munjang??. Ultimately, essays in ??Munjang?? strived to propagate knowledges on Joseon Studies on one hand, and placed essay in the ranks of 'gyo-yang' by covering cultures of the time in general. This is because ??Munjang?? recognized sooph'il(essay) as same with 'essay' and it was the part of strategy to create 'Culture' through literature. Most of discussions in ??Munjang?? paid attention to 'the discovery and cataloging of classics', 'the propagation of knowledges on Joseon Studies.' However if the publication of essays on culture in general and projects related to arts and cultures were considered together, overall project of ??Munjang?? is more close to 'the exclusive possession and creation of culture through literature.' This paper aims to examine essays in ??Munjang?? and interpret them from the perspective of 'Culture'.

설창수론

장만호(Jang, Man-Ho) 우리문학회 2016 우리文學硏究 Vol.0 No.51

해방기 경남 진주 지역을 중심으로 활동을 전개한 설창수는 지역 문학과 문화 수립의 필요성을 역설하고 이의 실천을 위해 노력한 문인이었다. 그는 좌익과의 ‘투쟁', 지역문학의 ‘정진'이라는 두 가지 방법론을 통해 해방기 지역문단을 수립하고자 하였으며, 이 방법은 민족문학 건설의 방법이기도 했다. 그는 또한 ‘전인문학론'을 주장하였는데, 이는 부분과 전체, 개인과 집단을 유기적으로 연결하고자 한 문학관이었다. 사회적 공리와 윤리적 감각을 바탕으로 하는 ‘문학의 기회균등'을 목표로 하는 문학론이었던 셈이다. 설창수 시의 특징 중 하나는 의인화를 통해 자신의 신념과 의지를 대상에 투사하는 것이라 할 수 있다. 이 같은 방식을 통해 설창수는 ‘전인'으로서의 삶을 시화하고자 노력하였으며, 불의와 타협에 항거하고자 하였다. 또한 연대의식을 부각시키며, 억압과 위험에 대해 투쟁함으로써만 존재의 의미를 구체화할 수 있는 정신의 공동체를 그리고자 하였다. 그러나 자신의 삶을 철저하게 정치․사회적 상황과 연계하고자 했던 까닭에 그의 시는 시대의 변화에 따라 대결에서 ‘회한'의 감정으로 전환되는 모습을 보여주었다. The activities undertaken by Paseong Seol, Chang-Soo have produced some of the most valuable material to study the local literature of the period of liberation. He undertook several projects, mostly in the Jinju area in Kyungnam province, during liberation stressing the need for improving regional literature, and in connection with this established various activities to promote regional literature. In comparison with the literature movement of other regions, which did not show significant theoretical deployment to establish local literature, Seol, Chang-Soo's efforts can be an example in representing and establishing the theory of local literature in the Jinju region during the liberation period. He reasoned that regional literature was a microcosm of national literature because he considered that in “whole-person literature”, “whole-person” represented the ethnic, human, and the divine and organically connected the individual with the collective and made it an integral part of the whole. His literary theory was one that insisted ‘JeonSeonChamHweok' and one that rejected the purity in the opposite position 'CheongMunHyeop's national literature. One of the characteristics of Seol, Chang-Soo poems is that he projected his beliefs and willingness to the objects through anthromorphization. Like this, Seol, Chang-Soo tried to express the ‘whole person's life as poetry and to resist against injustice and negotiation. Also, Seol emphasized awareness of unity and tried to depict a spiritual community that can embody the meaning of being by struggling against oppression and danger. However, Seol's poems were transformed into the emotion of ‘regret' from confrontation following the changes of times as Seol tried to connect his life with sociopolitical situation thoroughly.