선택, 삭제, 질문

전기화 계간 서정시학 2019 서정시학 Vol.29 No.2

『현씨양웅쌍린기』에 나타난 웃음의 이면 - 여성 보조인물들을 중심으로

전기화 한국문학회 2023 韓國文學論叢 Vol.94 No.-

This study revisits the laughter in Hyeonssiyangungssangringi, a popular novel of the late Joseon Dynasty, with a focus on two of the novel’s assistant characters, Yuk Chwi-ok and Guihyung-nyeo. Previous studies have ascribed the laughter in this novel as possessing the attributes of liberation and contagion. Nonetheless, it is imperative to critically reevaluate the extent to which the laughter can consistently be characterized as emancipatory. In Hyeonssiyangungssangringi, the characters of Yuk Chwi-ok and Guihyung-nyeo are actively utilized to emphasize the agency of the female protagonists in addition to eliciting laughter from the novel’s other characters. As Yuk Chwi-ok and Guihyung-nyeo are mocked and laughed at, their characteristics, which cohere around women’s sexual desire and disabled bodies, are framed as objects of ridicule and disgust, a framing that is closely related to the novel’s strategic narrative approach. For example, the narrator not only casts a derisive gaze toward these characters but also inserts derogatory and demeaning comments about them. The novel also describes the other characters’ inner disgust when confronted with these two characters and, in making them the target of collective laughter, invites and encourages the reader to participate in this laughter, which has a “universal” sensibility. In reading the novel against the grain, this paper argues that Hyeonssiyangungssangringi, a popular narrative led by women that achieved considerable popularity while containing concerns about the conditions of women at the time, should be reevaluated in a more balanced consideration of both the lighter and darker aspects of the novel’s narrative strategy. 본 연구는 한글장편소설 현씨양웅쌍린기 에 나타나는 육취옥과 귀형녀 두 보조인물에 주목하여 이 소설에 재현된 웃음의 성격을 재고해보았다. 소설 속 육취옥과 귀형녀는 성품과 용모, 언행으로 인해 작중인물들의 웃음을 유발하는 인물들이다. 이때 두 인물이 가진 특성, 즉 용렬한 성품이나 남성을 향한 애욕, 장애를 가진 신체 등은 조롱의 대상으로 간주되고 있으며, 이는 소설의 미시적 서술에 반영되어 나타난다. 서술자는 조롱 섞인 시선으로 육취옥과 귀형녀를 묘사할 뿐만 아니라, 비하의 논평을 삽입하기도 한다. 또한 이들을 바라보는 작중인물들의 내적 혐오감을 서술하는 한편 작중인물들의 웃음을 삽입함으로써 독자들로 하여금 그 웃음의 ‘보편적’ 감수성에 동참하게끔 추동한다. 이렇듯 작중인물들의 웃음을 유발하는 육취옥과 귀형녀는 여성 주인공들의 용모와 행실을 돋보이게 하는 비교군으로서 배치되고 있으며, 경우에 따라서는 여성 주인공에 의해 도구적으로 활용되기도 한다. 이에 본고는 여성적 지향과 대중적 지향이 교착(交錯/膠着)하는 지점에 위치한 문제적 존재로서 육취옥과 귀형녀를 조명할 수 있음을 논하였다. 나아가 한글장편소설에서 여성 주인공들의 행위성이 강조되는 가운데 여성 보조인물들이 어떻게 동원되고 있는가의 문제를 심화하여 살펴보아야 하며, 희화화되는 보조인물들 간의 차이를 보다 세밀히 들여다볼 필요가 있음을 제기하였다.

고전문학콘텐츠의 새로운 흐름 - SF를 통한 고전서사 다시쓰기

전기화 계명대학교 한국학연구원 2023 한국학논집 Vol.- No.92

This study aims to analyze the characteristics and significance of the reinterpretation of classic Korean stories into science fiction (SF) in order to discern whether the rewriting of these stories can be identified as one of the most important cultural content trends in Korean literature. This paper discusses specific texts and examines their features and meanings. To analyze the elements of rewriting, this paper compares and contrasts the inheritance and transformation of the original text in two SF novels that rewrote Simcheongjeon, aiming to delve deeply into how each novel handles this well-known story. Based on this comparison, it then discusses the two key characteristics and implications of rewriting classic Korean stories into SF. First, while acknowledging that reinterpretations of classical stories are made through rewriting, it is necessary to critically examine whether rewritten works can be considered to have a dialogic relationship with their original texts. Second, the fantasy or unreality of classical stories is itself a useful medium for constructing the SF worldview and is, in fact, the point at which the scientific imagination can be maximized. In contrast to adaptations that remove the fantastical elements of classic stories, rewriting through SF is notable in that it creatively reinterprets these elements and reconstructs a familiar narrative in a new and unfamiliar world. From this perspective, the rewriting of classic stories into SF is significant in that it can suggest a different perspective on the history of the Korean novel through a new interpretation of fantasy in classic stories. Furthermore, it sheds new light on the ‘continuity of problem’ in Korean literature.

가문소설의 친족‧감정‧계보-해외한국학 연구의 시좌에서

전기화 민족문학사연구소 2022 민족문학사연구 Vol.79 No.-

Kinship Novels of Early Modern Korea: Between Genealogical Time and the Domestic Everyday, written by Ksenia Chizhova, is a comprehensive study of lineage novels. This paper examines the book’s implications and insights for the future study of lineage novels, situating the work within the field of lineage novel studies. After a brief description of the overall composition of the book, I critically review the author’s adoption of “lineage novel” from among the various terms used to discuss this genre, as well as the use of the phrase “kinship novels” in the book’s title. Although the author’s intention to interpret lineage novels through their close relationship to the kinship structure of Joseon Korea is reflected in the book’s clear and consistent logic, I argue that some complicated aspects of lineage novels and their highly nuanced characters are not sufficiently highlighted by this logic. Furthermore, this book concludes its discussion of lineage novels with the recollection of Yi Kwang-su, a symbolic writer of modern Korean literature. However, this juxtaposition can exert discursive power, repeatedly strengthening the simplistic understanding of the literary history of Korea; rather, it is possible to reconnect lineage novels with the so-called “family history novels” written by female writers, as well as contemporary novels centering on matrilineal kinship. Lastly, I highlight several fascinating points that this book makes about lineage novels’ emotion studies, cautiously suggesting that it is necessary to interpret the feelings experienced by characters more delicately by considering each character’s own life story. Pointing out the possibility of applying the author’s enlightening concepts of “doubleness” and “public interiority” more broadly, I agree with the author’s idea that lineage novels can be used as the richest information repository for reconsidering and reconstructing the discourse of emotions in Joseon Korean culture.

[ZOOM IN 김지연] 작가론_미진한 마음으로 살아가기

전기화 (주)문학동네 2023 문학동네 Vol.30 No.4

한국문학 영어번역 양상 멀리서 읽기(2)-고전문학 작품을 중심으로-

전기화,김지윤,유건수,전세진,정기인,정성훈,Seth Chandler 한국고전번역학회 2023 고전번역연구 Vol.14 No.-

이 연구는 한국 고전문학의 영어번역양상을 포괄적으로 제시하고 그 의미를 탐색하기 위한 시론적 연구이다. 이 연구는 1889년부터 2023년까지 번역된 1868개의 고전문학 작품과 206권의 단행본의 목록을 만들고, 그 서지 사항을 근거로 하여 시기별 발간량 추이, 여성 작가의 비율 추이, 장르별 번역 추이, 작가와 산출 연대별 번역 추이, 번역가의 추이를 분석하였다. 분석 결과, 한국 고전문학 분야의 연간 발간량은 지난 60년 동안 일관된 증가나 감소 추세를 보이지 않았으며, 특정한 고전문학 작품들이 지속적으로 재번역 및 재출간되는 경향이 있었다. 여성 작가의 비율은 점진적인 증가 추세를 보여, 특히 2011년부터 2020년 사이에 데이터 수집 기간 중 가장 높은 16.8%를 기록했다. 이러한 여성 작가 비율의 증가는 번역자 개인의 관심과 영미 학계의 영향을 반영한 것으로 보인다. 장르별 추이를 살펴보면, 한글문학, 한문학, 구비문학 순으로 비중이 높으나, 이 비중은 시대에 따라 변화해왔다. 1960년대 이전까지는 구비문학이 중심이었으나 1970년대 이후에는 기록문학 중심으로 전환되었고, 2000년대 이후 한문학 및 산문의 비중이 증가하는 경향을 보였다. 작품이 가장 많은 횟수에 걸쳐 번역된 작가들은 鄭澈, 黃眞伊, 尹善道 등 고전시가 작가들로 확인되며, 번역 작품의 가중치를 고려할 경우 상위 작가 명단은 金萬重과 惠慶宮 洪氏 등 고전산문 작가들로 나타난다. 번역된 작품에서는 조선시대 작품이 절대적인 비중을 차지하며, 특히 16세기와 17세기 작품이 다수 번역되었다. 한편 번역가에 초점을 맞추어 살펴볼 경우, 초기 선교사 번역가들과 20세기 중후반 한국학 개발 시기의 번역가들의 작품이 여전히 주요 비중을 차지하며, 이들의 개인적 취향과 환경이 번역 양상에 영향을 끼쳤다. 현재로서는 고전문학의 실제적 다양성을 영어번역에 적극 고려해야 한다는 최근 연구자들의 문제의식이 번역 양상에까지 충분히 반영되지는 않았다고 볼 수 있다. This preliminary study offers a comprehensive view of classical Korean literature in English translation. Using bibliographic data from 206 books and 1868 works of translation published between 1889 and 2023, it analyzes trends in the number of translations published over time, the proportions of female authorship, literary genre, and historical era among source texts, and the translators of classical literature. This analysis indicates no consistent increase or decrease in publishing over the past 60 years, and finds a tendency for specific works to be retranslated or republished. Female authorship of source texts gradually increases over time, reaching a maximum of 16.8 percent in 2011-2020. This increase may reflect individual interests of specific translators and the influence of English-language academia. In terms of genre, Hangul literature makes up the largest portion, followed by literature in classical Chinese, then oral literature. However, this changes over time, shifting from oral literature prior to 1960 to written literature in the 1970s. From the 2000s, prose and literature in classical Chinese grew. Authors with the most translated works include classical poets like Jeong Cheol, Hwang Jin-i, and Yun Seon-do, while a weighted measure of translated works results in prose writers like Kim Man-jung, Lady Hyegyeong, and Il-yeon. Joseon-era source texts are predominant, particularly from the sixteenth and seventeenth centuries. Early missionary translators and those active in the development of Korean studies from the mid-to-late twentieth century remain the largest overall contributors, with their personal tastes and available resources influencing overall trends. This suggests that the concerns of recent researchers, who argue for a fuller consideration of the diversity of classical works, are not yet sufficiently reflected in English translations of classical Korean literature as a whole.

조선후기 여성영웅소설 <정수정전> 재고: 여성 인물의 행위자성을 중심으로

전기화 한국고전여성문학회 2018 한국고전여성문학연구 Vol.0 No.37

This article revisits Jeong Su-jeong Jeon, a late Joseon Dynasty text written in vernacular Korean whose heroine possesses powerful agency. By analyzing the heroine as an agent who consciously chooses to follow specific virtues, this paper aims to suggest a new understanding of this nuanced character. In the story, the heroine vigorously pursues filial piety and loyalty, neglecting her duties as a wife and daughter-in-law; however, the societal recognition she receives also enables her to acquire a more stable position inside her husband’s family. This depiction of the heroine can be connected to late nineteenth century Joseon society where the correlation between filial piety, chastity, and loyalty received more and more emphasis; however, unlike the male elites’ records that portray these virtues as compatible, this popular fiction reveals a belief that an individual agent can view these virtues as competing. The narrator’s neutrality and the heroine’s glorified ending indicate that the writer of Jeong Su-jeong Jeon supported the heroine’s exertion of agency to establish a hierarchy of virtues to guide her own actions. Analyzing the close link between the heroine’s agency and the heroine’s quest to achieve filial piety and loyalty, this paper reveals that the heroine becomes heroic by establishing an identity in accordance with her uses of Confucian rhetoric and exerting her agency in arranging the virtues in her own hierarchy. <정수정전>은 친부모의 억울한 죽음과 이에 대한 여성 인물의 복수 성취를 전체적인 서사의 얼개로 삼는 여성영웅소설이지만, 효녀의 복수담으로는 설명되지 않는 돌출적인 장면을 다수 포함한다. 이는 소설 내에서 정수정이라는 인물이 장수‧제후로서의 정체성 및 효녀‧충신으로서의 정체성을 중심으로 스스로를 인식하고, 해당 정체성들의 지속을 주장하면서 아내‧며느리로서의 덕목을 등한시하는 데에서 비롯된다. 그러나 <정수정전>의 서술자는 그녀의 행동에 대해 비판적 논평을 덧붙이지 않고, 서사의 결말 또한 이 인물에게 가문 외적 명예뿐만 아니라 가문 내 안정적 지위를 보장하면서 마무리된다. 조선후기 사회는 부덕(婦德)에 있어 열(烈)이 충(忠)과 효(孝)를 압도하는 방식으로 위계가 공고화된 공간으로 이해되었다. 그러나 <정수정전>에서는 여성 행위자가 충‧효‧열 가운데 어떠한 윤리적 가치를 우선적으로 추구할지의 문제가 ‘문제화’되고 있으며, 정수정은 독자적으로 충‧효‧열 간의 위계를 설정하고 특정 덕목을 선택적으로 수행하는 행위자로 형상화된다. 이러한 견지에서 <정수정전>은 정수정이라는 인물을 통해, 경합하는 윤리적 가치들의 위계가 행위자의 선택에 의해 재구성될 수 있다는 견해를 제시하는 한편, 소설 속 행위자인 정수정의 선택을 옹호하는 소설이라고 새롭게 해석될 수 있다.

「계축일기」의 궁녀 재현 양상과 그 의미

전기화 한국문학이론과비평학회 2020 한국문학이론과 비평 Vol.86 No.-

This study revisits Gyechuk-ilgi (A Diary of the Gyechuk year), a late Joseon Dynasty text written in vernacular Korean, in which court ladies (宮女) are represented as the subject and they talk about their masters. In Gyechuk-ilgi, court ladies, who are the royal family’s subordinates, observe and devalue King Gwanghae while the narrator-who identifies with the court ladies-also critically evaluates the king. The court ladies’ diverse voices discussing the king de-naturalizes the king’s authority. Furthermore, Gyechuk-ilgi shows the complexity of master-servant relationships. The court ladies are not just tools that follow the orders of their master, they are represented as agents who exert influence toward their mastery, sometimes betraying and even threatening their master. The representation of court ladies in Gyechuk-ilgi creates a rift in the ideologically hierarchical world by exemplifying how the immoral and politically improper king and the selfish and unfaithful servants might have appeared in the real world, which consequently betrays the writer’s moral intent.

<옥원재합기연>-<옥원전해> 연작 재론

전기화 서울대학교 규장각한국학연구원 2024 한국문화 Vol.0 No.105

This study analyzes the 18th-century classical Korean novel Ogwonjaehapgiyeon and its sequel Ogwonjeonhae, with a focus on the character Yi Won-ui. It specifically posits that Ogwonjeonhae not merely extends and repeats the narrative world of Ogwonjaehapgiyeon, but reinterprets that world from a new perspective. The narrative of Yi Won-ui in Ogwonjaehapgiyeon ends without a conclusion, which in turn justifies its continuation in Ogwonjeonhae. A key unresolved issue from the first novel is the entangled perceptions of Yi Won-ui by acquaintances and relatives, which are fully reckoned with in the sequel. Notably, Ogwonjaehapgiyeon suggests different meanings for the surrounding characters’ doubts regarding Yi Won’s redemption, and for Yi Won himself mirroring the shameful memories he wants to hide. Ogwonjeonhae depicts Yi Won-ui’s process of redefining his dignity by appropriating and reinterpreting the painful and shameful narrative of Ogwonjaehapgiyeon in front of all the characters, ultimately constituting a performative act of public declaration. Through this, Ogwonjaehapgiyeon transcends being merely a shameful record that Yi Won-ui—as well as his descendants, such as Yi Hyeon-yoon and Yi Hyeon-young—must hide and erase. Instead, it is reinterpreted and transformed into a kind of maxim that a noble person should reflect upon throughout his life and preserve for his descendants as a conduct guide for oneself and others. This attitude of Yi Won-ui, which is evaluated by Seok Do-cheom as embodying the “beautiful will” of a noble person, serves as the catalyst for his creation of an additional record, Ogwonjeonhae. In essence, Yi Won-ui appropriates the meaning of a narrative that once drove him to self-loathing and resentment of others. As such, Ogwonjeonhae can be seen as a novel that portrays a character who exercises agency by appropriating the narrative of shame. The Ogwon duology is significant in that it fictionalizes the fundamental question of whether bad people can change, within a very specific and complex situational context involving various characters. This is not a philosophical argument or an ethical imperative, but rather a form of questioning that only fiction makes possible. Furthermore, it is important to re-emphasize its significance today in that it shows the will to change and defense of faith in the possibility of change beyond skepticism and mockery. Ogwonjeonhae is particularly notable for depicting an interesting character who appropriates the narrative of shame and uses it as his own ethical and political resource. It is also worth noting that Ogwonjeonhae encourages readers to view Ogwonjaehapgiyeon from Yi Won-ui’s perspective. In this duology, the sequel does not merely extend or expand the world of the first novel but provides a new and reflective perspective from which to view that world. This reflective view is facilitated by incorporating “the position of a character reading a novel within the novel,” a formal accomplishment that should be significantly valued in Korean literary history.

〈옥원재합기연〉의 성장서사적 성격 연구

전기화 우리문학회 2022 우리文學硏究 Vol.- No.75

This paper aims to investigate the characteristics of the coming-of-age story of the 18th century Korean novel Ogwonjaehapgiyeon(玉鴛再合奇緣). The story begins with the male and female protagonists exposing their self-centeredness and immaturity, however they gradually mature in the process of facing and resolving various relationship conflicts. Eventually, they become mature enough to put themselves in other people’s shoes and perform their roles with responsibility inside and outside the family. In twenty-one volumes, the novel details the excruciating process of the characters’ growing over a long period of time; the changes in the characters are convincingly portrayed through the active use of dialogue, detailed descriptions of the characters’ inner minds, and the narrator’s comments on the character’s inner changes. Moreover, the narrator details the feeling of shame and self-consciousness experienced by the female protagonist, thereby delicately portraying the agony of a woman positioning herself inside her husband’s house which was never written down on the conduct book of Joseon Korea. This is realistically portrayed in the narrative, inscribing the countless cracks in the female coming- of-age story. 본 연구는 18세기 한글장편소설 <옥원재합기연>에서 소세경과 이현영 등 두 남녀 주인공의 내적 성숙의 과정이 주요하게 형상화된다는 점에 주목하여, 이 소설의 성장서사적 성격을 규명하고자 하였다. <옥원재합기연>의 두 주인공은 소설 초반에는 그들의 불안함과 미숙함을 그대로 노출하지만, 이후 다양한 관계적 갈등을 직면하고 해결하는 과정에서 점차 변화해나간다. 이때 소설에서 두 인물이 관계적 정체성을 형성하며 가족 내외적으로 자신의 역할을 조화롭게 수행하게 되는 변화의 과정이 지난한 내적 성숙의 과정과 결부되어 제시된다는 점은, 이 소설을 성장서사로 읽어낼 수 있는 주요한 근거이다. 두 인물이 각자의 주관성을 반성하고 상대화해나가는 가운데 점진적으로 이루어지는 성장의 과정은 대화체의 적극적 활용, 인물 심리에 대한 세세한 서술, 인물의 변화를 짚어내는 서술자의 논평 등의 형식적 요소들을 통해 설득력 있게 형상화된다. 한편 두 주인공의 성장서사는 상당한 유사성을 보여주기도 하지만, 이들의 성장이 남녀의 구분된 성역할에 적응하며 가족관계 내에서의 역할을 충실히 수행하는 데로 귀결된다는 점에서 <옥원재합기연>의 성장서사는 젠더화되어 있다고 볼 수 있다. 이때 여성인물 이현영의 서사에서 성장의 결과만이 표창되는 것이 아니라, 그 과정에 깃든 감정적 굴곡이 세세하게 서술되고 특히 수치심이라는 감정과 자의식의 문제가 대두됨으로써 전혀 매끄럽지 못한 성장의 서사가 구축된다는 점이야말로 이 소설이 조선후기 여성의 성장서사로서 조명될 수 있는 근거이다. 이렇듯 이현영과 소세경 두 인물의 성장서사가 맞물려 제시되는 가운데 다양한 주변 인물들의 변화와 성장 또한 다채롭게 아우르고 있다는 점에서, <옥원재합기연>은 여러 한글장편소설들 가운데에서도 인간의 변화 가능성에 대한 믿음을 서사적으로 형상화한 사례로서 주목된다.