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최원식(Choi, Won-shik) 한국어문학회 2016 語文學 Vol.0 No.131
The Shin Kyung-suk dispute seems to mark an end of an era of the Korean literary circles for me. Since the Japanese colonial period, Korean modern literature has been ‘Another Government’ against the Japanese Government-General of Korea or the Korean dictatorships. But the democratization, as we know, led to the weakening of Korean literary stature. During the noisy debate the Korean literary world has been almost invisible and the academic world of Korean literary study as same. In fact a problem in the plagiarism is not simple. It is more compex that the relationships between two or three works, which is especially crossing the borders. Even to solve the Shin Kyung-suk issue collaboration of literary critics and literary scholors is needed primarilly. In a word the academic world of Korean literary study try to enhance its reality, stopping to surrender him/herself to crisis. Perhaps it will be the first step that we produce the readable papers. Recently the Korean readers and writers has been so completely lost in the foreign works, because Korean literary critics and literary scholors almost abandoned his/her responsibillity of the literary education. Where can we find a path to innovate the study of Korean Literature and literary criticism? Co-evolution of criticsm and study is an answer. When the researchers make every effort to gain critical sense or reality, and the critics endeavor to obtain the historical sense, it shall be on exit, I wonder.
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논문 : 고전비평의 탄생 ; 가람 이병기의 문학사적,지성사적 위치
최원식 ( Won Shik Choi ) 민족문학사학회·민족문학사연구소 2012 민족문학사연구 Vol.49 No.-
가람 이병기(1891~1968)는 연구와 비평과 창작, 세 방면에서 우리 문학의 졸가리를 세우는 일에 기여한 드문 분이었음에도 불구하고, 냉전의 여파 속에 합당하게 평가되지 못했다. 민족의 해방과 새 나라의 건설을 위해서는 이념을 넘은 통합이 필요하다는 중도노선에 서서 어문운동을 바탕으로 지식인의 광범한 협동을 실천했지만, 특히 문학분야에서 더욱 뚜렷하다. 민족주의적 국학과 실증적 조선학을 아우른 가람은 또한 비평적 능력이 탁월했으니, 당시 국문학연구에는 우리 고전문학유산의 문학성을 논리적으로 분석하고 그 가치의 높낮이를 평가할 능력 즉 문학비평이 절실히 요구되고 있었다. 그리하여 그는 우리 고전 특히 한글문학유산에 대한 뛰어난 안목을 바탕으로 정전의 재편을 선구적으로 수행하였으니, 이 점에서 가람은 1세대 국학파와 2세대 실증파를 겸한 위에 3세대 미학파까지 아울렀던 것이다. 가람의 비평적 능력이 밝게 드러난 데가 바로 시조혁신론이다. 장르의 역사성을 무시한 1920년대의 복고적 부흥론과 달리 그는 "시조도 한 문학"이라는 명제를 세운다. 이 명제는 ``실감실정``과 ``읽는 시조``에 의해 지지된 바, 소리 중심의 시조를 말을 축으로 다시 파악함으로써 노래에 묻힌 시조를 리얼리즘에 입각한 근대문학으로 인도하였던 것이다. 수준 높은 비평안에 의해 시조를 비롯한 우리 한글문학유산은 마침내 고서뭉치에서 걸어나와 국민교양으로 되었으니, 그는 최초의 고전비평가였던 것이다. Inspite of Lee Byung-gi`s contribution to the development of modern Korean literature as a sijo poet and a literary critic and a scholar, he has been underestimated mainly due to the shade of cold war period in Korea. He thought that ideological confrontations between nationalism and socialism must have been overcomed for the sake of national liberation and national independence. but the Korean War made hie hope a wild dream. From today`s point of view even his failure was meanigful. As a scholar of Korean literature, he combined patriotism of Gukak school(國學派) with academism of positivists(實證派). Furthermore, he had an eye for the beautiful. This benefits made him a pioneer in organizing the canons of classic Korean Literature. Particularly the field of sijo gave him a chance to show his eminent critical talent. Basing on the thesis that sijo is a literature, he tried to reform traditional sijo into modern poetry. By his critical efforts, the old Korean literature including sijo becoming a living national culture, honorably he is the first critic of classic literature.
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근대계몽기 문예운동의 시각 ; 1910 년대 친일문학과 근대성 - 최찬식 (崔瓚植)
최원식(Won Shik Choi) 민족문학사학회·민족문학사연구소 1999 민족문학사연구 Vol.14 No.-
Choi Chan-sik(1881∼1951), one of the major writers of 1910`s, succeeded Lee In-jik(1862∼1917) who as a pro-japanese had played an active part in politics and literature in the period of patriotic enlightment(1905∼10). Unlike Lee who was subjectively pursued how to adapt himself to new colonial circumstances, Choi was objectively situated in the colonial life and was to find out modernity in the new way. In his work, through the simulation of various marriages, Choi experimented the making of the colonial modern based on the disintegration of traditional society. But modernity of his literature was limited to surface level because of the lack of tension toward Captial. So, after the brief heyday, he and his literature fell to the ground abruptly
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최원식(Choi, Won-shik) 국어국문학회 2014 국어국문학 Vol.- No.168
The Society of Korean Language and Literature(SKLL) gave me an honorable assignment to seek new methodologies of Korean linguistics and literature suitable to the unification era. Perhaps it"s contrary to the paradigm for the division era, which has been shared by the members of SKLL even untill now. The main problem with the latter is the general ignorance of North Korean achievements of Korean linguistics and literature ever since the Liberation. In 1970"s Kang Man-gil created the term ‘division era’ and in 1980"s Paik Nak-chung further proposed the discourse ‘division system’. They were alarm bells urging the paradigm shift. Now, we come to the fork of a road. To deconstuct the paradigm of the division era on the one hand and to reconstruct the paradigm of the unification era on the other. First of all the conversations with the North Korean scholors in the same areas should be done. But we must keep it in mind that they are not the simple specialists. North Korean scholors are similar to traditional ‘seonbi’ (士) who tried to combine the learning with the social welfare. Generally speaking South Korean scholors are locked in department system. So, we actively reform our academic traditions centered on positivistic appoaches, which resembles interdisciplinary studies. Ideas matter also. How to make big narratives for the unification paradigm, that is the question. Perhaps it will be the first step to change the meaning of the unification: from federation(one nation) to confederation(coexistence of South and North Korea).
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최원식 ( Won Shik Choi ) 민족문학사학회·민족문학사연구소 2014 민족문학사연구 Vol.54 No.-
한하운과 그의 첫 시집 한하운시초(1949)는 본격적 비평의 대상이 되어오지 못했다. 그것은 무엇보다 그가 문둥이시인이라는 데 말미암거니와, 더구나 그를 발굴한 이병철은 한국전쟁의 와중에 월북했다. 한하운시초 초판(1949)으로 혜성처럼 등장한 한하운은 이병철의 부재로 전후 남한의 시적 고아로 남겨지게 된 것이다. 이 시집을 낸 정음사는초판의 좌익적 체취를 걷어낸 재판(1953)을 출판함으로써 한하운을 구하려고 시도했지만, 전후 남한의 경직된 반공분위기 속에서 한하운은 졸지에 좌익으로 공격받고, 시집 또한 좌경으로 매도되었던 것이다. 그런데 필화를 거쳐 오히려 한하운이 남한사회에 연착륙하게되면서, 시인 한하운은 사라지는 역설이 실현된다. 제2시집 보리피리(1955)는 그 단적인표현이다. 이 힘겨운 생존과정 때문에 한하운과 그의 시는 명성에 반비례하여 일종의 풍문으로 떠돌게 되었던 것이다. 나는 이 글에서 어둠에 묻힌 보리피리 이전 한하운 전기를 점검하는 한편, 그의 시의 백미라 할 한하운시초 초판(1949)에 대한 원전비판을 수행할 것이다. 요컨대 한하운은 좌익/ 우익 바깥의 하위자다. 그의 시는 하위자 최초의 시적 발화로서 한국현대시사에서 독특한 자리를 차지한다. 그런데 한하운시초 초판은 고은, 신경림, 김지하, 박노해 등, 1970년대 이후 한국민족문학/ 민중문학에 직간접적으로 연계됨으로써더욱 종요롭다. HAN Ha-woon and his first poetry collection, HAN Ha-woon Shi-Cho(1949) have been neglected for decades. First of all it`s because he was a leper-poet. In addition LEE Byung-chul who found HAN Ha-woon`s poetic talent went to North Korea during the Korean War(1950~53). In the absence of the mentor LEE, HAN became a poetic orphan then. At this point, the publishing house, Jeongumsa as a relief pitcher, printed the second edition of HAN Ha-woon Shi-Cho(1953) which was self-censored diliberately. But it could not protect HAN, who was accused as a leftist. HAN was finally survived through a series of attacks and counter-attacks, his poetic inspiration gone. What a ridiculous ado! In this paper I try to do some biographical criticism and real textual criticism. Who`s HAN Ha-woon? He in a word is a subaltern beyond the dichotomy of right and left wing. His poetry is perhaps the first speech of the subaltern in Modern Korean Literature. Furthermore it`s very impressive HAN Ha-woon Shi-Cho (1949) came back again in the 1970 / 80`s National / Popular Literature of Koh Eun, Shin Kyung-rim, Kim Ji-ha, and Park Noh-hae etc.
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