쌀의 군산에서 대(大)군산으로 - 일제강점기 군산안내서를 통해 본 농업이민의 목적 -

최태화 한국일본어문학회 2024 日本語文學 Vol.100 No.-

In the modern era, Japanese policy elites, grounded in the tenets of modern rationalism, erroneously posited that proffering ideal conditions to agrarian communities would incentivize their migration to colonies, resulting in the abandonment of their cultivated lands. The Japanese government's ambition to establish a comprehensive colony through mass agricultural migration found articulation in theoretical frameworks such as "The immigration concentration policy between Manchuria and Korea Concentrated Emigration Theory," "Oriental Development Company Emigration," and "Group Agricultural Emigration," culminating in a series of experimental pursuits marked by trial and error. The envisaged mass emigration of Japanese nationals failed to materialize predominantly due to the vigorous resistance from Korean agrarian communities confronted with the prospect of dispossession through large-scale migration. Gunsan emerged as an experimental crucible for mass agricultural migration, owing to its prominence as a significant rice production region. Promotional publications like "Wealthy Gunsan" (1907), "Introduction to Gunsan" (1915), and "Introduction to Gunsan" (1926) endeavored to portray Gunsan as a prosperous enclave for rice cultivation, enticing numerous Japanese immigrants to relocate, establish familial ties, integrate with local Koreans, and ultimately materialize the envisioned "Great Gunsan," predominantly inhabited by Japanese residents. While the promotional emphasis centered on "Gunsan of Rice" this was not the ultimate objective. Nevertheless, the recorded immigrant figures in the three volumes notably fell short of a demographic scale befitting a "Great Gunsan." At the juncture of Japan's capitulation, the Japanese residential enclave in Gunsan did not exceed the dimensions of a conventional rural township. The realization of the conceptualized "Great Gunsan" remained elusive.

닌조본과 딱지본대중소설 비교고찰-멜로드라마적 특성과 현대 영상콘텐츠 표현기법을 중심으로-

최태화 한국일어일문학회 2018 日語日文學硏究 Vol.105 No.2

Ninjobon was the genre that made the publishing company the most profitable. The Six-pence Pop Novel was the same. Ninjobon had a great influence on The Six-pence Pop Novel in its layout of design and organization. This Treatise begins with the hypothesis that Ninjobon and The Six-pence Pop Novel may have an impact on other aspects of the design. Ninjobon is one of the most popular genres in the melodrama made by Early Modern Japanese Literature. Among The Six-pence Pop Novel, there is a melodrama called Sinpa, or Tear Drop Novel. "Is liquor a tear or a sigh" was also a typical melodrama. "Is Liquor a Tears or a Signal?" shares many similarities with the same melodrama, ninjobon. First of all, it is based on the fad words and events that took place at the time. The second is the use of cross-cutting and Cliffer techniques common in modern films. Lastly, when compared to Ninjobon's representative work, "Shunshoku Umegoyomi" the difference between the main character's features and tone of the conversation exists, but it uses a similar triangular relationship. Through comparative analysis by Ninjobon and "Is liquor a tear or a sigh?", it was found that Ninjobon's techniques were shared by The Six-pence Pop Novel. It is the first attempt to find the meaning of The Six-pence Pop Novel through Early Modern Japanese Literature. This Treatise is valuable as it provides a springboard to see The Six-pence Pop Novel as the birth of Korean popular literature 人情本は、書肆と貸本屋の稼ぎ柱であった。タクチ本もそうであった。人情本は、本のデザインやレイアウトなどにおいてタクチ本に様々な影響を与えていた。本稿は、デザインだけではなく、他方においても人情本とタクチ本との間に何らかの影響関係があるという仮説からはじまる。人情本は、戯作におけるメロドラマの代表的ジャンルである。タクチ本の中でも、新派あるいは涙字小説と呼ばれるメロドラマジャンルがある。『酒は涙か溜息か』も典型的なメロドラマ小説である。『酒は涙か溜息か』は、同じメロドラマである人情本と共通点が確認される。まず、流行語と実際起きていた事件を背景にしていることがあげられる。二つ目は、現代のTVドラマや映画で常用される編集技法であるクロスカッティングやクリフハンガー技法が使われていることである。そして、人情本の代表作である『春色梅暦』と比較すると、主人公の形象化と会話の語調の違いはあるものの、類似の三角関係を使っていることである。人情本と 『酒は涙か溜息か』の比較分析を通じて、人情本の技法をタクチ本も共有している点を確認した。これは、日本近世文学を通じてタクチ本の意味を探していく試みであり、タクチ本を意味を確認するところに意味があるのであろう。

合評會 - 일본문학 -

최태화 한국일본문화학회 2023 日本文化學報 Vol.- No.97

일본근세 출판문화와 소설의 진화 -슌스이류(春水流)의 '단도리(段取)'와 '누키가키(抜書)'-

崔泰和 한국일본학회 2013 한국일본학회 학술대회 Vol.2013 No.08

은유로서의 질병-상사병을 중심으로

최태화 한국일본어문학회 2021 日本語文學 Vol.89 No.-

結核は、その病像と不治の病という特徴のため、韓日近代文学において、恋のメタフォーとして流行っていた病気であった。結核菌が発見され、抗菌剤による治療法が使われるようになり、もう不治の病でなくなったら、文学における恋のメタフォーとしての役割がなくなり、その位置を白血病に譲られていく。しかし、20世紀末にその治療剤が出ると、白血病も恋のメタフォーとしての賞味期限が切れた。結核と白血病の前に恋のメタフォーとして使われていたのは、言うまでもなく相思病である。韓日両国ともに、相思病を疾病にみるか症候群と判断するかに意見は分かれており、曖昧のままであったが、作者と読者がともに、相思病は不治の病、あるいはとても難治の病で治せる方法はその愛を成就させるしかない病気であるという暗黙の了解があったため、愛のメタフォーとして相思病が成り立っていたのである。女性の恋愛を肯定している江戸末期の人情本において相思病が化石化していく様子が確認されるのは、相思病の治療剤は自由恋愛であったためである。 Tuberculosis was a prevalent disease as a metaphor for love in modern Korean and Japanese literature because of its image and incurable disease. With the use of antibacterial treatments for tuberculosis, tuberculosis is no longer an incurable disease. Then, the role of tuberculosis as a metaphor of love in literature disappears, and the position of tuberculosis is handed over to leukemia. However, when a therapeutic agent for leukemia came out at the end of the 20th century, leukemia also expired as a metaphor for love. Needless to say, it was a lovesickness that was used as a metaphor for love before tuberculosis and leukemia. Opinions remained ambiguous in both Korea and Japan as to whether to consider lovesickness as a disease or as a illness. However, both the author and the reader had a tacit understanding that lovesickness is an incurable disease, and that the only way to cure lovesickness is to fulfill that love, so lovesickness is established as a metaphor for love. Ninjobon in the late Edo period affirms the love of women. It is confirmed from ninjobon that the lovesickness is fossilized because the remedy for the lovesickness was free love.

슌스이닌조본(春水人情本)과 조루리(浄瑠璃) ― 『그 노래, 사랑의 무라사키(其小唄恋情紫)』를 중심으로 ―

최태화 한국일본학회 2014 日本學報 Vol.100 No.-

Tamenaga Syunsui published ninjobon (a narrative with romantic themes called a love story). The narrative was inspired by the contents of sinnai joruri, a popular song in the bunsei period (1804-1829) during the early ninjobon era. However, the reader gradually became familiar with the method of Syunsui as it was imitated by other authors, thereby losing its appeal. Syunsui’s writing style was hugely successful in describing the fashion at the time and the publication ‘Ryukoutai’ was used positively to address the issue. “Sono Kouta Koino Murasaki-The short ballad, purple of the love” is a novel suggesting “Sono Kouta Yumeno Yosiwara-The short ballad, Yoshiwara of the dream” of the Kiyomoto joruri as implied by the title and the name of the character. However, the novel does not achieve the same influence as the above-mentioned song from which it borrowed the name of the character, which is not used in the same quantity and frequency of the lyrics in its contents. Therefore, the possibility that Syunsui borrowed the title of joruri should only be considered as a last resort. This technique of using levels was responsible for bringing the name of ‘oyosi’ of “Umegoyomi” from ‘yosibe’ of “the Chokichi Korosi” of Joruri, and for Syunsui’s intention of maintaining ‘Ryukoutai’ beyond the bunsei period. 다메나가 슌스이(為永春水)는 초기닌조본(人情本)의 시대였던 분세이키(文政期, 1804-1829)에 당시에 유행하던 신나이부시(新内節)의 내용에서 모티브를 얻은 닌조본을 간행하여 성공을 거두고 있었다. 그러나 여타의 작가들도 같은 방법을 사용함에 따라, 점차로 독자들은 이러한 방식에 익숙해졌고, 흥미를 잃어가고 있었다. 이에 슌스이는 ‘유행체’로 불리는 당시의 유행을 적극적으로 묘사하는 문체로 커다란 성공을 거두었다. 『그 노래, 사랑의 무라사키(其小唄恋情紫)』는 제목과 등장인물의 이름에서 기요모토부시(清元節)의 『그 노래, 꿈의 요시와라(其小唄夢廓)』를 떠올리게 하는 작품이나, 그 구성과 내용에 있어서도, 사용된 음곡의 가사의 양과 그 빈도에 있어서도, 등장인물의 이름을 차용한 것 이상의 영향은 받지 않았음을 알 수 있었다. 따라서 음곡의 제목을 차용해온 것은 어디까지나 슈코(趣向)의 하나로 간주해야 할 것이다. 이는 『우메고요미』에서 오요시의 이름을 우메노 요시베에서 가져온 것과 같은 수준의 기법으로, 슌스이의 목적은 과거 분세이키로의 회귀가 아니라 ‘유행체’의 유지에 있었다.

『슌쇼쿠 우메고요미(春色梅曆)』와 고요미(曆) -연일(綠日)의 관계를 중심으로-

최태화 고려대학교 일본학연구센터 2012 일본연구 Vol.18 No.-

近世後期の人情本作者の代表として、まず名前が擧がるのは、爲永春水であろう。春水は 『春色梅曆』シリ□ズや 『春告鳥』などの作品で成功を收め、人情本の元祖を名乘るほどの 名聲を得た。このため、春水人情本の三角關係から應がる濃密な戀愛場面の描寫や、女性の衣裝に對する細かい描寫などの特徵が、そのまま人情本全般の特徵として認識されてきた。しかし、場面の描寫に集中し、時には場面と場面の時間順が逆轉したりする、いわゆる 春水流の構成のため、春水の構成力が疑問しされてきたのも事實である。ところで 『春色梅曆』の時間的背景を分析してみると、各場面ごとに綠日を與えており、讀者の內容展開を把 握しやすくしていることがわかる。また、神佛の力によって事件が解決されるのは、近世戰作の常であるが、春水は綠日を使うことによって、それなりの蓋然性を確保し讀者を納得させている。そして春水は、その各綠日の樣子や風物詩をつぶさに描寫しておくことによって 季節感をあらわし、情緖的な雰圖氣を漂わせることで讀者が主人公の戀愛に沒入しやすくもしている。したがって、春水の綠日を時間的背景に使う工夫も、春水人情本が大きな人氣を納めるに重要な要因の一つであると考えられる。

닌조본(人情本)의 「닌조(人情)」론

최태화 단국대학교 일본연구소 2017 일본학연구 Vol.51 No.-

다메나가 슌스이는 인정이란 타인의 감정을 이해하는 것이라고 정의하였다. 그런데 슌스이의 인정론은 외설적 내용에 대한 치장에 불과하다는 시각이 주류를 이뤄왔다. 슌스이의 인정을 규정하는 것은 닌조본의 성격을 이해하기 위해 매우 중요하다. 슌스이는 자신의 사상을 주장하기 위해 소설을 쓰지 않았다. 슌스이는 철저하게 독자 지향적이었던 프로페셔널 작가였다. 슌스이가 개척한 독자층은 독서에는 익숙하지 않으나 사랑이야기에 관심이 많은 젊은 여성층이었다. 이런 층위를 위한 소설에 있어서 독자에게 메시지를 주고자 할 때는 연애장면과 같은 ‘당의’의 코팅이 필요하다. 또한 그 메시지도 “소탈하고 소박한” 처세교훈이었다. 외려 교훈이 외설성을 코팅하기 위한 것이라는 반론은 실질적으로 소설 속에 사용되는 교훈의 양이 외설성을 감추기에는 부적절하게 많기 때문에 기각된다. 슌스이에게 있어서 연애장면의 자유로운 묘사가 중요했으나, 독자에게 전달하고자 하는 교훈도 중요했다. 슌스이는 모토오리 노리나가의 철학과 같은 정도의 레벨에서의 결론은 아니나, 타인의 감정을 이해하는 행위에 사랑도 포함된다고 생각했다. 결과적으로 슌스이의 인정론은 여성의 사랑을 긍정하였던 것이다. 이는 슌스이닌조본이 현대의 대중문학과 대중문화콘텐츠의 보편적 특징을 선제적으로 가질 수 있게 한 배경이기도 하였다. 그러나 당시는 신주(心中)의 묘사를 ‘음란’하다고 평가하던 시대였다. 슌스이닌조본은 간행 당시부터도 당시의 기준으로 ‘외설’적이라고 비판받는 게 당연하였다. 이러한 비판은 근대에 들어서도 마찬가지였으나, 쓰보우치 쇼요(坪内逍遥)는 근대의 소설론을 주장하면서 슌스이의 닌조본을 높이 평가한다. 이는 슌스이의 인정론의 보편성과 가치를 인정하였기 때문이다. Tamenaga Syunsui defined that humanity is to understand the feelings of others. However, for the spring water humanity theory, mainstream point of view, was that only a camouflage to obscene contents. Defining Tamenaga’s humanity theory is important for understanding the character of Ninjobon. Syunsui does not write a novel to insist on his ideology. Syunsui was a professional writer who was thoroughly readers oriented. Tanaka’s pioneering readers are young women who are unfamiliar with reading but are interested in love stories. In a novel intended for women, when trying to convey some message to readers, a kind of sugar coating like a romance scene was necessary. The message also “a simple and informal” life lesson. Conversely, the objection that the lesson coats the obscenity of the novel is rejected by the huge amount of lessons learned. For Shunsui, the free portrayal of romantic scenes was important, but the lessons to convey to readers were also important. Syunsui did not conclude based on a precise theory like Motoori Norinaga. but thought that love was included in the act of understanding the feelings of others. In short, Syunsui affirmed women’s love. This will cause Syunsui Ninjobon to have universal characteristics of contemporary popular literature preemptively. However, at that time it was an era when evaluating the double suicide story as being horny. in view of the standard at the time, It was natural that Syunsui ninjobon depicting love affair was criticized as being obscene. Although such evaluation continued even in modern times, Tsubouchi syouyo highly appreciated Syunsui ninjobon while insisting on the novel theory. This was also the result of acknowledging the universality and value of Syunsui’s theory of humanity.

일본근세 출판문화와 소설의 진화-슌스이류(春水流)의 ‘단도리(段取)’와 ‘누키가키(抜書)’-

최태화 한국일본학회 2013 日本學報 Vol.97 No.-

日本近世小説の通称である戯作は、次から次へと本を貸す貸本屋の「継本」のシステムの中で消費されていた。人情本も例外ではなかったので、為永春水は「文続」のために様々な工夫を凝らしていた。春水が「段取」と呼んでいる、各登場人物の物語を順に並べるのではなく、少なくとも一つの編で一回以上は違う人物を中心とした「段」に交代する手法をとったのも、そのためであった。この「段取」は、構成の一貫性を妨げてはいるが、春水にとっては、小説構成の一貫性よりも、読者の興味を作品の最後まで引き付けておけるか否かが重要であったので、構成の不統一を甘んじて受け入れ、春水流の「段取」を貫き通した。また、当時の戯作は現代のテレビドラマや映画のように、人気作は続編の刊行は当然であった。春水人情本の刊行当時を描く「流行体」を使っていたので他の戯作のように一代記的な構成をとる続編は難しかった。その代わりに春水は、本編に描かれている「段」の前後の話を続編として綴る「抜書」という手法をとった。「抜書」で綴る続編は、いくら冊数が増えても、作中時間が本編から大きく前後しない場面を描くことが可能になり、同時代の流行を描こうとする春水にとっては、打って付けの方法であった。この「抜書」という方法が最初に使われていたのが 『春色梅暦』 とその続編の 『春色辰巳園』 である。この二つの作品を考察することで、春水人情本の構成は、他の作者の人情本のより一貫性のないものではなく、当時の出版と本の流通システムに適応して進化した結果であることを述べる。

일본근세소설에 보이는 점복(占卜)과 복선 -슌스이닌조본에 보이는 예지몽, 점, 쓰지우라(辻占)를 중심으로-

崔泰和 한국일본학회 2014 한국일본학회 학술대회 Vol.2014 No.02