광복 직후 중국 동북 조선인사회의 동향-최국철의 장편소설 『광복의 후예들』 분석을 중심으로-

박춘란 ( 朴春蘭 ) 인하대학교 한국학연구소 2019 한국학연구 Vol.0 No.54

日帝敗亡後, 中國東北地區成為重建的國際秩序的中心以及共產黨和國民黨的角逐場。再加上蘇軍的暴行和中國人露骨的報復, 移居在中國的朝鮮人感到生存受到威脅的同時, 也開始面臨著歸國還是定居的問題。不論身份, 有80多萬人選擇歸還朝鮮半島, 除了祖國、民族和故鄉意識之外, 這一事實也與由國民黨的韓僑歸國政策、東北的複雜形勢、以及與共產黨理念背離的身份和傾向等因素造成的令人憂慮的生存和意識形態問題息息相關。另一方面, 當時居住在東北的過半數朝鮮人選擇定居中國的理由也是基於為了生活的現實選擇。比起故鄉這種精神上的存在, 『光復的後裔』中選擇定居中國的朝鮮人更願意在提供生存基礎的土地和家園所在之處建設第二故鄉。出生並成長於中國, 經受着民族和國民之間主體性嚴重混亂的第二代朝鮮人, 在感到和母國之間距離的同時, 卻深深地愛上了燦爛的中國大地, 想要守住祖先開拓的土地。小說中未曾反映, 但當時北韓的影響力、韓半島內部左右兩派的衝突和分裂, 以及東北當地指導者的影響等都對朝鮮人的選擇施加了影響。 選擇定居下來的中國東北地區的朝鮮人被共產黨土改工作隊所招攬, 開始產生了階級意識, 他們在工作隊的動員下, 全部清算了鄉村的地主階層並分配了他們的土地, 成為了土地新的主人。在此過程中, 朝鮮人雖然經歷了階級問題意識的轉換以及和傳統觀念之間的碰撞矛盾, 但是通過再建社會身份, 他們完全擺脫了封建階級意識並接受了共產黨的階級觀念。 保有土地這一生存根基, 伴隨身份和地位上升產生了主人公意識的朝鮮人, 為了堅守祖先開拓的土地並在中國大地上落地生根, 通過參加中國國內解放戰爭和在中華人民共和國的建國中貢獻力量, 獲得了成為這片土地堂堂正正主人的權利。

美國監理敎 朝鮮宣敎部의 宗敎敎育運動 (1885-1930年)

李春蘭 이화여자대학교 한국문화연구원 1974 韓國文化硏究院 論叢 Vol.23 No.-

The beginning of educational work in Korea was made by Reverend Appenzeller, the Methodist missionary in Seoul, who in 1885 was asked to teach English to two Korean medical helpers at the Kwang Hae Won, Government Hospital in Seoul. From this beginning the educational activities of the Methodist Mission underwent several stages of development during the period 1885-1930. Nearly a half century of educational work by the Mission, both northern and southern branches of American Methodists, is characterized by five distinct stages of development: (1) the beginning period, 1885-1895; (2) the open door period for educational activities of the Mission, 1896-1905; (3) the revival years, 1906-1910; (4) the period of advance through difficulties, 1911-1919; (5) the period of modernization and autonomy, 1920-1930. When considering educational missionary policy today, whether in regard to primary schools, middle schools or colleges, it becomes evident that there are distinct and widely diverging objectives which result in correspondingly distinct types of work. According to one view the object of educational work is primarily to gain access to non-Christians, and by placing them under the influence of Christian teachers in a "Christian atmosphere," to lead them sympathetically to consider the claims of the Gospel, and thus to win them into "the Kindom." Another view regards it as the responsibility of the foreign mission to make a definite educational contribution to the people among whom it labours, independent of result as far as converts are concerned. A third view has as its main objective the more definite aim of training up children from Christian homes and specially of preparing them for positions of leadership within the church, so that the church may become a self-governing and self-propagating body. This last objective of the mission education has characterized much of the educational work in Korea, especially that connected with the Presbyterian Church. This was clearly shown in their attitude toward the government regulations on private schools in Korea. According to the Government Regulations for Private schools, 1915, teaching of religion or holding of religious services in private schools would not be permitted. The Methodist Mission, on the whole, decided to conform to these regulations whereas the Presbyterian Mission was against schools could not be served by conforming to the regulations. The Methodist Mission put great emphasis on primary school education program. The Christian constituency, however, has become so large in many centers that the task of educating the children from Christian homes alone is a serious one and has over-taxed of mission work which made primary school education a self-supporting program under the care of Korean local churches. In middle school and college level, the Mission worked out comity work among the various missions in Korea. This cooperative education resulted in several union mission schools in Korea. However, the cooperative work with the Presbyterian mission was not worked out satisfactorily and the Methodist Mission withdrew from the union schools. Religious education in Korea took many forms, and was greatly advanced in the period of 1911-1919. aside from the Bible study courses in various mission schools, religious education took the form of Sunday schools, Bible classes, Home study courses, Bible Women's Training schools, Person Memorial Bible Training school, and seminary. For several reasons the missionaries were seriously handicapped in their attempts to make adequate provision for the schools. The most important of these handicaps were the absence of trained teachers, the lack of modern text-books, and, especially in the case of the Northern Methodists, deficient funds for carrying out this educational program. With so many efforts being put forth to meet government requirements, the schools appeared to be on the verge of losing much of their distinctly Christian emphasis. The teaching of religious subjects in the Mission schools was notably weak. The educational policy of the Methodists, though not definitely stated, may nevertheless be clearly discerned. Theoretically, they aimed at the highest standards, but practically they realized the limitations of their resources. Hence it was thought best to concentrate upon the development of a few schools of outstanding quality and character and to maintain them at a high level of proficiency. Aside from these, a few dollars were given here and there throughout Methodist territory to assist the little schools struggling for an existence in areas where no other schools were to be found. Although the missionaries did not approve of the low standards of these schools, the money spent on them was considered well invested, for they at least opened the doors of educational opportunity to thousands of children. A tendency toward making education more practical was noticeable in increasing emphasis placed upon vocational training. In Songdo, the textile department of the Songdo Higher Common School, after many years of service to the school and to a large number of students, was ordered closed in 1928. its assets were sold to pay for the large indebtedness which had been contracted. Nevertheless, we find that a dairy was operated and an orchard cared for in connection with this institution. In other schools, training in carpentry, agriculture, animal husbandry and similar lines was provided in a practical manner. The size and importance of educational work connected with the Christian movement in Korea may be estimated from the fact that in 1930 out of a total of less than 3,000 schools of all grades in the country, over 600 were conducted by missions or churches.

명작품의 조형성 연구

오춘란 새한철학회 1999 哲學論叢 Vol.17 No.-

인간은 철학이나 과학으로 정신과 물질의 세계에 체계를 세우고자 노력해왔던 그 이상으로 예술로서 시간과 공간에 대한 자기세계의 통일을 구하고자 노력해왔다. 이러한 역사적인 사실에서 공간 예술의 본질을 규명하는 근거로 삼고자 했다. 현대 물리학이 밝히는 우주와 자연의 통일성과 간결성 그리고 역동성이라는 본질적 자연성이 인체의 생리와 심리에 관통되어 인간의 조형 행위에 미치고 있음을 圓形이라는 시각적 표현에서 확인 할 수 있다. 이로서 우주와 자연의 존재들 사이의 관계들에서 조형 질서의 필연성을 밝힐 수 있는 것이다. 개적 인간에게서 일어나는 감성작용에서부터 미적 예술적 보편적 가치로 승화하여 미술의 역사가 이루어지고 있다는 것은 이러한 우주의 전일성과 공명 때문이라는 것을 알 수 있다. 이러한 연유에서 르네상스 고전주의의 회화 예술의 정상에 있는 예술가들의 작품에서 그 전형의 기준을 찾아서 현대 작가의 작품에 이르기까지 조형의 기초가 되고 있음을 시각적으로 확인할 수 있는 것이다. 시각적 분석의 결과는 [plate1~27]에서 보여지는 것처럼 모든 시각대상인 형태들은 사각형의 평면에서는 수평선, 수직선, 대각선, 원형의 線上으로 귀착한다는 것을 알 수 있다. 물론 이 기하학적인 선들은 결국은 기준인 것이지 그 선이 절대가 되어서는 안되며 이 기준에서 어떻게 비약 할 것인가는 그 작가의 역량인 것이다. 이상으로서 알 수 있는 것은 첫째, 예술은 별개의 인간활동으로 끝이는 것이 아니라 인간의 본성의 하나이며 곧 자연이다. 둘째, 조형예술의 본질은 모든 시각요소들의 통일과 간결한 구조, 역동적인 생명감의 표현에 있다. 셋째, 좋은 상태에 있는 회화 예술은 한 인간의 내면에서부터 시작되어 촉지할 수 있는 물질의 매체를 통해서 실제 하는 새로운 예술적 공간으로 탄생되어 모든 인간이 공유할 수 있게 한다. 이때 작가 개개인의 변화 무쌍한 특성은 우주 전체의 통일성이 존재하는 것 같이 이러한 기하학적 패턴이 시각적 공간인 예술세계를 통일시켜주는 원리원칙이 되고 있음을 알 수 있다. 넷째, 조형예술의 본질을 확인한다는 것은 예술을 창조하거나 예술을 감상하는데도 그 기준을 제공해 줌으로서 상호 상통하는 조형언어로서의 본분을 다 할 수 있게 한다는 결론에 도달하게 되는 것이다. 이러한 결론에서 기대할 수 있는 것은 첫째, 현대 조형예술이 아무리 비 자연적이라 할지라도 본질적 원천은 바로 그 원초적인 자연에 있으므로 철학적인 사고가 필수적이라는 것이다. 둘째, 오늘의 작가들이 이룩한 미술의 양상이 예술의 전부가 아니고 어느 방향의 일부분임을 거시적 안목으로 판단해야 하는 것이다. 셋째로, 동서양이 하나로 지향해 가는 즈음에 우리는 동양의 자연철학과 동시에 서양의 자연관을 동시에 수렴해야 한다는 것이다. 이것은 새로운 예술의 방향을 모색하는 방법의 하나라고 생각된다 결국은 진정한 예술가는 과학자와 똑같이 자연의 또 다른 면모를 습득하고 활용할 수 있는 입장이 되어야 하고 그러한 자연관에서 작가의 예술관이 정립될 수 있을 것이고 따라서 선구적인 작품이 창조될 수 있을 것이라고 믿는다. Human beings have tried to establish physical and mental worlds by way of philosophy and science. But they have also endeavored to seek the unity of their own worlds in time and space by resorting to art. Based on this historical fact, I intend to reveal the essence of spatial art. The unified simplicity and dynamics of the universe and nature are well expressed in human physiology and psychology, which again turns alive in the formative act of humans. That is a visual expression called a circle. We can see, therefore, the inevitable formative structure between the universe and beings in nature. The history of fine arts, starting from an individual's emotional work and blooming into tlie artistic and universal values, accounts for the sympathy with the universe. In this respect, we can identify the basics of the formative art in contemporary works by finding the criterion in the masterpieces of Renaissance classicism. Visual analysis shows, as in [plate 1-27], that all the visual objects end in lines(horizontal, vertical, diagonal, and circular) in the plane of a square. Of course, these geometrical lines are merely advisable standards, not absolute ones. The talent of an artist knows what to do with the lines and determines a masterpiece after all. Here, some conclusions can be made. First, art is not simply a person's own activity, but coincides with human nature. Second, the essence of formative art lies in uniting all visual elements, achieving a simple structure, and expressing the sense of dynamic life. Third, well-made fine arts begin from one's inner world, go through a medium of objects, and result in a new artistic space which can be shared among all humankind. Fourth, to identify the nature of formative art is to provide the criterion for art; creation or appreciation by staying faithful to the language of formativeness. In sum, philosophical thinking is quite necessary as the source of modern formative art seeming unnatural is nature. Then, we can rightly regard the artistic aspects of today's artists as part of a certain, direction. In this age when the extremes most together, we might have to take both the Oriental philosophy of nature and the Western viewpoint of nature. This will be one of the ways to seek the direction of a new art. True artists, as scientists do, see another look of nature and make use of it in order to create some pioneering masterpieces.

창간사

이춘란 이화여자대학교 사학회 1959 梨大史苑 Vol.1 No.-

N/A

조형의 새로운 이해

오춘란 조형연구소 동아대학교 부설 2003 조형연구 Vol.- No.9

중국고전문학교수를 통한 인문교육

김춘란(Kim Chunlan) 길림성민족사무위원회 2015 중국조선어문 Vol.2015 No.4

중국 노인복지 현황과 향후 발전과제

고춘란(Ko, Chun-Ran) 한림대학교 고령사회연구소 2014 한림고령사회연구 Vol.2 No.1

고령화는 세계적 추세이다. 그러나 중국의 고령화는 다른 나라처럼 자연적으로 고령화가 이루어 진 것이 아니라 1980년대 부터 시작한 1가족 1자녀 인구정책으로 이루어 졌으며 부유하기 전에 준비와 대응이 없이 고령화 사회에 진입하게 되었다. 본 연구는 중국의 고령화 특징을 살펴보고 현재 시행하고 있는 노인 복지정책 중의 소득보장 즉 연금제도 발달과정과 향후 과제를 논의한다. 그리고 향후 중국에서 주요 이슈가 될 수 있는 노인장기요양 문제를 한국과 일본의 노인장기요양보험제 도 경험을 바탕으로 중국에서의 제도 도입의 필요성과 연구 과제를 제시한다. Population aging is global phenomenon. However, unlike other countries, population aging in china resulted from the artificial population policy which enforced 1 child in 1 family. In addition, unlike other industrialized countries, China entered into aging society without economic abundance. The purpose of the study is to examine the situation of the Chinese welfare system for elderly and to discuss the challenges, especially in its pension policy. This work also discusses the necessity of adapting the insurance for elderly care in China based on the experiences of Korean long term care insurance systems.

중국 사회정책 발달과정에 관한 연구

高春蘭(Chun lan Gao) 사회복지정책실천회 2016 사회복지정책과 실천 Vol.2 No.2

본 연구는 중국 사회정책 발달과정을 경제체제개혁과 사회변화에 따라 계획경제시대, 전환기, 새로운 시대의 사회정책으로 구분하여 분석하였다. 각 단계에 따른 분석 내용으로는 핵심 사회정책이라 할 수 있는 사회(노동)보험제도, 취업제도, 공공부조, 주택제도 등이다. 계획경제 시대에 국가는 사회복지 제공의 유일한 주체였으며, 사회정책은 경제정책에 종속되었고 국가 재분배 제도의 일부분이었다. 비록 국가가 독자적으로 사회복지 자원을 배분하지만 복지혜택이 평등하게 분배된 것이 아니라 도시의 “단위인” 신분으로서 자격이 주어졌으며 이러한 신분은 도시 호적과 국가에서 분배한 일자리와 관련되었다. 경제체제 개혁과 더불어 사회정책은 전환기에 들어섰다. 전환기의 사회정책은 경제개혁과정에서 야기된 문제를 해결하는 도구이자 사회 안정을 유지하는 장치이다. 이 시기 중국 정부는 국유기업개혁 수요에 따라 기업 혹은 단위와 분리된 사회보장체계를 수립하였으며 사회복지의 사회화를 추진하여 시장의 역할을 강조하였다. 2003년부터 정부는 인간을 근본으로 하는 조화로운 사회건설 목표를 제시하면서 일련의 민생 관련정책을 시행하였다. 이로써 중국의 사회정책은 새로운 시대에 들어서게 되었다. 중국의 사회정책의 이러한 변화는 커다란 역사적 성과라 할 수 있지만 사회정책의 철학적 기초는 여전히 도덕적 배려의 성격에 머물러 있고 시민권적 보장으로 간주되지 않고 있다. 사회정책의 내용도 현금이나 현물지급이 주룰 이루고 있으며 사회서비스는 간과되고 있다. 일부 학자들은 멀지 않은 미래에 중국은 사회정책의 시대로 들어서게 될 것이라고 주장한다. 그러나 과학적이고 합리적이며 지속가능한 사회장책체계 구축은 아직도 여러 정책주체의 노력에 의해 보완되어야 한다. This paper is based on the economic system reform and social transformation, which divided the process of social policy development in China into three stages: the social policy in the planned economy era, the social policy in the transition period and the social policy in the new era. All stages have analyzed social (labor) insurance, employment system, social assistance, housing security and other core contents and their characteristics. In the era of planned economy, the country is the sole subject of social welfare. Economic policy and social policy were highly overlapping. Social policies depended on economic policies, and it was part of the national redistribution system. The country was trying to include everyone in the social welfare system, but not everyone enjoys the equal benefits given by the government. The qualification for obtaining access to the benefits was based on “unit person” identity. This identity was closely related with the urban household and jobs distributed by the nation. With the reformation of the economic system, social policy has entered the transition period. During this period, the government has gradually established a social security system that was independent of enterprises and public institutions, to promote social welfare socialization process and strengthen the role of the market. Since year 2003, the government has put forward the goal of putting people first and building a harmonious society. China s social policies have entered a new period of development, and a series of social policies have been adopted to improve people s livelihood. Although social policies in China have made great progress, their philosophical foundations is still in the moral level of humanitarian concern, and have not risen to the political height of civil rights. The content of social policies is mainly about economic material assistance, and the social service supply has not risen to the status that it was supposed to be. Although some Chinese scholars believe that China will soon usher in the era of social policy, to establish a scientific and rational sustainable social policy system, and the process is still difficult and will have a long way to go.

명작품의 조형성 연구

오춘란 동아대학교 조형연구소 1999 조형연구 Vol.- No.5

Human beings have Tried to establish physical and mental worlds by way of philosophy and science. But they have also endeavored to seek the unity of their own worlds in time and space by resorting to art. Based on this historical fact, I intend to reveal the essence of spatial art. The unified simplicity and dynamics of the universe and nature are well expressed in human physiology, and psychology, which again tums alive in the formative at of humans. That is a visual expression called a circle. We can see, therefore, the inevitable formative structure between the universe and beings in nature. The history of fine arts, starting from an individual's emotional work and blooming into the artistic and universal values, accounts for the sympathy with the universe. In this respect, We can identify the basics of the formative art in contemporary works by finding the criterion in the masterpieces of Renaissance classicism. Visual analysis shows, an in [plate 1-27], that all the visual objects end in lines (horizontal, vertical, diagonal, and circular) in the plane of a square. Of course, these geometrical lines are merely advisable standards, not absolute ones. The talent of an artist knows what to do with the lines and determines a masterpiece after all. Here, some conclusions can be made. First, art is not simply a person's own activity, but coincides with human nature. Second, the essesce of formative art lies in uniting all visual elements, achieving a simple structure, and expressing the sense of dynamic life. Third, well-made fine arts begin from one's inner world, go through a medium of objects, and result in a new artistic space which can be shared among all humankind, Fourth, to identify the nature of formative art is to provide the criterion for art creation or appreciation by staying faithful to the language of formativeness. In sum, philosophical thinking is quite necessary as the source of modern formative art seeming unnatural is nature. Then, we can rightly the artistic aspects of today's artists as part of a certain direction. In this age when the extremes meet together, we might have to take both to oriental philosophy of nature and the western viewpoint of nature. This will be one of the ways to seek the direction of a new art. True artists, as scientists do, see another look of nature and make use of it in order to create some pioneering masterpieces.

문화대혁명과 조선족 농촌사회의 문학적 형상화 - 박선석의 <쓴웃음>을 중심으로 -

박춘란 한중인문학회 2015 한중인문학연구 Vol.46 No.-

<쓴 웃음>은 문화대혁명이 끝난 뒤 전반 중국 조선족 문단이 그 후유증에 시달리면서 ‘눈치 보기’ 창작을 할 때 큰 용기를 내어 창작한 장편소설로서 조선족 농민의 시각으로 바라본문화대혁명에 대한 기록이라는 면에서 의미가 크다. 박선석의 <쓴 웃음>에서 중앙에서 발동한 문혁은 조선족 농촌사회에서는 성질을 달리하여정치 적 투쟁이라기보다는 정치변동을 이용한 개인적인 욕망과 복수심으로 인한 지극히 사적인 것으로부터 출발한 갈등이 주선을 이루며 서로 물고 물리는 파벌 싸움으로 표현된다. 조선족사회에서의 ‘문화대혁명’을 해석함에 있어서 민족주의에 대한 탄압은 빼놓을 수 없는 것이지만 박선석의 <쓴 웃음>을 비롯한 조선족작가들의 작품 에서는 이와 관련된 민감한기억들은 거의 은폐되어 있다. 그럼에도 불구하고 박선석의 문혁서사를 정직하지 못하다고 평가절하 할 수 없는 것은 박선석은 중국에서 중국 사회의 일부분인 소수 민족으로 정착해 가면서 조 선족농민들이 직면해야 했던 제 문제를 체계적으로 발화될 수 없었던 소수자들의 목소리에 대한 복원을 통하 여 그 시기에는 뛰어 넘을 수 없었던 절대적인 기준과 가치관에 대해독자들로 하여금 부정하고 비판하고 질의 를 하게 만듦으로서 조선족농민들이 당시 마주해야했던 문제의식을 늦게나마 사회적 역사적 지평으로 확대 심 화시켰다고 본다. The full-length <the bitter smile> is firstly written when the entireKorean-Chinese literary circle suffered from the aftermath of the CultureRevolution and tried to read the political countenance. Therefore, it is fair tosay that <the bitter smile> is a significant record from a peasant’s perspectiveto observe the fluctuant periods of the Culture Revolution. In his work, Park sunseuk differentiated the impact of the CultureRevolution in Korea-Chinese rural society from other social groups. He depictedthe Culture Revolution which was initiated from the central authorities, notas a political revolution, but as a conflict that originated from a private fielddue to personal desire and a factional strife to criticize and denounce againsteach other. In terms of depicting the impact Culture Revolution in Korean-Chinesesociety, the suppression against nationalism is one important point that can’tbe forgotten. However, in almost all Korean-Chinese literary works such as<the bitter smile>, sensitive memories are carefully concealed byKorean-Chinese writers. Moreover, the reason why Park sunseuk’s works can’tbe underestimated is because he, as a member of the minorities in China,reproposed the issues that the Korean-Chinese had to be confronted with andrevitalized the underrepresented opinions that had been neglected for longperiods of time. Meanwhile, he provided unique opportunity for readers to holdindependent analysis to challenge absolute and internal values and standardsof the truth. Hence, he raised the necessity to solve the issues thatKorean-Chinese peasants had to encounter and eventually developed theseissues to a new social and historical level.