「귀의 성」에 나타난 질투와 시기의 의미

김종욱(Kim Jong-Uck) 한국문학회 2007 韓國文學論叢 Vol.45 No.-

  Leeinjik"s 〈Gui-ui-sung〉 has gotten contradictory appreciation. Kim-dongin evaluates 〈Gui-ui-sung〉 by change of base of modern novel, but Imhwa evaluated to popular novel that do not depart in subject of old narrative. By the way, 〈Gui-ui-sung〉 shows other countenance with wife-concubine discord which appeared in domestic novel. It Is changed meaning newly that “wife” who represent value of community degraded by immoral existence, and “concubine” by pure existence. It Make target of judgment of a crime wife"s jealousy instead of concubine"s envy.<BR>  If speak that 〈Gui-ui-sung〉 is new, because it overthrew narration tradition the past domestic novel. Instead of concubine, lawful wife meets death as person that broke patriarch moral, and dangerous desire of lower classes is prohibited. It is work which shake spiritual topographical chart of Gaehwa period. At the same time, if speak that is familiar with old narrative, because it is approaching by moral dichotomy and by way of patriarch moral principle. Social minority, especially woman"s desire is prohibited thoroughly, and world order gets back the androcentrism or patriarchal system.

개화기 소설의 구술성과 기술성 - 이인직의「은세계」를 중심으로 : 개화기 소설의 구술성과 기술성

김종욱(Kim Jong-Uck) 한국문학회 2006 韓國文學論叢 Vol.42 No.-

The 1900s is a period of transition from oral culture to literary culture. Although there is literature that is written by Hangul or Chinese character at late Chosun-dynasty, orality occupies dominant position than literacy. Pansori-novel that record Pansori presented by performer(Gwangdae) is based on development of printing technology. This circumstance is continued until time that Eunsegye(silver world) is published. This work is presented first in Wongaksa on November 15, 1906, and is published on November 20, 1906. This informs that Sinsosul(new roman) Eunsegye is foundation of Sinyeongug(new play) Eunsegye. Therefore, orality that take charge of important role in traditional performance exerts influence on diction and composition of work. First, logical inconsistency is discovered serverl times portraying character in Eunsegye. Two important Character, Choebyeongdo or Kimjeongsu, shows confused image in consciousness as well as appearance. Because stability and systemicity are important on novel, this disorganization is exceptional phenomenon. Also, description that narrator seems to have a conversation with audiences often appears. Narrator who appeared by objective chronicler undergoes a change by performer who talk with audience gradually. Finally, this work is created by text for acting and not text to read.

망각의 공동체와 기억의 소설적 의미-황순원의 〈나무들 비탈에 서다〉 연구-

김종욱(Kim Jong-uck) 한국현대문학회 2002 한국현대문학연구 Vol.0 No.12

이무영의 「삼년」에 나타난 죽음의 양상과 의미

김종욱(Kim Jong-uck) 우리말글학회 2010 우리말 글 Vol.50 No.-

Lee, Muyeong participated in pro-Japanese literary efforts from the early 1940s. Because of the fact, he wasted almost half a year to find an agency to publish his work Samnyeon(The three years). In the novel, 'Choi, Il' is an immoral character who represents communist. He uses other people as the means for realizing his idea. In that point, Choi Il's death seems as descriptive punishment for an immoral character. Unlike Choi Il, 'Han heungsu', who was pro-Japanese during the Japanese occupation, reflects his fault deeply. So he gets away from his fault by committing suicide and becomes the main agent who can take part in building a nation state. However, the author uses arbitrary criterion than consistent principle in judging ethics of two characters. This shows Lee, Muyeong's ideological aim and it also means that the author doesn't reflect on his pro-Japanese activities in the past.

구술문화와 저항담론으로서의 소문-이기영의 <고향>론

김종욱(Kim Jong-uck) 한국현대문학회 2004 한국현대문학연구 Vol.0 No.16

Lee, Gi-young is using rumor describe person or compose plot. First, rumor is used at process that An, Seung-hak becomes tenancy administrator. And it concentrates village people's interest as a birth secret of Kyung-ho was disclosed. Finally, the rumor appears in an end part of the work that farmers win the dispute between landowners and tenant farmers. Rumor appears often in this work that farmers did not escape from oral culture still.<br/> Elites to be accustomed to the written language regard oral culture as that is of an inferior sort in modern life. An, Seung-hak and Kim, Hui-jun are prescribing farmers' oral culture to the object of the control. By the way, subaltern farmers who escape elite's control criticize and satirical govening class through rumor. Obscenity is used by important method to expose moral hypocrisy of govening class and to discrown ruler's prestige. The spontaneous possibility that collapse usual suppression is appearing.

일제강점기 표현주의, 혹은 아나키즘적 프로미술론의 행방 - 심영섭 약전

김종욱 ( Kim¸ Jong-uck ) 심훈선생기념사업회 2023 심훈학보 Vol.1 No.0

1928년 12월에 결성된 미술단체 ‘녹향회’가 이듬해 5월에 개최한 제1회 녹향전은 많은 사람들의 관심을 끌었다. 특히 김주경과 함께 녹향회를 이끌었던 심영섭의 작품에 대해서 찬반양론이 뜨겁게 펼쳐졌다. 심영섭의 작품이 원근법을 따르지 않을 뿐만 아니라 그림 속에 시를 써 넣는 등 실험적인 형식으로 그려졌기 때문이다. 이에 대해 안석주와 임화는 비판적이었던 반면, 이태준은 호의적이었다. 이러한 상반된 태도는 미술작품을 객관적 세계의 ‘재현’으로 보는 사실주의적 예술관과 예술을 작가의 내면적 세계의 ‘표현’으로 보는 표현주의적 예술관의 충돌에서 기인한 것이었다. 제1회 녹향전이 종료된 후 심영섭은 자신의 예술관을 직접 피력한 「아세아주의미술론」을 발표했다. 그동안 많은 연구자들은 이 글을 동아시아의 연대라는 의미로 이해해 왔지만, 심영섭은 기계론적 서구문명(동아시아에서 서구적 근대화를 이룩한 일본을 포함)이 몰락할 것으로 바라보면서 동양에서 발전시켜 온 인간 중심의 문화로 되돌아갈 것을 주장한다. 녹향회의 이념으로 제시되었던 ‘초록고향’의 실제 의미이기도 한 이러한 아세아주의론은 정치적으로 아나키즘과 연결되어 있었다. 1930년대에 접어들면서 이러한 아나키즘과 표현주의 미술은 점차 위축되었고, 심영섭은 그림 창작을 그만두고 고향으로 돌아갔다. 김용준과 이태준 또한 실험 정신을 내세우기보다 전통으로 회귀한 듯한 태도를 취한다. 하지만, 그들이 회화적 전통으로 인정한 장승업의 작품에서 알 수 있듯이, 그들의 미학적 척도는 여전히 표현주의에 바탕을 두고 있었다. 이렇듯 표현주의라는 맥락에서 이태준을 바라본다면, 1930년대에 모더니스트들의 집단을 이끈 것이나 1945년 이후 문단에서의 인민전선에 가담한 것을 새롭게 이해할 수 있을 것이다. The first exhibition of the ‘Green Hometown Association’, an art group formed in December 1928, attracted the attention of many people. In particular, there were mixed opinions for and against the work of Sim Yeongseop, who led the group with Kim Ju-kyung. This was because his works do not follow the law of perspective and are drawn in an experimental form, such as writing poetry in the picture. Regarding this, Ahn Seok-ju and Lim Hwa were critical, while Lee Tae-jun was favorable. These conflicting attitudes originated from the clash between the realist view of art, which views art as a ‘representation’ of the objective world, and the expressionist view of art, which views art as an ‘expression’ of the artist’s inner world. After the 1st exhibition, Sim Yeong-seop published “Art Theory of Asianism”, in which he directly expressed his view of art. In this article, he argued for a return to human-centered culture developed in the East, escaping from mechanistic Western civilization (including Japan, which achieved western modernization in East Asia). This argument, which contains the actual meaning of ‘green hometown’, can be seen as politically connected to anarchism. Entering the 1930s, such anarchism and expressionist art gradually withered away, and Sim Young-seop stopped creating paintings and returned to his hometown. Kim Yong-jun and Lee Tae-jun also took an attitude as if they had returned to tradition rather than insisting on an experimental spirit. However, as can be seen from Jang Seung-eop’s works, which they recognized as a pictorial tradition, their aesthetic standards were still based on expressionism. If we look at Lee Tae-jun in the context of expressionism, we will be able to understand anew how he led a group of modernists in the 1930s or joined the People’s Front in the literary world after 1945.

〈만세전〉의 시간-공간 구조 연구

김종욱(Kim Jong-Uck) 한국현대문학회 1999 한국현대문학연구 Vol.7 No.-

언어의 제국으로부터의 귀환 -염상섭의 <해방의 아들>-

김종욱 ( Jong Uck Kim ) 한국문학연구학회 2008 현대문학의 연구 Vol.0 No.35

이무영의 〈농민〉연작에 나타난 소문의 의미

김종욱(Jong Uck Kim) 한국현대소설학회 2005 현대소설연구 Vol.- No.26

역사의 망각과 민족의 상상 -안수길의 「북간도」 연구

김종욱 ( Jong Uck Kim ) 국제어문학회 2004 국제어문 Vol.30 No.-