모윤숙의 서사시에 나타난 비역사성과 내면지향성 연구* ―「논개」와 「황룡사 구층탑」을 중심으로 (A Study of Anti-historicity and Interiority Appeared in Epic Poems of Yoonsook Mo ―Around Nongae and The Nine-Story Pagoda at Hwangyong Temple)

서지정보

· 발행기관 : 국제언어문학회
· 수록지 정보 : 국제언어문학 / 23호 / 261 ~ 288페이지
· 저자명 : 하종기, 이승하

초록

1970년대에는 다수의 서사시가 창작되었는데 이 시기의 서사시들은 참여시적, 민중시적 성격을 갖는다. 개인사의 문제가 사회나 국가, 민족의 문제로 확대되는 현상이 대부분의 서사시에 나타나는 상황에서 모윤숙은 「논개」와 「황룡사 구층탑」을 통해 철저하게 비역사적인 태도로 역사적 공간에 자리한 개인의 내면성을 드러내는 데 치중했다.
모윤숙의 비역사적인 시각은 단순히 기술된 역사의 ‘뒤틀기’에만 머물지 않고 관습이나 생활사․사회사․문화사까지도 뒤엎는 급진적인 역사 인식 태도로 나타난다. 「논개」에선 국가주의와 성리학적 이념의 강화 모델로 설정된 ‘논개’의 ‘객관성’을 거부하고 미시사적인 접근 방법을 통해 논개의 삶에 드러나지 않는 부분인 ‘참된 사랑’과 인간 본성을 지키려는 ‘자존’, 즉 자기정체성의 의미를 도출해냈다. 그리고 「황룡사 구층탑」에서는 선덕과 아비지의 사랑을 통해 선덕이 내면적 갈등을 해소하고 소극적 여성상에서 주체적 여성상으로 거듭나는 과정을 보여주었다.

영어초록

The 1970s produced many epic poems. Most of such epic poems tended to criticize structural inconsistency of the society and had traits of participating poetry or public poetry which tended to hold volition of people to counter such discrepancy. When most of such epic poems tended to show a phenomenon of expanding a personal matter to issues of the society, the nation or the people, she focused her efforts on interiority of individuals situated in historical space based on the unhistorical perspective.
Unhistorical perspective of Yoonsook Mo did not simply hang about in distorting described history; rather it showed more radical historical perception of overthrowing custom, life history, social history and cultural history. She found contingency in the inevitability of existing described history and overcame the stereotype of historical materials based on aesthetical imagination. To her, history was not an authority; rather it was recognized as a source of imagination housing numerous contingencies. Such recognition shows the maximized aesthetic imagination and was the major motive power of her epic poems.
What Mo intended in her epic poem “Nongae” was a desire of talking with “the inside of Nongae regardless of social status.” She refused the ‘objectivity’ of ‘Nongae’ set up as a model designed to intensify statism and Neo-Confucian ideology, and deduced ‘true love’ which was not revealed in her life and ‘self-esteem’ to keep her human nature, that is, the meaning of her self identity based on microscopical approach.
In her “The Nine-Story Pagoda at Hwangyong Temple,” Mo showed a series of processes in which Seondeok resolved her inner conflict and was reborn as an independent woman from a passive image of women through the love between Seondeok and Aviji. As the first queen of the Silla dynasty, Seondeok was suffered from rational solitude and exerted rather passive influence politically owing to her feeling of burden of politics and social status. However, through her inner love with Aviji, a Baekje constructor, Seondeok overcame such inner sufferings and passive attitude and established her as a dignified and autonomous queen.
One of major characteristics of modern epic poems is that poets tried to interpret historical facts in their own ways. In this context, most poets tend to assume macroscopical attitudes orienting towards various issues of nation, people, or even mankind, not confined by their own inner world. On the other hand, Mo broke from the convention of such macroscopical attitudes and showed microscopical attitude with which the personal internality was not terminated at outer-directed form, but tried to secure individual value and identity.
This was a meaningful event in terms of diversity in the ‘Korean-style epic poems’. The existence of epic poems which showed critical and people-oriented attitudes as well as non-historical inner-oriented characteristics in the 1970s is a feat of boasting affluence of the modern epic poems of Korea.

참고자료

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