Professional Documents
Culture Documents
The Foundations and Values of Korean Culture - w8
The Foundations and Values of Korean Culture - w8
The Origin and Dynamics of K-Contents: Korean Language & Literature as a Cultural Gene of Korean Wave
교수자: 장문석
1차시 학습목표
2차시 동아시아의 경계를 넘은 이육사
3차시 이육사의 시 쓰기
4차시 현재를 바라보는 이육사의 삶의 태도
5차시 정리하기
한국 문화의 토대와 가치
The Foundations and Values of Korean Culture Guidebook
강의 개요
차시 차시명 학습내용
핵심 질문 알아보기
1 학습목표
핵심 단어 알아보기
이육사의 유년 시절
2 동아시아의 경계를 넘은 이육사 이육사의 횡단하는 삶
이옥비 여사 인터뷰
노정기
3 이육사의 시 쓰기 청포도
이옥비 여사 인터뷰
세 작가의 고향
4 현재를 바라보는 이육사의 삶의 태도
과거와 현재, 미래
5 정리하기 강의 내용 예고
1차시 |
횡단하고, 동아시아 문화와 서구문화를 횡단하고, 전통과 근대를 횡단하면서 한국 문화의 가치를 새롭게
창출하고자 하였던 문학자입니다. 8주차에서는 이육사의 이동과 문학적 실천을 중심으로 한국문화의 가
치로서 문화횡단적 근대성을 살펴보도록 하겠습니다. 핵심질문은 “한국현대문화의 가치로서 문화횡단적
근대성은 어떠한 주체가 어떻게 실천하였는가”입니다. 핵심단어는 동아시아, 서구, 전통, 근대, 문화횡단
적 근대성입니다. 이것으로 1차시를 마치도록 하겠습니다.
시인 이육사의 고향, 원촌 마을
질문: 어머님이신 안일양 여사님에 대해서는 어떻게 기억하고 계시는지 여쭤보고 싶습니다.
질문 : 사돈지가 뭡니까?
사돈지는 혼인선서예요. 조카나, 질녀나 결혼하고 그러면 사가에 첫 자녀들을 우리가 당신의 자녀
를 합하게 되었고 그런 게 영광스럽다, 그러고 새 살림 들어가고 우리는 몹시 기쁘다, 이런 식으로
쓰는 거예요, 언어를. 그러면 그쪽에서 또 사돈지가 오고 그렇죠.
시인 이육사의 어머니, 허길 여사
2차시 |
질문: 이육사 선생님 사진을 보면 양복을 입으시고 머리를 넘기시고, 멋쟁이셨을 것 같아요. 거기
에 대해서 들으신 게 있으셨는지요?
3차시 |
내 고장 七月은
청포도가 익어가는 시절.
하늘 밑 푸른 바다가 가슴을 열고
흰 돛단배가 곱게 밀려서 오면
내 그를 맞아 이 포도를 따 먹으면
두 손을 함뿍 적셔도 좋으련
이육사 형제의 우애
내 고장 칠 월은
청포도가 익어 가는 시절.
하늘 밑 부른 파다가 가슴을 열고
흰 돛 단 배가 곱게 밀려서 오면
인터뷰어: 감사합니다.
4차시 |
고향의 현실을 직시하고 그것에 근거하여 길을 걸어감으로써 고향을 새롭게 만들어가는 것입니다.
치리코프의 고향과 루쉰의 고향을 비교해보겠습니다. 두 소설 모두 20년 만에 고향에 돌아온 상황이
며, 돌아간 고향은 자신의 바람과 달랐습니다. 하지만 이에 대한 대응은 달랐습니다. 치리코프의 소
설은 과거와 현재를 단절하였습니다. 이 소설에서는 잃어버린 과거의 고향을 슬퍼하면서 아무 것도
하지 않았습니다. 루쉰의 고향은 실망스러운 고향의 현재를 응시하고, 그것에 근거하여 미래로 나아
가고자 하였습니다. 치리코프가 고향을 과거라는 시간에 고정하였다면, 루쉰은 고향을 미래로 개방
하였습니다. 또한 치리코프에게 고향은 특정한 공간만을 의미한다면, 루쉰에게 고향은 그가 걸어가
는 곳이 고향이 됩니다. 이육사는 1936년 루쉰의 고향을 한국어로 번역합니다. 1936년은 루쉰이 세
상을 떠난 해입니다. 이육사는 루쉰의 죽음을 추모하는 ‘루쉰 추도문’을 썼습니다. ‘루쉰 추도문’은
이육사가 루쉰을 만났던 때를 회상하는 것으로 시작합니다. 1930년대 초반 상하이에서 이육사는 루
쉰을 만났습니다. 루쉰을 만난 이육사는 자신이 한국의 청년이며, 꼭 한 번 뵙고 싶었다는 말을 건
넵니다. 루쉰은 따뜻하게 이육사를 맞아주고, 그의 손을 잡아주었습니다. ‘루쉰 추도문’은 루쉰과의
만남을 쓴 후, 루쉰 문학의 의미를 되새깁니다. 이육사는 루쉰의 문학에서 상대와의 투쟁을 피하지
않는 태도를 발견합니다. 또한 그는 루쉰의 문학에서 ‘과거’에 근거하면서도 미래를 바라보는 운동성
을 발견합니다. 이육사는 루쉰의 문학을 통해 과거와 현재, 자(自)와 타(他), 희망과 절망이 긴장 속
에 통일을 이룰 때, 앞으로 나아갈 수 있다고 생각하였습니다. 이러한 이육사의 다짐은 수필 계절의
오행에서 확인할 수 있습니다. 계절의 오행에서 이육사는 다음과 같이 말합니다.
까마득한 날에
하늘이 처음 열리고
어데 닭 우는 소리 들렷스랴.
모든 山脉들이
바다를 戀慕해 휘달릴 때도
참아 이곧을 犯하던 못하였으리라
끈임없는 光陰을
부지런한 季節이 픠어선 지고
큰 江물이 비로소 길을 열었다.
지금 눈 내리고
梅花香氣 홀로 아득하니
내 여기 가난한 노래의 씨를 뿌려라
다시 千古의 뒤에
白馬 타고 오는 超人이 있어
이 曠野에서 목 놓아 부르게 하리라
北쪽 「쓴도라」에도 찬 새벽은
눈속 깁히 꼿 맹아리가 옴작어려
제비떼 까마케 나라오길 기다리나니
마츰내 저버리지못할 約束이며!
한 바다 복판 용소슴 치는곧
바람결 따라 타오르는 꼿城에는
나븨처럼 醉하는 回想의 무리들아
오늘 내 여기서 너를 불러보노라
있지만, 그 결과는 언젠가 미래에 성취될 것이라고 생각합니다. 언젠가 바라는 미래가 왔을 때, 자
신은 그 미래 사람들의 기억을 통해 현실로 돌아올 수 있기를 바랍니다. 부정적인 현실에 그저 안타
까워하지 않고, 지금 자신이 할 수 있는 일을 실천하는 태도는 루쉰이 고향 에서 보여준 태도입니
다. 이육사 역시 현재에 근거하여 미래를 열어가고자 하였습니다. 미래라는 결과가 자신에게 주어지
지 않더라도 그는 자신이 할 수 있는 일을 하려고 하였습니다. 이육사는 해방이 되기 전인 1944년
세상을 떠나게 됩니다. 하지만 1946년 이육사의 동생 이원조와 이육사의 친구들은 이육사의 시집을
간행합니다. 그리고 이육사의 고향 낙동강가에는 이육사의 시비가 세워집니다. 그리고 지금 이육사
를 기억하는 문학관이 세워져 있습니다. 우리는 지금 이육사의 문학을 통해서 이육사를 기억합니다.
이육사가 꽃에서 썼던 것처럼, 그는 우리의 기억을 통해 현실로 귀환하고 있습니다. 4차시에서는 현
재를 바라보는 이육사의 태도를 살펴보았습니다. 그는 부정적인 현실에 머물지 않았습니다. 이육사
의 태도는 중국의 작가 루쉰의 태도와 공명하는 것이었습니다. 이육사의 문화횡단적 근대성에 대한
인식과 실천은 국가와 언어의 경계를 횡단하며 형성되었고, 언젠가 도래할 미래를 기대하며 현실을
바탕으로 문화를 창조하였습니다. 이것으로 4차시를 마치도록 하겠습니다.
- 꽃, 이육사.
북쪽 툰드라에도 찬 새벽은
눈속 깊이 꽃 맹아리가 옴작거려
제비떼 까맣게 날아오길 기다리나니.
마침내 저버리지 못할 약속이여
한 바다 복판 용솟음 치는 곳
바람결 따라 타오르는 꽃성에는
나비처럼 취하는 회상의 무리들아
오늘 내 여기서 너를 불러 보노라.
이육사의 미래
이육사의 문학비 건립
질문 : 여사님도 거기에서 사진을 찍으신 게 있더라고요. 그래서 처음에 그렇게 문학비가 설립될
때, 어떠셨었는지?
5차시 |
이육사의 딸로서 살다
질문: 마지막 질문을 드리겠습니다. 여사님께서는 사람들이 아버님 이육사 시인의 작품을 어떻게
기억하고, 어떻게 읽으셨으면 좋겠는지 여사님이 생각하시는 분이 있으시면 말씀해주시면 감사하겠
습니다.
질문: 예, 감사합니다. 그래서 오늘은 이육사 시인이 당시에 있었던 해방이라는, 광복이나 그런 의
미뿐만 아니라, 지금에 있어서도 의미가 있을 수 있도록 그렇게 읽어야 된다고 말씀을 해주셨는데
요. 저도 그렇게 생각하고, 그리고 또 앞으로 그렇게 이육사 시인의 시가 읽혔으면 좋겠습니다. 오
늘 시간 내주셔서 감사합니다.
- 감사합니다.
질문: 고맙습니다.
Hello everyone, 8th week of the foundation and value of Korean culture class. We're
going to study the value of Korean culture for next two weeks. Today, we will study the
first value of Korean modern culture, Cross-cultural modernity. In the first session, we
will briefly introduce the context of what we will study in today's lecture. From the end
of the 19th century to the beginning of the 20th century, Korea and countries in East
Asia met the world through the Western country. However, this was also an unequal
encounter. At the end of the 19th century, Western countries were rich and had
developed capitalist systems and already modernized. However, East Asian countries
have not yet achieved modernization. Lim Hwa, a critic of the colonial period, pointed
out that modern times in Korea and East Asia began with the arrival of Western
capitalism in East Asia. He said that because of the nature of capitalism, where the
economy and money circulated, the whole earth was connected to one world. But in the
absence of modernization, East Asian countries had to import and transplant the
political system and culture of the Western society. The intellectuals of East Asia
thought of Western countries that had already established capitalist systems as advanced
countries, and East Asian countries as underdeveloped countries. Sometimes, took the
structure of advanced and underdeveloped as a given, and thought that underdeveloped
countries should catch up with developed countries. Fukuzawa Yukichi, a 19th-century
Japanese thinker, thought that civilization had advanced and underdeveloped states, and
that it was natural for developed countries to dominate backward countries. And the
intellectuals and the public in East Asia thought of Western culture as a goal and tried
to catch up with them.
However, some people did not want to see the relationship between the West as an
advanced and backward structure. Polish revolutionary Rosa Luxemburg explained that
capitalism can be established on the premise of a non-capitalist environment. Rosa's
perspective helps us break away from the position of explaining the relationship between
the West and Asia as an top to bottom. Rosa's idea tells us that capitalism cannot
uniformly cover this world, and opens up the view that there are both capitalist and
non-capitalist states in this world. Rosa's perspective helps us understand the inequality
of the world. This view allows us to break away from the view that Western culture is
the completion of modern culture and that non-Western culture such as East Asia is
less than modern. East Asian culture is not meaningful when catching up with Western
culture, but East Asian culture is meaningful in its present state itself. So, how should
we understand the modern culture of East Asia? Comparative literature researcher Peng
Hsiao-Yen reflected that the existing cultural theory focused only on conflicts and
conflicts between cultures, suggesting a new perspective to understand modern
literature. He thought that through the crossings of already connected cultures, cultures
evolved as they interacted with each other. Modern culture is formed not only by
crossing the boundaries of the state and language, but also by crossing the boundaries
of the past and present, intellectuals and the public, men and women. Thus, the cultural
modernity of East Asia is formed by crossing the boundaries between East Asian
traditional culture and Western modern culture. The same goes for Korean culture.
Modern Korean culture possesses cross-cultural modernity as its character and value.
Koreans are the subjects of transcultural modernity, constantly interrogating existing
cultural customs and order, and creating culture according to their own plans beyond
those boundaries.
I am at the Lee Yuk-sa Literary House in Gyeongsangbuk-do Andong-s Dosan-myeon.
Lee Yuk-sa Literary House is a place to recollect of Korean poet, Lee Yuk-sa. Lee
Yuk-sa crosses the boundaries of Korea, China, and Japan, and Chinese and Korean
writing, He was a literary scholar who tried to create new values of Korean culture by
crossing East Asian and Western cultures and also traditions and modern times. In the
8th week, we will look into cross-cultural modernity as the value of Korean culture,
focusing on the movement and literary practice of Lee Yuk-sa. The key question is,
"What subjects practiced the cross-cultural modernity as the value of Korean modern
culture?" The key words are East Asia, Western, traditional, modern, and cross-cultural
modernity. This is it for 1st week session.
- Hi, I'm Yi Ok-bi from Lee Yuk-sa Literary House. And Lee Yuk-sa is my father.
I heard that your name was given by your father and has special meaning to it.
- Yes, his two children passed away early, my older brothers, so that he waited for a
long time for us. and I was born as a late child that my uncles wanted to name me. But
my father said "she's my child so I'll name her." He couldn't give just any name,
100days later he said he thought of perfect name for me and will announce it. Normally
we wouldn't use a character Ok meaning rich. Then he used Bi which means Not. It's a
bit strange when you say "not rich." However, my father said it means to be a person
who has no greed and be a considerate person, like Gandhi. But I couldn't be a person
like Gandhi. It was his hope, for me to be like a person like that.
It is the hometown of poet Lee Yuk-sa, and Wonchon Village, where the Lee Yuk-sa
Literature Museum is located, seems to be a rural village in the deep mountains. Ma'am,
I'd like to ask you how it was when you first came to this town.
- I wasn't born here, and the first time I came here was the year I moved my father's
graveyard. The graveyard was moved when I was in my second year of high school. We
neglected father's and grandfather's grave since the war was just over. Mother thought
if war breaks out again, we can't go visit them even if we wanted to. She thought a lot
about it back then I think. So if we move their grave to their hometown, other families
could go visit even if we couldn't. That's why we decided to move it. Mother made me a
white clothes saying I'm the lawful heir. I was wearing white clothes, it was May. The
whole mountin was covered with azalea. I remember that totally forgot about it and ran
all over the mountain. Azalea was everywhere I go. We don't have that anymore
nowdays. Come to think of it, I think it was just after the war, all the pine trees were
cut down so that azalea could grow so much because there were no trees blocking the
sunlight. Now we don't have so much anymore. I was running all over since it was the
most beautiful thing I could see, but my uncles scolded me saying "Running all over the
place like that not thinking of your place." "have to stay calm." that's why I never forget
about it.
I think it would have been very beautiful. I'd like to ask you how you remember your
mother, Mrs. Ahn Il-yang.
- back in my mother's time, even if they were born to a rich family, didn't make
their daughters study. They married and came into the family from the point where
they could barely read Korean, mother, I was like that back then. How hard must it
have been for my father to marry my mother in that state? I often think that, but one
thing that's unique about my mother was that she had a talent. My mother's family
used to have a gold mine, my mother sat there as a secretary, and I still remember the
money. We pressed down on the money and ironed it all night. My mother was fine
without the account books. She had it all in her mind. So my uncles all said they can't
keep up with her, she's so smart. Mother's family cousins stopped crying if anyone says
that big aunt is coming, my mother was a very first born child of 12 siblings. babies
were stopped crying. She was that strict. She was full of love but on other hand, she
wanted us to obey her and listen to what she said. She appealed in a way. For me to
talk about her, I'd always said strict mum. We did house boarding for living, so
everyone including other students had to come home before 9pm. Back then, every
parent who keep their child in the boarding house, came by. So mother said "everyone
in our house need to be back before 9 pm maximum. If anyone break the curfew more
than 3 times, I will contact their parents." She said she could not trust such person.
She was that kind of person, and she was more strict to me because I was female. I
had to be at home at least in an hour after school. My close friends still say, "she was
too strict." She had a tendency of evergreen tree. My family wasn't rich at all but when
she visit her family or father's family in their hometown, She always offered my cousins
who were smart but didn't have enough money to continue their studies, "come to my
house, I'll let you sleep and eat, you study hard". We had 7 people studying like that in
our house. They all passed away and 3 of them left. She just loved to teach others and
offer help. Also, we had few children working at our house, mother taught them at
night They didn'teven went to primary school at first but then she taught them and
married somebody, basically raised them all. To think of it now, we don't have someone
like my mother these days a lot. She worked hard. She did it even though she didn't
have enough, there are people out there who have money but don't even think about
doing such things. Back then everyone didn't have enough to eat. But she always
cooked rice full of a large brass bowl. She said our house is a guest house. We lived in
Sanduk-dong 88, everyone called 88 guest house. Guests from our hometown sightsaw
the whole day and came to our house. When she said, "guys prepare for a meal" then
we all went down to prepare them since we had food all the time. I seldom said there is
nothing to eat, but seeing the guests eating the food so gracefully, I also wanted to eat
it. My mother always cooked rice so it doesn't run out, the housemaid said one day "
there will be guests today what can we do" The House maid said that there are always
guests coming if a bowl falls down while she's washing it. Then suddenly guests come
by after curfew hours, like 8 people. We had 12 rooms. First we had 5 rooms and built
another 5 later on since uncle's family came by while evacuating. That's how my
mother was. Later she wrote sadonji too.
what is it sadonji?
- It's oath of marrage When a niece gets married, she writes, "It's an honor for us to
combine your children and very happy to have a new home." Then their writing also
sent by too.
- I never got to meet her. She passed away before I was even born. My grandmother
is a person whom my mother really respects.
- Yes, she did taught her. When my grandmother got married, she said that she was
the best writer in the neighborhood, and she wrote educational things very well, and she
was fluent in the Four Books and the Three Classics, the Seven Chinese Classics. My
mother learned it, too, and later grandmother passed away, and when I grew up, she
even read newspaper editorials very well. That's why my mother always said that my
mother-in-law is a teacher to me rather than my own mother. Even when we have a
memorial day for ancestors, she always cooked the food that my grandmother likes and
cried behind my back. So I asked, Why do you cry so much even their not your own
parents and it's been a long time ago since they are passed. I asked with my standards.
Then my mother said, "Your grandmother is my teacher, and I wouldn't be a reasonable
member of this family if she wasn't there." My uncle is 1st Class of the Korean
Revolutionary Academy for Military and Political Leaders along with my father. But uncle
has confessed their comards. So they got cought. From that day on, my mother broke
up with my father for eight years. They were broken up even when they had the first
son, but they got together again since my second older sister was born. So without my
grandparents, my mother would have been kicked out already. I said my grandmother is
a grown-up, she always looked at my aunt and aunt and said, "You're all my
daughters." My third aunt is a descendant of Hauji, and she came here after getting
married, but she passed away without suffering for a long time. So she was always
heartbroken and said, "You're my daughters." But my grandmother said that after her
youngest son passed away, she couldn't thread the needle even after a year and a half,
because she was upset. But if you have something like that, I think I'd hide it. Because
she told her daughters-in-law, "You are my daughters." but then, I think she wants to
hide the fact that she felt sorry for her son's death rather than her death. She said she
is so sorry that when her third daughter-in-law passed away, she was able to thread a
needle in a year. It's been a year and eight months since my son passed away, and I'm
still so upset that I can't get my needle thread." She said "Please forgive me for being
so contradicted" Back then, when elder says that was it. But my grandmother said that
she was I told my daughters-in-law, "Forgive Amy for this nonsense, that she is sorry. I
thought I wish I had a grandmother like that. So my mother deserves respect.
Hi everyone 2nd session. In this session, we will look at the movement of Lee Yuk-sa,
which crossed the boundaries of East Asia. Lee Yuk-sa Literary House is in
Gyeongsangbuk-do Andong-s Dosan-myeon Wonchon. This is a rural village about 40km
away from downtown Andong, where trains run. It still takes about 30 minutes by car
even today. Wonchon Village is a rural village in a deep mountain surrounded by
mountains and rivers. Lee Yuk-sa was born in 1904 here in Wonchon Village. His father
was Lee Ga-ho, a descendant of Toegye Lee Hwang, and his mother was Heo Gil, the
daughter of Heo Hyung, a righteous army general who resisted Japan. Lee Yuk-sa had
six brothers, and Lee Yuk-sa was the second oldest among them. And the fourth, Lee
Won-jo, was also a famous critic. Lee Yuk-sa is a descendant of Toegye Lee Hwang, an
important Neo-Confucianism scholar of the mid-Joseon Period. Toegye Lee Huang
studied the study of Zhu Xi, a Confucianist of the Song Dynasty in China, and educated
his juniors here in his hometown. The school where Toegye Lee Hwang taught his
students is Dosanseowon Confucian Academy. Dosanseowon Confucian Academy was
built by the Nakdonggang River. Nakdonggang River is a 700-ri river that starts from
Taebaek, Gangwon-do and flows through Busan to the sea. It is the longest river in
Korea. After Yi Hwang passed away, his studies crossed the border to Japan and
influenced the development of neo-Confucianism in Japan. The 1,000-won bill used in
Korea now has a portrait of Toegye Lee Hwang. Wonchon Village is about 5km away
from Dosanseowon Confucian Academy. Lee Yuk-sa's family, a descendant of Lee
Hwang, placed importance on studying neo-confucianism, the ideology of East Asia in
the traditional era. Wonchon Village is a village where descendants of Toegye Lee
Hwang lived together. Lee Yuk-sa described his hometown as a village with about 100
houses, and the weight of the tradition that has been handed down from generation to
generation, as a "scary scale." The people of a family clan lived all together in a village
inheriting the study and teachings of Toegye Lee Hwang, their ancestors, as their
spiritual pillars. Lee Yuk-sa grew up in a village that respects tradition. He learned
Chinese characters from his grandfather, Lee Joong-jik when he was young. Together,
the six brothers read Confucian scriptures aloud and competed with each other by
writing Chinese poems and Chinese prose.
Let's take a look at what Lee Yuk-sa wrote. It's his essay Milky Way.
When I was about 7 or 8 years old, it was my daily routine for boys in the house to
get together and write at around 10 a.m. or 11 a.m. any day in summer.
As a child, Lee Yuk-sa gathered with his brothers and wrote in Chinese characters.
Wrote verses with five words to each line, verses with seven words to each line, exam
writing and paper etc. After writing, showed the writing to adults and received an
evaluation. If you win first place, the prize was 20 white papers, a notebook. This shows
the Korean study of writing in the traditional era. Lee Yuk-sa and his brothers learned
how to write and draw. Also, at night, his grandfather gathered Lee Yuk-sa and his
brothers and taught them constellations in the night sky. "That is Munchangsung; the
star that supervise literary talents, this is Southern Cross and that is Samtaesung; the
star that symbolize three misters." Lee Yuk-sa's grandfather teaches the names of stars
one by one. Lee Yuk-sa said that even though he was young he thouht his hometown,
where the Nakdong River was the best river on the ground and where a beautiful galaxy
in the sky," was a very proud place. And he said that his childhood when he was
educated in a traditional environment, was "a very happy time." Lee Yuk-sa summarized
the experience of being educated about East Asian traditions through an adult in the
family as "the educational history of Joseon before school education." LAter, Lee Yuk-sa
came out to the city and went to a modern school, and married Ahn Il-yang. He also
studied in Tokyo for a short period of time and studied at the University of China in
Beijing for about two years. Lee Yuk-sa says that at this time, "what I learned, The
Middle Way or The Great Learning has changed to physics or chemistry." Lee Yuk-sa
studied Western studies at a modern educational institution, a school, after learning
Chinese literature, an East Asian tradition from adults in clan in his childhood.
Returning to Korea after studying abroad, Lee Yuk-sa was repeatedly imprisoned for
resisting the colonial system. And he works as a newspaper reporter and then cross
border to China. He travels through Tianjin and Beijing and to Nanjing. At the age of
29, Lee Yuk-sa entered Korean Revolutionary Academy for Military and Political Leaders
near Nanjing for military training. The following year, Lee Yuk-sa finished his military
training and entered Korea via Shanghai. At this time, he meets Chinese writer Lu Hsun
in Shanghai. Lee Yuk-sa walked the path of revolution while carrying out secret duties.
He went in and out of China many times and has been imprisoned many times. He was
imprisoned 17 times in his entire life. Lee Yuk-sa also published poems and prose in
Korean newspapers and magazines and also translated Chinese literature too. It was not
easy to cross over East Asia's borders, but Lee Yuk-sa did not stop the political and
cultural practice. However, in 1943, Lee Yuk-sa was arrested and transfered to Beijing,
China. In January 1944, Lee Yuk-sa dies in a Japanese consulate prison in Beijing. After
liberation in 1945, Lee Yuk-sa's younger brother, Lee Won-jo, introduced Lee Yuk-sa's
poems to newspapers and published <Yuksa's Poety> in 1946. And in 1968, Lee Yuk-sa
monument was erected along the Nakdonggang River.
Lee Yuk-sa has crossed the boundaries of three East Asian countries, cities in Korea,
cities in Japan, and cities in China and also rural areas. Lee Yuk-sa studied traditional
Chinese characters in East Asia and received modern education in Korea, Japan, and
China. He crossed the boundary between tradition and modernity. Also, I crossed the
boundaries of East Asian languages such as Korean, Japanese, Chinese, and Chinese
characters. Lee Yuk-sa published poems, novels, and essays also wrote contemporary
reviews, and painted literary paintings. He also crossed the boundary between writing
and painting. And Lee Yuk-sa crossed the border between politics and culture. Lee
Yuk-sa wrote beyond the boundaries of tradition and modernity on the basis of crossing
the boundaries of the country and language. Lee Yuk-sa was the subject of
cross-cultural modernity that constantly interrogated the existing cultural customs and
order and created culture according to his own plans beyond the boundaries. And as a
subject of transcultural modernity, Lee Yuk-sa was also a dandy, a fashionable man,
who paid attention to clothes and appearance. In the remaining photos of Lee Yuk-sa,
he is dressed up nicely in a Western suit and putting his hair back. Lee Yuk-sa was a
cool guy, a dandy. In terms of Dandy, it usually means a person who is interested in
appearance and clothes and was financially stable, but this is not enough explanation.
Dandy is the subject who pays attention to how to organize his life above all else.
Dandy is fashion-conscious, but not just swept away by the trend. Dandy has an
attitude of reflection on reality and itself, and that attitude appears with great looks and
clothes. Lee Yuk-sa, who wanted to reflect on his life and move forward, also refined
his appearance and clothes. He wanted to build his own life. On the other hand, a
photo of Lee Yuk-sa wearing hanbok was also recently found. Even when he wore
Hanbok, a traditional Korean costume, he refined his appearance. The fact that his
photos in hanbok and suits remain at the same time shows that Lee Yuk-sa lived a life
that transcended the East and the West, traditions and modern times. In the second
session, we studied Lee Yuk-sa's life, which crossed the boundaries of borders and
languages, which crossed tradition and modernity, and Eastern and Western cultures. In
the third session, we will learn more about Lee Yuk-sa's poems among cultural
practices.
Do you have any memories with your father, poet Lee Yuk-sa?
- I remember that before my father died, he bought me a pink hat and velvet clothes,
and black shoes at the huashin department store. I think of it a lot. And I think my
father thought I was smart when I was young We had lots of seals at home back then,
when I was poem playing, I didn't know what it meant or read words, when adults read
one then I catch one. There were only children and cousins, I always had the first few
cards. Dad used to call me in the morning mix all the seals together, Asked me who's
seal is which, then I used to find one by one. "this is grandpa's, this is uncle's" like
that. He found it really funny and asked me every morning, I have memories like those.
We had something like a domino, you through it to knock down the other, you know?
When I through one, I knocked the biggest point down, I remember that too.
When you look at the picture of Mr. Lee Yuk-sa, he would have worn a suit, pulled
his hair back, and looked cool. Did you hear anything about it?
- I remember my father always wore something like ivory coloured clothes and bowtie. My
mother asked me one day, "What do you remember about your father?" and I said, "I remember
him wearing an ivory suit and bowtie." but my mother said "Your father had lots of suits but
was there any ivory suit? I don't remember." I was married in Daegu in 1964, and we had to
move there in 1968 since my husband moved work there. About an year or two later, I was
reading a magazine, there was my father on the front page with Mr. Cho Pung-yeon. Mr. Cho
Pung-yeon had the picture of him and my father and now it's revealed since we're talking
about Lee Yuk-sa. I bought that magazine and handed to my mother and said "See this mother,
you don't remember it?" Mother staired it carefully and said "You must be smarter than me"
Yes, and he looked cool even in Korean traditional clothes, Hanbok. Mr. Suk Cho told me that
when my father wore hanbok and went to city, everyone said he looked very nice, and my
Mother was very happy and pleased to hear it. My mother did niddle work for her entire life,
she felt really happy about it. And father's younger brothers came to her and asked her to
make them a clothes, so she finished 15 clothes in that year Also, you already know that my
aunt is cousin of Princess Deokhye. She always said that my father is the best gentleman ever,
had good table manners etc. And said her husband, my 4th uncle is a country bumpkin. Since
she was part of the royal family, she never had anything bad or did something hard. But my
uncle kind of pressed her. She used to perm her hair with her neighbor Mrs. Mo Yun-suk. But
he told her to straighten it out right away and wash it off. but asked them to straighten it out
again, but then it'll be more curly if you wash them out. So my aunt didn't want to hang out
with Mrs. Mo Yun-suk, that man is Mr. An Ho-sang. Divorced and married again, later when I
met him, his oldest daughter was same age as mine. She said, There were common well, half
there and half here. They were staying in Hyehwa-dong I met his daughter when I was
pregnant. So that they didn’t work out together well.
Hello, this is 3rd session. In the third session, we will look at poetry among the
literary practices of Lee Yuk-sa. It is poetry called Looking Back, where you can
examine the minds of Lee Yuk-sa, who practiced political and cultural practices while
crossing the boundaries of East Asia. You can find out the weary heart of Lee Yuk-sa
in his poen Looking Back.
In this poem, the subject of the poem describes his life as a "broken piece of bark."
Here, the ship likens itself to Lee Yuk-sa, who traveled around East Asia around the
Yellow Sea. But the subject of the poem said that he was now a broken piece of bark. It
means a very exhausting and precarious situation.
Was brined and swollen in the salty waves. Lee Yuk-sa says his youth was not just as
happy as everyone else, but moved under tension like a stowaway junk ship. And he
says he's tired of his life in the brine of the sea breeze.
The poetic subject drifted in the dark sea. Barely out of the reef, again met a
typhoon. If you barely get out of one difficulty, you meet a bigger difficulty. He could
not meet the island to rest, nor could the Southern Cross be comforting for him.
He is wandering aimlessly through strange areas where tropical plants grow, "Chased
Heart!" and "Tired Body."
The poetic subject says that he lives a life of floating in the tide, relying on the feeble
existence of a small shell. He says his life was not settled in one place, but rather an
unstable life flowing through various ports. In the days when he says his life was a life
flowing in the tide, Lee Yuk-sa's tired mind that crossed the boundaries of East Asia is
well represented. Lee Yuk-sa expressed his exhaustion through Looking Back, but his
poem does not only express his tired heart. Lee Yuk-sa's famous poem, Green grapes,
contains a little comfort in his tired life as he crosses the boundaries of East Asia. And
the poetic imagination of Green Grapes is connected to East Asia's long-cherished
dream of peace. Let's read it out loud.
It's a beautiful poem. First of all, color poetic diction with blue as the sea, Chungpo
and green grapes, The poetic diction of white as sailboat and ramie towels creates a
beautiful landscape in strong contrast. Looking Back's poetic subject wandered around
East Asia on a boat, while Green Grape's poetic subject awaits and welcomes guests on
a boat. The poetic subject of the green grapes not only comforts the weary life of the
revolutionaries who come by boat, He himself wants to continue the path of the
revolution. I think Lee Yuk-sa himself liked this poem very much. He said, "How could I
have written such a poem?" and admired, Let's look into it little more In the first verse,
the expression "July, my hometown / is the time when green grapes are ripening." The
key poetic diction is "July." The story of July also appears in the essay Love Story
written by Lee Yuk-sa. Love Story is the story of Lee Yuk-sa putting his heart into a
certain seal. Lee Yuk-sa bought a jade seal, in 1933 in Nanjing, Lee Yuk-sa carved a
poem called "Fickle winds around July" among The Book of Odes, and he cherishes the
seal very much. The Fickle winds around July, show men and women who are faithfully
working on agriculture and sericulture and sericulture. There's also a story that relates
Lee Yuk-sa and his brothers to Fickle winds around July. In November 1936, Lee
Yuk-sa's brothers celebrated their mother's 60th birthday, made a folding screen with
Fickle winds around July written on the screen, and gave it as a gift to their mother.
The folding screen was a 12-width, and the last one contains a poem from Fickle winds
around Julyl, "At the beginning, it refers to clothing, then food, and finally, it refers to
rituals and feasts." It says, "All men and women who farm silkworms faithfully work
according to their duties." On the mother's birthday, the first son Lee Won-ki composed
a piece, and the third son Lee Won-il wrote the writing on the folding screen. The
fourth son, Lee Won-jo, sang a poem, and the fifth son, Lee Won-chang, danced in a
sakdong costume. And the second son, Lee Yuk-sa, served alcohol to his mother, and
his nephew, Lee Won-Kyun, served flowers. Fickle winds around July is a poem
connected to the respect of the Lee Yuksa brothers for their mother At the same time,
it is also related to the common people of East Asia who sincerely worked in agriculture
and sericulture and made peace. July is a time of peace in East Asian tradition. In the
essay Love Story, Lee Yuk-sa wrote that he gave his cherished seal to a person named
S. S is a colleague of Lee Yuk-sa and is presumed to be Yoon Se-ju, who was trained
at the Korean Revolutionary Academy for Military and Political Leaders together. Yoon
Se-ju was a person who walked the path of revolution through direct armed struggle.
Lee Yuk-sa seems to have been interested in the practice of Yoon Se-ju, who went on
an armed struggle, in real time. So for Lee Yuk-sa, July is not only a time of peace in
East Asian traditions It is also linked to the practice of Yoon Se-ju, who participated in
the revolution to realize peace in East Asia through the seal. Let's look into next poetic
diction, Chungpo. The poetic diction of Chungpo also appears in the poems of Tu Fu, a
Chinese poet in Tang dynasty . The official in the blue robe that appears in Tu Bo's
poem is a poor low-level official. Also, the figure who appears in Tu Bo's other poem is
a rebel wearing a blue gun and riding a white horse. I can understand that the guest
wearing the green cloth I'm waiting for in Lee Yuksa's poem Green Grapes was a person
who worked hard on the revolution even in poverty. If you read it overlapping with Tu
Bo's poem, you can understand that the guest in Cheongpo, which I am waiting for, is a
person who worked hard on the revolution even in poverty.
Lastly, let's look into Green Grapes as key poetic diction. There is still a grape species
called green grapes in Korea. Green grapes are grapes with light green color. However,
in the poem Green Grapes, green grapes do not mean light green colored grapes, but
green grapes before they are ripe. The background of this poem is July. Grapes in July
are not ripe enough yet, but they ripen through the summer. In order to ripen, it must
be "the legend of this village opens up and the sky dreams in the distance, and each
egg need to be embedded." Grapes are gradually ripened through the wishes and dreams
of the villagers living in peace. And when you harvest the dark blue grapes in
September, you can wrap them in a white towel and serve them to your customers. The
poem Green Grape contains East Asians' long-cherished desire for peace. And you can
also find the movement of people trying to create that peace. As such, Lee Yuk-sa
stood in the reality of Korea and wrote a poem using East Asian traditional ideas. Lee
Yuk-sa planned the Korean culture needed in reality by crossing the boundaries
between the East and the West, tradition, and modernity. This is it for 3rd session,
Thank you.
You already told me, looks like all 6 brothers were very close.
- Yes. In Daegu, Gyeong-buk area, there must be younger brothers where the older
brother is and vice versa. But I think that they all had their own specialty, my oldest
uncle studied Chinese literature, my father studied both modern science and Chinese
literature, and also third uncle was a famous calligrapher. And Yeo-Chun wrote a letter
to Mr. Choi Nam-sun when he was 7 years old. He wrote short writing, Mr. Choi
thought there is a genius in Joseon so he wrote a preface. That much of a genius. Also,
he's in a period of the Three Disasters, where he went up to the North is one part of
three disasters. Became sort of a weirdo That was that, and fifth uncle was also a
writer. even though they were close they all envy each other. You know Mr Yeo-Chun
was working in Daily Chosun. When he was around, the chief editor was in Daily
JoongAng as an chief editor. But my uncle was working as Mr. Heo-Hun's secretary.
When he was arranging books together, and he was also close to my grandmother not
like other brother and sister. My uncle beloved my father, So that he came to
caligraphy class and ask for private meeting for 2 hours or so. My uncle told me that
even he worked 24/7, uncle never said you should come and visit me. He never said
that. My father just met him if he comes by and talk about independent movement. And
my fifth uncle's story, he has a lot too. He is a writer, he was the very first one to
start his literary career, with the writing he published in Daily Chosun. The other
brothers were gathered and drank saying that "They didn't know that he'd write so well,
well done" My sixth uncle never mentioned that he could draw so well. But he never
studied very well, the one he was scared of was only my father. One day, my father
asked my sixth uncle "We don't have anything in our house, If you don't study, you
won't be a farmer." "So what do you want to do?" and he said "I want to paint". You
know even in those days, you need to pay to learn something, even give out some rice
or so. My father said " Won-hong said he want to paint but then he don't have money
or what so ever, what will you learn with" For that, the instructor that was teaching my
third uncle said "Let me teach him for 3 month." So he dropped him by after he took a
shower. Two months later, he got a letter saying that he has a talent. He won a prize
within a year in the Chosen art exhibition. Other brothers was so happy about it, that
he got a prize with his painting, They got too excited after drinking 5 glasses of alcohol
while eating, He said that he's having bad headache "could you tap me at the back?"
But that didn't work so well and asked them to lay him down. He passed away just like
that. Right after laying down on the floor. He wasn't even married.
- Yes. They came to visit even he was alive, 3~4 brothers came along every month.
Every month. At least two of uncles came to visit. you don't talk in detail when there
was a girl in the past. But my uncles talked to my mom and discussed the phrase of
the times and things like that in depth. He also talked about the ideology that my father
and uncle had.
May I ask you to recite the poem, Green Grape, out loud?
- I can't recite. I will read it out. I caught a cold. Green Grapes The month of July at
my home Is the season when ripen green grapes. The village legend mellows in clusters,
And the far dreamy sky enters each bead. As the blue sea bares her bosom to the sky,
A boat with a white sail will come adrift, And my longed-for guest will finally arrive
With his weary limbs, all draped in green. Feasting on the grapes to welcome him, I
shall gladly let my both hands get wet. Prepare on our table, my dear boy, White ramie
kerchiefs on a silver tray.
Thank you.
Hello everyone, let's start 4th session right away. In this lesson, we will look at the
attitude that Lee Yuk-sa, who created transcultural modernity, had toward life. In order
to understand the characteristics of Lee Yuk-sa literature, let's think about the works of
Russian artist Evgenin N. Chrikov and the works of Chinese artist Lu Hsun together. n
1920, the novel Hometown by Russian writer Evgenin N. Chrikov was translated into
Japanese in Japan The novel features a character named "I," who returned to his
hometown after 20 years. I' was longing for the hometown and longing to go back
home. I' thought that I would be able to meet my youth again when I worked hard for
the revolution in my hometown. He thought of the past as a beautiful thing against the
reality of failure. We call this attitude as nostalgia. However, when I go back to my
hometown for the first time in 20 years, 'I' was very disappointed. He wanted to find a
beautiful hometown as he remembers as a young man by going back, but his hometown
did not exist in reality. The return of "I" was a process of realizing that the hometown
he had imagined was only a fiction. In this situation, I deny the real home now. "I"
leaves its hometown as a thing of the past, and denies present hometown. The
character 'I' in this novel fixes his hometown as a thing of the past. And cuts off the
past and the present hometown. Evgenin N. Chrikov's novel Hometown was widely read
in Japan in the 1920s. And Chinese writer Lu Hsun translated it into Chinese. Lu Hsun
also wrote a novel titled Hometown. Lu Xun's hometown is also similar in structure and
situation to Evgenin N. Chrikov's. The main character of the novel, "I," also returns to
his hometown after 20 years. I' also find that my hometown has changed a lot and that
the hometown that I thought of no longer exists in reality. However, 'I', who appears in
Lu Hsun's hometown, did not just disappoint. He acknowledges the present of his
hometown, which has changed differently from his thoughts. And he says he would take
an uncertain path toward the future based on his current hometown. Lee Yuk-sa once
translated Lu Hsun's hometown into Korean. Let's read the Lee Yuk-sa's translated
version.
If you think about it, hope cannot be said to exist or not. It's like a road on the
ground. It is not originally on the ground. If there are more people coming and going,
then the road will be made by itself.
It is to create a new hometown by facing the reality and walking on the road based
on it. Let's compare Evgenin N. Chrikov's hometown with Lu Hsun's. Both novels are
based on 'I' returning to their hometowns after 20 years, and their hometowns were
different from their memories. But the response was different. Evgenin N. Chrikov's
novel cuts off the past and the present. I' did nothing while grieving for the lost
hometown of the past in his novel. However, Lu Hsun looked at the present of his
disappointing hometown and tried to move on to the future based on it. If Evgenin N.
Chrikov fixed his hometown in the past time, Lu Hsun opened his hometown to the
future. Also, for Chirikov, if his hometown means only a certain space, for Lu Hsun, his
hometown becomes where he walks. Lee Yuksa translates Lu HSun's hometown into
Korean in 1936. 1936 was the year when Lu Hsun passed away. Lee Yuk-sa wrote a 'Lu
Hsun memorial' to commemorate his death. The Lu Hsun Memorial writing begins by
recalling the time when Lee Yuk-sa met Lu Hsun. In the early 1930s, Lee Yuk-sa met
Lu Hsun in Shanghai. Lee Yuk-sa told him that he is from Korea and that he really
wanted to meet him once. Lu Xun greeted Lee Yuk-sa warmly and held his hand. Lu
Hsun memorial writing is about him meeting Lu Hsun and recalls the meaning of Lu
Hsun's literature. Lee Yuk-sa finds an attitude that does not avoid conflict with his
opponent in Lu Hsun's literature. He also finds movement in Lu Hsun's literature based
on the 'past' but looking to the future. Lee Yuk-sa thought that through Lu Hsun's
literature, he could move forward when the past and present, self and others, hope and
despair were unified in tension. This pledge of Lee Yuk-sa can be found in his essay
the five elements of the season. In the five elements of the season, Lee Yuk-sa says:
I just love my way that won't be afraid of leopards that wants to attack me, even
though I don't have an eye to look into a person who has the modesty to give
everything to wild dogs. Yes, my love for my way, it's an effort to sacrifice myself. This
is why I would rather raise my spirit and write my poems from my firm mind, but not
my will.
It is said that the poem was written in a teahouse while Lee Yuk-sa was being transported
to Beijing in 1943. Today, around the Lee Yuk-sa Literature House, there is Yutpandae,
known as where he had an idea to write The Wild Plain. Lee Yuk-sa wrote a poem on his
way to Beijing, thinking about the fields of his hometown. But the time and space that this
poem contains is very vast. The wild Plain contains history. In the first verse, it's a distant
day, a moment when this world began. In the third verse, the word "light sound" appears
constantly. Light sound means time. And in the fourth verse, it's now, the present. In the
fifth verse, there's a phrase later far beyond. A distant future emerges. Therefore, this poem
describes from the moment the world was created to the present throughout history, and
further to the future. After the world was created, humans made history. However, the
current situation doesn't look so bright. In the poem, described the difficulties of reality as
"snowfall." However, Lee Yuk-sa is not frustrated with the current situation. He seeds "song
of Poor." For the future that must come someday, it is to carry out the small but maximum
practice that you can do now. No one knows whether the practice will pay off or not. But
Lee Yuk-sa hopes that in a thousand years, someone will remember his song in the wild.
You can also see Lee Yuk-sa's attitude toward the future in the poem Flower.
Beautiful flowers appear in this poem. it is a red flower that bloomed in a harsh
reality and harsh environment that has lost its vitality. But the flower is not for the
poet Lee Yuk-sa himself. Because Lee Yuk-sa himself is now in Beijing prison. Instead,
he calls for a group of reminiscences far away in the middle of the sea. The group of
recollections are those who survive in the future, and they are those who remember
history. Flowers belong to those who survive in the future and remember the past. And
Lee Yuk-sa sacrificed himself to bloom the flower. Lee Yuk-sa doesn't avoid death. He
hopes to return through the memories of a group of people who will have flowers in the
future. We looked at Lee Yuk-sa's poem The wild Plain and flowers written in the
Beijing prison. Both poems perceive the present pessimistically. However, Lee Yuk-sa
promises to do what he can even in the midst of pessimistic reality. I may not get the
result of your hard work now, but I think the result will be achieved someday in the
future. When the desired future comes, I hope that I can return to reality through the
memories of the future people. The attitude of not just feeling sorry for the harsh
reality, but practicing what I can do now is the attitude that Lu Hsun showed in his
writing hometown. Lee Yuk-sa also wanted to open the future based on the present. He
tried to do what he could, even if the result of the future was not given to him. Lee
Yuk-sa died in 1944, just before liberation. However, in 1946, Lee Yuk-sa's younger
brother Lee Won-jo and his friends published a collection of his poems. And on the
Nakdonggang Riverside in his hometown , a monument to Lee Yuk-sa is erected. And
now there's a literature museum that honor Lee Yuk-sa. We now remember Lee Yuk-sa
through the his writing. As Lee Yuk-sa wrote in Flowers, he's returning to reality
through our memories. In the fourth session, we looked at Lee Yuk-sa's attitude toward
the present. He didn't stay in the reality that is pesimistic. The attitude of Lee Yuk-sa
had was to resonate with the attitude of Chinese author Lu Hsun. Lee Yuk-sa's
perception and practice of cross-cultural modernity were formed across the boundaries
of the country and language, and created culture based on reality in anticipation of the
future that will come someday. This is it for the 4th session.
Mr. Lee Yuk-sa has been to Japan or China as well as Korea. Have you ever visited
where your father had been?
- About 3 years ago, just after the Corona virus is spread, I had a chance to visit
China. I couldn’t go to Taihang Mountains, but to Shanghai. I did travel if we had an
event. I traveled somewhere I never visited before a lot back then. I lived in
Myeongnyun-dong, and went to Shenyang. There was an Inn called SamJungMok in
Myeongyen-dong, there was an inn that also has the same name in Shenyang. I felt a
bit strange. My father really did came here to hide. My father used to tell me that
Shanghai is "Paris in Asia" He said Shanghai is very beautiful place. When I went to
Nanjing, in the first year our director went there for previous exploration, but went to
the wrong place. I almost cried when we held an event on the street. Later I went to
Nanjing again with people loves dad so much, The first time they went, before it moved,
the seat for initial student of Korean Revolutionary Academy for Military and Political
Leaders. I went up there later and visited where second-term students. Today
environment around changed a lot, but I just thought, here was the place where my
father was trained. Just those kinds of thoughts, now we only have the lot. I also went
to where my father met Lu Hsun. It was the front gate of Shanghai park, and it was the
day I went out to meet my cousins, and it was raining so I thought "whether my father
got rained on" and made me emotional thinking of it. The first year when I went to
Beijing, we all prayed at the enterance, next year, there were residents on the ground
lever where I heard the basement was father's cell in prison. The residents were not so
wealthy. The second time we visited there, they inhibit us to pray. They all just stood
there and stopped us from praying. I also could understand why, Korean, students were
singing military songs, and they must have felt uncomfortable. I brought a bottle of
wine then, Chinese police came to stop us and block us away, but we hid from them for
while until they're gone. Then our crew blocked the entrance for a while So I sprinkle
the wine I brought where there was a small park, and everyone else sprinkled a glass
too.
- The wild Plain, Has a lot There are a lot of pieces out there, but I always loved
Flowers from the beginning. I always liked that work because everyone likes it. His
poem. I think, normally most people writes something beautiful relating flowers, but my
father wrote ideological things reffering flowers. I just fell into it involuntarily.
Now is the time for independence that poet Lee Yuk-sa wanted.
- These days, I think there are certain times you need to wait. My father's time has
come. No one could do anything since there were too much of pro-Japanese group.
They wanted to rule us and handed it down to their descendants. But history has
changed. I lived with an expectation that one day, there will be a time that changes
everything. But it never happened really. Mr. Lee Eun-sang, how great is his poem? He
came by our literature museum and ask things, then our diretor tell him not to prepare
anything since it'll all break. There are no other case. Because they never admit it, Mr.
Lee Eun-sang came to our house very often, when I never knew anything. He came by
and drank wine and wild grape wine I made, his work is great I believe. But everyone
thinks bad about being pro-Japanese group.
In 1968, the literary monument of poet Lee Yuk-sa was erected in Andong. You were
there when it was erected, there is a photo left. How did you feel when it was erected?
There is a photo that you took there, so how was it to watch over.
- It was the first time in Korea. When father's monument was erected, I was bit late.
Mr. Lee Hyo-sang helped me out a lot. Since he was the Chairman of Congress, and
there was land on this side back then It was across the river, across from the Seoul
Arts Center, and one day, it was moved to the riverside. But since it was the first time,
I agree that there was a monument to commemorate my father I also heard that lots of
Poets in Andong drank a lot there, they still talk about it. When a writers' association
comes. They talk about they stayed up all night and held events there. It was in
Yeonghoru and moved to the dam from there now. Also planted trees but had to
re-planted since trees were something Japanese would like to look at. I knocked down
the fence too, since my father imprisoned a lot.
Now, Lee Yuk-sa's monuments have been built all over Korea.
- Yes, there are lot of them now. Has two in Seoul. Also in Pohang. They say that the
Green Grapes are theirs, but I won't blame them for building it in Pohang . The writer
has pointed out their perspective but when the reader does something like that, it is
what it is. For me, it's better if Lee Yuk-sa is known to everyone. So that they had
Green Grapes, white sailing boat. To tell you the truth, when I came here to Andong
when I was year 11, we were using the sailing boat with yellow sail, to cross the river
But them in Pohang persist the idea of the white sailing boat is theirs since they talked
about it first. Heard Japanese planted Green Grapes a lot in Pohang area long ago. I
think that also made them divide up too. Where I went was the one the town organized
the event, that was ok. But the one who made the monument carved Lee Yuk-sa's poem
in front and someone else's at the back. I felt that was very rude. engraving another
poet's writing. I never went back there again. There are too many of them everywhere
now.
Hi, it's 5th session today. We will organize the 8th week of lectures in today's class.
Today, in the 8th week, we studied the transcultural modernity as the value of Korean
culture. Korean culture was formed by crossing various cultures. As with space, Eastern
and Western, traditional and modern in time, Western, East Asian, Korean in language,
and literature and movies in style. And as various cultures intersect like this, the
modernity of Korean culture is formed across cultures. In today's lecture, we studied
Lee Yuk-sa, who was the subject of transcultural modernity, and his movement,
practice, and literature. Lee Yuk-sa planned a new Korean culture while crossing the
cultural boundaries, and resisted the colonial situation to find a human life and
practiced anti-colonialism. Through the Green grapes of Lee Yuk sa's poem, we can see
that East Asia's long-standing desire for peace is presented through the form of modern
literature from the West. We also looked into the question of what attitude should we
have toward the present through the resonance of Lee Yuk-sa and Lu Hsun.
We are going to study the value of Korean culture for two weeks, week 8, week 9. In
the first lecture, today in the 8th-week lecture, we looked at transcultural modernity as
the value of Korean culture. In the second lecture, Week 9, Let's look into democracy
as the value of Korean culture. Thank you.
- I couldn't be a troublemaker since my father was like that. They always made me
aware of my behavior. Teachers in school always does those things like. Make me
memorize and write poems, I never was in literature club but teachers always listed me
in the club. I always asked my home teacher that I want to change the club to
housekeeping. That was a big burden. I could never catch up to my father since he was
grown up already. Felt trapped too. I never thought a well-known father wasn't so great
to have. I always wanted to have 'my dad' even though he was a poor carrier, but then
I thought he was a honorable man since I was in highschool. Everyone reveres him' I
didn't admire him till then. I always thought why he always act differently and let our
family suffer. But the, after I got married and had kids, now I know that there is no
one like my father. Someone came up and asked to tell them about Lee Yuk-sa and
how he was like or what they should do, I never said to follow him, guess there will be
about 1 person out of 100 people do as like my father. I always tell them that do their
best in where they are, that is the heart of loving Korea. My father was covered in
blood, so when he was tortured a lot, even if my mother gave Hanbok twice a week, it
was all stained with blood, so my grandmother and mother had a hard time.
Let me give you the last question. I would appreciate it if you could tell me how you
would like people to remember your father's works and how you want them to read
them.
- There are many theories. We weren't liberated back in the past, so we're doing
everything for liberation. But it's the reader's, and in that era, I think that the reader
has a pure heart that welcomes a really noble guest if it's a green grape.
Thank you, Mam. So today, we know to read Lee Yuk-sa's poem as not only the
meaning of liberation at the time, but also read it as it can be meaningful to present. I
also think so and hope his poem can be read like he hoped. Thank you for your time.
- Thank you.
Thank you.
第1課時 |
大家好,今天是韩国文化的根基与价值的第八周课程 从今天开始的两周,我们来学习韩国文化的价
值 今天我们学习韩国现代文化的第一个价值,文化跨越的近代特性 在第一课时,我们先了解这节课要
学的内容脉络 在19世纪末20世纪初,韩国和东亚其他国家开始接触西方文化并融入世界 可是与西方的
接触过程也是充斥着不平等性 19世纪末期,西方国家的资本主义社会体制迅速发展,很有国家已经实
现了近代化成为强国 可是当时的东亚国家还没有完全实现近代化 日本殖民时期的批评家林和指出韩国
和其他东亚国家的近代化发展,是从西方资本主义开始涌入以后才开始的 他认为由于资本主义的经济
货币循环性,致使世界各国都联系在了一起 在尚未实现近代化的情况下,东亚国家必须引入和移植西方
近代社会的政治体制和文化 东亚国家的知识分子们都将已经构筑起资本主义体制的西方国家看作发达
国家,将东亚国家看作落后国家 有时认为先进和落后的格局是理所当然的,认为落后国家应该赶上发达
国家 19世纪末的日本思想家福泽谕吉认为文明的发展必然存在发达与落后,发达国家支配落后国家是
理所当然 东亚的知识分子和大众们把西方文化当作追赶的目标,努力追赶
但是也有人不愿意以先进和落后的结构来理解西方和其他国家的关系 波兰革命家罗莎·卢森堡解释说,
资本主义可以在非资本主义环境的前提下形成 罗莎的观点有助于摆脱以先进和落后的格局说明西方和
西方以外的国家的关系的立场 罗莎的观点告诉人们资本主义不能均匀地覆盖这个世界,提出了认为资本
主义国家和非资本主义国家同时存在的新的视角 罗莎的观点帮助我们理解世界的不均衡性 这一观点打
破了认为西方文化是近代文化的完成,东亚和非西方的文化是未成形的近代化这一观点 这一观点的核
心在于指出东亚文化的意义不是体现在赶超西方文化的时候,而是体现在现在所展现的样子 那么该如
何了解东亚近代文化呢? 比较文化研究学者彭晓燕(音译)指出传统的文化理论只关注文化的矛盾和冲
突,为了能够理解近代文化,必须从新的角度出发 他通过已经交织在一起的诸多文化的跨越分析,文
化在互相影响的过程中实现进化 近代文化不仅跨越国家和语言的界限,还横跨过去和现在、知识分子和
大众、男性和女性等内外界限而形成 因此,东亚的文化近代性是通过横穿东亚传统文化和西方近代文
化的界限而形成的 韩国文化也是如此 韩国的现代文化所具有的文化跨越近代特性既是其特征也是其价
值 韩国人作为文化跨越近代特性的主体,对传统的文化旧俗和秩序不断地进行审视和打破,从自身出
发创造了新的文化
我现在来到了庆尚北道安东市陶山面李陆史文学馆 李陆史文学馆是纪念韩国诗人李陆史的地方 李陆
史是一个横跨中日韩三国、横跨汉字写作和韩文写作 横跨东亚文化和西方文化、横跨传统与近代创造
了韩国文化价值的文学家 在第八周的课上,我们通过李陆史的历史足迹和他的文学成就为中心来学习
韩国文化跨越近代特性 核心问题是“文化跨越的近代特性作为韩国现代文化的价值,是由什么样的主体
进行实践的?” 关键词是东亚、西方、传统、近代、文化跨越的近代特性 第一课时就到这里
- 我是李陆史文学馆的李沃非。 李陆史老师是我的父亲。
问题: 听说女士的名字是李陆史亲自起的意义深远的名字。
采访者: 一定很美。我想问一下您对母亲安一阳女士的记忆如何。
问题: 查顿纸是什么?
问题: 奶奶许吉女士是什么样的人?
问题: 听说您母亲跟奶奶学过写文章。
第2課時 |
在我七八岁时,一到夏天,上午10点左右或11点左右,家里的少年们聚在一起写作是我们的日常
问题: 您有与父亲李陆史诗人的回忆吗?
- 我记得在父亲去世之前去华信百货商店给我买了粉色帽子和天鹅绒的衣服, 还给我买了黑色皮鞋。
那个记忆非常深。刻 然后, 父亲说, 我小时候好像喜欢枪支。 因为我家有很多落款, 所以父亲在我歌
斗时也加入诗调, 并不是因为我知道那个文章, 只要有一个目标在我眼里, 大人们就会读出来, 只有孩子
们和堂兄弟们, 那么我就最先得到几分。 因为有这样的记忆, 父亲觉得那个很好看, 所以总会在早上,
加上落款很多, 把落款全都混在一起, 如果问这个落款是谁的, 就会让我找叔叔的, 就像我识字一样, 然
后说, "这是爷爷的", "这是曾祖父的"。 父亲说因为那个很有趣, 所以每天早上都会叫我, 然后让我做那
个, 这些我都记得。 以前家里还有三六甲, 就是扔着玩的骨牌。 如果扔一次, 我就有1、2、3、4、6
个, 骨牌有6个的话, 我的分数不是最高吗? 我记得玩过那个。
第3課時 |
生命就像破碎的船
分散在各处,村庄比凌乱的渔村还要落魄
生命之脉络, 系得象老布帆一般
在这首诗中,诗的主体被比喻成破碎的船 在这里,船象征着以黄海为中心,在东亚徘徊的李陆史自
己 可是诗中说自己是破碎的船 这代表着当时疲惫和危险的处境
虽然别人都因为年少高兴
每到夜晚我都梦到变成偷渡西海的垃圾船
被盐沁渍,被潮水泡胀
李陆史表达自己的年轻时期并不像其他人一样高兴,而是像偷渡的垃圾船一样在战战兢兢中度日 迎着
充满盐分的海风,表达出自己的生活的疲惫
在阴天夜里离开暗礁的话,总是会与台风搏斗
连传说中的珊瑚岛也没能看到
那里连南十字星都无法照亮
被追赶的心 疲惫的身躯
每当一口气爬到想念的地平线上
就像散发恶臭的热带植物一样缠住脚踝
他在热带植物生长的陌生地区,以"被追赶的心"和"疲惫的身体"毫无顾忌地行走
是清晨涨潮涌来的蜘蛛吗
我站在已经腐烂的螺壳上而来
遥望远航岁月流逝地生活
诗的主体说自己依靠海螺壳这样微弱的东西,随着海浪漂流而活 他说自己的生活不是定居在某个地
方,而是流经多个港口的不稳定的人生 说自己的人生是流淌在潮流中的生活的《路程记》,将跨越东亚界限
的李陆史疲惫的心情表现得淋漓尽致 李陆史通过路政记坦率地说自己很疲惫,但他的诗并不只是表现疲
惫的心 李陆史的名作《青葡萄》表达了在跨越东亚界限的过程中,给疲惫的自己生活带来了小小的安慰 而
且《青葡萄》的诗意想象力也与东亚期盼和平的梦想相连 我们来朗读一下《青葡萄》这首诗
我故乡七月是
青葡萄成熟的季节
架上挂满了村庄的串串故事
藤上缀满了蓝天的粒粒梦幻
传说从悠远的海原上
漂来白色帆船的一日
我所期盼的人拖着疲惫的身体
穿着青袍来到我之身旁
我迎着他摘这葡萄吃
双手浸湿也无所谓
呀 我们餐桌上的银盘之边
放一枚白色擦手巾吧
为在贫困中也是致力于革命的人物
最后来理解一下青葡萄这个词 现在在韩国也有叫青葡萄的葡萄品种 青葡萄是淡绿色的葡萄 但在这
首诗中,青葡萄并不意味着淡绿色的葡萄,而是指还未成熟的葡萄 这首诗的事件背景是7月 7月的葡萄
还没有成熟,过了夏天葡萄才开始成熟 为了成熟,“架上挂满了村庄的串串故事,藤上缀满了蓝天的粒
粒梦幻” 在盼望和平生活的村民们梦想里葡萄逐渐成熟 然后在9月收获成熟的葡萄后,可以把葡萄包在白
色毛巾里招待客人 这首《青葡萄》中蕴含着东亚人对和平的期盼 而且还可以发现为创造和平而努力的人
们的行动 如此,李陆史以韩国的现实为背景和东亚传统的思想创作了这首诗 李陆史跨越东方和西方、
传统和近代的界限,向人们展现了现实中需要的韩国文化 第三课时就到这里
问题: 请您朗诵一下李陆史老师的诗中的青葡萄。
我故乡七月是
青葡萄成熟的季节
架上挂满了村庄的串串故事
藤上缀满了蓝天的粒粒梦幻
传说从悠远的海原上
漂来白色帆船的一日
我所期盼的人拖着疲惫的身体
穿着青袍来到我之身旁
我迎着他摘这葡萄吃
双手浸湿也无所谓
呀 我们餐桌上的银盘之边
放一枚白色擦手巾吧
采访: 谢谢。
第4課時 |
直面故乡的现实,并根据它走上新的道路,使故乡焕然一新 我们来比较一下奇里科夫的《故乡》和鲁迅的
《故乡》 两部作品虽然都描写了主人公时隔二十年回到了故乡,但发现现实中的故乡并不是记忆中的样
子 可是他们对此表现的态度不同 奇里科夫的小说将过去与现在隔离 小说中对已经不复存在的过去和
故乡只有感伤 鲁迅的作品中虽然对现实的故乡也表现出了失望,但却表达出了要继续前行的态度 如果
说奇里科夫将故乡定格在了过去,那么鲁迅期待的就是未来的故乡 如果说奇里科夫的故乡是固定的某
个地方,那么鲁迅的故乡就是自己所在之处 李陆史在1936年将鲁迅的《故乡》翻译成了韩文 1936是鲁
迅去世的那一年,为了悼念鲁迅,李陆史写了《鲁迅悼词》 《鲁迅悼词》一开始是李陆史回想与鲁迅见面
的场景 1930年代初期,李陆史在上海与鲁迅见面 见到鲁迅的李陆史介绍自己是韩国青年,一直希望有
机会能见他一面 鲁迅热情的接待了李陆史,握着他的手 《鲁迅悼词》介绍完与鲁迅的见面以后,对鲁迅
的文学价值进行了描述 李陆史在鲁迅的文学中看到了不回避与对方斗争的态度 另外,他在鲁迅的文学中
看到了根据"过去"展望未来的精神 李陆史通过鲁迅的文学作品认识到,只有在过去与现在、自我与他
人、希望和绝望实现了统一,才能前进 李陆史的这一认识在他的随笔《季节五行》中能够找到 李陆史在
《季节五行》中这样说道
虽然我认为没有人能够谦让到给野狗让路,但是如果迎面而来的是一头猎豹,即使胆怯,但能让我纹
丝不动的只有我深爱的路 深爱着我自己的路,必须付出牺牲 所以我要壮大我的气魄,用金刚心写诗而
不是遗书
在很久很久以前
天开初始之眼时
此地未曾闻过一声鸡鸣
在连绵的山峦
仰慕了远海而飘忽不定时
此地未曾有过丝毫的随从
之后在飞速流失的光阴里
又轮回了无数个季节之变
此地才有了一条大江之路
如今雪花飘
零梅花独秀
我独自静坐吟咏寒怆之歌
想再过了千年之后 / / “
到来骑白马的一圣人
将在这旷野高声呼唤我之心魂
据说这首诗是在1943年李陆史被押送到北京的路上写的 现在李陆史文学馆附近的掷柶台据说是《旷
野》里描述的地方 李陆史在被押送到北京的时候,想起了家乡的田野创作了这首诗 可是这首诗所包含
的时间和空间线非常广阔 《旷野》中也蕴含着历史 第一句的很久很久以前,指的是创世之时 第三句中
有一句飞速流逝的光阴 光阴指的是岁月 第四句中的如今指的是现在 第五句有一句千年之后 这体现的
是遥远的未来 因此这首诗从创世之处开始,讲到了现在和未来 这个世界诞生以后后,人类创造了历史
但目前的情况并不乐观 诗中用“雪花飘零”来比如黑暗的现实 但是李陆史没有因为现实的不幸而潦倒
他“吟咏寒怆之歌” 为了总有一天要到来的未来,当下也要做自己可以做的哪怕是微不足道的事情 虽然
不知道能否有成果 但李陆史坚信千年以后会有人站在旷野铭记并吟唱他的歌 诗作《花》也能窥探李陆史
的人生态度
东方拂晓引来漫长白昼
暴日开始狂乱的岁月里
你却修炼出血色一般的灿烂
坚意谱写生命之歌
一日清晨我在北方之村落
聆听冰雪之下花音的萌动
确信了不能背弃
北归燕子的誓言
而望到在海原的中央
浮出一座美丽的花城
聚来永远依恋于花意的人群
于是我不觉高呼他们的名字
- 花, 李陆史。
东方拂晓引来漫长白昼
暴日开始狂乱的岁月里
你却修炼出血色一般的灿烂
坚意谱写生命之歌
一日清晨我在北方之村落
聆听冰雪之下花音的萌动
确信了不能背弃
北归燕子的誓言
而望到在海原的中央
浮出一座美丽的花城
聚来永远依恋于花意的人群
于是我不觉高呼他们的名字
问题: 现在诗人李陆史盼望的独立时期已经到来。
- 嗯, 是我高二的时候。
问题: 现在韩国各地都建立了李陆史诗碑。
第5課時 |
- 谢谢。
问题: 谢谢。