Earticle

이 글은 1980년대 무크지 『삶의文學』에 나타난 르포와 공동창작시를 중심으 로 농민 표상과 저자성의 문제를 재검토하는 데 목적이 있다. 기존 연구가 『삶의文學』을 지역문학운동의 한 사례로 평가해 온 것과 달리, 본고는 『삶의文學』 의 형식적 실험이 1980년대 민중문학운동의 특수한 사례였으며, 그 목표가 ‘이상적인 농민 저자성’을 구성하거나 ‘도시 노동자와 농촌 주민의 삶을 분유하는 것’이었음을 주목한다. 삶문동인은 초기에는 수기에 눈길을 두었다. 제5호의 수기 특집의 경우 단순 한 경험 기록이 아니라 사회 현실에 대한 비판의식을 드러내는 텍스트를 강조 함으로써 ‘성찰하는 민중’이라는 표상을 강조했다. 그런데 삶문동인은 수기가 삶의 단면을 나열하는 데 그치며 상업화되어 ‘진정한 삶의 표현’과 비판적 윤리 를 담아내지 못한다고 보았다. 따라서 농민의 삶을 보다 깊이 있게 재현하고 ‘삶의 진실’과 전망을 형상화하기 위해 르포와 공동창작 같은 새로운 문학 형식으로 이행했다. 제6호의 르포 「녹두밭 윗머리 사람들」은 농민의 발화와 서술자의 해석을 병 치하면서 초기에는 농민을 ‘억압된 존재’로 표상하지만, 후반으로 갈수록 농민 의 발화를 따라가는 방식으로 서술태도가 변화한다. 이는 지식인과 민중 사이의 간극을 줄이려는 실천적 시도로 이해된다. 또한 공동창작시 「옹매듭두 풀구유」 를 비롯한 작품들은 농민의 구술과 작가의 형식적 개입이 결합된 대화적 장르로서, 서로 다른 계급의 언어와 의식이 상호작용하는 장을 형성한다. 나아가 이러한 작품들은 농촌 현실의 고발과 함께 농민과 도시 노동자의 연대 가능성을 제시한다. 결론적으로 『삶의文學』은 단순히 창작 주체를 확대한 매체가 아니라, 수기· 르포·공동창작이라는 형식적 실험을 통해 농민의 이상적인 저자성을 구성하고, 작가가 민중을 일방적으로 대변하는 위계적 관계에서 벗어나, 농민의 발화를 수 용·재구성하고 공동창작의 형식을 통해 서로의 언어와 의식을 교환하는 대화적 관계로 전환하려 한 문학운동으로 평가될 수 있다.

This study aims to reexamine the representation of farmers and the issue of authorship in the 1980s mook Life and Literature, focusing on its reportage and collaborative poetry. While previous studies have evaluated Life and Literature primarily as a regional literary movement, this paper argues that its formal experiments should be understood as a distinctive practice within the people’s literature movement of the 1980s. In particular, it highlights that the journal sought to construct an “ideal form of farmer authorship” and to create a space for sharing the lived experiences of urban workers and rural communities. In its early phase, the editorial collective paid close attention to autobiographical writings. In issue no. 5, these texts were not merely records of personal experience but were selectively emphasized to foreground a critical awareness of social reality, thereby shaping the image of “self-reflective people.” However, the editors came to regard such writings as limited, arguing that they often remained at the level of fragmentary descriptions of everyday life and, due to their commercialization, failed to embody the “truth of life” or a critical ethical perspective. As a result, they shifted toward new literary forms such as reportage and collaborative writing in order to represent rural life more profoundly and to articulate both the “truth” and the future prospects of lived experience. The reportage People at the Upper Field of Green Peas (issue no. 6) juxtaposes farmers’ voices with editorial interpretation. While it initially portrays farmers as “repressed subjects,” the narrative stance gradually shifts toward a closer alignment with their voices. This transformation can be understood as a practical attempt to bridge the gap between intellectuals and the people. Meanwhile, collaborative works such as Untying the Knotted Bonds function as dialogic genres in which farmers’ oral expressions and writers’ formal interventions intersect, creating a space where different class-based languages and forms of consciousness interact. These works not only expose the realities of rural life but also suggest the possibility of solidarity between farmers and urban workers. In conclusion, Life and Literature should not be seen merely as a medium that expanded the range of literary subjects. Rather, through formal experiments in autobiographical writing, reportage, and collaborative creation, it sought to construct an ideal form of farmer authorship and to transform the hierarchical relationship in which writers unilaterally represent the people into a dialogic relationship based on the exchange of language and consciousness.

This paper examines the collaborative creative efforts among Gerard Manley Hopkins, Robert Bridges, and Richard Watson Dixon in the final decades of the 19th century, focusing on the composition and revision of Hopkins’s poem “Brothers.” Hopkins shared successive drafts with Bridges and Dixon, receiving pointed critiques from both: Dixon objected to the opening lines, while Bridges found the latter part of the poem lacking vitality. Incorporating their feedback, Hopkins produced eight known manuscript versions. This revision process reveals his reliance on peer evaluation, challenging the post-Romantic ideal of the solitary poetic genius. The collaboration was mutual, sustained by emotional intimacy, shared religious commitments, and a common interest in formal experimentation. These exchanges unfolded within a broader literary culture that?while increasingly competitive and shaped by male intellectual networks?also nurtured close poetic friendships. Hopkins thus emerges not as an isolated figure but as a poet deeply engaged in creative dialogue.

이 연구는 한 문학상담 전공자가 어머니 상실과 애도 과정에서의 시 쓰기 경험을 고백적-감성적 글쓰기로 기술하고, 그 경험의 의미를 협력적 성찰을 통해 구성한 협력적 자문화기술지이다. 어머니의 오랜 치매로 인한 모호한 상실과 사별이라는 두 번의 상실 과정에서 경험한 감정과 생각을 시를 비롯한 다양한 글쓰기 작업물을 자료로 수집하여 인 비보(in vivo) 코딩과 정의적 코딩, 종단 코딩을 활용하여 분석하였다. 분석 결과 “시 속으로 폭포수처럼 쏟아져 내리는 고통: 슬픔을 담아내는 시 쓰기,” “나한테 먼저 들키기: 말하고 싶음과 말하지 못함 사이의 시 쓰기,” “시의 셋집에 당신과 살다: 떠난 이를 다시 데려오는 시 쓰기” 세 개의 범주가 도출되었다. 나는 애도 과정에서 시를 통해 쏟아져 나오는 슬픔의 면면과 마주하면서 글쓰기의 해방감과 카타르시스를 경험하였으며, 스스로 수용하기 어려웠던 자책감과 이해받고 싶은 마음을 시라는 형식을 통해 안전하게 표현할 수 있었다. 또한 문학상담의 여러 기법은 습관적 표현방식과 관념을 중지시키고 새로운 관점과 자극을 주어 어머니와 나 자신의 삶에 대한 새로운 인식을 열어주었다. 이러한 경험은 문학상담이 개인적인 애도 경험을 어떻게 변화시킬 수 있는지에 대한 이해를 제공하며, 문학적 접근이 애도 과정을 지원하는 데 도움이 될 수 있음을 보여준다.

This collaborative autoethnography examines my experience of writing poetry as a literary counseling major during a period of maternal loss and mourning, describing the experience through confessional-affective writing and constructing its meaning through collaborative reflection. I collected reflective writings, including poems, that captured my emotions and thoughts throughout the dual process of loss?ambiguous loss caused by my mother’s prolonged dementia and the subsequent bereavement?and analyzed these materials using in vivo, affective, and longitudinal coding, which resulted in three categories: (1) "Pain Pouring Like a Waterfall into Poetry: Writing Poetry to Contain Grief," (2) "Being Caught by Myself First: Writing Poetry Between the Desire to Speak and the Inability to Speak," and (3) "Living with You in the Rental House of the Poem: Writing Poetry to Bring the Departed Back." Through poetry during mourning, I encountered multiple facets of overflowing sorrow, experiencing moments of liberation and catharsis. Poetic writing provided a safe space where I could express my self-reproach and longing to be understood?emotions that were otherwise difficult to accept. Furthermore, literary counseling skills suspended habitual expression patterns and preconceived notions, offering novel perspectives and new insights into both my mother’s life and my own. This study demonstrates how literary counseling can transform personal mourning experiences and effectively support the mourning process.

이 연구의 목적은 현대시 교육에서 ‘학습자 주도성’의 범주를 고찰하고 학습자의 질문에서 출발하는 협력적 읽기 방안을 모색하는 데 있다. 이를 위해 먼저 문학 교실에서 고려해야 할 학습자 주도성의 범주를 고찰한다. 이러한 범주화는 학습자의 인지적 반응과 정서적 반응, 개인적 참여와 상황적 참여를 통합적으로 고려하기 위한 이론적 토대가 된다. 학습자 주도성이 실질적으로 발휘될 수 있게 하려면 교사의 질문이 아니라 학습자의 질문에서 출발하는 교수학습 설계가 필요하다. 이를 위해 본 연구는 댄 로스스타인과 루스 산타나의 질문형성기법을 적용하여 협력적 읽기의 과정을 모색하였다. 이는 학습자들의 다양한 반응과 질문을 수업의 핵심 재료로 사용하여 공동으로 텍스트의 의미를 구성하는 과정을 경험하도록 하기 위한 것이다. 질문 초점에서 출발하여 질문 생성하기, 질문 정교화하기, 질문 분류하기, 중심 질문 선정하기, 문제 해결하기, 발표 및 성찰하기로 이어지는 협력적 읽기 과정을 통해 학습자는 반응의 다양성과 해석의 차이를 경험하면서 비평적 안목을 기를 수 있다.

The purpose of this study is to examine the category of ‘study agency’ and to explore collaborative readings starting from learners' questions in modern poetry education. First, this study examines the categories of ‘study agency’ that should be considered in the literature class. This categorization provides a theoretical foundation for an integrated consideration of cognitive as well as affective responses, intrapersonal as well as contextual engagement of learners. The teaching and learning design for study agency needs to start with learner questions, not with teacher questions. To this end, this study applied the question formulation technique of Dan Rothstein and Ruth Santana to explore the process of collaborative reading. The idea is to use learners' various responses and questions as the core material of the lesson, so that they can experience the process of jointly constructing the meaning of the text. Through a collaborative reading process that starts with a question focus and goes on to formulating questions, elaborating questions, categorizing questions, selecting central questions, solving problems, presenting and reflecting, learners can develop a critical eye while experiencing a diversity of responses and differences in interpretation.

This study explores the integration of Educational Technology (EdTech) in a learner-centered approach to teaching English poetry, focusing on collaborative communication, creative thinking, and digital literacy, which are the competencies that students need to thrive, outlined by the Ministry of Education of the Republic of Korea. The research involved 17 participants from a “Teaching English Poetry” class. Prior to the midterm, the researcher demonstrated the use of various EdTech tools for teaching English poetry. After the midterm, pre-service English teachers were required to conduct micro-teaching using at least three different EdTech tools. Surveys based on the Technological Pedagogical Content Knowledge (TPACK) framework were used to measure how teacher’s TPACK capabilities affect students’ collaborative communication, creative thinking, and digital literacy. The results indicate a significant improvement in students’ engagement and comprehension of poetry, facilitated by the diverse capabilities of EdTech tools. These tools also promoted effective teamwork and problem-solving, enhancing students’ collaboration competencies. In conclusion, this study underscores the importance of EdTech tools in enriching the teaching and learning of English poetry, particularly in cultivating creativity, collaboration, and digital literacy. By fostering an environment conducive to collaboration and interactive learning, EdTech not only boosts student motivation but also enhances their comprehension and appreciation of English poetry.