초판 윤동주 시선(큰글씨책)

윤동주

1917년북간도명동촌에서출생하여연희전문문과를졸업하였고일본동경동지사대학에서수학하였다.1936년부터여러지면의학생란에동시,시,산문등을발표하던중1941년자선시집'하늘과바람과별과시'를간행하려하였으나뜻을이루지못하였다.1943년독립운동혐의로일본경찰에체포되어1945년구주복강형무소에서의문의병사를당했다.열다섯살부터시를쓰기시작하여첫작품으로「삶과죽음」,「초한대」를썼다.발표작품으로는만주의연길에서발간된『가톨릭소년』지에실린동시「병아리」,「빗자루」,「무얼먹구사나」,「거짓부리」등이있다.연희전문학교시절작품으로는『조선일보』에발표한산문「달을쏘다」,교지『문우』지에게재된「자화상」,「새로운길」이있다.유작「쉽게쓰여진시」는사후에『경향신문』에게재되었다.1941년연희전문학교를졸업하던해에절정기에쓰인작품들을『하늘과바람과별과시』라는제목으로발간하려하였으나뜻을이루지못했다.자필유작3부와다른작품들을모아친구정병욱과동생윤일주가,사후에본인의뜻대로1948년,『하늘과바람과별과시』라는제목으로출간했다.29년의짧은생애를살았지만특유의감수성과삶에대한고뇌,독립에대한소망이서려있는작품들로인해대한민국문학사에길이남은전설적인문인이다.

≪하늘과바람과별과詩≫序詩 ··········3
自畵像 ······················4
少年 ·······················6
눈오는地圖 ···················7
돌아와보는밤 ··················8
病院 ·······················9
새로운길 ····················11
看板없는거리 ·················12
太初의아츰 ···················14
또太初의아츰 ··················15
새벽이올때까지 ·················17
무서운時間 ···················18
十字架 ·····················19
바람이불어 ···················21
슬픈族? ····················23
눈감고간다 ···················24
또다른故? ···················25
길 ·······················27
별헤는밤 ····················29
힌그림자 ····················32
사랑스런追憶 ··················34
흐르는거리 ···················36
쉽게씨워진詩 ··················38
봄 ·······················40
밤 ·······················41
遺言 ······················42
아우의印像畵 ··················43
慰勞 ······················44
肝 ·······················46
산골물 ·····················48
懺悔錄 ·····················49
八福 ······················51
못자는밤 ····················52
달같이 ·····················53
고추밭 ·····················54
異蹟 ······················55
비오는밤 ····················57
窓 ·······················58
바다 ······················60
毘盧峯 ·····················62
소낙비 ·····················64
寒暖計 ·····················66
風景 ······················68
달밤 ······················70
장 ·······················71
黃昏이바다가되여 ···············73
아츰 ······················75
빨래 ······················77
꿈은깨여지고 ··················78
山林 ······················80
이런날 ·····················82
山上 ······················83
陽地쪽 ·····················85
닭 ·······················86
가슴1 ·····················88
가슴2 ·····················89
비둘기 ·····················90
黃昏 ······················91
南쪽하늘 ····················92
蒼空(未定稿) ··················93
거리에서 ····················95
삶과죽움 ····················97
초한대 ·····················99
산울림 ·····················101
해바라기얼골 ·················102
귀뜨람이와나와 ·················103
애기의새벽 ··················104
해빛·바람 ···················105
반듸불 ·····················106
둘다 ······················107
거즛뿌리 ····················108
눈 ·······················110
참새(未定) ···················111
버선본 ·····················113
편지 ······················115
봄 ·······················116
무얼먹구사나 ·················117
굴뚝 ······················118
해ㅅ비 ·····················120
비ㅅ자루 ····················122
기와장내외 ···················124
오줌싸개지도 ··················125
병아리 ·····················126
조개껍질 ····················127
겨을 ······················129
谷間 ······················130
悲哀 ······················132
薔薇病들어 ··················133
래일은없다 ··················135
비행긔 ·····················136
호주머니 ····················138
개 ·······················139
고향집 ····················140


해설 ······················141
지은이에대해 ··················177
엮은이에대해

윤동주(尹東柱)는청소년시절인,용정(龍井)광명중학(光明中學)재학당시간도에서발간되던≪카톨릭소년(少年)≫에동주(童舟)라는이름으로동시몇편을발표한이래조선일보학생란및연희전문학교문과발행의≪문우(文友)≫에작품몇편이실렸을뿐,대부분의시는해방후유고시집≪하늘과바람과별과시≫(정음사,1948.1.30)가간행됨으로써비로소한국문학사에소개되었다.그는직접적인문단활동의체험이없다는이유로문학사서술에서제외되다가김윤식·김현의≪한국문학사≫에서본격적으로문학사범주에편입되었다.그의시가위치한1940년대의문학사적공간은일제가소위대동아전쟁을성전으로선포하고황민화정책을추구하던,일제강점기중가장고통스러웠던시기였다고할수있다.이러한암흑기속에서창작된윤동주의시는단순히민족적자긍심의측면에서뿐만아니라고백의시학을독창적으로확립했다는점에서문학사적의의를찾을수있다.
윤동주의시에서고백은그의시담론의토대를형성하는내적구조로서기능하고있다.이글은윤동주의고백적시담론을성경해석학의관점에서분석함으로써그의시가나타내는기독교문학적성격을규명하고자했다.그의시에서고백은여타시인들의경우와는달리기독교성경에서비롯된언어로부터형성되고있음을발견할수있다.즉윤동주시의고백은기독교성경과의알레고리에의해형성된희생제물의제의적상징들과참회자가토설하는속죄고백의언어적특성들을나타내고있다.
그의시에나타나고있는고백은복합적인정체성으로부터말미암고있다.윤동주는시대적으로식민지청년지식인으로서의정체성과함께증조부때부터북간도로이주해서살아온실향민의후손으로서의정체성을지니고있다.여기에어려서유아세례를받고자라면서기독교세계관의영향을받은신앙인으로서의정체성을또한가지고있다.이러한복합적정체성은그가민족정신과기독교신앙이조화를이룬고백의시학을구축할수있었던근본적인요인이었다고할수있다.
윤동주의초기작품에서는예수그리스도를흠없이성별된희생제물과메시아로서인정하는고백이나타난다.윤동주의시에서는흠의고백이직접적으로나타나지는않지만그의시전반에걸쳐나타나는성결의식은흠에대한깊은성찰에서비롯되고있다.흠의상징성은속죄를위한희생제물의형태로드러나는데,윤동주시에있어서희생제물의표상은메시아로서성육신한예수그리스도라고할수있다.
윤동주가연희전문학교를졸업하면서묶은자선시고에서는일제의속박으로고통당하는민족의구원을염원하는기도의고백이나타난다.그의시에서죄의상징은병든공동체의모습으로나타난다.윤동주는일제의압제아래있던우리민족을병의속박에사로잡혀있는환자의은유로표현한것이다.민족의회복을향한열망은시인자신을민족구원을위한제물로바치겠다고기도하는비장한고백으로까지나아간다.윤동주는자신의시를통해상징적인희생제물로서민족을위한속죄를감당하려고한것이다.
윤동주가일본유학을위해서굴욕적인창씨개명을하고지배자의나라에서썼던시에서는자신의허물을인식하고그부끄러움을토설하는고백이나타나고있다.허물의인식을통해시인은실존적자아의가치가하락하는내면적고통을체험한다.그렇지만허물을인식하는고통의과정을통해시인은심미적·윤리적인자기정체성의완성을이룰수있게된다.또한허물의식을통해윤동주는그의시를특징짓는부끄러움의미학을확립하게된다.부끄러움의미학은일제치하말기에고백의시어를통해윤동주가이루어낸한국시사의큰수확이라고할수있다.