초판 백석 시전집(큰글씨책)

초판 백석 시전집(큰글씨책)

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Description
백석 시인의 미발굴 61편의 시와 7편의 산문을 첫 시집 〈사슴〉 수록 시 33편과 나란히 묶어 백석 문학의 전모를 한눈에 살필 수 있게 하였고, 자세한 연보와 참고문헌, 600여 개가 넘는 북방 사투리에 대한 낱말 풀이를 붙였다. 편자인 이동순 교수의 해설은 민족주체의 정신으로 모국어를 지키고 북방정서를 빼어나게 형상화한 백석 시에의 접근을 돕는다.
저자

백석

평안도정주출생(1912-1995)이다.본명백기행.일본의시인이시카와타쿠보쿠(石川啄木)의시를좋아하여그의이름중석을택해서썼다.오산고보재학중백석은부친을닮아성격이차분했으며친구가없었다.조선일보신춘문예를단편소설'그모(母)와아들'이당선되면서등단했지만소설작품은많이남기지않았다.1935년조선일보에'정주성'이라는시를발표하면서시인으로활동을시작했고,시집'사슴'을비롯남북이분단되기까지60여편의시를신문과잡지에발표했습니다.한국전쟁후북한에서활동한백석은아동문학에큰관심을가지고몇편의아동문학평론을발표하기도했다.1957년'멧돼지'등3편의동시를발표했으며,'개구리네한솥밥'이수록된동화시집'집게네네형제'를발간했다.윤동주는백석시집을구할수없어노트에시를필사한이야기는유명하다.해방전천재시인으로명성이자자했다.

목차

시집≪사슴≫이전발표작
개 ························3
가마구 ······················5
어린아이들 ····················9
定州城 ·····················12
山地 ······················14
酒幕 ······················16
비 ·······················17
나와지렝이 ···················18
늙은갈대의獨白 ·················20
여우난곬族 ···················23
統營 ······················27
힌밤 ······················28
古夜 ······················29

시집≪사슴≫수록작
얼럭소새끼의영각 ················35
가즈랑집 ···················35
여우난곬族 ·················39
고방 ·····················43
모닥불 ····················45
古夜 ····················47
오리망아지토끼 ···············51

돌덜구의물 ···················53
初冬日 ···················53
夏畓 ····················54
酒幕 ····················55
寂境 ····················56
未明界 ···················57
城外 ····················58
秋日山朝 ··················59
曠原 ····················60
힌밤 ····················61

노루 ······················62
靑枾 ····················62
山비 ····················63
쓸쓸한길 ··················64
?榴 ····················65
머루밤 ····················66
女僧 ····················67
修羅 ····················69
비 ······················71
노루 ·····················72

국수당넘어 ···················73
절간의소이야기 ···············73
統營 ····················74
오금덩이라는곧 ···············75
枾崎의바다 ·················77
定州城 ···················79
彰義門外 ··················80
旌門村 ···················81
여우난곬 ··················83
三防 ····················84

시집≪사슴≫이후발표작
統營 ······················87
오리 ······················90
연자ㅅ간 ····················93
黃日 ······················95
湯藥 ······················97
伊豆國湊街道 ··················98
昌原道?南行詩抄(一) ··············99
統營?南行詩抄(二) ···············101
固城街道?南行詩抄(三) ············103
三千浦?南行詩抄(四) ·············105
묘비명?咸州詩抄 ················107
北關?咸州詩抄(一) ···············108
노루?咸州詩抄(二) ···············109
古寺?咸州詩抄(三) ··············111
膳友辭?咸州詩抄(四) ·············113
山谷?咸州詩抄(五) ···············115
바다 ······················117
丹楓 ······················119
秋夜一景 ····················121
山宿?山中吟(一) ················122
饗樂?山中吟(二) ················123
夜半?山中吟(三) ················124
白樺?山中吟(四) ················125
나와나타샤와힌당나귀 ·············126
夕陽 ······················128
故鄕 ······················130
絶望 ······················132
개 ·······················133
외가집 ·····················135
내가생각하는것은 ···············137
내가이렇게외면하고 ··············139
東海 ······················140
三湖?물닭의소리(一) ·············144
物界里?물닭의소리(二) ············145
大山洞?물닭의소리(三) ············146
南鄕?물닭의소리(四) ·············148
夜雨小懷?물닭의소리(五) ···········149
꼴두기?물닭의소리(六) ·············151
가무래기의樂 ··················153
멧새소리 ····················154
박각시오는저녁 ················155
넘언집범같은노큰마니 ·············156
童尿賦 ·····················160
安東 ······················162
咸南道安 ····················164
球?路?西行詩抄(一) ·············166
北新?西行詩抄(二) ···············168
八院?西行詩抄(三) ···············169
月林장?西行詩抄(四) ·············171
木具 ······················173
수박씨,호박씨 ·················175
北方에서 ····················178
許俊 ······················181
아카시아 ····················184
≪호박꽃초롱≫序詩 ··············185
歸農 ······················187
국수 ······················190
힌바람벽이있어 ················193
촌에서온아이 ·················196
?塘에서 ····················199
杜甫나李白같이 ················202
당나귀 ·····················205
나취했노라 ···················207
머리카락 ····················208
山 ·······················210
적막강산 ····················212
마을은맨천구신이돼서 ·············214
七月백중 ····················217
南新義州柳洞朴時逢方 ············220

분단이후의시
계월향사당 ···················225
등고지 ·····················226
제3인공위성 ··················228
이른봄 ·····················231
공무려인숙 ···················233
갓나물 ·····················236
공동식당 ····················238
축복 ·····················240
하늘아래첫종축기지에서 ············243
돈사의불 ····················246
눈 ·······················249
전별 ······················252
천년이고만년이고… ···············255
탑이서는거리 ·················259
손’벽을침은 ··················262
돌아온사람 ···················265
석탄이하는말 ·················268
강철장수 ····················272
사회주의바다 ··················275
조국의바다여 ··················279
나루터 ·····················283

분단이후동시동화시
병아리싸움 ···················291
까치와물까치 ··················293
지게게네네형제 ················300
집게네네형제 ·················307
쫓기달래 ····················314
오징어와검복 ··················319
개구리네한솥밥 ················330
귀머거리너구리 ·················346
산’골총각 ···················354
어리석은메기 ··················369
가재미와넙치 ··················377
나무동무일곱동무 ···············383
말똥굴이 ····················404
배’군과새세마리 ················409
준치가시 ····················415
메’돼지 ·····················419
강가루 ·····················420

출판사 서평

여기한시인이있다.
그는일제식민통치기중후반기의조선문단을배경으로활동을하다가분단을겪으며문학인으로서의정체성에심한교란을겪게된다.당시모든문학인이그러했듯이그또한정치적판단과선택이라는가파른기로에놓이게되었다.그는청년시절수년간서울문단에서활동했던경력이있었다.하지만그후만주일대를유랑민처럼떠돌면서뿌리를내리지못하는부유적(浮游的)삶을살았다.그러한와중에서해방이되었고,조국은정치적이념과지향을달리하는두체제로분단되었다.그의고향은평안북도정주,한반도의관서지역이었다.시인의부모형제와일가친척모두가고향부근에서살았다.시인또한떠돌이생활을정리하면서고향가까이서살고싶었을것이다.굳이서울로월남해내려올만한어떤정치적신념이나노선이별도로있었던것도아니었다.
해방이후북쪽에수립되었던공산주의정권치하에서그는한사람의주민으로서당시사회의중심권으로진입하지않고비교적온건하고소극적인삶을살았다.그가한때거주했던한반도의남쪽지역에서는완전히잊힌시인이되었다.우리는이를일러문학사에서의매몰현상이라고지적한다.그러다가1987년서울에서분단시기까지의그의작품을모은시전집이발간되었다.이후로그는남한의문학사에서매우중요한시인으로화려하게되살아났다.그의이름은백석(白石,1912∼1995)이다.
이제는백석시인을모르는이가없을정도로백석은인기시인의반열에올라있다.오죽하면젊은시인들조차도문학수업기에가장커다란영향을받았던시인의한사람으로단연백석을일컬을정도로백석문학의감화력과영향력은이미객관적검증을받은상태다.
백석의시는시간이지나도그특유의신선함과발랄함,그윽함과도란거림의예술적음영과세력이전혀줄어들지않고오히려특이한효과로점차확장되어간다.이러한확장과보편화가주는놀라움의근원은과연어디에서비롯된것일까?그것은오로지백석문학이가장주안점을두었던민족적전통성이라는가치때문이아니었을까추정된다.서양문학(영문학)을전공했거나혹은강의를들었던시인들이대개서양문학의방법론이나그분위기에심취해서단순추종자나그에피고넨이되기가십상인데한국문학사에서는특이한세시인이그반대의길을걸었다.그들은김소월,정지용,백석이다.서양문학을공부한경험을가졌으면서도오히려그들은민족의전통이라는후미진뒷골목으로돌아들었던것이다.
일본아오야마학원영문과에재학하며영미문학에관한지식과교양을충분히습득했던백석이어떻게민족적전통이라는가치관쪽으로확연히돌아앉아시창작의중요테마로떠올리며애착을가질수있었던것인가?백석의시는모더니즘을통해창작방법론을익혔음에도불구하고도리어모더니즘이지닌한계와제한성을비판하고극복하는방법으로변화를주었다.이러한작업은식민지자본주의가드러내고있던여러부정적파괴적징후를시인이매우침통한표정으로응시하며고뇌하는활동과거의동시에이루어졌다고하겠다.
백석의문학세계가나타내는전통성의다양한갈래와그의미에대해낱낱이점검하고확인해보면시인백석이식민지라는정치적문화적폐쇄공간속에서문명과반문명에관한시적담론을지속적으로펼치는작업에몰두했다는점이명확해진다.그리고이러한일관된노력에힘을쏟은것이당시시인이품고있었던일정한비평적의도의반영이었다는사실을알수있다.문명과반문명이라는대립항에서일제가그토록자부심과우월감을가졌던문명이야말로가장극단적이고전형적인반문명이었다는사실을백석시인은강조하고자했다.이와더불어한국인의문화적전통이야말로상대적제국주의문화를압도하고진정한문명으로힘차게나아가는길이었음을시인은작품을통해역설하고있었던것이다.