22호
초록
Abstract
In the childhood, Kim Seung-ok had lived in Suncheon and Yeosu, and when he grew to be a novelist, he often chose these small towns for his novels' literary places by representing them in the specific direction. In this paper, I tried to explain the discursive effects of his literary choices. In the concrete, I wanted to investigate the conflicts or antagonistic relationships between the signifying method oppressed by the censorship and anticommunism and his own method as he wished to persue. For this purpose, I took the con/text-reading method because this is a effective Methodological approach to explore author's spatiotemporal politics. And to conclude, I insisted that Yeosu and Suncheon had been political places because of the Yosun Incident before the appearances of Kim Seung-ok' novels. It means he replaced the politically signified Suncheon and Yeosu with the literary places. But this is the narrative strategy to remove the history and ideology. That's why it's the outcome of compromise of the censorship and anticommunism.
초록
1960년대는 반공 체제가 날로 확고해지면서 전국민적 범위에서 반공 이데올로기가 내면화되던 시기이다. 이 글은 60년대 중반에 집중적으로 양산된 액션 스릴러를 대상으로 하여, 반공 이데올로기의 대중영화적 전유가 어떤 형태로 이루어졌는가에 관해 논의하고 있다. 60년대 들어 일종의 ‘붐’을 이루며 제작된 첩보영화 내지 스파이 스릴러는 당시에 가장 왕성한 생산력을 보여주고 있던 대중장르이자, 냉전 반공주의와 분단의 문제를 본격적으로 다루기 시작한 상업영화라는 점에서 주목을 요한다. 제임스 본드 시리즈의 큰 인기에 힘입어 제작된 모방작들답게 60년대 첩보액션물은 007 시리즈의 문법들을 많은 부분 차용했다. 여간첩과 한국 정보원 간의 사랑은 필수였고 갖가지 진기한 특수무기는 빠짐없이 등장해야 했으며 이국적인 풍물을 배경으로 한 통쾌한 모험이 펼쳐졌다. 제임스 본드를 흉내낸 이들 영화는 몇 가지 지점에서 기존의 한국영화와는 다른 차이를 보여주는 데, 그 가장 뚜렷한 특징은 한국영화에서는 보기 드문 강하고 활기 있는 남성주인공이 등장한다는 점이다. 한국 스파이 스릴러의 남성 주인공들은 ‘제임스 본드’의 “유사 이복형제 영웅”이기를 자처했다. 한국형 제임스본드는 개인적 욕망과 집단적 대의에 모두 충실한 것처럼 보이는 예외적인 인물이었으며 그가 펼치는 경쾌한 모험담은 4‧19와 5‧16의 경험으로 인한 대중들의 좌절감과 상실감을 위무받고 싶어 했던 대중들의 심리에 호소하는 바가 적지 않았다. 한편 서구의 007 시리즈에는 없는 어떤 특징이 한국 스릴러에 반복적으로 나타난다는 점이 인상적인데, 가족에 대한 강한 집착을 드러내고 있다는 점이 그것이다. 이들 영화에서 빈번하게 목격하게 되는 것은 가족 공동체를 향한 강박적이리만치 강한 그리움과 애착이다. 특히 자식과 부모가 만나고, 형제자매가 서로 해후하는 가족상봉 장면은 이 장르의 컨벤션을 이루는 매우 상징적인 부분이다. 비록 영화 안에 반공주의는 이념으로서의 논리나 내용을 갖지 못하였지만, 반공주의를 알리바이삼아 6‧25라는 트라우마를 어떤 방식으로든 치유하고 4‧19와 5‧16의 경험으로 인한 좌절감과 상실감을 위무받고자 했던 대중의식이 이들 영화 안에 담겨 있다. 또한 개인을 억압하는 집단주의의 폐쇄성으로부터 어떤 방식으로든 일탈하고픈 욕망도 반영되어 있었다. 그러나 궁극적으로 이러한 쾌락은 반공의 내면화와 시대에 대한 순응과 무관한 것이 아니었고, 결과적으로는 60년대 국민의 훈육에 일정한 역할을 했다고도 할 수 있다.
Abstract
This article examines the aspects and contexts of anti-communism in the Spy thriller film in the 1960s. The motivation for this work is to try to define the meaning and forms of the typical representation of anticommunism constituted in popular film such as spy thriller, and to understand the function and forms of Korean cinema in 1960s in relation to the internalization of ideology. ‘James Bond’ was perhaps popular and widespread mass-hero at that time, and the most important symbol to take notice of. Korean film tried to mimic ‘James Bond’, which producted spy thriller in 1965 and 1966. Important motives to the spy thriller are ‘strong man’ and ‘family reunit’. Especially, motif of ‘family’ reunit concerned the trauma which people want to cure, and emotion which people had in that era. They gave 1960's spectators pleasure by making them console their trauma and a sense of frustration in relation to historical experiences such as Korean War and 5.16 military coup and making the anticommunism internalized in spectator.
초록
Abstract
1964 was the year when the discourse struggle to monopolize the causes of nationalism and modernization broke out between the Republican Party based on Anti-Communism & Developmentism and dissident groups based on democracy & progressive nationalism. As a result, the discourse topograhpy was overally being changed. Sa-sang-gye was changing, and Cheong-Maek based on progressive nationalism was founded and began to have influence on intellectual society. Although, as lats as in 1964, counter-discourses based on liberalism/democracy appeared in Sa-sang-gye, dissident groups' main thesis was shifted from democracy to nationalism. Around 1964, Sa-sang-gye camp took part in discourse struggle surrouding nationalism. And it also was the case that counter-discourse groups' nationalism was thought as anti-imperialism/anti-colonialism linked with national liberation campaign. Cheong-Maek was the main medium of that kind of discourse. Meanwhile, the sprout of the debate between engagement literature and pure literature first appeared in literary field of 1964, which was the phenomenon pararrel to the differentiation of intellectuals. It was the year when Kim Seung-Ok seriously started his career as a writer writing Mujin-Gihaeng, and it can be argued that the advent of 4‧19 generation writers represented by Kim Seung-Ok proved that the role of liberalism in korea was changed from ideology of pro-modernization intelligentia to intellectual soil of ‘new intellectuals’. And it was also the year when progressive nationalist camp was formed in literary domain.
초록
본 논문은 1960년대의 반공국시 아래에서 한국만화가 어떤 방식으로 나타났는가에 대한 연구이다. 이를 위해 우선적으로 1960년대의 사회적 분위기를 약술하고, 이어서 1960년대 한국만화계의 상황을 살펴본다. 이를 통해 당시의 사회적 분위기가 동시대 만화계의 다양한 모순적 구조들을 형성하고 유지하는데 도움을 주었다는 점을 지적한다. 이어서, 1960년대 반공‧반북성이 드러난 만화를 네 가지 유형으로 나눈다. 첫째로 반공‧반북성이 작품의 주서사인 경우, 두 번째로 반공‧반북성이 주 서사에 보조적으로 결합되어 있는 경우, 세 번째로 반공‧반북성이 주는 비극성을 강조하는 경우, 마지막으로 반공‧반북성을 장식적으로 활용하는데 그치는 경우이다. 그러나 연구 자료의 빈약성은 향후 연구들을 위한 몇 가지 유형 제시 이외의 접근이 힘들다는 한계를 노정한다.
Abstract
This paper aims to examine and analyse the korean comics in 1960's. In this period, the South-korea takes an anticommunist line, since the president PARK Jeong-hee became the president in 1963. The first, this paper summarize the representation of Anti-communism ideology in korean society. And then, we refer to the situation of korean comics to see the relation between the society and the comics in this period. The following analyse focus in four styles of the representation of Anti-communism ideology in korean comics in 1960's. The first, the narrative of Anti-communist in exposed strongly. Secondly, the ideology of Anti-communist in joined secondary to the narrative. Thirdly, the ideology of Anti-communist is appeared in the guise of the critic of the society. And last, the idea of Anti-communism is revealed for decorative purposes. However, there is a limit to represent the comics in 1960's because of the rareness of the comics book during 1960's.
초록
Abstract
Showing a result of the modernization serious in the latter third of 1960s, middle class families were represented as the core for the modernization, ‘Happy house and home’ was an image of symbolic space in which hold the point of conflict for Modernity in Korea and then solving them to appear a contradictions and abuses as well as collective desire lead to the consent of popular for modernization. In such process, a woman was presented as a subject who raising the healthy middle class culture. The middle class woman-housewife was a symbol of a sweet home that was rich materially and healthy morally, and came about the phenomenon of ‘family worship’ as enough to be 'a wise mother and good wife' was being an idea of self-reality for women. This suggested that a modernization project progressed to connect mutually between a modern nation, home and a woman. On the other hand, middle class families were a subject of woman's desire for the private, in which it would be equal and intimate. Getting toward the end of 60s, however, a serial novel that a woman was a reader was made visible doubt of a sweet home. The more a society praised, the higher was to be a tragedy for women's acrifice, and the romantic fantasy for sweet middle class families confused with a shadow of dread. This study tried to see it as the result of desire to seize a secret that contained in modernization, middle class families and femininity rather than a popular and simply restored to an original nature of a common and popular aspect of women's literature subject to a sequence novel by Kang shin jae. It was represented that women's adoration and doubt for gender equality and women's expectation and anxiety for power as presenting successful middle class families to the stage of narration.
초록
Abstract
This study is to make an alternative for a rational methodology of character clarifying the reason that there is no such one. To do so, I developed a methodology by newly establishing the concepts of character, characteristic, trait, or characteristic element and tested its validity by analyzing the novel Mooyoungtop(無影塔) by Hyun, Jin-geun. Character is the traits as whole. Trait, the property or nature of character in the structure of work, is the very basic unit of character analysis. The medium providing traits, namely relevant narration, factor or material involved in it is characteristic element. When traits come together and are synthesized, they constitute characteristic, a complex of interest, desire or morals, and this characteristic is understood mainly in internal, social, and functional aspects. Mooyoungtop uses many techniques which show a character's traits through scenes, however also takes on a contradictory aspect by the fact that the narrator exhibits the sovereign attitude based on a good-or-evil dichotomy. Therefore the traits of a character are superficial and fixed, and characteristic elements fail to possess or form a variety of traits. This has a very close connection with the work's lack of structural unity. Since the suggestion of internal traits of characters is poor and the social traits are not motivated well enough to the development of actions and events, the causal development of events integrated with the emotional and ideological conflict does not happen.
초록
Abstract
This Article is about {The Star of Lost Paradise} written by Kim Nae-seong as love Story. Political liberation during the liberation period of Korea lead the sexual liberation. Many novels enlightened the way of loving, and sexual process. Loving-narrative idealized sexual drive and process in romantics. {The poem of the Hell} written by Park Gyue-ju seems to be tend to this aspect. And then, {Liberal Woman} written by Jeong Bi-seok is included in this trend. But wommen with liberal mind were called or catagorized as “apres” or “liberal wommen” who strayed away from traditional female gender ideology in nagatively. On the other hand, {The Star of Lost Paradise} written by Kim Nae-seong represented a new gender, reflected a change in situation. The relationship between Kang Seok-woon and Kim Ok-young represented the new relation of husband and wife. The relatiohnship between Kang Seok-woon and Go young-lim represented the changed relation of lovers. Love Story written by Kim Nae-seong reversed the conservative gender idea. This trend of Kim Nae-seong's novel is comparitive with that of Jeong Bi-seok' novel.
초록
본 연구에서는 『마인』에만 집중되었던 식민지 시기 김내성 소설에 대한 연구 관행을 반성하고, 중일전쟁 이후의 탐정소설인 「백가면」(1937), 『마인』(1939), 「태풍」(1942 -43), 「매국노」(1943-44)의 일련의 대중소설을 하나의 계열체로 간주하며 검토하였다. 식민지 후반기에 유행하였던 스파이 담론과 일본 제국의 이데올로기였던 대동아공영권론에 부응하는 김내성의 스파이-탐정소설은 식민자에 대한 모방과 새로운 주체 형성의 욕망이 투영된 대중 서사이다. 특히 본 연구가 중점적으로 분석한 「태풍」은 『매일신보』(1942.11.21～1943.5.2)에 연재된 후 1944년 단행본으로 간행되어 초판 8천여부가 한 달여만에 매진된 인기 대중소설이었다. 이 소설의 내용은 식민지 조선만이 아니라 영국, 프랑스, 인도, 중국 상해 등의 세계 도처를 배경으로 조선인(일본인), 중국인, 서구인 등의 다채로운 인물이 등장 신무기를 둘러싼 첩보전을 벌이는 이야기이다. 이 소설을 통해서 전쟁이 확대시킨 지정학적 상상력과 대동아 전쟁의 이념이 추리라는 대중서사의 코드를 통해서 어떻게 대중과 접속하게 되는가를 확인할 수 있다. 진주만 공습, 싱가폴 함락 등으로 이어지는 이른바 ‘緖戰의 승리’의 열기 속에서 창작된 이 소설은 ‘대동아’의 이념을 그대로 재현한다는 점에서 ‘친일적’이라고 비판받아야 마땅하지만, 동시에 ‘대동아’의 중심, 세계 재편의 물리력의 핵심에 조선과 조선인 과학자를 배치함으로써 조선을 새로운 세계의 주체로 기입하고자 하는 식민지인의 식민주체로의 신생의 욕망을 읽을 수 있다는 점에서 식민지 말기 한국문학의 제국적 주체 형성의 문법을 공유하고 있다. 해방 이후 김내성은 연애소설의 대가로 새로운 명성을 획득했지만, 『청춘극장』(1949)을 비롯한 잡지 『아리랑』 소재의 「붉은 나비」(1955)에 이르기까지 식민지를 배경으로 하는 스파이 탐정소설의 영향은 여전히 지속되고 있다.
Abstract
This study sought to turn from a conventional practice of literary researches into Nae-seong Kim, a Korean modern novelist, which focused only on A Haunted Man , a typical and famous one of his novels written during period of colonized Korea under the rule of imperial Japan. In addition, this study also sought to review his popular novels such as White Mask (1937), A Haunted Man (1939), Typhoon (1942 ～43) and Traitor (1943～44), which are recognized as a series of detective novels written by Kim after the Sino-Japanese War. Kim's spy-detective novels complied with discourses about spy and those about the Greater East Asia Co-Prosperity Sphere(大東亞共榮圈) as ideology of imperial Japan, which were widely popularized and propagandized in the late of colonial period. His spy-detective novels are recognized as popular epic works that sought to make a model of colonizer and project desires to form a new subject. In particular, Typhoon , one of Kim's novels, as analyzed intensively in this study, was originally serialized in the Korea Daily News(每日新報) (Nov. 21, 1942 to May 2, 1943) and was published as a separate volume in 1944. Then, Typhoon was ranked as such a popular novel as about total 8,000 volumes of its first edition were sold out just in one month after the first publication. Indeed, this novel deserves re-highlighting in the sense that it contains a pile of major characteristics revealed by Kim's detective novels, and also witnesses an aspect of popular novel readers' consciousness in the late of colonial period. But it has been not analyzed or addressed at all in previous studies. The Typhoon has its major framework of epic novel that depicts intelligence war for latest weapons among countries with the appearance of various national characters(Korean, Japanese, Chinese and Western) against a background of worldwide locations like United Kingdom, France, India and Shanghai(China) beyond the boundary of colonized Korea. It indicates how the geopolitical imagination expanded by war and the ideology of the Greater East Asian War could meet the popular tastes with ‘detective’, a code of popular epic literature. This novel was created under the influence of triumph called ‘the victory of early war’ involving Japan's attack on Pearl Harbor and surrender of Singapore. So it deserves criticism for ‘pro-Japanese novel’ in the sense that it reproduces the imperial Japanese ideology of ‘the Greater East Asia’, but it shares a literary rule of composition for creation of subjective personality revealed by Korean modern literature in the late colonial period, because it boldly deploys Korea and Korean scientists in a core of ‘the Greater East Asia’ and physical power for reorganizing world order and thereby reveals a desire for colonized men as subjects of colonized country to take the initiative to build up Korea as a subjective member of new world. After the 1945 Liberation of Korea, Nae-seong Kim successfully took a new reputation as a master of Korean modern romance. However, his early spy-detective novels against a background of colonized Korea still had influenced his follow-up epic works such as Story of the Youth and Red Butterfly (1955) based on Arirang .
초록
Abstract
This study is aimed at taking a closer look at the background for the creation and the codification mode of the radio novel "The Roses are Sad" written by Jang, Deok-jo. The radio novel of 53 episodes aired every day at 6:30 p.m. for 15 minutes between December 1, 1956 and January 26, 1957 on the <Serial Story> program, and Actress Choi, Eun-hui played reading. Encouraged by the emergence of a new private broadcaster and supported by the initiatives of new broadcasting leadership, the Seoul Central Broadcasting Station first introduced <Serial Novel> Program in the mid-1950s. The first edition of the program "The Roses are Sad" was a prime-time radio show. Even though radio novels at that time were still incomplete as a stand-alone art, "The Roses are Sad" showed some distinctive radio novel formats. For example, the programs used more speaking lines to add more spices to the one-person reading and to arouse listeners' imagination, reduced the number of characters to help listeners to distinguish characters based only on radio actor's voice and easily follow the flow and situation of the story, and cast a persuasive narrator to familiarize listeners with the messages. Its efforts to convey accurate messages served as both an advantage and a limitation. The narrative style of this radio novel featured the grammar patterns of romance stories and contemporary incidents of that time, which were very familiar to listers. Based on this narrative style, it was trying to make the issue of the remarriage of widows with children a public discourse. Love, conflicts and death of the character Roh, Baek-mi called listers' attention to the controversial issue of widows' remarriage. Dominant power at that time strengthened motherhood ideology to disallow their remarriage and this novel conveyed this to listeners as a primary code. There were some minor codes as well. The conflicts in Roh Baek-mi's love repeatedly unfolded, leaving room for consideration, and other negotiable codes proposed by supporting characters could be seen as the necessity to change the predominant code. In addition, if listeners embraced Roh, Baek-mi's death as a paradoxical survival tactic, they could find a hidden defiant code.
초록
박정희 정권의 유신 통치시대를 특징짓는 문화적 실천으로 주로 논의되어 온 것은 이른바 ‘청년문화’로 불리는 지식인 남성 문화이다. 이는 그 대칭점에 있는 ‘지배문화’로서의 대중문화에 대한 비판적, 대항적 실천으로 이해되는 반면, 대학가와 지식인 사회의 주체적 문화생산에만 초점이 두어짐으로써 그들 특정 계층에 소속될 수 없었던 다양한 하위주체들의 문화적 실천에 대해서는 공백의 지점을 남겨 놓았다. 김수현의 70년대 멜로영화는 그러한 단편적인 경향에 대한 좋은 반론을 던져준다. 60년대 후반에 유행했던 복고풍 신파 멜로물의 일원으로 시작했지만 김수현의 가족서사는 기존 멜로영화가 지니고 있던 가부장에 대한 지지, 가족주의적 가치를 거스르는 특징들을 지니고 발전시켰다. 이는 유신체제기인 70년대 중후반에 이르러 보다 본격적인 성/계급 갈등의 묘사와 가족적 가치에 대한 파괴적 서사, 청년 혹은 남성적 긍정성에 대한 근본적 회의 등으로 발전하여 정치성을 띠게 되었다. 이러한 경향은 ‘청년문화’의 주역들이 보였던 작가주의적 태도가 아니라, 대중적 욕망을 충실히 반영하는 인기 방송 작가로서의 역할에 충실했던 김수현을 통해 나타났다는 점에서 주목을 요한다. ‘통속’ 혹은 ‘지배’ 문화로 쉽게 규정되었던 멜로드라마 속에서 하위주체의 문화는 때때로 지배적 서사를 파괴하고 해체시키는 보다 급진적인 문화적 실천의 가능성을 부여받을 수 있었다.
Abstract
Cheongnyeon Culture, a sort of youth culture led by male intellectuals in 1970s' South Korea, is the key concept which has been mainly discussed as the representative cultural practice during the Yushin(Revitalizing Reform) period of the Park Chung-Hee regime. This is considered as the critical and countervailing practice against the ‘hegemonic’ popular culture, but, while concentrating only on the subjective cultural productions of highly educated society, is missing cultural practices conducted by diverse subcultural subjects who could not be assigned to such specific status. Kim Su-Hyun's melodramas of 1970s bring forth an useful counter-argument against such fragmentary tendency. Even though she started her career as an agency of reactionary Shinpa(new-school) drama in 1960s, her family narrative owned and enlarged its distinctive features which opposed the paternalistic values of existing melodramas. This grew into more a political attitude in late 1970s' Yushin period, as descriptions on gender/class conflicts, destructive narratives on patriarchal values, and fundamental skepticism on masculine youth. This inclination is worthy of notice, because it was revealed not by the auteurism of the Cheongnyeon Culture, but by the popular TV scriptwriter Kim Su-Hyun who was devoted to the desire of the mass. In melodramas, which were easily defined as ‘conventional’ or ‘governing’ culture, subcultural subjects could occasionally cultivate the potentiality of dynamic cultural practices destroying hegemonic narratives.
초록
북한에서는 해방 직후 일찍부터 출판, 신문, 방송과 연극, 영화, 음악, 문학 등 모든 문화예술 부문들이 인민대중들을 사회주의적으로 교양하고 당과 대중을 연결하는 정치적 무기이며, 경제건설의 과업에 근로대중을 조직 동원하는 선전 선동적 매체라는 점을 강조하고 적극 활용하였다. 북한이 문화예술 전반에 지대한 관심을 보이는 이유는 문화예술이 대중으로 하여금 지배체제에 자발적으로 동의하게 만드는 효과를 지니고 있다는 사실을 잘 알고 있기 때문이다. 북한 문화이론의 전체적 구성은 북한 특유의 지배이데올로기인 주체사상에 기초한 주체적 문화개념에 의해 그 체계과 내용이 규정된다. 본고에서는 북한 문화이론 체계의 기본 토대로서 북한의 주체적 문화개념과 그 이론적 구현인 민족문화론과 계급문화론 등을 고찰하였다. 더불어 북한 문화이론의 실천적 지침이라고 할수 있는 문화혁명론과 최근의 문화적 동향을 살펴보았다.
Abstract
In Nordkorea wurden alle Kultur- und Kunstbereiche wie z.B. Publikation, Zeitung, Sendung, Theaterstück, Film, Musik, Literatur usw. bereits direkt nach der Befreiung Koreas von Japan als politische Waffe, die die Völker sozialisch bildet und die Partei und die Völker verbindet, sowie als starke propagandistische Medien, die die Arbeiterklasse zu den Aufgaben des Wirtschaftsbaus veranlassen, betont und engagiert angewendet. Der Grund dafür, dass Nordkorea große Interesse an allen Kultur- und Kunstbereichen zeigt, liegt darin, dass Nordkorea sehr gut weiß, dass die Völker durch die Kultur und Kunst freiwillig dem Herrschaftssystem zustimmen. Die Form und der Inhalt der gesamte Konstruktion der nordkoreanischen Kulturtheorien werden durch die subjektiven Kulturbegriffe, die auf die nordkoreanische einzigartige hegemoniale Ideologie, d.h. Juche-Ideologie basieren, festgelegt. In diesem Aufsatz wurden als ideologische Grundlage für die nordkoreanischen Kulturtheorien der subjektive Kulturbegriff in Nordkorea und dessen theoretische Realisierung d.h. Theorien der Volkskultur bzw. Klassenkultur betrachtet. Außerdem wurden die Kulturrevolutionstheorie, die als praktische Leitlinien der nordkoreanischen Kulturtheorien angesehen werden, und die heutigen kulturellen Tendenzen dargestellt.