대중서사연구

초록

‘소녀’들의 독서는 ‘여성’들의 독서가 그랬던 것과 마찬가지로 남성들의 독서에 비해서 저급하고 감상적이라는 굴레를 쓰는 경우가 많다. 흔히 ‘여성’ 작가들이나 그들의 작품에 ‘소녀적’이라는 딱지를 붙이는 것은 그녀들의 행위와 작업을 폄하하기에 매우 좋은 수단이 되곤 한다. 이는 식민지 시기 근대 교육의 또 하나의 주체(수혜자)가 된 소녀(또는 여학생)들이 서적 출판 시장의 확대와 더불어 서서히 그 모습을 드러내면서부터 시작된 것이라 할 수 있다. 비록 전체 여성의 1~2퍼센트의 소수에 불과했지만 그녀들은 감상적 통속적인 대중문화와 지적이고 고급한 엘리트문화라는 점차 견고해지는 경계선 사이에서 자신들의 독서 취미와 취향을 발전시켜 나아갔다. 한편 30년대 들어 대중잡지를 비롯한 상업 출판 시장의 성장은 정교하게 독자층을 분화시키면서 독자를 늘려나갔는데 여성뿐만 아니라 소녀들을 타깃으로 하는 출판 경향도 일본과 조선에서 분명하게 나타났다. 이러한 시장과 문화의 변화 속에서 소녀 독자들이 읽는 일본어 작품들(사이조 야소, 기쿠치 간 등)은 이전 시기(1910~20년대)에 담당했던 선구적인 가치를 상실하고 통속적이고 저급한 것으로 가치 절하되는 현상도 나타났지만, 또 한편으로 소녀 독자들의 증대는 남성과 청년과는 다른 몫과 역할을 할 수 있는 새로운 독자 대중의 탄생을 알리는 것이기도 했다. 특히 일본어 문해력을 획득하여 직수입된 일본어 잡지를 읽는 ‘소녀’들은 성숙한 여성들이 남성들의 세계에 진입하여 겪어야 했던 여러 도전들과 당면한 현실의 문제들을 피해 있으면서, 유쾌하게 남성 중심의 문화 특히 엄숙주의, 계몽주의 등을 앞세운 남성 지식인 엘리트주의에 균열을 내는 존재들이었다고 볼 수 있다.

Abstract

Reading of girl’s and girl readers are often estimated to be of an inferior and sentimental sorts rather than that of men’s and youth readers. And women writers’ works are also low-estimated by the rhetoric of ‘girlish’ and ‘girlish taste’. In Korea girls of modern times in the early 20thcentury gradually emerged from obscurity to the surface in the reader’s culture and market, as they were educated in the public schools and learned reading and writing in Korean and Japanese. Although they were very small group, only 1~2 percent of total population of Korean women, they played more and more important roles in reading book market at that time. Girl readers of colonial Korea slid in to the gap between high class reading culture (elite readers) and low quality reading culture (sentimental popular readers) and they developed their own reading tastes and reading trends. Especially they were enthusiastic for reading Japanese popular literary works so as to poems of Saijo Yaso, novels of Gikuchi Gan and Japanese pop magazines for women and girls such as <Friend of wives>, <Girl’s club>. Simultaneously the huge commercialized publishing industry from Japan in the 1930’s absorbed newly emerged girl readers rapidly also in Korea. It was certain that girls were important targets for the publishing industry, but they existed in between children and adults, men and women, elite culture and popular culture, therefore they had rather freely developed their tastes for books and reading and made cracks in the main stream elite culture and crashed border lines of popular low-class culture and elite high-class culture.

초록

‘문학소녀’는 해방후 문화정치의 핵심적 표상이다. 1950년대 ‘문학소녀’가 교양주의를 문화론적 기반으로 한 학원세대 문학독자의 기호라면, 1960년대 ‘문학소녀’는 역사적 주체로 표상된 ‘청년’과 의미론적으로 대립하며 탈역사적인 적대의 기호로 전락한 아류와 부정의 기호이다. 해방 이후 ‘문학소녀/소년’이 1960년대 ‘문학적인 것’의 토양을 이룬 한글세대 문학독자임에도 불구하고 이들이 선취한 다양한 민주주의적 역동과 흐름이 1960년대 공론장 속에서 배제 폄하되는 과정 속에 문학소녀의 표상이 놓이는 것이다. 이는 1960년대 민족주의적 기반 속에서 역사적 주체로서의 ‘청년’의 의미가 과잉 설정되었기 때문이다. ‘청년’이 국내/국외, 신체/정신, 노동/유희의 의미론적 대립항을 통해 역사적 주체로 재구성된 데 비해 문학소녀는 그 대극의 위치에 놓인다. 이 속에서 ‘불란서 시집을 읽는’ 문학소녀는 민족의 발전을 저해하는 적폐의 기호로 담론화되었을 뿐만 아니라 문학장 안에서 ‘문학아류’로 폄하되었다. 1960년대에 이르러 ‘문학소녀’는 단지 ‘문학작품을 읽고 좋아하는 소녀’의 기술적 정의에서 더 나아가 이들이 읽고 선택하는 책들까지 저평가되었으며 이에 따라 전후의 역동적인 실존주의적 흐름까지 외면되었다. 이에 따라 1950년대 문학소년/소녀들이 선취했던 자유주의적 흐름과 지향들이 배제되었으며 결과적으로 1960년대 ‘문학/청년’의 보수성과 엄숙성에 일조했다.

Abstract

‘Literary girls’ were the nuclear representation of cultural politics after the liberation. In the 1950’s, ‘literary girls’ were the sign of literary readers of the ‘hakwon generation’ taking liberalism as their basis of culture while in the 1960’s, ‘literary girls’ were the sign of negation and imitation degraded as the sign of post-historical hostility contrasting semantically against ‘youths’ represented as the subjects of history. After the liberation, ‘literary girls/boys’ were literary readers of the Hangul generation that had acquired the principles of democracy. Although in the 1960’s, the ground for ‘what to be literature’ was formed, a variety of democratic dynamisms or trends they held beforehand were excluded or underestimated in the public field of discussion during the 1960’s. It is the result of the fact that in the 1960’s, the meaning of ‘youths’ as the subjects of history was set excessively in the nationalistic background. On account of this, within the contrast between ‘local/foreign’, ‘body/mind’, or ‘labor/playfulness’, the semantic ground for youths, literary girls ‘reading the book of French poems’ were discussed as the sign of a deep-rooted evil hindering national development, and furthermore, they were underestimated as the ‘imitation of literature’ within the field of literature. After the 1960’s, ‘literary girls’ did not remain in the descriptive definition of ‘girls who like to read literary works’, but the books they chose to read were underestimated as the ‘imitation of literature’, too, and even the dynamic cultural flow after the war came to be excluded as well. Therefore, various trends or pursuits achieved first by the literary boys and girls in the 1950’s got to be segmented, so it led to the conservatism and rigorism of ‘muncheong’ in the 1960’s.

초록

Abstract

The Korean translation of Anne of Green Gables, written by Canadian author Montgomery, has been a steady bestseller enjoyed by Korean female readers since the 1960s. This publication has won over children and adult readers as well as teenagers and has been turned into visual media, showing a significant presence in the literary history which allows us to understand Korean mass culture through the generations. By organizing the periodical characteristics of the publication and consumption of this text, the present paper examines the history of its acceptance and aims to investigate the literary dynamics whereby a single text is deflected as it crosses over national boundaries, is enjoyed in the receptive culture, and reflects a certain outlook on the world. Furthermore, the paper encompasses the points of contention related to the aspects of gender and nationalism in the narrative of Anne of Green Gables. Through an empirical comparative study of the translated versions, the above-mentioned discourse can be further elaborated. Shin Ji-Sik’s translation was the first Korean translated version and the most widely read, although it was a retranslation (or secondary translation) of the Japanese version. It was therefore influenced by the translator Muraoka Hanako’s worldview and the literary context, as he had worked with an awareness of girls’ fiction in the 1950s. The “tension between the exclusive ethnic communities” had been prominent in the original text, but as the text was introduced to Korea through Japan, the focus was shifted to problems of “individual willpower to overcome a difficult environment”, and the “conservative view of women” was strengthened. For readers in Asia, the background of the text was not the nationalistic symbolism of Canada, but an ideal village community with a lyrical natural landscape. In the literary and publishing market of 1960s Korea, Anne of Green Gables took on a somewhat disparate existence as a “narrative of growth into a member of the community based on a positive view of the world and a conservative view of women”. As a literary study, this paper emphasizes the idea that the conflict driving the overall narrative of Anne of Green Gables was the tension between “literature” and “productivity”’. The conflicts between the “literary language and performative/deictic conversation”, the “traditional rules of the community and individual freedom”, and the “usefulness of girls and boys in the labor force” are illustrated through series of episodes in order to reproduce three-dimensionally the method by which the social value and usefulness of “literature” and “woman” have been gendered. Imagination in Anne of Green Gables is permitted only to the point where rationality and the productivity of society are not threatened, and imagination expires the moment the character grows into a member of the community. In this way, the imaginative girl is returned to the community. Anne of Green Gables embodies the reality and hopes of a Canadian woman in 1908, and the book still stands at the start of the 21stcentury as a resonance of the reality of late20th-century Korean women, and of the possibility for literary imagination.

초록

『여학생』의 불량소녀 수기는 불량청소년 문제가 국가와 전쟁이 아닌 개인 차원에서 벌어지고 있는 문제라는 인식적 전환을 재현한다. 개인의 고백과 반성을 통해 사회는 다시 정화될 수 있다는 메시지를 유통하는 것이다. 이는 바람직한 여학생으로서의 몫을 할당하는 치안의 영역이다. 국민들의 삶을 통치하는 치안 권력이나 검열, 섹슈얼리티에 대한 계몽담론 등은 파시즘적 민족주의를 유지하기 위한 적대를 생산한 것이다. 그러나 불량소녀 수기들은 이 정치적 경관의 여백에 탈주선을 긋는다. 소녀들은 반성하는 것이 아니라 고발하고, 순응하는 것이 아니라 항의한다. 이러한 결절점은 신경질적이고 예민한 사춘기 여학생은 순간의 선택에도 불량소녀가 될 수 있으니 가정과 부모가 이를 잘 관리해야 한다는 공론장과 충돌한다. 그럼으로써 10대 여성을 모두 순결한 여학생으로 귀속시키려는 시도는 실패한다. 불량소녀와 순결한 소녀의 이분법이 강화될수록, 박정희 체제의 산업화를 지탱했던 10대 여성노동자들은 보호해야 할 ‘소녀’로부터 멀어진다. 하얀 칼라의 교복을 입은 여학생 이외의 다른 10대 여성을 상상할 수 없게 만든 것이다. 이 여학생이라는 환상은 불량소녀라는 정치적 상상이 체제의 통치성과 밀접한 연관이 있다는 점을 가리고 있다. 그러나 소녀들의 수기는 이 매듭점들을 노출시킴으로써 균열의 지점을 재현하고 있다.

Abstract

This paper is aimed to analyze the discourse about a diliquent girl in 1960’s Korea. Park’s regime gave cognitive turn to juvenile deliquents from national frame to personal problem. Through the girl’s confession and reflection, the community could re-purify and the girls reclaim their name. This is the public order, or security’s field. Park’s regime produced political spectation about security force, censorship, and sexuality. These were made to enlight people to be modest. But the girls’ autobiography draw a line to escape from this spectation. The nervous, fragile representation of a girl who make troubles come across the public order. The volatile voices do not reflect, but make accusation of their deliquent parents, school, and community. By doing so, the girls have followed the security and the same time, they broke the rule. The image of a girl in shool uniform is the project of Park’s regime. The regime made teenage girls become into a school girl. But there also was a girl who worked so hard to make profit for their family, community, and country. These workers were in the gilrs’ shadow. The Diliquent Girls are over-representation of the (w)hole in the system.

초록

Abstract

As having a dual otherness and subject of on-going, girl explicitly shows the inherent contradictions of a specific society. From this perspective, to analyzing the texts which focused on girl means to reveal the relationship between subjects and others in Korean society. This paper aims get two objects. through multi-layered reading on the process of constructing the parents' sexuality as well as that of girl's and peculiarities of the relationship between family and public authorities represented in <My Daughter Rescued from the Swamp>(Lee Mirae, 1984) which had broken with the popular tradition of 1970's high-teen films. First, this analyzing would let us know ways of representing which new military junta of Chun Doo-hwan blasts the private realms as a contaminated one. Second, the results of storytelling of this film is going to reveal the means how governmental authority tries to justify themselves through purifying the family life including problems of sexuality and reorganizing the private realms. Finally this study shows that <My Daughter Rescued from the Swamp> is rocked in the ruling ideology of the first half year of 1980's and strengthen the regime of new military junta by forcing dominant-hegemonic reading. But in spite of these limits, the last sequence of this film which produces the possibility of oppositional reading could imagine the crack of ruling system of new military junta.

초록

Abstract

This article analyses the influences of early cinema which is prominent in Lee Gwang-Su’s Mu-jeong (1917). In the previous literary criticisms of Mu-jeong, there has been a tendency to treat the influence of visual media such as moving pictures of that time to be secondary. However, I argue that Mu-jeong discloses crucial factors that cannot be explained by simply limiting them in terms of literature and print media- from depiction to its motives, there exists the pivotal points at which the influence of the movies of that time projected strongly. To articulate these aspects, this essay focuses on ‘moving pictures’, ‘Umigwan’, and ‘action film’ as key words to examine the influence of the movie culture at that time on this novel. First of all, when reading “What is Literature?” (1916) and Mu-jeong together, the depiction theory stressed in “What is Literature?”, which emphasizes visual effects, is materialized through moving pictures in Mu-jeong. As we can see, the depictions related to moving pictures of Mu-jeong have been used as methods to develop modern novels, with important conceptualization starting from the theory of literature. Also, it appears that these depictions in Mu-jeong were influenced by Byun-sa (Korean film commentator) of motion picture regarding its narration at that time, and some of the lines could not have appeared on Mu-jeong without a descriptive model of Byun-sa. Besides this, at the time when modern sensationalism had taken over, action and disaster scenes could also be observed in Mu-jeong. It is not possible to show the influence of the moving pictures in Mu-jeong in any other specific movie, but we can see it by checking the context of the broad film cultures of the times.

초록

Abstract

In case of long novels, many of them are published in newspapers or magazines in the form of serial publications, and then they are published as a single book. It has been asserted that the level of completion of a work becomes enhanced once those novels are published as a single book after going through this process; however, a single book is not always of a higher level of literary work than a serial novel. Park Kyung-ni's “Toji” was published over a period of 25 years. It was published in a series while being moved to nine media, and it began to be published as a single book before the completion of the series. Also, no less than eight publishers published it as a single book. These characteristics are not uncommon. This study was conducted based on a premise that correct versions should be determined to solve problems incurred as novel work in series was published in complex and diverse books (several versions). We have intensively examined several issues which were regarded as dilemma among the matters to be considered for determination of correct versions. The first one is the part revising the nonstandard language used in serial novel at the time of publication of book. Second one is the revised parts when book was published due to self-censorship of author after release as the serial novel. Since the intention of author is important for determining the correct versions, it is natural to accept and reflect it in the correct versions if the author actively revised it. If such reflection deleted the personality of expression or sense of author when releasing the work originally, better selection should be made. It seems best to select the critical good version in a way to raise the personality and literary value of author in the situation when author is not alive.

초록

왜 섹슈얼리티인가? 이 물음은 21세기 고도로 산업화된 한국 사회에서 섹슈얼리티의 사회화가 삶의 다양한 영역들 곳곳에 침투하고 가속화되고 있는 현상에 직면해서 새롭게 제기되고 있다. 그것은 성의 해방을 통해 사회적 삶을 정서적으로 재조직함으로써 인간해방의 가능성을 알리는 전조 현상인가, 아니면 단순히 신자유주의적 질서에 편승한 성욕의 해방이 합리적으로 정당화 되어가는 과정인가? 달리 묻자면 그것은 누구를 위한, 혹은 무엇을 위한 해방이고, 어떤 약속을 함축하고 있는가? 만일 그것이 문제시된다면, 그것은 무엇 때문인가?이 글은 섹슈얼리티가 감성의 층위에서 개인의 정체성을 형성하는 핵심적인 매개체이면서 동시에 그것을 통해 사회적이고 문화적인 관계, 심지어 계급적 관계 또한 엿볼 수 있는 매개체라는 전제로부터 출발한다. 그리고 저 물음들에 대답하기 위해 우선 섹슈얼리티에 관한 몇 가지 선행 이론들을 검토한 후, 2012년 후반기에 전례 없는 세계적 성공을 거뒀던 싸이의 뮤직비디오 <강남스타일>이 그려내는 섹슈얼리티를 분석하는 것이 이 글의 과제다.

Abstract

Why does sexuality matter? This question is being raised in the face of the situation that socialization of sexuality has increasing effects on the various areas of life in Korean society, having been highly industrialized in 21st century. Is it a sign of human liberation in terms of the emotional reorganization of social lives through sexual liberation? Or, is it just a process of justifying the release of sexual desires conforming to neo-liberalistic order? For whom, in other words, or for what is the liberation? What promise does it hold? Why does it matter, if it really does?This essay starts from a standpoint that sexuality is not only an essential mechanism by which individual identities are constructed on the level of sensibility, but a medium through which social and cultural relationships and even class locations are revealed. In order to answer those questions above, we will examine some precedent theories on sexuality first, and then analyze the sexuality represented in Psy’s music video “Gangnam Style” released in July 2012.

초록

이 논문은 학원폭력과 왕따 등 한국 십대의 문제를 다루는 한국 독립영화의 청소년 성장물이 기존의 십대 영화(teen movie)의 장르성와 변별되는 경향을 주시하며, 특히, 십대 성장 영화에서 재현되는 소년들의 남성 주체성에 주목한다. 또한 소년들의 일탈을 다루는 청소년 물에서 나타나는 공격성(aggression)과 폭력이 자아의 주체 형성과 육체성의 문제와 어떻게 관련되는지 논의한다. 이를 위한 분석틀로 라캉의 거울개념을 중심적으로 적용하며, 청소년의 폭력성에 관한 도날드 위니캇의 연구를 참조하는데, 이러한 논의에서 중점적으로 예시되는 한국 독립영화 텍스트는 <파수꾼>(2010)과 <명왕성>(2012)이다. 더불어, 이러한 한국 십대 영화의 경향성이 어떠한 영화문법으로 시각화되었는지 분석한다.

Abstract

This paper deals with the tendency of recent teen film in Korean independent cinema and especially focuses on the cinematic representation of adolescent masculine subject formation. The peculiar tendency of recent independent Korean teen film, dealing the juveniles is that it is derailed from the usual format of teen film, according to Wood's categorization of teem movie, which often prioritizes juvenile sexuality. The insecure and fragile juvenile masculine subject in Korean independent teen film is often inclined to resort to violence which leads to juvenile deviation, reminding the social problem such as school bullying and adolescent suicide. The question of affinitive relationship between the subject formation and aggression is discussed in relation to Lacan's mirror stage and death instinct, together with Donald Winnicott's different interpretation of aggression. The principal film texts which are analyzed in detail in relation to this specific tendency are <Bleak Night> (2010) and <Pluto> (2012). In case of those two films, they strongly exemplify the repetitive movement of death drive that is resided in Korean teen films in the 2010s and the distinct cinematic style in those films, which visualizes the aggression of adolescent male subject is also discussed.

초록

Abstract

This study aims to scrutinize the differences and similarities of text media by analyzing the narrative constitution of the original works and their 1950s' adapted films, which were based on the original. The subject works of study include <Life in Pictures>, <The Beloved>, and <The Star in the Lost Paradise> written by Raesung Kim, <Madam Freedom> written by Beesuk Jung, <The Extreme Love> written by Gyejoo Park, and <The Heart of Flower> written by Ingeun Bang. Those novels became the original resources of films, andthey were tremendously beloved not only as novels but also as its films. Among these movies, only three remain in the form of its film. Thus, as for the works preserved in the film, comparative analysis of the film and its scenario is conducted. Also, when it comes to the other works, through the empirical study and specific analysis, the systematic correlation is examined between the original genre and OSMU(One Source Multi Use) complex contents such as the correlation of motif and the element of popularity. The second investigation is as to its function and role of a popular novel. Among the subject pieces of study, <Madam Freedom> written by Beesuk Jung has been the first OSMU (One Source Multi Use) since the liberation of Korea in 1945, which shows the great value as contents through the text media conversion ranging from a serial novel and a play to a cinema. It consequently has a great effect on the emergence of movies based on the original popular novels. The most important reason for convert popular novels into movies is the popularity, which is an important indicator to understand the desire of the masses and the contemporary culture. The popularity of the original resource novels is concerned with the experience of exotic culture since the Korean Civil War, the desire for consumption, the publishing mechanism of capitalism, and commercialization of the movies. The popular novels since the liberation of Korea overall portray exotic experience through American inundated with films; a dance culture flowing out of the United States Armed Forces stationed since the Korean Civil War; après guerre girls who had to take charge of their domestic economy; the entry of women's workforce into society who were substituted for the men's; women's awareness of gender identity; the change in the notion of love; the fetishistic desire for fortunes. These factors have extremely influenced the conversion from popular novels, the literary text to cinematic text providing extense visual stimulus and have become one of the critical elements and enable OSMU (One Source Multi Use) to be converted into the mass culture contents.