21권 2호
초록
본 논문은 1960년대라는 시대적 특수성 속에서 신구문화사 <일본전후문제작품집>이 구성되는 일련의 과정과 일본번역문학에 대한 남한 사회의 수용론을 분석하였다. 4.19라는 역사적 사건과 더불어 한국사회에 등장한 <일본전후문제작품집>은 <세계전후문학전집>의 기획 하에 4.19세대를 구매타깃으로 설정하고, 그들의 미적취향과 독서욕망을 고려하여 만들어진 문화 상품이었다. 공적영역에서 일본문화 수입에 대한 거센 비판이 제기되는 가운데, 세대론에 기반을 둔 신구문화사의 설득논리는 대등한 문화적 가치교환을 전제로 한 것이었다. 그러나 한국의 ‘전후’와 일본의 ‘전후’가 서로 다를 수밖에 없는 현실적 조건 속에서, 편집위원들이 재현해 내는 한국과 일본 전후문학의 구체적 상들은 대등함과는 거리가 먼 것이었다. 비록 세대론이나 민족주의의 외장을 두르고 있다 하더라도, 일본문학 수용을 찬성/반대하는 논리 이면에는 일본문화(문학)에 대한 강한 열등의식이 작용하고 있었으며, 일본문학 수용을 비판하는 논의들은 문단은 물론이거니와 출판시장, 한국사회 내부를 향함으로써 단순한 비판을 넘어 반성의 계기가 되기도 하였다.
Abstract
This paper shows how Shingu book Publisher's Literary anthology of postwar Japan was translated, published and accepted in South Korea in the 1960s. With the April 19 revolution, Shingu book publisher made plans for the complete series of Postwar World Literature. Anthology of Postwar Japanese Literature [Ilbon jŏnhu munje jakp'umjip] was a cultural product for both the April 19 generations' aesthetic taste and desire of reading. Because of a strong aversion to Japanese culture, Shingu book publisher came to meet severe criticism from the public spheres. Based on the generation theory, Lee, Eo-Ryong, one of the major editors of the complete series of Postwar World Literature, persuaded critics persistently, claiming the even exchange of cultural value between South Korea and Japan. However, under the historical differences between Postwar Korea and Postwar Japan, Literary anthology of postwar Japan [Ilbon jŏnhu munje jakp'umjip] failed to show the equality of cultural value. Although they seemed like a kind of generation theory or nationalism, the arguments for and against the translated acceptance of Japanese Literature were based on the strong Inferiority complex about Japan culture. Criticizing Literary circles, book markets, and Korean inner society, these arguments sometimes served as an opportunity of self-reflection.
초록
Abstract
This novel examines the Korean receptiveness and characteristics of “Daemang,” the Korean translated version of “Tokugawa Ieyasu” by Yamaoka Sohachi. “Daemang,” which was translated by Jae-hee Park and published in a series of 20 books in 1970, was then published in a series of 32 books in total by including the works by other authors. Currently, this novel is being distributed in the market in a series of 36 books that were published in 2005. For this translated version, up to vol.12 is “Tokugawa Ieyasu” by Yamaoka Sohachi, and the rest is the works by Yoshikawa Eiji and Shiba Ryotaro. In 2000, the entire 32 books of “Tokugawa Ieyasu,” which was translated by Gil-jin Lee and used the same title of the original book, were published after making the official license contract with Japan. In addition, there are numerous other translated versions of “Daemang” or “Tokugawa Ieyasu” that have a different number of books, and the digest version and the translated version “compiled into one book” were also published. Yet, “Tokugawa Ieyasu” by Yamaoka Sohachi first passes as “Daemang” in Korea. The novel was titled “Daemang” to express the wish of the original author who wrote it while pursuing ‘survival’ and ‘peace.’ However, “Daemang” was accepted as symbolizing Tokugawa Ieyasu’s ‘Great Ambition.’ This book was treated as Tokugawa Ieyasu by the mass media due to the hostility toward Japanese culture, but captivated public readers as a book for experience and knowledge in life and textbook for the art of living. It was read widely across all generations, especially by company CEOs and politicians. This stemmed from readers’ desire to learn the “Daemang” of company and state management, which manage humans, through “Tokugawa Ieyasu” by Yamaoka Sohachi.
초록
1980년대 한국영화의 특징이라고 할 수 있는 에로티시즘을 적극 활용한 성인영화의 범람은 에로영화라고 하는 한국적 장르의 탄생을 야기했다. 1982년 <애마부인>과 함께 최초로 등장한 에로영화는 제5공화국이 추진한 3S 정책의 부산물이기도 하지만, 1970년대와 80년대에 미국과 서유럽을 위시한 서구와 일본의 주류영화계와 비주류영화계 양편에서 대단히 성행한 성인영화 제작 붐에 부응하는 움직임이기도 했다. 따라서 에로영화는 제작과 배급, 관객 수용에 있어 한국적 관행과 외국의 영향이 매우 복잡 미묘하게 얽힌 초국가적 장르인 동시에, 기묘하게 한국적 특수성을 반영하는 장르로 발전할 수 있었다. 1980년대 중반에 매우 성행하던 에로영화의 제작이 1990년대 초반까지 미약하게 이어지다가 1990년대 중반에 이르러 완전히 수그러들고 소프트포르노라고 할 만한 에로비디오의 폭발적 제작 붐으로 이어진 점도 한국적 특이사항이라 할 만 하다. 그러나 에로영화나 에로비디오라는 용어에서의 ‘에로’가 일본에서 유래한 점, 최초의 에로영화인 <애마부인>에서 당대 일본 성인영화 관행의 몇 가지 흔적을 발견할 수 있다는 점은, 에로영화가 이웃나라이자 한 때 식민지 제국이었던 일본의 문화적 영향으로부터 결코 자유로울 수 없었다는 사실을 예증하기도 한다. 본고는 <애마부인>에서 이러한 왜색성의 흔적을 찾아 초기 한국 에로영화 형성에 있어 일본 성인영화의 역할을 밝혀보고자 한다.
Abstract
The characteristic of South Korean cinema of the 1980s is the exceedingly prevalent production of theatrically distributed adult films that are called ‘ero’ films that effectively take advantage of visual ‘eroticism’ in the mainstream industry. As a quite uniquely Korean film genre, the ero film is not only a by-product of the 3Ss Policy that was implemented by the Chun Doo Hwan administration, but it was also the way in which the national film industry came to terms with the global trend of mainstream adult-filmmaking that was particularly popular in the West including the Western-European countries and the U.S. as well as in Japan. Therefore, the ero film is a transnational genre in terms of its entanglement with the foreign conventions of film production, distribution, and reception, and at the same time the very national genre in that it developed into a reflection of local particularity and quirkiness. In addition, the ero film is peculiarly Korean in that its productions, which were explosive in the mid-eighties and meekly continued in the early nineties, virtually ceased in the mid-nineties and yielded to direct-to-video productions of ‘ero video,’ a South Korean soft pornography genre. However, ero film is not completely free from the influence of Korea’s former metropole and neighbor country, Japan, inasmuch as the term ‘ero’ was originated from Japan and the very first ero film, Madame Aema show a few conventions of the contemporary Japanese adult films. The present paper attempts to find the role of the Japanese adult film in the ero film’s formulation by tracing the Japanese influence in it.
초록
1970, 80년대 한국은 아시아의 손꼽히는 섹스 관광국으로 유명세를 떨쳤다. ‘기생관광’이 바로 그것이다. 기생관광 산업이 지닌 정치경제적인 무게는 컸지만 음지의 역사나 경제발전기의 해프닝 정도로 치부되면서 논의가 활발하게 이루어지지 못했다. 하지만 기생관광은 한국의 성매매제도의 연속선에서 파악해야 하며, 1970년대 들면서 성매매가 전세계적으로 산업화되기 시작했던 추세 속에서 볼 필요가 있다. 처음에는 일본군, 나중에는 미 점령군을 상대로 했던 성매매가 국가 경제의 관광산업으로 추진되었던 역사가 있었고, 전후 아시아의 많은 나라들이 경제 발전을 위해 섹스관광을 산업화했던 동시대의 현실이 있었다. 기생관광의 식민지성은 민족(일본 대 한국)이나 성(남성 대 여성)의 대결 구도로 파악해서는 부족하며, 합리적으로 보이는 계약 관계(즉 일본인 남성 관광객 대 한국인 관광기생)가 실상은 그렇지 않다는 점을 밝혔다. 궁극적으로 필자는 외화를 벌어들이기 위한 인간 상품으로 치부되었던 관광기생의 존재를 묻고 인권을 질문하고자 했다.
Abstract
Korea was famous for one of the sex tour countries of Asia in 1970, 80's. Although 'Gisaeng tour' was one of the basic industries of Korea at that time, it has not been an important academic matter among researchers. But Gisaeng tour was not a historical happening so it was the succession of the formal institution of prostitution since Japanese colonial period as well as the prostitution of sexuality in 1970's all over the world. Park Jeong-hee (朴正熙) government offered a premium to Gisaeng tour industry which made a satisfactory profit without environmental pollution. Gisaeng industry should be investigated from a point of view such as gender, sexuality, class, nation and capital. Ultimately, this study would ask the proletarian women's human rights during development capitalism in 1970, 80's.
초록
Abstract
This study is about taking a look into the aspect of the popular culture at the time and change of the dating culture or style by the dating course in the popular novels from 1950's. The object works to the analysis are , <Madam Freedom> written by Beesuk Jung, <Life Picture>, <The Star in the Lost Paradise> written by Raesung Kim, <Star in My Heart> written by Gyejoo Park, The popular novles from the 50's shows the change of the aspect of the crowd's life and their resentments really well than any other pieces of literatures. Furthermore, the dating place and the course consists the main place as the narratives of the romance story and also makes the story various and interesting. It is believed that it is available to figure out the aspect of life, rituals and even the pattern of the consumption of the people that time by following the route of their dating course in the story. So, it is able to see the dating culture and the life of the period realistically by the popular novels. The date courses in the popular novels from the 50's are various including a palace, countryside, a cafe, a Chinese restaurant, a theatre, a dance hall, an amusement park, a beach, a spa, a golf course, a department store, a grill, a water spring and etc. The dating place of the characters' shows the life of the people at that time and further, it reflects the trend and the rituals of the people at the time and it's very interesting to find out that the characters' intension and the aspect of the act differs by which place they go for the date. That is to say, where the characters live and be placed can appear as various meaning such as just be a place for consumption, place for the reflection of their pure love or sometimes for revealing their sexual desire. This study refers the dating course from the pieces above not only tells the audience about the characters' route of the movement, but also a place for reconstituting the cultural taste and the new cultural experience of the people in the 50's. Also, it is able to read the crowd's reflected desire by the semantic network of the meanings of the places. By accepting and experiencing the modern and new foreign experiences due to the dance hall or Hollywood movies which are embodied as the place for the new culture and sometimes as the place for the sexual desires, led people to experience about the theatre, grill, golf course or etc. Just the substitute experiences of keeping the tune of the foreign thoughts and the culture itself entertained the crowd.
초록
1970년대 여대생은 일종의 상징이었다. 여공, 식모, 호스테스처럼 1970년대 산업화 이후 등장했던 여성 인물형과 달리 여대생은 중산층 이상의 부유한 가정을 연상케 했다. 이는 1970년대 이후 한국영화에서 부쩍 여대생을 주인공으로 한 작품이 많아진 것과 연관된다. 여대생은 영화, 소설, T.V 드라마를 통해 일정한 이미지를 형성하게 된다. 김호선 감독의 1975년작 <겨울여자>가 대단한 흥행을 기록한 근간에는 바로 이러한 여대생에 대한 선입견이 자리하고 있다. <겨울여자>의 이화는 대중이 생각하는 관습적 여대생의 이미지와 그와 반대되는 성적 일탈을 보여준다. 부유한 중산층 가정, 매우 드문 고학력의 여성이라는 배타적 이미지에 자신의 육체를 스스럼없이 제공하는 이화의 행동은 1970년대 대중의 은밀한 욕망과 감정구조를 보여준다. 중요한 것은 이화의 성적 기행이 ‘성처녀’로 불릴 만큼 자신의 욕망이 아닌 남성-타자의 욕망에 충실하다는 점이다. 이는 가부장제 이데올로기에서는 성처녀로 볼 수 있지만 한편 이화의 욕망으로 보자면 히스테리적 욕망에 가깝다. 그녀는 타자에게 영원한 결여를 안겨줌으로써 대상이 되고, 대상이 되는 데서 스스로 존재의 가치를 찾는다. 욕망의 대상이 됨으로써 존재를 확인하는 이화의 아이러니한 욕망은 1970년대를 살았던 대중들의 감정구조와 긴밀히 연결되어 있다. 급속한 경제 발전과 탈근대화, 억압적 가부장제의 분위기 안에서 당시 대중들은 곧 대상이 됨으로써 오히려 만족을 얻는 히스테리를 요구받았다고 할 수 있다. <겨울여자>가 기록한 60만 명에 가까운 흥행 기록은 대중의 감정 구조와 소통하고 당대 대중들의 욕망을 반영했음을 단적으로 보여준다. 이화는 1970년대 대중들의 이상이자 왜곡된 심리의 재현이었다.
Abstract
A college girl in 1970s was a sort of symbol. Unlike factory girls, housemaids and hostess-escorts, which appeared after industrialization of 1970s, college girls reminded people of those from rich households above middle class. This is involved in many movies of 1970s with college girls heroins. College girls formed a certain image in movies, novels and TV shows. The basis of popularity of the movie <Winter Woman>, directed by Hosun Kim in 1975, was the prejudice of college girls. Eehwa, the main character of the movie, expresses a sexual aberration, which is the opposite image that the public had for college girls. She has rich middle class family and high education, which reflect her exclusive image, but she is willing to offer her body. Her behavior shows people's secret desires and emotion structure of 1970s. What is important is Eehwa's sexual eccentricity is mostly for men(others)'s desire rather than her own desire, so she is called “sex girl”. In a patriarchal society, she can be viewed as a sex girl, but in her desire's prospective, it is more like hysterical desire. By giving permanent loss to others, she finds value of existence. Her ironic desire of finding her existence by becoming the object of desire is closely related to the public's emotion structure in 1970s. In the environment of post-modernization and harsh dictatorship, what the public of those days were required was to become hysterical main agents who could be satisfied by becoming the object. The box office record of 600 thousands is the evidence that shows the movie communicates with the emotion structure and reflects the desire of the public of the days. Eventually, Eehwa is ideal and reproduction of the public of 1970s.
초록
70년대는 한국 문학사에서 민중문학과 노동문학의 시대로 평가받는다. 그러나 노동문제를 소대로 한 70년대 소설에서 여성노동자의 모습은 쉽게 찾아볼 수 없다. 정확히 말하자면, 여성노동자들은 남성인물 혹은 남성서술자의 시선으로 관찰되고 재현될 뿐 여성노동자가 직접 자기 목소리를 내는 경우는 거의 없다. 당시 소설에서 말할 수 없는 여성노동자의 존재는 크게 두 가지 방식으로 재현되는데, 첫 번째 유형은 ‘노동자’로서의 모습은 생략된 채 단지 ‘여성’으로만 존재하는 것이다. 남성 인물에 의해 그려지는 여성노동자의 모습은 대부분 퇴폐적이고 문란한 이미지로 왜곡되어 있거나, 혹은 독립적이고 주체적인 사고를 하지 못한다는 이유로 아버지나 오빠라는 가부장의 보호 아래 있어야 할 연약하고 무지한 존재일 뿐이다. 또 다른 유형은 여성성이 아예 거세된 채 무성(無性)적 존재로서의 ‘노동자’로만 그려지는 여성노동자들이다. 이 경우 여성노동자들은 ‘산업전사’나 ‘산업역군’과 같은 멋진 수식어에 가려져 희생과 인내를 당연하게 받아들여야 했고, 이 과정에서 여성으로서의 욕망이나 감정 등은 쉽게 무시되고 배제되어 버렸다. 또한 남성노동자와 달리 여성노동자로서만 겪을 수밖에 없었던 성적 모욕이나 폭력과 같은 문제 역시 일반화된 노동문제에 가려져 제대로 거론될 수 없었다. 이렇듯 70년대 노동소설에서 여성노동자는 여전히 주변부적 인물이었으며, 이는 남성/지식인들이 (무)의식 중에 가한 또 다른 폭력이라 할 수 있다.
Abstract
In the field of literary history of Korea, the 70’s is evaluated as an era of popular literature and labor literature. However, in these novels written in the 70’s that would talk about issues related to labor, female labourers are hardly observed. To be specific, the female labourers are observed or reproduced only through these eyes of male characters or male narrators but they seldom speak in their own voices. Presence of the female labourers who could not speak for themselves in the novels of those times is recreated basically in two ways and as for the first type of presence, the female labourers are described merely as ‘women’ but never as ‘labourers’. Most of these appearances of the female labourers explained by the male characters get distorted as some decadent and promiscuous images or by reason that they are not capable of conducting independent, proactive thinking, the female labourers are described as these vulnerable, ignorant individuals but nothing else who should be happy to be controlled or protected by a head of a family, either a father or an older brother. In addition, in terms of another type of the female labourers in the novels in the 70’s, there are these female labourers who would be described only as asexual ‘labourers’, and readers cannot find anything feminine about those women. In case of such female labourers, they were expected to accept sacrifices and pains with willingness as they were modified by these appetizing terms, ‘industrial worker’ and ‘pillar of industry’, and in the meantime, desires, emotions and others that they could have inside as women were easily ignored and ruled out. Add to that, unlike the male labourers, as for these problems such as sexual harassment and sexual violence that only female labourers could hardly avoid, they were never officially discussed as being left out behind these other generalized labor issues. As described so far, the female labourers in labour novels in the 70’s were still surrounding characters, and it can be regarded as another type of violence committed by the intellectual/men on purpose (out of awareness).
초록
Abstract
The object of this study was the representative magazine in the 1950s, “YADAM (historical tale)”. “YADAM” published monthly in the form of more than 10 years as a specialized entertainment magazine was highly popular. The lots of factors involved in the such popularity. The goal of this research is to make explanations to both the text of magazine editing configuration and system and mechanism of the content of public consumption. “YADAM” in the 1950s is located in the intersection where the woof on genealogy - “WOLGAN YADAM” and “YADAM” in the 1930s and the longitude on same time-the golden era of public magazines in the 1950s were weaved. This study was both approaches tried to bring light “YADAM”’s media consumption characteristics and the content of public mechanisms. That is a review of the reasons that switch of official and unofficial history to the literature was prevailing in the 1950s and social and cultural impacts that history consumed broadly as entertainment caused through the former times magazine comparison analysis. First, Writing genealogy of a historical tale literature ranging from colonial to a period of 1960s has become possible through this study. Second, in the 1950s magazine journalism and the characteristics necessary to clarify the relationship between substantive things history books have laid the foundation.
초록
‘다문화’, ‘세계화’라는 개념이 다양한 학문 분야와 우리의 삶 속에서 자주 등장하고 있다. 이 글은 영어 교통방송(TBS eFM)을 통해 우리 사회가 재구축하고 있는 다문화, 세계화의 개념을 살펴보고자 한다. 영어 교통방송은 서울과 수도권 지역에서 방송되는 것을 시작으로 해 광주, 대구, 부산 등의 지역 라디오 채널로도 만날 수 있다. 국내 거주 외국인의 실생활 편의 도모와 국제 사회에 대한 이해를 증진하기 위해 마련된 이 라디오 프로그램은 라디오 채널 이름이 보여주듯이 한 개의 프로그램을 제외하고는 영어로만 방송 되고 있으며 방송에서 다루는 음악은 영국과 미국, 그리고 한국의 대중음악이 주류를 이루고 있다. 이를 위해 이 글은 먼저 음악 연구에서의 다문화 관련 논의를 살펴본다. 그리고 머레이 쉐퍼(Murray Schafer)의 사운드스케이프 개념을 살펴본다. 소리가 사회 구조의 변화를 반영한다고 하는 그의 사운드스케이프 개념은 소리를 통해 다변화 되고 있는 우리 사회를 보는 통로가 될 것으로 기대한다. 그 다음 부분에서는 자크 아탈리(Jacques Attali)의 노이즈 개념을 살펴보면서 다문화의 다양한 소리들을 사실상 주변의 소음으로 간주하고 통제해온 소리의 정치성을 논의한다.
Abstract
This paper examines one of the radio channels, TBS eFM, whose aims are to enhance global senses for Koreans and to provide foreign residents in Korea with information about Korean culture and society. Also, TBS eFM is to brdige between foreign residents’ cultures and Korean cultures. While most of foreign residents in Korea are from Asia, TBS eFM targets English speakers as their major listeners. Most programs air British and U.S. popular music as well as Korean songs including recent K-pop hits. The hosts of the programs are from the United Kingdom, Australia, U.S.A, and a few of them are Korean descents who have emigrated to other countries, or who speak English very fluently. In this paper, I argue that TBS eFM reflects the concepts of multiculturalism and globalization that a Korean society has reconstructed. I examine the ways of how Korea has evolved the concept of multiculturalism to embrace people from Asian countries and globalization to promote a sense of globalized Korea, looking at the concept of soundscape by Murray Schafer and noise by Jacques Attali.
초록
Abstract
This study aimed at defining <Jekuk Sinmun>’s identity as modern mass media, considering its romantic reappearance aspect and its meaning according to change in World-consciousness, focusing on 9 new-style novels that were included in <Jekuk Sinmun>. The era of the great han empire was the period that tried to find main agents of civilization and the method in social imagination which tried to build a modern Nation State. Due to the protectorate Treaty between Korea and Japan concluded in 1905 and the Japan-Korea Treaty of 1907, <Jekuk Sinmun> developed a new method to enlighten the public in a novel while keeping to the characteristic of strenuous efforts that was based on the improvement of a custom and ability fostering theory, which Our goal could no longer promote to build a modern Nation State. Therefore, <Jekuk Sinmun> recalled ‘the ethos of Korean(죠션혼)’ through leading article, at the same moment; it asked modern individual(私人) for coming into the world.As such editorial reasonable argument was reproduced in a novel, it enlarged sympathy to the public. While a novel improved Korean theatrical practice, especially, and could give an impetus to institutionalization of daily life, it tried to produce the mechanism of pro-Americal and expanded for restoring the great main agent. As the result, while a novel in <Jekuk Sinmun> wrote modern sense, ethics, value and orientation process to institutionalization of daily life in everyday world, it played a role as creating modern main subject, constructing imaginative common sense and recalled the great main agent. The novel’s project of enlightenment, however, was convergent institutionalization of daily life in value neutral, and could not give an impetus to political reform that was able to cope with flexibly weak-to-the-wall kind of international dynamics.
초록
이 글은 1920년대에 들어 본격화된 염상섭의 소설 창작이 ‘대중’이라는 정치 사회적 정체성을 전면화하는 가운데 나타났으며, 이를 윤리적으로 규제할 서사전략으로 멜로드라마의 양상을 차용했다는 점에 착목한다. 연구사적으로 본다면 이는 염상섭 소설에 오래도록 따라 붙은 ‘통속’ 내지는 ‘세태 풍속의 묘사’ 일변도라는 비평사적 관점을 재고하고, 그에 부정적으로 내포된 근대 리얼리즘의 주체 철학적 함의를 반성하려는 시도이기도 하다. 염상섭이 일상 묘사의 전면에 평범하고도 속악한 개인들의 군상을 내세웠다는 점은 주지의 사실이다. 한편 이에 관한 작가의 의도를 폄훼하는 일 없이 읽기 위해서는, 근대적 ‘평균인’으로서 대중이 갖는 도덕적이거나 정치적인 자기완성의 욕망을 염두에 두어야 한다는 것이 나의 생각이다. 멜로드라마는 이러한 대중의 욕망을 긴밀하게 반영하는 서사 양식이다. 뚜렷한 사표 없이 물질생활에 속박된 식민지 근대의 풍경에 어울려, 염상섭이 관찰한 ‘속중’은 이념 내지는 일상적 도덕을 결여 없이 실현할 이 서사적 환상을 존재의 자질로 삼고 있었다. 이로부터 염상섭은 항구적인 환멸 없이는 현재를 살아갈 수 없는 근대적 자아 일반의 ‘비극’적 초상과, 그 가운데 타자를 배제하는 폭력적 메커니즘을 추상화해낸다. 이를 통해 그의 소설은 ’근대인‘의 비극을 ’죄‘의 모티프로 형상화하고, 이에 대한 ’속죄‘로서의 삶에 있는 그대로의 타자성을 받아들이는 미덕을 투사해나간다. 관련하여 특히 흥미롭게 읽을 수 있는 작품은 그가 1927년부터 연재하기 시작한 <이심>이다. 이 통속적인 신문연재장편소설을 써내며 그가 고심한 것은, 멜로드라마적인 영웅의 외부자적 현실인식을 빼앗고, 그 영웅성을 극도로 세속화된 삶의 한 가운데 위치 짓는 서사적 방편이었다고 할 수 있다.
Abstract
The main task of this study is to analyze the ethical implications of Yeom Sang-Seop’s (1897-1963) narrative strategies to reveal a characteristic modern subjectivity in colonial Korea. In particular, it seeks to draw on a framework of “appropriated melodrama” to illustrate the effects of this double-bind, between desire and ethics under capitalist modernity. It also centers on the literal term ‘Love(愛)’ as the many folds motif, which was intended to dissect the literal reality of modern population, mass in colonized Korea, revealing (or regulating) the fictiveness of desire to produce one’s self-identity. At this point, this article will focuss on the context of ‘the sin’ or ‘redemption’, which typically came up with a characteristic guilty conscious sensed by one who fails to seek the authentic meaning of love. It seems to be a key-motive in Yeom’s whole literal works on mass secularization. ‘Am-Ya(暗夜)’, ‘Man-Se-Jeon(萬歲前)’, ‘E-Sim(二心)’ need to be reperused, looking at the narratological transformation of melodramatic style. In this sense, Yeom’s novel implicates how the modern subject is represented with one’s excessive moral desire to be a singular part of historical or political mass, and finally address the ethical premise to obtain positive solidarity preserving irreducibility of otherness as to reflecting the modern subjectivity.
초록
뮤지컬 <오! 당신이 잠든 사이>는 구성적 사건(핵)인 최병호의 실종담(失踪談)과 보충적 사건(촉매)인 등장인물의 내력담(來歷談)으로 연결된다. 실종담과 내력담이 구축하는 뮤지컬 서사와 넘버는 은닉과 편향의 기법으로 반전의 결말을 연출한다. 이때 내력담은 ‘서사담화’로서 실종의 ‘스토리’를 중개하지만, 중심 캐릭터의 다수화를 통하여 보편적인 하나의 이야기를 엮어내면서 진실·의미·감동·의도의 측면을 부각시킨다. 서사 속 ‘은닉’은 호기심 자극과 내포 진실을, ‘편향’은 놀라움 효과와 내재 의미를 유도한다. 또 음악 속 ‘은닉’은 즐거움 경험과 극적 감동을, ‘편향’은 기대치 증진과 전달 의도를 유도한다. 이러한 은닉과 편향의 반전 기법은 등장인물을 내적인 성숙으로 이끄는 결말로서 관객과의 공감대 형성에 기여한다.
Abstract
Oh! While You Were Sleeping consists of a constituent event (nucleus), “the missing of Byeong-Ho Choi” and a supplementary event (catalyst), “the life stories of characters.” Narrative and musical number established by the missing story and the life story gives rise to a twist in the conclusion with the techniques of “concealment” and “bias.” The “life story” intermediates the missing story as a “narrative discourse,” but highlights the aspects of truth, meaning, emotion and intention by creating a single common story through the multiplicity of main characters. “Concealment” in a narrative arouses curiosity and conveys the implied truth, while “bias” in a narrative causes a surprise and conveys the implied meaning. And “concealment” in music offers a pleasant experience and evokes a dramatic emotion, while “bias” in music heightens expectations and delivers intention. This reversal technique based on concealment and bias leads characters to inner growth and contributes to the creation of a bond of sympathy with the audience.
초록
Abstract
The Korean society cartoonist Kim, Sunghwan (hereafter Kim) took the journey to Hong Kong, Taiwan, Japan, and to East Asian countries from July 1st to 27th of 1962. Kim took a trip to these countries as a foreign correspondent of <DongAIlbo>. He published 29 sets of travelogue titled as “Gobau Traveling to East Asia” from July 9th to August 12th. Starting from 1955, Kim published “The Old Man Gobau” through <DongAIlbo>, criticizing first President of South Korea Rhee, Seungman’s administration. Through “The Old Man Gobau” he criticized how Rhee’s administration showed <corruption, wrongful elections, and how citizens are having a hard time because of the Rhee’s administration. Kim, who had deep connections with the readers for a long time later published a travelogue. He took an advantage of his comic skills and senses to match the eye-level of the general public and used exotic mood as a visual text. From Kim’s point of view, and what he had published through <DongAIlbo> showed characteristics of visual text that readers should focus on. First of all, Kim had a meaningful connection with the readers through “The Old Man Gobau” and attracted many readers. From “The Old Man Gobau”, Kim stood by the Korean citizens’ point of view and tried to resolve the issues of Korean society through his exotic humor. While Kim was traveling, he wrote down some of the episodes that he had experienced and turned that experience from a readers point of view. Second, Kim’s four-cut cartoons “The Old Man Gobau” and artwork of visual text showed characteristics of exotic moods and sensibility to the readers. Moreover, while Kim published, “Gobau Traveling to East Asia” he post ‘Traveling overseas” and put out a message “away” to the “The Old Man Gobau’s” readers. While Kim was traveling overseas he published a travelogue from the beginning of his journey until he came back. Kim published odd stories to the readers and this brought reader’s undivided attention along with humor. In the 1960s, there was a variety of travelogues were published, but some readers were not able to connect travelogue with reality. Intellectuals who publish their travelogue would often try to teach readers. On the other hand, Kim’s travelogue, rather than teaching readers or to give a lesson he used a technique of trying to meet their eye-level of criteria. Kim also focused his view of putting out a foreign place from the citizen’s perspective. Moreover, compare to prior travelogues and Kim’s travelogues the difference was that prior travelogues would often use language text to visualize the foreign countries, Kim’s travelogues inserted visual-text so that many readers can imagine beyond what is out in the foreign countries. The “The Old Man Gobau” had its own attentiveness with humor and satire through visual text which gave many Korean readers a second thought of “overseas travel.” It is noteworthy that Kim tried every aspect to reposition the images of East Asian countries.
초록
본 연구는 박정희 체제 아래서 생산된 반공영화를 분석하는 방법론을 모색함과 동시에 반공영화의 텍스트성(textuality)에 주목하여 반공체제의 정치학을 드러내는 것을 목표로 삼고 있다. 분석 대상은 <5인의 해병>, <돌아오지 않는 해병>, <남과 북>, <7인의 여포로>이며, 텍스트가 드러내 보이는 역사성을 분석하기 위해 당대적 맥락에서 영화가 함의하는 바가 무엇이었는지, <7인의 여포로>가 불온한 텍스트로 발견된 과정은 어떠했는지를 밝히는데 주안점을 두었다. ‘4.19/5.16’ 이후의 담론지형 아래서 ‘반공’은 4.19로 표출된 ‘개인’과 ‘자유’라는 가치와 대립하거나 양립 불가능한 기표는 아니었으며, 반공영화 또한 정권의 프로파간다로 한정되는 것은 아니었다. 반공영화는 전쟁을 낭만화할 수 없는 개인을 전면에 드러냄으로써 체제 대립을 근본적으로 문제 삼는 텍스트이자 불온함을 생산하고 관리하는 반공체제의 근원적 폭력성을 드러내는 장소로서 기능하기도 했다. 특히, <7인의 여포로>가 불온한 텍스트로서 발견되는 과정은 검열장 내부의 논리를 초과한 해석의 권위가 체제를 구성하는 논리로서 작용하는 지점을 직접적으로 사유할 수 있게 해주는데, 본고는 <남과 북>과 <7인의 여포로>에 대한 검열 자료를 통해 불온한 텍스트가 생산되는 국면을 분석하는 데 주안점을 두었다.
Abstract
This study aims at seeking methodology to analyze anti-communist films under the President Park Chung-hee’s regime and revealing the politics of the anti-communist system by focusing on the textuality of anti-communist films. The analyzed films here are Five Marines, The Marines Who Never Returned, The North and South, and Seven Women P.O.W. In order to analyze historicality revealed by the texts, what these films imply in the contexts of the age and the process how Seven Women P.O.W. had been discovered as a ‘Buronhan(rebellious,不穩) text’ are focused in this article. Under the discourses after 4.19 Revolution and 5.16 Coup, anti-communism was neither contrary to nor compatible with values such as ‘individual’ and ‘freedom’, and anti-communist films were not limited to the propaganda of the regime. The anti-communist films functioned as the place to expose fundamental violence of the anti-communist system, which was a text problematizing essentially the antagonism between the systems, and producing and managing agitation, by revealing an individual who cannot romanticize war. Especially, the process how Seven Women P.O.W. had been discovered as a rebellious text, makes us think directly of the point that the authority of interpretation exceeding logic inside the censorship operates as the logic to constitute the system. Therefore, this article concentrates on the aspects that the seditious texts were produced through the censoring sources on The North and South and Seven Women P.O.W.