대중서사연구

초록

Abstract

This research reexamines Korean societal perspectives on migration/dispersion as a cover for the concept of Korean social imagination, and newly interprets the mythologized process of the “family narrative” (à la Roland Barthes), including restructuring the identity of the subjects (e.g., gender identity). In approaching this research, I analyzed the narrative and characters of Choecheok jeon, which is assumed to be a fictional story written in the vernacular hangeul that circulated in the 17th century and focuses on the conditions of a “wandering/migrating/drifting” life and the concept positive outcomes to the migrational experience. I suggest an analytic methodology for understanding traditional Korean thought, imagination, and viewpoints on the “object/subject/phenomenon” surrounding migration/dispersion and also a reflective take on Korean classical studies. By emphasizing the “non-script-affective” elements, I shed new light on the oppressed emotions of the migrating/wandering subjects: how their unspoken emotions affect their inner mind, and how they are regarded as “non-existent things.” Through analyzing the relationships, attitudes, and behaviors of the Other vis-à-vis the migration-subject, I argue that problematic issues involving social prejudice and suppression reposition “those who cannot return” as people relegated to incomplete existences. For this research I analyze the various and multi-layered motivations behind the wandering life as presented in Choecheon jeon, including opportunities and conditions, social status and position of the subject, and the relationship with Others and, using Judith Butler’s concept of “identity competence,” I reinterpret the way the subject is shaped in/voluntarily by his/her sociocultural environment and the self-transformation and restructuring implied in the problem of identity transformation, disguise, concealment, and regulation the wanderer experiences. If the migration-subjects disguise their identities consciously, ironically it means that they already understand “authenticity”and “value.” They mistakenly believe they can hide their identity and therefore try to disguise themselves; the resulting emotional anguish becomes thoroughly concealed, like a transparent object. From a gendered perspective, the female protagonist Ogyeong repositions her identity as “a man unable to reach the measure of a man” in order to survive and maintain a peaceful relationship with the surveillance-prisoner, control-obedience society in a male-centric foreign land. This attempt at self-concealment and substitute-performance is represented as an effective way to assimilate, hinting at the migration-subject’s social positionality already in 17th-century Joseon fiction. In this research I also analyze the structure of fictional imagination in the text: in the process of migration, the subjects must build a self-philosophy in order to exist ethically as human beings regardless of nationality, ethnicity, locality, or language barriers.

초록

Abstract

This paper examines the changes of agricultural community and the native’s response to the changes in the colonial Korea, and the internal ruptures in Japanese imperialism by reading of Kim Nam-Cheon’s short story “A Beautiful Story(美談)” with a focus on the concept of “diaspora”. Kim Nam-Cheon’s short story concerns the diasporization of a colonial Korean peasant, and his ensuing death. Park Wal-Soo -a tenant farmer- becomes the hero of “a beautiful story” due to his diligence. He choices to become a wage-labourer when his agricultural village is reorganized due to Japanese gold mining and rural development policies. His choice induces the potentialization of his diasporic emotions which in turn lead to his excessive actions and ultimate death (a mark of his failure to negotiate his identity). The excessive actions and death of the native diaspora serve to demonstrate both the violence of Japanese colonial control and his double “diasporic intervention” in the modernized=colonized world. First, his excessive actions can be considered attempts to recover a lost home (even though it may be in an imaginative way). and second, the character’s death can be perceived as the implosion of the wage-labourer and the modernized=colonized world both. This paper’s emamination of the concept of diaspora and diasporic emotion sheds light on the existence of the modern colonial subject (dislocation), and the rupturability of the imperialist systems within which the native diaspora lives. This point may be the scandal of imperialism, which is hard to capture in terms of national antagonisms or control/resistance.

초록

본고에서는 국경을 넘는 이주여성의 문제를 한국사회에서 들끓는 여성혐오와 결부시켜 다루었다. 그간 디아스포라에 관한 연구가 꾸준히 이루어졌으나, 디아스포라를 대상화하는 연구에서 나아가 디아스포라를 국내외적인 정치적, 경제적, 사회적 문제와 연관해서 다루려는 시도는 많지 않았다. 본고에서는 디아스포라를 둘러싼 거시적/미시적 관점을 확보하기 위해 사회감정인 혐오/여성혐오에 주목했다. 국경을 넘는 이주는 자본의 전 지구화에 따른 불가피한 현상이며, 이주의 여성화, 이주의 가정주부화의 성격을 띤다는 점에서 특징적이다. 한국에서도 이주/여성은 대개 한국사회에서 해체된 가족을 봉합하는 역할을 떠맡거나 가사노동과 돌봄노동을 도맡아왔다. 이러한 사정은 이주여성의 사회적 위치가 불안하며 취약할 수밖에 없는 원인 가운데 하나이다. 덧붙여 한국사회에 들끓는 혐오와 여성혐오의 분위기는 이주여성의 위치를 더욱 불안하게 만들고 있다. 혐오는 계급적, 젠더적, 인종적 차이로 구축된 위계구조가 차별을 정당화하면서 만들어지는 사회감정이며, 역사적으로 축적된 감정이라는 점에서 대개 일상적이고 무의식적으로 발현된다. 여성혐오의 형태로 가시화되었지만, 혐오는 한국사회에서 사회적 타자에 대한 구조적이고 제도화된 차별의 표출이다. 이러한 디아스포라 감성에 주목하여 본고에서는 금희의 소설 「옥화」나 「노마드」, 영화 <미씽>을 통해 한국사회에 등장한 여성혐오를 여성 범주의 내적 차이를 고려하면서 다루어야 한다는 점을 확인했다. 이를 통해 관습화된 혐오에 사회적 불안을 처리하는 통치술인 인종혐오가 숨겨져 있음을 확인했다.

Abstract

This paper deals with cross-border immigra rampant in Korean society. link the diasporato political, economic and social problems and Korea. macro/micro viewpoint n Migration across the border is an unavoidable phenomenon due to the globalization of capital, and characterized by the feminization of migration. In Korea, mmigrant bodies have in Korean societyone of the reasons why ocial position unstable and vulnerable. The social position of immigrant women even worse in society. atred is a social emotion hierarchy of class, gender, and racial differences. atred is usually expressed in a routine and unconscious mannerhe manifestation of structural and institutionalized discrimination against social others in society. Kumhee’s novel “Okwha” “Nomad” and Korean film “Missing”. that racial hatred is hidden as atechnique for social unrest.

초록

우리는 이 글에서 유커라는 이동하는 주체에 주목한다. 한국을 방문한 중국인 관광객을 가리키는 유커는, 중국인도 관광객도 아니다. 한국이 아닌 다른 곳을 방문하는 여행자들은 유커가 아니고, 관광객으로서의 중국인이 아닌 중국인은 유커가 아니기 때문이다. 그런 점에서 유커는 호스트인 한국인, 특히 관광업, 정부 및 공공기관, 언론매체 등에 의해 서사적으로 직조된 독특한 이동하는 주체이다. 우리는 이런 점에 착안하여 이동하는 주체를 재현하는데 주도적인 서사로서 기능했던 ‘디아스포라’를 상대화하면서 장소, 정동, 기억 등의 쟁점이 어떻게 이동하는 주체를 규정하는데 기여하는지 이해하고자 한다. 그리고 이를 통해 여행, 관광이라는 이동(移動)과 정치적, 군사적 대립이라는 부동(不動)의 모순을 간과하지 않으며 새로운 정동지리학을 모색할 필요를 제기할 것이다.

Abstract

In this article, we draw attention to the “moving subject ” known as “Youke.” The definition of Youke, which refers to Chinese tourists who visit South Korea, does not seem to make sense. First, these individuals are not Chinese, because the term does not encompass Chinese who dwell, work, study, and so on in South Korea. Second, such people are not tourists, because the term excludes tourists who visit and tour other countries. That is, Youke is a narrative fabricated and elaborated upon by Koreans, particularly among agents in the tourism industry, government, public institutions, and media, among other areas of society. This article examines how place, affect, and historical memory intertwine to determime the narrative strategies of representing the moving subjects, stepping beyond the diaspora discourse which has been predominant in dealing with them. In conclusion, we call for affective geographies of the mobility of travel and tourism and the immobility of conflict and confrontation struggling with discourses to represent mobility, subject and places on East Asia.

초록

Abstract

This study discusses fanfiction as a form of contemporary popular literature and the different narrative elements that typically serve to generate works of fanfiction. The study examines principles of fanfiction generation in relation to the possible world theory of Lubomir Dolozel and Marie-Laure Ryan.They stated that the possible world which success a particular protoworld is created by quotation, transposition, displacement, and expansion of the precedent world. There are four common types of fanfiction, each of which either preserves or transforms characters or worlds. What is known as “after” fanfiction preserves both characters and worlds while extrap olating upon narrative in terms of time and space. “Self-insert” fanfiction reflects the desires of users to enter the world of a given story. “Crossover” fanfiction arises from the desire to mix different story worlds together, while “alternate universe” fanfiction reconstructs worlds through the user's imagination. This study will examine the generating principles of fanfiction by examining various reproduction patterns across each of its forms. The study concludes that fanfiction is predominantly generated in relation to developing aspects of characters and worlds.

초록

현 시대를 ‘파국’으로 진단하는 전망이 곳곳에서 들려오고 있다. 좀비서사는 도피의 환상처를 제공하기보다, 임박한 파국과 위기라는 민낯을 직시하게 한다는 점에서 의의를 지닌다. 연상호는 한국에서는 좀비가 성공하기 어렵다는 편견을 깨고 <부산행>을 흥행시켰다. 이에 본 연구는 <부산행>과 <서울역>을 중심으로 ‘예외상태’와 ‘호모 사케르’ 개념을 통해 현 한국사회를 진단한다. 연상호는 ‘뛰는 좀비’와 ‘걷는 좀비’의 특성을 결합하여 좀비를 사회적이고 정치적으로 사유한다. 그것은 좀비와 인간 사이의 자리바꿈을 통해서다. 좀비는 노숙인, 가출 청소년과 등치되면서 그들이 사회에서 배제된 타자이며 생명에서 배제된 ‘호모 사케르’임을 상기시킨다. 동시에 인간들은 신자유주의의 화신이 되어 극한의 경쟁 속에서 타자를 파멸시킴으로써 좀비보다 추악한 괴물이 된다. 이는 한국사회의 ‘예외상태’가 점차 확장되고 항구화되고 있기 때문이다. 연상호는 우리 주변에 편재한 예외상태와 그 속에서 괴물이 되는 인간의 모습을 그려낸다. 영화 속에서 등장인물들은 일상의 회복을 꿈꾸지만 필연적 파멸로 귀결됨으로써, 예외상태가 끝나지 않으며 부단히 지속될 것이 암시된다. <부산행>과 <서울역>은 이제 예외상태가 전면화 되었음을 시사한다. 그것은 곧 시스템과 공권력, 그리고 예외상태가 내면화된 이기적 개인들에 의해서이다. 연상호는 두 영화를 통해 일말의 가능성을 제시하는 듯하다. <부산행>이 임산부와 어린아이의 생존이라는 다소 순진한 희망이라면, <서울역>은 파국의 상황에서 터져 나오는 타자들의 분노와 역능을 통한 잠복된 가능성을 암시한다.

Abstract

The contemporary era has been diagnosed by many as an age of catastrophes. Zombie narratives, which speak to this sense of catastrophe, force viewers to confront the bare facts of a world on the edge of ruin. Yeon Sang-Ho’s “Train to Busan” succeeded in breaking the notion that the zombie genre is difficult to present in Korea. Therefore, this study examines contemporary Korean society using Giorgio Agamben’s concepts of the “state of exception” and “homo sacer” in relation to Yeon’s “Train to Busan” and “Seoul Station.” Yeon, it is argued, combines the characteristics of the “running zombie” and the “walking zombie” to convey zombies as both social and political beings, through the inversion between zombies and humans. In these films, zombies consistently resemble homeless people and runaway youths, reminding us that they are the others in our society, or, the homo sacers who are excluded from life. On the other hand, humans represent the ugly monsters of neoliberalism that seek to eliminate and destroy the others in extreme competition. This situation is because the state of exception in Korean society is gradually expanding and becoming permanent. The films of Yeon Sang-Ho depict both the ubiquitous state of exception and the ugly human figures that can become monsters within the state. In the films, characters constantly dream of returning to daily life, though these dreams always lead to inevitable destruction, suggesting that the state of exception will continue indefinitely. “Train to Busan” and “Seoul Station” suggest that the state of exception is now full-scale due to systemic aspects of public power and selfish individuals who internalize the state. At the same time, Yeon offers some hope at the end of his films. While the hope in “Train to Busan” appears naïve, as the film ends with the survival of a pregnant woman and child, the finale of “Seoul Station” suggests the possibility of the other’s ability to overthrow the “potentias” that be and escape extreme situations of catastrophe.

초록

Abstract

Intertextuality between literature and music is established via the combination of literature and music (e.g., operas, musicals, etc.), the application of musical devices in literature, and the application of literary devices in music (e.g., program music). Language and music form a complementary relationship, as "they entirely differ from one another but merge together to create beautiful harmony." To use German examples, Hermann Hesse referred to the fugue technique of Johann Sebastian Bach and the sonata form of the music of the Classical era as intertextual in nature, while Thomas Mann was interested in the leitmotif of Richard Wagner and the atonal twelve-tone technique of Arnold Schönberg. Such intertextuality has been employed by writers from both the East and the West. This research paper focuses on the Slavism that is reflected in the musical world of Milan Kundera’s literature. In particular, Leoš Janáček's music, which had a considerable impact on Milan Kundera, is noteworthy in terms of intertextuality in that it "originated from the rhythm and accent in the speeches and songs of farmers in Moravia," and thus has an ethnic nature, rather than a traditional one, and is a unique work created at the border of East and West. This research concerns the "possibility of a new writing" and "experimental narratives" in the works of Kundera in relation to a variety of relevant studies, including Mi-Young Chang's study of the counterpoint technique in novels, Ji-Yong Chung's study of polyphonic narrative technique, and Yong-Whan Chung's study of structural ambivalences in the literary world. However, this research has limitations in recognizing a systematic relation between Kundera's literary works and musical worlds therein (i.e., interrelation between musical forms and literary contents). Therefore, this research limits its examination to Kundera’s The Unbearable Lightness of Being, within which a musical point of view is clearly reflected, examining the narrative and music of Kundera's literary world in relation to Janáček's musical technique. The narratives of the novel’s main characters, including Thomas, Tereza, Sabina, and Franz, are compared to a string quartet, counterpoint and polyphonic techniques in the novel are considered key aspects of its narrative (i.e., with regard to freedom, salvation, and kitsch), and different musical forms (i.e., fugue, sonata, and rondo) and dynamics (i.e., fortissimo, prestissimo, pianissimo, adagio, etc.) in the novel are viewed as reflecting different intentions of the author. This research paper relies on inductive inferences, and thus aims at narrowing the gap between facts and errors. In addition, this research paper utilizes a text translated into Korean as its basic reference material, and thus has certain limitations in terms of providing in-depth analysis on the close relationship between the original language and different musical notes. However, this research paper analyzes the correlation between the structure and perspective of the novel’s narrative and the forms and instructions (i.e., dynamics and agogics) of music to emphasize the dramatic effects of intertextuality.

초록

Abstract

This paper analyzes the popular TV drama The Chaser, which began broadcasting in 2012. This typical “revenge drama” conveys feelings and affects such as rage, anxiety, and victimization that are felt by many contemporary individuals. Furthermore, the show expresses the ideology of neoconservatism whereby it endeavor to overcome the present social crisis via adherence to conservative values. This drama, which depicts the desperate struggle and victory of an ordinary head of the household over a giant structural evil, re-presents the dichotomy of hero versus villain as good-natured but weak individual versus bad and powerful society in an extended critique of individualism. The individual in this drama is a male hero who goes blind with vengeance and turns to violence on account of losing his lovely daughter and wife. While the character shows excessive sentimentality and empathy, he also shows excessive masculinity. The character is no different than the image of the hero as the subject of neoliberal struggle. The character’s motivations for revenge are paternal love and family loyalty. Healing the evil immorality and ignorance of his society requires a devoted and unconditional love for family members. It is even more problematic to justify the violence of the others such as women, weak people, in justification the value of the individual and family. The Chaser can be interpreted as a neoconservative text that promotes the restoration of family principles as a means of overcoming political, economic and moral crises in the wake of a financial crisis.

초록

스크린의 소녀는 으레 부모의 의사에 따라 미래가 결정되며 보호 통제받고 훈육해야할 아동으로서 가족과 사회 내의 약자이다. 그럼에도 최근 스크린의 어떤 소녀들은 무너져가는 국가와 사회, 체제의 윤리와 도덕에 대해 냉철하게 감응하고 있다. 이들은 극의 중심에서 적극적으로 자신의 세계를 구축하고 의견을 개진할 뿐 아니라 미래를 이끌 구원자로 기능한다. 이 글은 그 시작점에 2009년 <여행자>로 스크린에 등장한 김새론을 세운다. 그녀를 기점으로 최근 한국영화 속의 어떤 소녀들은 가부장적 체계와 그에 기초한 자본주의적 문화시장 즉, 남성중심적 시각장에 빈번하게 저항하며 균열을 내는 능동적 주체 ‘뉴-걸(New-girl) 혹은 새론-소녀’로 기능한다. 김새론은 주로 ‘어린 괴물’로서 가부장제 밖에 내던져진 소녀를 연기했다. 스크린에 등장한 지 얼마 안 되어 그녀는 현실의 아픔과 절망을 그려내지만 희망적이며 강인한 소녀의 주체적 면모로 화면을 압도하는 ‘배우’로 각인되었다. 그녀는 자신의 성장 단계에 따라 진중한 작품에서 특별한 인식의 계기를 마련하는 새론-소녀를 소화하며 ‘대체불가’한 아우라를 가진 배우로 위치해왔다. 이 새론-소녀는 소녀 상품의 경제가 추구하는 남성중심의 포르노그래피적 에로티시즘의 함정에 빠지지 않으면서 자신의 고유한 영역을 확보한다. 새론-소녀의 기원으로 김새론을 주목하는 데에는 그녀가 기존의 소녀성의 신화를 해체하고 시민 사회의 새로운 주체로서 소녀의 개념을 환기시킨다는 데 있다. 스크린에서 새론-소녀는 남성중심적 가부장체제를 기반으로 하는 현실에 비판적 균열을 만드는 존재로 기능하고, 더 나은 평등사회를 만들어가려는 연대의 주체로 소녀의 역능을 유감없이 드러내는 문화 정치를 감행 중이다. 또 이 새론-소녀를 페미니스트 저항 주체로 독해하려는 이유는, 그녀가 페미니스트 전사로 무장하고 전면전에 나섰다기보다는 기존과는 다른 소녀성을 기반으로 하면서도 인권, 사랑, 자유, (성)평등, 여성(타자) 연대 같은 여성주의적인 동시에 민주주의적인 가치에 대해 적극적으로 언급하는 소녀성의 재현에 있다.

Abstract

Generally girls on screen are non-personsin the family and society whose futures are protected and decided by their parents. However, girls in recent Korean films have become highly sensitive to the ethics and morals of a falling nation, including its society and institutions. These girls are not merely building their own world at the center of a film, but also serve as leaders of the future, like in Hyojin (Kim Wanhee) The Wailing (2016). This essay examines Kim Saeron’s performance in A Brand New Life (2009). Saeron is used as a starting point to discuss the “new-girl” or “saeron-sonyeo” in recent Korean films, a figure with strong subjectivity who frequently challenges the patriarchal system and its capitalist cultural markets. Saeron plays a girl who is branded a “little monster” and thrown out of the patriarchal system. While she portrays pain and despair, as an actress, Saeron presents a strong and tough-girl image. She has been positioned by herself as an irreplaceable actress, establishing motives for turning point of special perception as subject at each phase of her physical growth. In her films Saeron-Sonyeo secures her own sense of identity, refusing to fall into the pitfalls of the male-centered pornographic eroticism pursued in the mass culture economy of “girl-products.” The origin of the Saeron-Sonyeo character, Saeron deconstructs myths of girl-ness and refreshes them with a “macho” feminine quality in relation to civil society. Saeron-Sonyeo serves to disrupt patriarchal systems and for the sake of social equality. This essay interprets the Saeron-Sonyeo character as a feminist warrior that speaks to feminist and democratic values, such as human rights, love, freedom, and (gender) equality.

초록

Abstract

The aim of this study is to analyze the mode of characterization in the television series entitled “Hur Jun.” The method of characterization in “Hur Jun” is differentiated from that of other historical dramas, in that the complex and dynamic arrangement of the real-life figures and fictional characters allows a variety of dramatic functions to be configured. The characters that appear in this drama are largely divided into historical (actual) and fictional characters. The historical characters reinforce the realism of the drama, facilitating the acceptance of stories related to Hur Jun by viewers as true facts, while the fictional characters help further flesh out the character of Hur Jun. Though the historical characters shape the story framework of “Hur Jun,” the writer bolsters the ideological implications of the drama through its subplots featuring complex groupings of the fictional characters. First, the central narrative revolves around Hur Jun and Yoo Ui-tae, the historical characters who actually existed. The main plot focuses on the evolution of Hur Jun from a seoja (illegitimate son) maturing into a hero through the repeated pattern of episodes, namely, ‘Hur Jun given a task à trial à tension (crisis) à overcoming.’ Yoo Ui-tae discovers Hur Jun’s talent and supports him through the training of his skills as a doctor and as a person. The scenes of training of Hur Jun by Yoo Ui-tae were built on an appeal to humanism, which met viewers’ expectations and subsequently elicited viewer engagement and empathy. Next, the fictional characters in “Hur Jun” serve as supporters of Hur Jun. The episodes connected with the supporting characters constitute the subplots and each of such episodes strengthen and reinforce the overarching theme of the drama. Not only do these supporting roles enrich the drama as a whole, but they also add substance to the character of Hur Jun. The dramatic structure that feature the diverse supporting characters helps lighten the mood and turn this otherwise serious and somber historical drama into a more light-hearted drama. It also allows viewers to better understand the story and make inferences about what will happen just by having the supporting characters appear because the supporting characters are clearly delineated. The functions of the female supporting characters are particularly worthy of note: In “Hur Jun,” there are Da-hee, Hur Jun’s wife, and Lady Ye-jin, a nurse. Unlike previous historical dramas featuring male characters as protagonists, Da-hee and Ye-jin are actively involved in the growth of the male character Hur Jun. Da-hee, a supporting character in the domestic sphere, and Ye-jin, a supporting character in the public sphere, each play a pivotal role in the success of Hur Jun as a doctor. Dae-hee makes up for the deficiency of Hur Jun’s role as the head of their household, while Ye-jin aids Hur Jun’s growth in his medical career. If these female supporting characters were only the love interests of Hur Jun, it would have been difficult for the drama to remain faithful to the overall theme and maintain tension. In the drama “Hur Jun,” melodramatic and comedy-dramatic elements, which seldom coexist in other historical dramas, are realized in the characterization of such fictional characters as Da-hee, Ye-jin, Im Oh-geun, and Hong Chun. These characteristics of the drama allowed “Hur Jun” to be recognized as a new form of historical drama that offers viewers messages and entertainment at the same time.

초록

이 논문은 상대평가에 의해 뽑히거나 아니면 뽑히지 않는 극한의 경쟁 체제 속에서 청년들이 느끼는 질투와 시기 감정의 특징을 살펴보고, 질투와 시기로부터 벗어날 수 없다면 이 감정을 통해 사회에 적응할 수 있는 방법을 모색하려는데 목적이 있다. 이를 위해 이 논문은 웹툰 <치즈인더트랩>을 각색하여 2016년에 TV 드라마로 방영된 <치즈인더트랩>을 분석한다. 이 드라마는 캠퍼스 로맨스를 표방하지만, 그 이면에는 상대 평가로 끊임없이 경쟁하고 질투와 시기심을 느끼는 다양한 인물들이 등장하고 있다. 김상철, 유정, 홍설이 느끼는 시기와 질투 감정은 두 가지 감정 양상을 보여준다. 우선, 김상철이 느끼는 시기심은 자신보다 우월한 것을 뛰어넘어보도록 자극하는 감정이 아니라, 현실 속에서 낙담하게 만드는 감정이다. 김상철이 느끼는 시기심은 상대평가 체제 속에서 ‘보통의 삶’을 꿈꾸기조차 힘들어진 냉혹한 현실을 드러낸다. 한편, 경제적 배경이 너무 다른 유정과 홍설은 서로를 통해 시기와 질투 감정을 느끼고, 또한 주위 사람들의 감정을 이해하게 되면서 점차 자기 자신과 타인이 처한 상황을 알아가게 된다. 이 논문은 시기와 질투 감정이 경쟁에만 매달리게 만드는 현대 한국 사회에서 피할 수 없는 대표 감정으로 규정하고 이 감정이 개인들에게 허세, 낙담, 분노, 무감각으로 나타나는 상황을 분석하려고 한다.

Abstract

In a discussion of characters’ behaviors in the Korean soap opera Cheese in the Trap, this study explores how jealousy and envy, aggravated by a relative evaluation that controls an individual’s ability to create one’s life and sense of self-worth, serves to affect an individual’s thoughts and behaviors in postmodern Korean society. In this drama, poor students struggle in poor economic conditions that make them feel jealousy and envy toward relatively rich students. While jealousy and envy could motivate these students to work harder for a better personal future, these feelings only make them discouraged and depressed. They know that, ultimately, “the winner takes all” in their society. Moreover, they realize that simply living a “good” life is the most difficult goal. Individuals can truly understand the minds of others and define what is a good life for themselves, this paper argues, only through the open admission that negative emotions such as jealousy and envy force people to rigorously compete with one another.

초록

본고는 프레드릭 제임슨의 2013년 저작, The Antinomies of Realism을 통해 21세기에 다시 부상하는 예술적 사실주의에 대한 논의와 함께 정동의 문제를 논해보고자 한다. 20세기 후반에 모더니즘과 포스트모더니즘에 대한 연구로 한 시대를 풍미했던 제임슨은 지난 세기에 상실되었던 ‘느낌(feeling)’의 문제, 특히 ‘정동(affect)’이라는 주제를 19세기의 유럽 사실주의의 특성으로 제기하며 사실주의를 재검토한다. 스피노자의 철학으로부터 유래한 라틴어 어원의 영어 단어, affect는 2016년 국내 학계에서도 번역어로서 ‘정동’과 ‘정서,’ ‘감응’ 중 어떤 단어를 선택할 것인가의 문제로 큰 논란이 불거진 바 있다. 제임슨은 정동이 사실주의를 모더니즘이나 포스트모더니즘과 구별하는 가장 큰 차이라고 주장한다. 따라서 본고에서는 제임슨이 사실주의의 양대 원천으로 규정한 ‘서사’의 개념을 ‘정동’의 문제와 함께 재고해 보는 동시에, 그의 최근 이론적 관심사라 할 수 있는 시간성과 운명의 문제를 함께 다뤄보며, 사실주의와 모더니즘의 이항대립에 대해서도 재고해 볼 것이다.

Abstract

Drawing on Fredric Jameson’s The Antinomies of Realism (2013), this paper discusses the concept of “affect” in relation to the recent academic discourse on literary realism. A globally renowned scholar of modernism and postmodernim in the late twentieth century, Jameson reexamines realism in relation to feeling, or "affect," an aspect of examination that has been absent from the studies of realism over the past century. The concept of affect and its Korean translation have became the source of much controversy in 2016 in South Korea. Jameson discusses “affect,” a term that originates in the philosophy of Spinoza, as a key element in distinguishing realism from modernism. This study reconsiders notions of realism in terms of what Jameson calls the "twin sources of realism," namely, "the impulse of narrative" and "affect" including his thought on temporality and fate. Finally, the paper also reconsiders the binary opposition between the individual and the collective.