일본적인 것, 혹은 금지된 ‘소리’의 계보—한일국교정상화 성립기 ‘왜색(倭色)’ 비판담론과 양의성의 정치미학
The Genealogy of Forbidden Sound―Political Aesthetics of Ambiguity in the Criticism of Japanese Style in Korean Society of the 1960s
Abstract
In the 1960s of Korea, the normalization of diplomatic relations between Korea and Japan led to a sense of a vigorous anxiety and fear that "Japan will once again come to the Korean peninsula”. As a reaction to this, the discourse on the criticism of ‘Japanese Style’ strongly emerged. If the prior discourse of criticism was to express the national antipathy toward the colonial remnants that had not yet been disposed of, the critical discourse of the 1960s was the wariness of the newly created ‘Japanese Style’ in popular culture, and to grasp it as a symptomatic phenomenon that ‘evil-minded Japan’ was revealed. Thus, this new logic of criticism of the ‘Japanese Style’ had a qualitative difference from the existing ones. It was accompanied by a willingness to inspect and censor the ‘masses’ that grew up as consumers of transnational ‘mass culture’ that flowed and chained in the geopolitical order under the Cold War system. Therefore, the topology of ‘popular things=Japanese things=consuming things’ reveals the paradox of moral demands that existed within Korean society in the 1960s. This was to solidify the divisive circulation structure that caused them to avoid direct contact with the other called ‘Japan’, but at the same time, get as close to it as ever. It is a repetitive obsession that pushes the other to another side through the moral segregation that strictly draws a line of demarcation between oneself and the other, but on the other hand is attracted to the object and pulls it back to its side. This paper intends to listen to the different voices that have arisen in the repetitive obsession to understand the significance of the dissonance that has been repeated in the contemporary era. This will be an examination of the paradoxical object of Japan that has been repeatedly asked to build the internal control principle of Korean society, or to hide the oppressive and violent side of the power, and that can neither be accepted nor destroyed completely as part of oneself.
- keywords
- 왜색, 대중가요, 총독의 소리, 1960년대 한국, 후식민성, 한일관계, Japanese style, popular song, The Voice of a Governor, 1960s Korea, Postcoloniality, Korea-Japan relations
참고문헌
『사상계』
『세대』
『신동아』
『월간중앙』
『창작과 비평』
『청맥』
『경향신문』
『동아일보』
『매일경제』
『주간한국』
최인훈, <총독의 소리>, 『신동아』 제36호, 1967.8.
최인훈, <총독의 소리Ⅱ>, 『월간중앙』 창간호, 1968.4.
최인훈, <총독의 소리3>, 『창작과 비평』 제12호, 1968년 겨울.
최인훈, <주석의 소리>, 『월간중앙』 제15호, 1969.6.
최인훈, <총독의 소리Ⅳ>, 『한국문학』 제36호, 1976.10.
권보드래·천정환, 『1960년을 묻다—박정희 시대의 문화정치와 지성』, 천년의 상상, 2012.
김건우, 『대한민국의 설계자들—학병세대와 한국 우익의 기원』, 느티나무책방, 2017.
김동식, 『기억과 흔적—글쓰기와 무의식』, 문학과 지성사, 2012.
김성민, 『일본을 禁하다』, 글항아리, 2017.
김윤식, 『한일문학의 관련양상』, 일지사, 1974.
김윤식, 『한국현대소설비판』, 일지사, 1981.
롤랑 바르트, 『글쓰기의 영도』, 김웅권 역, 동문선, 2007.
민은기 외, 『독재자의 노래—그들은 어떻게 대중의 눈과 귀를 막았는가』, 한울, 2012.
박정희, 『국가와 혁명과 나』, 向文社, 1963.
박정희, 『朴正熙大統領演說文集』 第2輯, 大統領祕書室, 1966.
발터 벤야민, 『일방통행로·사유이미지』, 김영옥·윤미애·최성만 역, 도서출판 길, 2007.
이봉범, ｢잡지미디어, 불온, 대중교양—1960년대 복간 『신동아』론｣, 『한국근대문학연구』 제27호, 2013, 385-440쪽.
이영미, 『동백아가씨는 어디로 갔을까』, 인물과 사상사, 2017.
이행미, ｢부활과 혁명의 문학으로서의 ‘시’의 힘—최인훈의 연작소설 <총독의 소리>를 중심으로｣, 『한국학연구』 제39호, 2015, 313-346쪽.
임태훈, ｢국가의 사운드스케이프와 붉은 소음의 상상력—1960년대 소리의 문화사 연구를 위하여 (1)｣, 『대중서사연구』 제25호, 2011, 283-311쪽.
장세진, ｢강박으로서의 식민(지), 금기로서의 제국을 넘어—1960년대 한국 지식인들의 일본 상상과 최인훈 텍스트 겹쳐 읽기｣, 『비교한국학』 제24권 3호, 2016, 165-210쪽.
장유정, ｢한국 트로트 논쟁의 일고찰—이미자 관련 논쟁을 중심으로｣, 『대중서사연구』 제20호, 2008, 47-72쪽.
청계천 박물관, 『대중문화 ‘빽판’의 시대』, 청계천 박물관, 2018.
파스칼 키냐르, 『음악혐오』, 김유진 역, 프란츠, 2017.
한석정, 『만주 모던—60년대 한국 개발 체제의 기원』, 문학과 지성사, 2015.
田月仙, 『禁じられた歌―朝鮮半島音楽百年史』(中公新書ラクレ), 中央公論新社, 2008.
玄武岩, 『｢反日｣と｢嫌韓｣の同時代史―ナショナリズムの境界を越えて』, 勉誠出版, 2016.
Barthes, Roland, Writing Degree Zero, translated by Annette Lavers and Colin Smith, New York: Hill and Wang, 1977.
Barthes, Roland, The Respnsibility of Forms: Critical Essays on Music, Art, and Representation, translated by Richard Howard, University of California Press, 1991.
- 다운로드 수
- 조회수
- 0KCI 피인용수
- 0WOS 피인용수