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- KOREAN
- P-ISSN1229-4632
- E-ISSN2733-5925
- KCI
ISSN : 1229-4632
No.53
Abstract
This essay examines the history of international adoption in Korea in light of the UN Convention on the Rights of the Child (UNCRC) and argues that international adoption should be considered in light of the adopted child’s “right to preserve his or her identity” (as articulated in Articles 7 and 8 of the UNCRC) as well as the child’s right to mourn the loss of that identity. The UNCRC is an important document not only because it identifies the state as bearing political responsibility for the well-being of the child but also because it recognizes that the identity of the child needs special protection. Article 7 of the UNCRC defines “identity” as “including nationality, name and family relations as recognized by law”. The life histories of Deann Borshay Liem, Adam Crapser, and Kara Bos exemplify the loss of identity involved in international adoption. Instancing their cases as specific examples of the loss of name, nationality, and family relations, the essay argues that, despite the legal advances enabled by the UNCRC (1989) as well as the Hague Convention on Intercountry Adoption (1993), Korean-born adoptees continue to suffer from the traumatic loss of identity. Further, it argues the need to acknowledge their loss by recognizing their right to mourn their original identity and family relations. Recognizing the vulnerability of the child as including the vulnerability of his or her identity enables us to connect it to the vulnerability of the unmarried birth mothers who, like the children they are giving away, are unable to claim their social identities and are deprived of their right to mourn their losses.
Abstract
이 글은 다문화가정의 여성과 아동이 겪는 돌봄의 어려움을 풀어내기 위해서는 상호문화 감수성과 동시에 여성주의 시각의 접근이 동반되어야 한다는 문제의식에서 출발했다. 결혼이주여성이 구술한 설화 중, 돌봄의 통제 욕망으로 ‘자연물이 된 아이’ 화소가 있는 필리핀의 「파인애플이 된 아이」 설화와 인도네시아의 「물고기 아내와 토바호수」 설화를 연구 대상으로 선정하여, 낯선 아시아 문화와 자연스럽게 상호문화를 소통하며 그 가치를 공유하는 과정을 통해 돌봄을 둘러싼 통제 욕망의 심층적 관계를 더욱 다양한 시야에서 풀어내고자 했다. 필리핀 설화 중 백 개, 천 개의 눈으로 ‘파인애플이 된 아이’의 상징을 교류하는 과정은 지나친 애정으로 아동을 돌보며 통제하는 모성 돌봄의 중압과 갈등 양상을 사유하게 한다. 인도네시아 설화 중 토바 호수 전설의 ‘섬이 된 아이’의 상징을 교류하는 과정은 아버지가 아들을 훈육하고 통제하고자 할 때의 폭력적 문제 양상에 대한 아들의 대응을 보여준다. 이를 다문화가정으로 확장하여, 현실적으로 돌봄의 과정에서 문화소통의 어려움을 호소하는 이주여성과 아동의 자존감을 변화할 수 있도록 상호문화의 주체로 인지해 가는 과정을 제안해 보고자 했다.
Abstract
The purpose of this article is to examine the overlapping oppression of women and children in Korean literature in the 2000s, a period during which feminism began to disappear. To this end, this article attempts two tasks. First, I revealed that the “misogynistic” attitude that appeared in the works of the 2000s was overlooked in the process of appreciating the subversive elements that appeared in the works of the time. When violent scenes appeared in literature in the 2000s, I critically assessed how criticism in the 2000s praised these scenes for their aesthetic value. Furthermore, the article demonstrates that criticism of the time did not fully imply the feminist views in poems of the 2000s. To this end, this article looked at the process by which “genderlessness” was represented in poems of the 2000s. Most importantly, these scenes are similar in that they all feature girls. In short, the article tried to critically reveal how criticism in the 2000s aestheticized “violence” and politicized the “genderless” subject while erasing feminist views and understanding “children” only figuratively. Furthermore, I analyzed the poems of Kim Min-jung, Lee Min-ha, and Kim Haeng-sook from a feminist perspective and traced the genealogy of feminist poetry that survived even throughout the 2000s.
Abstract
이 글은 SF 아동청소년문학에 나타난 자신의 직업적 윤리의식과 모성 사이에서가치충돌하는 ‘엄마’라는 이름의 여성 과학자들을 살펴봄으로써 포스트휴먼 시대의 과학자–엄마 되기가 모성 이데올로기와 어떻게 마주하고 있는지 분석하는것이 목적이다. 이를 통해 포스트휴머니즘이 인간중심적 사유를 지향하는 휴머니즘을 넘어 인간과 기술의 관계를 조망하는 보다 유연한 사고의 담론이라는 문제의식을 공유하며 모성의 개념이 어떻게 변화되고 혹은 강화되는지 탐색하고자한다. ‘여성 과학자’ 또는 ‘포스트모던 엄마 기계’라는 이중의 정체성을 지닌 과학자–엄마들은 섹슈얼리티 외부에서 재생산이 가능한 존재로서 다양한 방식으로자신의 피조물을 생산 및 설계한다. 이들은 대개 생명공학, 유전공학, 로봇공학등의 분야에서 뛰어난 성취를 이루는 과학자이자 피조물을 창조하는 창조주로묘사되며 첨단기술과 자신의 능력을 이용해 실험실에서 또 다른 방식으로 재생산을 수행한다. SF 아동청소년문학에서 재생산기술에 대한 논의는 여성뿐만 아니라 아동의관점에서도 접근되어야 하는 부분인 만큼, 복합적이고 다양한 측면에서 접근해야 할 필요성이 있다. 따라서 이 글은 여성, 엄마, 과학자로서의 삶과 주체성, 행위 등이 모성이라는 이데올로기에 갇혀 자율성과 가능성이 배제되는 양상을 재현하는 한계와 더불어, 이들이 긍정적으로 결합될 수 있는 지점들을 통해 다양한전망을 모색하는 보다 확장된 사유의 필요성을 지적한다.
Abstract
본고는 고정희 시인의 연작시『밥과 자본주의』를 ‘커먼즈(commons)’의 실천으로 독해하면서 해당 연작시의 의의를 탐구하기 위해 쓰였다. 커먼즈는 자본주의 세계체제의 문제에 맞서 다양한 주체들의 협동, 공유, 돌봄이라는 가치 추구 행위 및 이를 통해 질적으로 다른 사회로 가는 길을 만드는움직임을 이른다. ‘커먼즈’적인 실천의 필요성을 논할 때 주목할 작품이 고정희시인의『밥과 자본주의』연작이다. 본고는 리비스의 공동체론에 입각하여 구체화할 수 있는 문학의 커먼즈적인 속성에 따라 『밥과 자본주의』 연작을 독해한다. 이를 통해 해당 연작시가 공동체의 풍부한 토착 자원을 활용함으로써 ‘비개성의 영역’을 형성하고, ‘상호 협동적 창조성의 영역’을 구축한다는 것을 밝힌다. 2장에서는 연작시에 등장하는 ‘밥’이 공(公/共)과 사(私)의 영역을 넘어서서 ‘누구나’ 서로를 돌보는 비개성의 영역을 매개함으로써 여기에 참여하는 존재들의 목소리를 가시화하는 상황을 살핀다. 3장에서는 전통적인 ‘기도문’, ‘노래’의 형식이 다른 사회로 전환을 꾀하는 협동적 창조의 범례로 자리하는 상황을 읽는다. 본고는 1987년 이후 ‘여성 시인’의 변혁적인 시적 발화가 선취하는 급진성을새기면서, ‘함께 사는 삶’을 경시하다가 위기에 봉착한 오늘날 필요한 가치가 무엇인지를 재초점화 한다.『밥과 자본주의』연작은 시가 쓰이고 읽히는 작업이 곧 공동체를 능동적으로 구성하면서 ‘우리’를 확장하는 ‘커머닝’의 일환임을 알린다.
Abstract
Goh Jung Hee’s Madang-gut poem transcends boundaries and projects reality, causing tension and conflict between the patriarchal order, the political order caused by the military dictatorship, and the social hierarchy. Through this, the aspect of a compartmentalized social order is revealed, triggering tension and conflict. Madang-gut poem is a style of poetry that the poet sought as a way to emphasize the sense of vocation of the times through the formal change of poetry. And the content of Madang-gut poem gradually visualizes the social situation of the 1980s with the passage of time. In the first and second Madang-gut poems, the object sung by the magical narrator appears as “us” of the oppressed people, but in the third Madang-gut poem, in a specific aspect, they are individually called out. Also, the social situation that Madang-gut poem reveals is revealed in the first Madang-gut poem in the form of a remorse that longs for us at the borderline between life and death. However, in the second Madang-gut poem, by paradoxically staring at the real world as a haunted situation, the invisible is made visible by inflicting a rift on the order of the fixed share of society in the 1980s. After that, in the third Madang-gut poem, the voice is clearly expressed in discord with the political and social forces that are trying to fix the existing ruling order. It shows the structure and situation of discrimination and exclusion surrounding workers, peasants and women, and criticizes the military dictatorship harshly. And it reproduces that those who fought against the military dictatorship were workers who were excluded from the center of the community in the social structure of discrimination who did not have a linguistic system to represent them. Although they have been excluded from the political framework of society as people without authority and ability and without a share, they appear in the form of legitimately claiming their voice and share through a conflict that causes cracks in the divided world. And Madang-gut poem visualizes the politicity of Goh Jung Hee’s poetry by creating a new form of political subjectivization by showing that our society is closer to equality and liberated through the power of this discord.
Abstract
Tales of lovesick serpents (sangsabaem) are divided into male snake tales and female snake tales. In male snake tales, men die for one-sided love and stick themselves to a woman’s body after becoming a snake. Female storytellers tend to sympathize with the woman who the snake sticks himself to, while male storytellers tend to sympathize more with the man who became a snake. Tales of a snake retreating due to a woman’s tricks were told only by women, and this reflects women’s aversion to lovesick serpents. In female snake tales, women who love men become snakes. Tales of women’s one-sided love were told mostly by male storytellers, and male storytellers expressed a view that woman’s sexual demands should be accepted. Women’s aversion to male serpents is linked to the real existence of the threat of sexual assault, while men who do not reject female snakes project their sexual desire through female snake tales.
Abstract
This thesis focused on the narrativization of the transformation of Jang Hye-aeng, the female character of Yussisamdaerok (劉氏三代錄), who is reborn as an unrivaled member of her husband’s family through repentance and reform. Through this, I attempt to consider the achievements of Yussisamdaerok in the narrative of repentance and reformation. To this end, I divided this survey into three categories: 1) passing the test through similar cases, 2) showing qualities by enhancing morality, 3) and generous treatment of the contempt around her. First, “passing the test through similar cases” may be summarized as follows. The narrative of Jang Seol-hye, which appears as a mise en abyme of the narrative of Jang Hye-aeng, serves as a mirror reflecting the narrative of Jang Hye-aeng. Jang Hye-aeng is clearly differentiated from Jang Seol-hye with her fair demeanor, making her appear clearly different from her past sinful self. This can be said to be an epic device that embodies the step of ‘escaping from the past’. Second, the following is related to “showing qualities by enhancing morality.” Through moral discipline and an excellent performance, Jang Hye-aeng emerges as an unrivaled figure replacing the vacancy of Princess Jinyang, the most ideal figure in Yussisamdaerok. Jang Hye-aeng, who was enlightened by Princess Jinyang’s teaching, is now revered by the family as an incarnation of Princess Jinyang. This can be said to be a step toward a ‘rebirth as a new self’. Third, the “generous treatment of the contempt around her” can be explained as follows. Jang Hye-aeng establishes her status as the eldest daughter-in-law of the family by eliminating the lingering embers of hatred. Due to her previous behavior, Mrs. Sun gives a look of contempt and disgust. However, Jang Hye-aeng, through her extremely generous and polite behavior, sheds the shadow of such hatred and establishes herself as the eldest daughter-in-law of the Yu family in name and reality. This functions as the step of “passing through the last gateway as an unrivaled being.” In short, Yussisamdaerok marks an important milestone in narratives of repentance and reformation in the late 17th and early 18th centuries by portraying the process of becoming an unrivaled member of one’s husband’s family through the female character of Jang Hye-aeng. It is not uncommon for a woman to correct her mistakes in full-length novels, and it is a remarkable achievement that depicts a woman who is reborn as an exceedingly unique person. These observations are based on the author’s deep awareness of human nature and the situation of women. It is significant in that it presents the most ideal model of human beings who are striving to improve themselves.
Abstract
Around the 1930s, a class and gender shift in society took place. Rather than a sequential process, the complex division and reconstruction of modern individuals by class and gender hierarchies was a simultaneous and reciprocal process that occurred alongside changes in the cultural landscape, and it became visible in society as a relational characteristic around sexuality. Since the 1920s, when romantic love became a trend, intellectuals who were concerned about sexual disorders vocalized the need for “scientific knowledge” about sex and sex education. Accepted as new knowledge and a modern knowledge system, sexology, the science of desire, naturalized gender differences by describing changes in modern relationships between men and women as biological sex differences. Once the 1930s began, there was widespread recognition that the social system was in a transitional period; that is, there was an awareness that families were in a state of bankruptcy and that sexual chaos had reached its peak. What happened to the formation of discourses and social systems surrounding sexuality in the 1920s and 1930s? This paper analyses narratives, print media, and other publications to identify changes in the recognition of sexuality and the social system surrounding in the 1920s and 1930s. The paper simultaneously identifies the existence of sexual desire through forms of confession, and reveals the process whereby “the obscene” was constructed and made into the target of sexual education. By analyzing scenes where sexuality as a threatening force is constructed as the basic principle of an individual’s life, this paper confirms that sexuality was employed to construct an epistemic base for the individual, society, and the nation(/state) alongside a reorganization of society centered on sexuality.
Abstract
4.19 이후 리저널리즘의 재편 요청과 관련하여, 『청맥』의 ‘제3방안’은 아시아 리저널리즘의 제5계보를 제시한다. 제5계보란 반둥정신을 체화한 것으로서, 반제반식민과 ‘자유로서의 발전’론이 결합한 형태였다. 당대 잡지 중 이에 속한 경우는 『청맥』이 유일하다. 이 계보에서는 ‘빵과 자유’를 동시에 요청하면서 발전의목적으로 ‘자유·민주의 신장’을 역설하였으며, 미국에 대해 객관적 시선으로 천착하고자 했다. 이러한 입장은 문학비평에서도 여실히 드러났다. 『청맥』에서는 이식문학론·전통부정론을 강렬하게 부정했다. 남의 눈(義眼)으로 세계를 인식하는 문학을의안문학, 매판문학이라 맹렬히 비판하였고, 서구화=근대화의 관점을 공격하면서 ‘또 다른 보편’을 준비하고 있었다. 전통부정론과 이식문학론은 추녀 콤플렉스로 명명되었다. ‘주체성 없음’을‘성적으로 은유’하는 것으로서, 남성/여성=선/악=미/추의 이분법 하에 배치되었다. 『청맥』은 서구(일본)문학을 타자화하여 한국문학의 정체성 및 주체적 민족문학을 수립하고자 했으며, 그 수단으로 ‘여성(성)’이 ‘부정적’으로 동원되었다. ‘추함’이 예로부터 성의 고정관념을 강화하는 도구로 사용되어 왔다는 점에서 추녀 콤플렉스는 ‘이중적’으로 문제적이다. ‘슬픈 메타포’로서, 추녀 콤플렉스는 주체성을 강조했던 반둥정신과 호몰로지였다. 조동일은 민족적 리얼리즘론 및 새로운 ‘문학사 방법론’을 주창하였다. 여기서 여성은 이중삼중의 당대 모순의 최대 피해자인 동시에, ‘문학의 주체’ ‘해방의주체’로 자리매김되어 있었다. ‘여성문학’의 범주를 설정함으로써 여성은 더이상‘한국학의 타자’가 아니었다. ‘여성문학비평적 민족문학론’의 계보를 창출해 보여 주는 등 혁명적인 사유의 대전환을 노정하였다. 『청맥』의 참여론은 참여에 대한 ‘이론적 고찰’뿐 아니라 ‘방법론’까지 제시하고 있었으며, 그 자체가 민족문학론 및 리얼리즘론에 해당하는 것이었다. 백낙청의 참여론은 다른 논자들과 ‘매우 다르게’ 민족문학론적, 리얼리즘론적 성격을거의 띠고 있지 않았다. 백낙청은 비젠더적이었지만, 나머지 논자들은 남성중심적이었다. 여기서 여성은 참여·실천 및 행동의 주체도, 인식주체도 아니었다. 역사의 주체는 남성일 뿐 여성은 이에서 ‘소거’되어 있었다. 『청맥』의 특징 중 또 다른 하나는, 조동일의 업적 외에도, 여성문학 비평가를발굴·소개하고 여성노동문학의 가능성을 드러냈다는 점이다. 여성문제의 특수성을 피력하는 등 여성문학비평의 가능성을 확인시키고 있었으며, ‘여성 노동 수기’라는 장르를 설정하여 여성노동자를 기록의 주체, 역사의 주체로 자리매김하고 있었다. 이상 『청맥』의 비평으로 1960년대 문학(비평)의 독자성이 확보되었다. 『청맥』은 이미 1960년대 중반에 리얼리즘을 핵심 창작방법론으로 제시하고 있었으며, 민족문학론과 더불어 리얼리즘을 논의의 ‘중심’으로 재점화해 내고 있었다. 따라서 『청맥』의 민족문학론을 『창작과 비평』의 전사(前史)로 평가한다거나, 리얼리즘 및 민족문학론의 계보를 카프에서 해방 직후를 거쳐 『창작과 비평』으로설정하는 것은 사실에 부합하지 않는 부적절한 평가이다. 그간 부당하게 ‘전유’ 되어 온 『창작과 비평』에 대한 비평사적 오류는 수정되어야 한다. 『청맥』은 1960년대의 가장 진보적인 잡지였지만, 젠더 인식이 통일되어 있지 ‘않았’을 뿐 아니라 여러 논자들의 ‘주체’ 개념에 여성(성)을 배치하고 있지 않아, 진정한 ‘주체’, ‘해방’과는 ‘아직’(not-yet) 거리가 있었다. 『청맥』의 필자들은 타 잡지에서도 활동하였으나, 가장 문제제기적이고 날카로운 핵심적 내용의 글은 『청맥』에 게재하였다. 『청맥』의 비평은 ‘잃어버린 진보의 꿈’이 아니라 ‘새롭게 건축되는 진보의 현실’ 그 자체였다.
Abstract
Jeong Yeon-hee’s novel The Burning Temple is a unique novel that exists at the intersection of the existentialism of Jeong Yeon-hee’s 1950s novels and the feminism of Jeong Yeon-hee’s other serial novels from the 1960s. The novel The Burning Temple disrupts the gender and genre binary separating male-centered mainstream postwar literature and marginalized popular literature. The narrative structure of this novel is unique because it centers the narrative on women’s sexual hardships within the context of the Korean War. Simultaneously, the novel tells the story of a young woman who establishes her existential self, an approach that departs from the typical narratives of women’s hardship that sought the re-consecration of postwar literature and melodrama. In addition, the story points toward the potential for community to overcome hardship and emptiness through love. The Burning Temple depicts war as an opportunity for women to achieve existential awareness and objectified female awareness, and it depicts the process of female subjects re-emphasizing motherhood through love and forming a female homo-social community of “Eve,” which deviates from the ideological social system. The failure of the lovers’ revolution leads to the collapse of the sisterhood community; however, this reminds us of the existential conditions that forced us to struggle with the world due to the impossibility of existing outside the system. Furthermore, The Burning Temple represents the determination of young women as existential subjects by restructuring the recurring plot of women’s suffering into a spiral plot with motility in a way that differs from modern, straightforward progress. This approach is significant in literary history, as it constitutes an original attempt by a female writer to re-emphasize love, war, and revolution in the eyes of an objectified woman through literature in the mid-1960s.
Abstract
“Mothers” in Oh Jung-hee’s novels are trapped inside the colony that is the family and live a life of submission to modern maternal ideology. However, they resist the role they are forced to play, while continuing their attempts to escape from oppressive ideologies. The characters are caught in paradoxical situations caused by the contradictory performances of chaos and a way forward, and destruction and reconstruction. They perceive themselves as distorted and deformed beings—that is, as monsters abandoned by society. Therefore, the monstrous women depicted in Oh’s novels are also seen as paradoxical beings. Oh’s female monsters are considered abject beings who have been abandoned and devalued by society. However, they are simultaneously feared as powerful beings who can overthrow the law of the father. Even when the mothers in Oh’s novels are reproduced as something that is abject, they reveal the cold-blooded mother who both gives her children life and takes it away. Mothers who actively seek to become monsters appear to be fearful castrators who threaten masculinity and cruel destroyers who break the boundaries of the castle. The mother is recreated as the “monstrous-feminine” that “shows fear because of her body and production functions, especially her nature as a mother.” Oh’s novels should be interpreted as a journey to discover the power of a forgotten mother, breaking the prejudice of society that has regarded women as abject. The attempt to form one’s identity against a world that oppresses the self is closely linked to posthumanism, which attempts to dismantle the modern ideological form of man/humanity and identify a new basis for existence outside existing limits.
Abstract
This paper examines how popular memories of historical trauma have been constructed in Korea and China by comparing the narrative strategies of the films A Petal and XiuXiu: The Sent-Down Girl. A Petal represents the historical trauma of the Gwangju Incident through the hysterical symptoms of a girl. The girl’s amnesia, aphasia, and hysterical seizures are a metaphor for the concealed and misleading popular memories of Gwangju in the 1980s. In contrast, the movie XiuXiu is a representation of traumatic experiences. By recreating Xiuxiu’s process of degenerating from a state of innocence to a state of paranoia, she portrays the tragic fate of all of the “educated youth” caught up in “the Cultural Revolution.” Although the methods of representation are different, both films recreate the historical trauma of the people traumatized by political violence through the image of a girl. Both the hysterical girl in A Petal and the obsessed girl in XiuXiu are objectified as victims in these historical narratives. In addition, both films employ a triangular structure composed of a “girl-narrator-middle-aged man” in the process of reconstructing individual memories/ experiences into collective trauma. The subaltern Mr. Jang takes on part of guilt himself by transferring the girl’s trauma into his body. In this way, a sense of collective responsibility is formed through guilt and punishment, leading to a political and ethical subject. By reproducing the process of forming a sense of indebtedness and collective responsibility through guilt and self-punishment, the films A Petal and XiuXiu demonstrate different approaches to overcoming trauma. This difference can be seen as the result of the cultural reflection of “educated youth” and the “386 Generation” in the 1990s.
Abstract
As K-pop has emerged as a representative cultural product of Korea, the masculinity that K-pop reproduces is being exported to the global market on behalf of Korea. The bodies of K-pop idols, which are typically well-trained, disciplined, and skinny, are read as “queer” masculinity in the global market. However, Korean idols embody well-disciplined gender norms contained within the “queer” body. The story of former K-pop idol Jay Park also demonstrates the multiple trajectories of K-pop, which collided at the intersections of normality and queerness. The fact that Jay Park, who later returned to Korea, became a hiphop artist featuring male solidarity and sincerity can be understood in conjunction with his identity as an Asian-American who grew up in the United States. Ethnic minorities are reborn as subjects who perform surplus hegemonic masculinity, which is successfully combined with masculine hip-hop narratives. As a minority, Jay Park’s actions have conflicted with the norms of the K-pop idol industry. He actively speaks about political issues such as the BLM movement and raises the subject of racism as a Korean American. This has caused several repercussions for Jay Park, as his outspokenness clashes with K-pop’s implicit norm of not talking about political issues. If K-pop is marketing to the global market that also plays the role of a kind of “model Asian,” then the time has come to critically assess such normality and the future path of the minority.
Abstract
This article clarifies the context in which anti-feminist arguments have prevailed in online spaces since the late 2010s. By applying the discourse-historical approach, this article analyzed the discourse surrounding megal and the finger controversy. Through an analysis of media reports, this paper reveals the key agents in the field of discourse that is constituted by the media, politics, social media, online knowledge services, and Blue House petitions. In this discourse, feminism has been conceptualized as a system of unfair ideas. Moreover, a discourse has formed whereby men in their twenties who are angry at feminism and claim to be victims of ‘misandry’ have sought to build a consumer movement based on ethical beliefs in order to bring about justice. It has been argued that the ruling party of the government and progressive powers have turned away from the discourse of fairness, and the opposition party has in turn conceptualized fairness as mechanical balance and competition, which is offered as an alternative to feminism. Social media and online knowledge services have conceptualized feminism as being against gender equality, and men have formed a “we narrative” about how men have endured ‘misandry’, and they have built a capacity for collective action centered on consumer civic-mindedness. These discussions criticized the negative recontextualization of feminism and identified points that must be debated to reconstruct the meaning of feminism.