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<철선공주(铁扇公主)>의 트랜스아이덴티티 스토리텔링 마이너 캐릭터를 중심으로
정원대 한국애니메이션학회 2024 애니메이션연구 Vol.20 No.2
This study examined the storytelling characteristics and historical implications of <Tiě shàn gōng zhǔ> from a new perspective based on the characteristics of minor characters and objects changing. As the analysis method, transidentity was used. First, the characteristics of transidentity centered on body change were reviewed. Transidentity was effective in getting others out of biological, social, and existential others through the 'difference' of the body classified by the power subject. In particular, transidentity is easy to relieve the physical oppression reproduced through the formative characteristics of animation characters. The minor character of animation is the object that forms the probability and diversity of storytelling. Above all, minor characters reveal the universal perception of reality in that they are identified with us as many social members of the animation world. It was confirmed that changes in minor characters and objects can appear as objects of daily reproduction and reorganization. After that, in order to examine the implications of the times, the social image and storytelling characteristics of modern China were considered. In modern China, various power subjects regarded the people, especially farmers, as others in a way that they were 'alienated'. In literature and films of the time, it was confirmed that the contents were made up of edifying contents to improve the identity of other farmers. As a result of the analysis, farmers, who are minor characters in "<Tiě shàn gōng zhǔ>, were making the content and composition closely with the roles of messengers and victims. In particular, farmers reversed their identity from being suppressed to being free subjects. The reversal of farmers' identity helped to strengthen the thematic consciousness of storytelling and reorganize universal perception. Above all, farmers confirmed that they were similar to modern Chinese farmers as marginalized others. It can be said that the reversal of farmers' identity was reproduced in the desire for producers to escape from the eyes of others, like in modern Chinese movies.
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최호빈(Choi, Ho-Bin) 숭실대학교 한국문학과예술연구소 2016 한국문학과 예술 Vol.19 No.-
김종삼 시에는 전쟁의 비극성, 종교적 가치관, 문학적 영향으로 해명할 수 없는, 죽음에 관한 특별한 성격의 갈등들이 내재되어 있다. 그중 가장 두드러지게 나타나는 갈등은 예술과 죽음이 맺고 있는 강한 결속력에 대한 것이다. 그의 시에 등장하는 예술가 대부분은 자신이 이룬 높은 예술적 성취와 대조적으로 삶 또는 죽음이 비참했던 자들이다. 김종삼은 예술가의 삶을 살피면서 예술/예술가와 죽음의 관계, 즉 미학적 죽음에 천착했다. 이와 관련하여 김종삼의 죽음의식에 가장 큰 영향을 준 사람은 전봉래이다. 그는 1950년 전후에 활동하며 문단의 신진시인으로 주목을 받고 있었지만 한국전쟁의 발발로 자신의 시적 역량을 제대로 발휘하지 못한 채 1951년 부산에서 자살로 생을 마감했다. 전봉래를 누구보다 잘 알고 있던 김종삼은 그의 죽음을 시인이자 예술가의 죽음으로 받아들였고, 이 때문에 ‘시인의 자살’이 지닌 특수한 의미에 주목하게 된다. 예술가의 자살은 일종의 예술적 행위로 간주되는데, 김종삼은 전봉래의 자살을 “유작”, “죽음이라는 작품”으로 표현하면서 자살의 미학적인 특성을 스스로에게 납득시키려고 했다. 김종삼은 시작 활동 전반에 걸쳐 전봉래와 그의 죽음을 다룬 시를 지속적으로 발표했다. 초기의 「G 마이나」(54년)와 「하나의죽음」(56년)에서김종삼은 친우의 죽음을 애도하면서 그 죽음을 자신의 죽음과 관련지으려는 태도를 보인다. 「地」(69년)와 「올페」(75년)에서는 자신의 죽음에 대한 최종적 동의를 전봉래에게 구하기도 한다. 무엇보다 「시인학교」(73년)에서 그는 전봉래의 자살을 재현함으로써 자신의 죽음에 대한 열망을 직접적으로 내비친다. 한국시사詩史에서 시작활동 전반에 걸쳐 죽음을 미학적으로 접근한 시인은 김종삼이 유일하다. 이런 김종삼에게 전봉래는 ‘심우心友’이자 ‘시우詩友’ 그리고 미학적 죽음에 대한 성찰적 의식을 구성하게 한 구체적인 계기였다. 이 점을 염두에 두며 김종삼 시를 살펴보는 일은 그간 논의되지 못했던 미학적 죽음과 관련된 사항들을 해명할 수 있는 새로운 지평을 마련하는 일이라 할 수 있다. This paper examines the aesthetic death in Kim Jong-Sam’s poems. About the image of death appeared to Kim Jong-Sam’s poems, previous studies had discussed in relation to the experience of the Korean war, the original sin, Rilke’s poetry. However, there is a conflict unusual for death in his poems. It is for the strong unity between art and death. As is generally known, Kim Jong-Sam wrote the names of many artists in his poems. In contrast to the wonderful artistic achievements, most of them lived or died miserably. What he had an interest in the late style of artist, it means that he focused on the relationship between art and death or between artist and death, aesthetic death. Jeon Bong-Rae, who is the elder brother of Jeon Bong-Geon, was a poet and translator who work at around 1950. He was in the spotlight as the rising young poets, but he committed suicide in Busan during the war. Kim Jong-Sam knew that Jeon Bong-Rae had a great literary, especially in french literature, and poetic talent. For that reason, he thought about Jeon Bong-Rae’s death as an artist’s death, not his friend’s death. On the one hand, suicide is considered as an act of artistic form. Because death is the last object that artist want to complete aesthetically. Kim Jong-Sam wrote about Jeon Bong-Rae’s suicide that it was the work of ‘death’, which was the noblest and latest posthumous work. Also Kim Jong-Sam convinced himself to understand a aesthetics of ‘artist’s suicide’, and he actually had tried to commit suicide. Although the overall explanation of death consciousness is not available, it is certain that Kim Jong-Sam inspired in Jeon Bong-rae’s suicide. It is confirmed in his poems. Above all things, he has described his own image to wait for die, in school of poets (1973), reenacting the process Jeon Bong-Rae committing suicide. Therefore, to review the work associated with Jeon Bong-Rae provide a new foundation to clarify an aesthetic death in Kim Jong-Sam’s poems.
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