성애(性愛)의 시대, 여성 주체와 섹슈얼리티 -해방공간의 성담론(性談論) 시고(試考)

이영미 ( Lee Young-mi ) 국제어문학회 2005 국제어문 Vol.33 No.-

This study discusses female and sexual issues in novels at the time of Korean liberation from Japanese rule. It is highly significant that issues of `sexuality`, a comprehensive term for sex related with sexual behaviour, sexual phenomenon, sexual desire or sexual instinct, were widely embodied in literary discourse, especially, in times of liberation. `Female` who was examined within social and literary discourse at that time was shown with a transient mode, in order to position herself with a status either for dependence or autonomous subjectivity. However, the result of analyzing actual literary works proved that a female subject was evaluated as a whole subject through sexuality. Sexuality of female subject, that is sex, in times of liberation, was combining romantic, maternal, pleasurable and economic desires in a manner of `gradual expansion`, and approaching to a `genuine sex(or subjectivity)` of female, which was internalized within the society she belonged to. This is radical enough to be defined as `aberration` and `progressiveness`. To examine implications of such a phenomenon, female subjects harshly resisted against dualism of Chosun male whose interest was on great causes of liberation from Japanese oppression and of nation building, and whose hypocritical domination over female was imposed within patriarchal hierarchy. Female subjects resisted rather on these male subjects than on Japanese oppression, because males kept suppressing females after losing the country when they were practically in charge of it. Females hoped for a resolution of their suppressed history, to a certain extent, by abandoning the vanity of romantic love, and by using one`s body for economic gain. The fact that female as a beneficiary of economic profit from prostitution excluded male as `the other`, isolated or completely removed them, is an indication that potential outrage of the suppressed female was great. Ultimately, female subjects in times of liberation escaped from male-centered authoritarianism, dissolved family institution and weakened maternity ideology, by `strengthening` their sexuality, therefore they pioneered to cooperate with one another voluntarily and with solidarity, showing harsh antagonism against Chosun males who were helpless or coward to have a will to post-colonial future against Japanese colonial system. If it can be said that a female was made into `the other` in the `age of romantic love`, it can also be said that a male was made into `the other` in the `age of sexual love`. This is one of the characteristics in Korean society. Such attribute can always reappear as a form of oppressive power depending on progressive aspects of life, or as another form of resistance discourse depending on a `will to knowledge`.

섹슈얼리티와 신자유주의적 주체화

이희영 ( Hee-young Yi ) 한국사회사학회 2010 사회와 역사 Vol.0 No.86

이 연구는 1990년대 중반 전면화된 한국 사회의 신자유주의적 일상 속에서 2008년 대중적 섹슈얼리티 담론이 갖는 특징과 역할을 고찰하였다. 이것은 한국 종합여성지의 섹슈얼티리 담론분석 결과를 매개로 한국사회의 일상에서 구조화된 신자유주의적 주체화에 접근하고자 하는 하나의 시도이다.연구 결과에 의하면 첫째, 2008년 종합여성지의 섹슈얼리티 담론은 능동적인 섹스를 핵심으로 하는 친밀성의 구조를 강조한다. 이것은 혼전순결의 담론을 해체하고 섹스를 개인의 능동적인 욕구의 표현이자 중요한 소통방식으로 자리매김하는 역할을 한다. 동시에 담론은 자율적인 자기관리를 통해 계발하는 여성들의 섹스기술과 욕망이 ``결혼한 이성애 부부의 섹슈얼리티``를 이상화하도록 한다. 결국 적극적이고 능동적인 여성의 섹스 경험과 자기관리의 노력을 핵심으로 하는 섹슈얼리티 담론은 21세기 한국 가부장제의 신자유주의적 통치의 중요한 기제로 작동한다. 둘째, 종합여성지의 섹슈얼리티 담론이 갖는 중요한 특성은 여성의 ``몸에 대한 전면적인 소환``과 이에 기초한 ``신자유주의적 주체화``의 수행이다. 일상화된 20대여성들의 몸매와 얼굴 이미지에 대한 관리뿐만 아니라, 중년 여성들의 몸에 대한 계발은 성감대의 기술적 보수로 심화, 확대되었다. 이제 종합여성지에서 여성의 몸은 변하지 않는 젊음을 유지하며 성적 쾌락을 제공하는 신자유주의적 여성을 주체화하는 장소이다. 셋째, 종합여성지는 여성들이 남편 혹은 애인을 중심에 두고 결혼/ 연애관계 바깥의 무차별적 여성들과 경쟁하고 있음을 상기시킨다. ``명기담론`` 및 ``경쟁녀`` 담론은 ``관계`` 바깥의 여성들뿐만 아니라 관계 내부의 여성들 또한 성적 도구화된 몸이라는 단일한 대상으로 인식하고 호명한다. 이를 통해 결혼/ 연애 관계 안과밖에서 여성들의 섹슈얼리티가 ``매춘화``되고 있다. 결국 이러한 담론 분석 결과는 한국 신자유주의적 주체화의 과정이 여성 섹슈얼리티의 매춘화라는 특성을 내포하고 있음을 시사한다. This article tries to reconstruct the character of discourses of sexuality through a discourse analysis of popular Korean women’s magazines published in 2008. It aims at analysing the relation between discourses of sexuality and the neo-liberal structuring of the subject in Korea. Firstly, the discourses hint at a transformed intimacy structure in which central importance is attributed to sex. This replaces the discourse of ‘pre-marriage virginity’ with a notion of sex as an active desire of the individual and significant means of communication. At the same time, it turns women’s sexual ‘skills’ and desires into an absolute instrument that idealizes ‘the sexuality of the married heterosexual couple’. By making it a central task for women to be sexually active and ‘manage’ and ‘maintain’ themselves, these discourses, ultimately, function as an important technology of neo-liberal rule inherent in the Korean 21st century patriarchy. Secondly, discourses of sexuality found in the magazines under study are characterized by demands extending to the entire body of women and the neo-liberal structuring of the subject. Not only young women control their body lines and facial images, but also middle-aged women try to reconstruct their whole bodies including their genitals. The female body constitutes the place in which more beautiful, more sexual and more competent women are structuring themselves as neo-liberal subjects. Thirdly, discourses of sexuality presented in magazines remind women that they are in competition with women outside the married family or an intimate relationship. In the ‘discourse of the Korean geisha’ or the ‘discourse of women as competitors’, women outside of married relationships as well as ‘intelligent wives’ are equally represented as a sexually instrumentalized body, so that the sexuality of all women is prostituted. As a result, the analysis suggests that the process of neo-liberal structuring of the subject in Korea is characterized by the prostitution of female sexuality.

레메디오스 바로의 회화를 통해 본 해방의 미학

성혜진(Sung Hyejin) 현대미술사학회 2011 현대미술사연구 Vol.0 No.29

This essay investigates the aesthetics of liberation presented in Remedios Varo(1908-1963)’s works. Being an artist who realized the surrealist spirit of liberation throughout her life, Remedios Varo displayed the theme in various aspects. She gave shape to her spirit of liberation upon her personal experiences of war and imprisonment, and of her practice in the institutionalized education system, while sharing the surrealist aesthetics of liberation. Surrealism began during the period between the First and the Second World War. It followed Dada’s spirit of challenging against established authorities, and pursued a revolution for the final goal of human liberation. Surrealists believed that it would be possible to realize a political revolution through art. They also tried to free themselves from reason by liberating irrational elements repressed within their subconscious. They revolted against the plastic hierarchy through methods that enabled the subconscious to manifest, such as autonomous writing and contingency. Such a spirit of liberation, along with her personal experiences, made Remedios Varo constantly pursue the world of liberation. Her inclination to the liberation from political repression was formed by her brother’s death during the Spanish Civil War, her confinement in 1940, and her lifelong experience as an exile. Apart from the political repressions by the wars, Varo also had to undergo yet another repression caused by her identity as a woman. The male surrealists tended to distort the female bodies in violent ways to gratify their male desire. The female surrealists denied the given roles and depicted themselves as subjective women. Varo also presented a confident model of woman to express her will to realize women’s desire without male perspective. Moreover, she did not only confine the liberation of women to sexual issue, but also displayed a critical consciousness to the gender role given to the women of her time. It was to subvert the conventional role imposed on women as housewives and mothers, as well as the traditional view of women that expected women to be passive and complaisant. Her experience of mysticism and alchemy after she settled herself in Mexico in 1949 was another factor that affected Varo, pushing her further to seek more metaphysical dimension in her works. Varo attempted liberation from all rules of physics by studying time space in the new dimension with creative people such as artists and travelers. Through the various aspects of Remedios Varo’s art practice, this essay examines her intent of attaining a world that is liberated from political repressions such as war, sexual restriction and conventional idea of gender upon women. As a woman who tried to free herself from various mechanisms that repressed her in the real world, Varo investigated the essence of human beings as a condition of liberation. Through her investigation, she discovered that the space of liberation was within humans themselves. This connects to the surrealist spirit that believed the human ability and exemplifies that Varo’s concept of liberation was not only on a personal dimension. In conclusion, it verifies that Varo’s attitude, which seeks a liberation that comes from a subjective experience, has sublimated itself to an aesthetic as well as to the artist’s view of art.

1990년대 여성작가의 섹슈얼리티 재현방식 연구 – 은희경과 전경린의 초기소설을 중심으로

김예니 한국여성문학학회 2022 여성문학연구 Vol.56 No.-

Eun Hee-Kyung is a key writer for discussing how women’s sexuality was reproduced and the meaning of reproduction in literature in the 1990s. By examining her early works, this study investigates the meaning of playful attitudes toward the sexuality of female characters in her works in the context of the growing influence of the discourse of sexual liberation. Sexuality, which takes place inside and outside the category of “love,” reveals more clearly what kind of power relationship love is based on. In particular, it is difficult to reconstruct women’s sexual pleasures and satisfaction from a feminist perspective beyond acknowledging women’s sexual desire in situations where women’s sexuality is sexless or exists only as men. Therefore, women’s literature should be described with literary imagination to show how to reproduce women’s sexuality, which has not been meaningful or experienced so far. Moreover, the 1990s was a period during which artistic experiments for it began in earnest. She showed that the irrationality of normative femininity, which is based on the dominant atmosphere and patriarchal ideology of society, can make a woman unhappy. For this reason, pursuing women’s sexuality is, in the end, challenges taboo and is a process of overcoming it. This challenge to taboo led to another challenge: sex for pleasure and loveless marriages are possible when refusing to fantasize about the marriage system and romantic love. Her early novels raise provocative questions about women’s sexuality by challenging taboos, skepticism over romantic love, and sex for the simple pursuit of pleasure. She attempts to embody women’s sexuality in her writings and imbue it with a meaning that is different from the discourse of sexual intercourse from the previous period. It reproduced women’s sexuality in a way that was much closer to reality, even if the meaning was less resistant. It shows how violent and life-threatening patriarchal society is for women because women choose to survive without being hurt by satisfying men, not focusing on relationships and sex, and not giving meaning to the relationship. When only the “freedom to have sex” is emphasized, sex is like a joke, and female characters seem to have little to do with this playful attitude. However, there is significance in Eun Hee-Kyung’s works. 1990년대 문학에서 여성의 섹슈얼리티가 어떤 방식으로 재현되는지, 그 재현의의미가 무엇인지 논의하는 과정에서 은희경과 전경린은 반드시 거쳐야 하는 작가이다. 은희경과 전경린의 초기 작품을 통해 1990년대적 특성에 대해 살펴보면서 특히, 중요하게 고려해야 할 지점으로 당시 성해방 담론의 영향력이 커가던 상황에서 그녀들의 작품 속 여성 인물이 취하는 섹슈얼리티가 재현되는 방식과 이것이 갖는 문학적 의의에 대해 살펴보겠다. ‘사랑’이라는 범주 안팎에서 이뤄지는 섹슈얼리티는 사랑이나 연애가 어떤권력 관계에 기초하는지 더욱 극명하게 보여준다. 특히, 여성의 섹슈얼리티는 무성적이거나 남성의 대상으로서만 존재했던 상황에서 여성의 성욕을 인정하는 것을 넘어 여성의 성적 쾌락과 만족이 무엇인지 여성주의적 관점에서 재구성하기란 쉽지 않은 문제이다. 그래서 여성 문학은 지금까지 의미화하지 못했거나 경험하지 못했던 여성의 섹슈얼리티를 어떻게 재현할 것인가 문학적 상상력을 동원하여 서술해야 했고 1990년대에는 이에 대한 예술적 실험이 본격화된 시기라 할수 있다. 은희경은 『새의 선물』을 통해 사회의 지배적 정서와 가부장적 이데올로기에 기반한 규범적 여성성이 가진 불합리함이 여성으로서의 삶을 불행하게 만들 수 있다는 사실을 보여준다. 이런 이유로 여성의 섹슈얼리티를 추구하는 것은결국, 금기에 대한 도전이고 이를 극복하는 과정이라고 말한다. 이런 금기에 대한도전은 결혼제도와 낭만적 사랑에 대한 환상을 거부하면서 쾌락 추구를 위한 섹스, 사랑 없는 결혼도 가능하다는 도전으로 이어진다. 은희경의 초기소설은 금기에 대한 도전과 낭만적 사랑에 대한 회의, 그리고 단순한 쾌락추구를 위한 섹스 등을 통해 여성의 섹슈얼리티에 대해 도발적인 문제제기를 한다. 그리고 전경린은 가부장제와 규범적 섹슈얼리티를 위반하는 정념의 분출을통해 기꺼이 파탄을 향해 몸을 던지는 방식으로 여성 섹슈얼리티를 탐색한다. 전경린은 철저하게 불행하기를 감수하면서 온전한 자신으로 살기 위해 내면의 욕망에 충실하고자 심연의 저편을 향한 실천을 모색한다. 전경린은 규범적 세상에서는 죄가 될 수 있는 사랑을 하는데 죄책감이 없다. 그리고 현실의 파탄을 우회하지 않고 여성 섹슈얼리티를 추구하는데, 이는 여전히 모호하고 애매하지만 비유와 상징을 통해 전복적 상상력을 보여준다. 1990년대 여성작가들이 여성 섹슈얼리티에 대해 문학적 형상화를 시도했다는 것은 이전 시기 성해방담론과는 다른 의미가 있다. 여성작가의 여성 섹슈얼리티에 대한 재현은 그 의미가 덜 저항적이더라도 훨씬 현실에 가까운 방식으로 여성의 욕망과 현실을 반영한다. 남성에게 만족을 연기한다는 것, 관계와 섹스에 집중하지 않고 의미를 부여하지 않는다는 것이 가부장적인 사회에서 자신이 상처받지 않고 살아남기 위한 은희경의 생존전략이었다면, 전경린은 정념의 분출을 통한 가부장제에 대한 위반과 여성 섹슈얼리티에 대한 무정형의 희망을 보여줌으로써 온전한 자기가 되려 했다. 이는 각각 남성의 성적 대상으로서 규범화된 여성성을 요구하던 시기, 이를 거부하고 금기를 깨고 위반을 도모하는 불안한 상상력의 재현 방식이었고 여성 섹슈얼리티에 대한 문학적 형상화를 모색하는 과정의 출발이라 할 수 있을 것이다.

성 보수주의와 남성 성 자유주의를 넘어: 페미니스트는 포르노 문제에 어떻게 대응할 것인가

이명호 ( Myung Ho Lee ) 한국영미문학페미니즘학회 2012 영미문학페미니즘 Vol.20 No.2

Pornography has been a heated issue for American feminists, dividing them into two opposite camps, whereas Korean feminists kept silent during the pornography debate in the 1990s when the event of Jang Jungil, a Korean male novelist who wrote a sexually explicit novel and got imprisoned for that, took place. In the Korean sexual debate male sexual liberals and radicals fought against legal authority whose ideological position was based on moral conservatism; they advocated the right of writing and enjoying pornography, and criticized feminists for colluding with sexual conservatives. During that period Korean feminists belatedly exposed the sexual violence in Korean progressive movements in the 80s and early 90s, arguing for women`s rights of sexual self-determination. This article attempts to map out the topography of sexual ideology in Korea since late 1990s, and examine how to tackle the issue of pornography. First, it critically examines several definitions of pornography, both Korean and American, and then attempts to explain the tempting power of pornography on men, borrowing Drucilla Cornell`s psychoanalytic interpretation, Pornography reflects men`s sexual fantasy where lie their desire for and dread of the phallic mother; once the fantasized mother/infant dyad is broken, the phallic mother remains, in its unconscious, powerful and threatening; she at once gives and takes back life. In order to compensate for her power, the infant attempts to penetrate and destroy her through the father`s imaginary penis. It is the biological penis, the simplistic conflation of the penis with the phallus, that is portrayed in pornography, This ever-erect prick is just a fantasy, yet it exerts a powerful influence on men, Pornography as a representation of this masculine fantasy, I argue, harms women`s imaginary domain, a term coined by Cornell for indicating "psychic and moral space" in which one imagines who one is and who one seeks to become. I argue for feminist`s response to pornography shifting from legal regulation to political intervention. Legal regulation on pornography limits not only men`s but also women`s freedom of sexual expression, pivotal for women`s exploration of their selves. However, pornograph`s curtailment of women`s equal right for imaginary domain should be countered in political and cultural dimension. In conclusion, I argue for the responsibility for our desire as well as the demand for its right in order to live together.

김동리의『해방』에 나타난 친일의 표상

류동규 국어교육학회 2012 국어교육연구 Vol.51 No.-

The memory of pro-Japan has been a controversial issue since liberation. Liberation of Kim Dong-ri sets the pro-Japanese and those around them as characters, and tries to alleviate the pain of reminding their memories by representing them through a variety of narrative strategies. Until now contingency and vulgarity have been pointed out as the faults of Liberation. These elements, however, function as narrative strategies to relieve the memory of Japan supporters and reorganize the representation of the nation. The narrative strategies employed in the work are listed below. First, it suggests the activities of Sim Jae-young, a pro-Japan citizen, by means of stereotypes. Next, a representation of the nation is given not by ideology, but by sexuality. The personalities of the characters as spokesperson are exposed through their attitude towards sexuality. Finally, it subverts the equation that Japan supporters are the antination by transforming it into the idea that the anti-communist sentiment is the nation.

1990년대 페미니스트 여성 대중의 등장과 잡지 『페미니스트저널 if』의 정치학

허윤 상허학회 2018 상허학보 Vol.53 No.-

The 1990’s were a time when women’s movements diversified into categories not in pro-democracy movements but in both academic fields and life. The rapidly increasing college entrance rate in the 1990’s led to the prevalence of higher education, and the political agendas of women’s activists also empowered. ‘The difference between women’ and “The personal is the political” that the flow appeared in the quarterly IF. IF is a feminist magazine to the masses, and it is a big feature. IF was the first feminist quarterly published as a regular basis. The Feminist Magazine IF drew the attention of many women by emphasizing the desire for women and by directly criticizing the patriarchy system. Women have also announced that they could sexually target men and have sexual desire. IF of radical language deployed a new generation of ideas with sexuality. However, IF thoght women and men in sexual relationship, and there was no other than that. Despite the change in perception that ‘the sexual’ is changing, women have remained as hetero sexual women in middle class. Instead of having a liberation from gender norm, IF claimed freedom to actively enjoy pornography and have sex with men. Emphasizing the power of the individual woman, the other group of women’s political movement or feminism diminished into a matter of diversity. if’ feminism do not care about economics and loss of vision, which claimed to be radical feminism. IF even unburied herself that she had not been able to get on their own liberal imagination. 1990년대는 민중 운동의 부문 운동으로서 여성운동이 아니라 학문과 생활 양쪽 영역에서 구체적인 자기 영역을 갖는 여성운동이 다각화되는 시기다. 반성폭력 의제와 “개인적인 것이 정치적인 것”이라는 흐름 속에서 등장한 계간지 『이프』는 대중을 지향한 페미니스트 잡지라는 큰 특징을 갖는다. 페미니스트 잡지로서는 최초로 정기적으로 발행되었으며 적극적으로 독자를 모집하고, 페미니스트 대중을 호명한 것이다. 재미있는 잡지를 표방한 『이프』는 여성 욕망을 긍정하고 가부장제를 직설적으로 비판함으로써 많은 여성들의 관심을 끌었다. 여자들 역시 남성을 성적으로 대상화할 수 있으며 성적 욕망을 가지고 있다는 사실을 천명한 것이다. 『이프』의 급진적 언어는 새로운 시대의 페미니즘을 표상했다. 그러나 『이프』의 이성애중심성과 사회구조와 계급에 대한 무감성은 오히려 페미니즘적 전망의 상실로 이어졌다. ‘성적인 것’이 변화하고 있음에도 불구하고 섹슈얼리티 체계에서 여성과 남성은 이성애 관계의 성적 대상으로만 재현되었으며, 이 과정에서 『이프』의 여성 해방은 성해방과 동일어가 되었다. 이는 포르노그래피의 주인공이 되고 싶은, ‘악녀’가 될 수 있는 여성들이 제한적이라는 점을 비가시화하고 포르노그래피를 적극적으로 향유할 수 있는 ‘자유’의 문제로 개인화된다. 즉 페미니즘 문화운동이 여성 집단의 정치경제학적 문제에 대해 사유하지 못한 채 그 비전을 상실하고 만다는 한계를 드러내는 것이다. 이는 급진적 페미니즘을 표방한 『이프』가 남녀의 동등한 지위라는 자유주의적 상상력조차 가지지 못했다는 것을 스스로 폭로하는 것이라고도 할 수 있다.

해방기 남북한 희곡의 젠더정치 연구

전지니 한국극예술학회 2013 한국극예술연구 Vol.0 No.40

This thesis aims to examine drama works which were introduced in both South and North Korea from the national liberation to the Korean War. This approach may overlook any distinctiveness of different regimes between South and North bloc, but we can consider for a fact that contemporary people of theater in those days could not be separated completely from politics, regardless of their ideological orientations, and they were all motivated in common by the construction of Korea as national country. Moreover, drama works released in South and North Korea during the period were results from the efforts of creative subjects to illuminate audience by seriously thinking about the mission of drama during transitional period, and the drama of both regimes may be discussed together in that we can find out a common point where gender politics work as a means to place female figures. In main discussion, this study suggested that both regimes share a common point in that they project dual views on female figure as comrade as well as subject to correction. On the way to a combination of national discourses and gender discourses during liberation period, the dramatists of South and North Korea exclude or coerce fallen women to repent from their old way of life, while removing corporality of female figures they desire to embrace as comrade and rejecting their sexuality. On the other hand, these dramatists insert utterances of longing for strong body and power of men repeatedly into text of their drama, ultimately praising masculine sexuality. In other words, their contemporary dramas called women for industrial sites and cultural business, but it is men that took actual leadership for people, and the ideal community visualized by the dramatists was nothing but a completely hierarchical and men-driven community based on gender gap. As a result, on the way toward men-driven national country under the logic of mobilization during post-liberation transitional period, women who reveal shameful past of colonial days as well as negative aspects of their contemporary days had to follow the order of disciplines and illumination. Incidentally, any responsibility for sufferings of women who represent the tragedy of colonized nation and the confusion of liberated space was fully passed to those women, while male subjects could be relieved from any burden of responsibility for their daughters and sisters but could stand for the future of new Joseon. In rigid national discourses of contemporary drama, women became re-colonized and re-alienated without facing a real liberation for them. However, it is necessary to review the strategy for embracing and excluding them was dramatically successful. Desires for full control over sexuality in the name of national callings resulted in driving out profiteer's wife and hello girls. In many dramas, fallen women attribute any responsibility to themselves ultimately and punish themselves to act as if they were a heroine of tragedy, creating melodramatic excess. The traces of female figures and a gaze of compassion about them, which are not captured by a drama censorship system called North Korea's ‘Habpyeonghoe’(合評會) but are found in dramas of South Korea, resulted in remaining shades on a grand way toward new national foundation which contemporary dram texts pursued. 본고는 해방기 혹은 조국 건설시기라 간주되는 8.15 이후부터 한국 전쟁 이전까지 남과 북에서 발표된 연극을 고찰한다. 이 같은 접근은 상이한 체제의 특수성을 간과할 수 있는 것이지만, 당대 연극인들은 이념 성향을 막론하고 정치로부터 분리될 수 없었으며 이들을 움직이는 동력은 공통적으로 민족국가의 건설이었다는 점을 감안할 수 있다. 또한 당시 남북한의 연극은 창작주체가 전환기 연극의 임무를 고민하여 관객을 계몽하고자 했던 결과였고, 여성 인물을 배치하는 방식-젠더정치가 작동되는 양상에서 공통분모를 발견할 수 있다는 점에서 두 체제의 연극은 함께 논의될 수 있으리라 보인다. 본론에서는 남한과 북한체제의 극 모두 건국의 동지와 교정 대상으로 여성 인물을 이분화한다는 점에서 흡사하다는 점에 주목한다. 그런데 해방기 민족담론과 젠더담론이 결합하는 과정에서, 남북한의 극작가는 타락한 여성들은 배제하거나 강제로 회개시키는 동시에 동지로 포섭하는 여성 인물들의 육체성은 탈각시키면서 이들의 섹슈얼리티를 부정한다. 반면 남성들의 강인한 육체와 힘을 갈망하는 발화들을 텍스트에 반복적으로 삽입하면서 남성적 섹슈얼리티를 예찬한다. 당대 연극에서는 산업 현장과 문화 사업에 여성이 호출되지만 실질적으로 민족을 선도하는 것은 남성주체였으며, 극작가가 구상한 이상적 공동체란 수평적 동지애를 표방하나 결국 성차에 따라 위계화된, 남성화된 공동체에 지나지 않았던 것이다. 결과적으로 해방 후 전환기의 동원 논리하에 남성화된 민족국가를 지향하는 과정에서, 수치스러운 식민지 과거와 당대의 부정적 일면을 현시하는 여성들은 징치와 계몽의 수순을 밟게 됐다. 그런데 극 중 식민치하의 비극과 해방공간의 혼란을 대변하는 여성의 수난에 대한 책임이 온전히 당사자에게 부과되면서, 남성주체는 딸-누이에 대한 책임감을 덜고 신생 조선의 미래를 대변할 수 있게 된다. 당대 연극의 경직된 민족담론 안에서 여성은 진정한 해방을 맞지 못하고 재식민화, 재타자화됐던 것이다. 하지만 이들을 포섭하고 배제하는 전략이 극적으로 성공한 것이었는지에 대해서는 재고해 볼 필요가 있다. 민족의 호명 아래 섹슈얼리티를 완벽하게 통제하고자 하는 욕망은 모리배의 아내와 헬로걸을 축출하는 결과로 이어졌는데, 타락한 여인들은 종국에 모든 책임을 자신에게 돌리고 스스로를 처벌하는 등 마치 비극의 여주인공처럼 행동하면서 멜로드라마적 과잉을 이끌어낸다. 북한의 합평회라는 연극검열 장치가 포착하지 못했으며 남한의 연극에서도 발견되는 여성인물들의 흔적과 이들에 대한 연민의 시선은, 종국에 해방기 극텍스트가 지향했던 숭고한 건국 도상에 잔영을 드리우는 결과를 초래할 수 있는 것이었다.

신여성과 일본군 위안부라는 문지방들 - 목가적 자본주의의 폐허에서 식민지 섹슈얼리티 연구를 돌아보며

이혜령 한국여성문학학회 2014 여성문학연구 Vol.33 No.-

이 논문은 1990년대와 현재의 시간성을 교직하며 1990년대 이후 이루어진 식민지 섹슈얼리티에 대한 연구를 되돌아보는 데 있다. 1990년대에 대한 노스탤지어는 <응답하라! 1997>, <응답하라! 1994>와 같은 TV드라마를 통해 유포되고 있는데, 그 드라마는 자본주의적 사회 환경을 개인의 성장과 조화로운 것으로 제시하였다. 이 글은 이러한 시간의식을 목가적 자본주의라고 명명했다. 개인의 성장은 대학입학을 위한 서울로의 상경, 낭만적 연애, 직업을 얻는 것, 첫사랑과의 연애를 통해 그려진다. 연애와 결혼, 출산을 포기하거나 유예한 삼포세대에 관한 담론, 일베 저장소와 같은 웹사이트에서의 여성혐오 담론을 고려한다면, 이와 같은 문화적 텍스트는 목가적 자본주의의 불가능성, 즉 그 폐허의 산물이다. 신여성 연구와 위안부 문제에 관한 연구는 1990년대 본격적으로 시작되었는데, 이 시기는 여성주의가 대학의 교과과정으로, 또 문화적 텍스트로 발전되었던 때이기도 하다. 특히 신여성 연구는 사회주의권의 해체와 함께 80년대 급부상한 마르크스주의적 변혁패러다임이 폐기되면서 ‘근대성’ 연구의 붐에 있어 선편적인 역할을 했으며, 무엇보다 당대 민족주의의 억압성을 비판하는 담론에 조응하는 효과를 낳았다. 일본군 위안부 운동은 ‘매춘’과 ‘성폭력’을 이슈로 제기된 여성운동의 흐름 속에서 제기되긴 했지만, 식민주의 극복이라는 과제를 내세웠다는 점에서 신여성과는 다른 위상을 지니게 된다. 민족주의는 정대협에 의해 주도된 위안부 운동의 성격을 비판하는 용어가 되었는데, 이 글에서는 이러한 민족주의 비판이 위안부 피해자의 고백이나 증언이 애초부터 ‘상상의 공동체’를 향해 이루어졌음을 환기할 때 과도한 점이 있음을 지적했다. 특히 신여성이 당대에서부터 다설(多說)의 대상이 된 반면, 위안부는 오랫동안 침묵의 대상이 되어왔다는 것을 고려한다면, 이 지연에 개입된 문제는 민족주의만이 아니라 식민주의라고 할 수 있다. 식민지 지배는 종족적으로 이원화된 식민지 사회의 친밀성을 인종화된 언설과 정치를 통해 재구축하는 과정을 수반하였다. 이제 식민지 섹슈얼리티 연구는 이를 광범위하게 논증해야 할 단계에 이르렀다. This paper's purpose is to retrospect studies on colonial sexuality after the 1990s, being concerned with temporality of the 1990s and the present. Nostalgia for the 1990s has been spread by TV drama <Answer! 1997>, <Answer! 1994> in which described that times when capitalist social environment was reconciliated with individual growth which was expressed through heroine and hero in the drama coming up to Seoul to enter university , romantic love, getting a job and marriage with first beloved. In this paper, I called the time consciousness of the 1990s as the pastoral capitalism, which proved impossible, considering the discourse on Sampo generation[삼포세대] who gives up romantic relationship, marriage and childbirth owing to economical condition. The misogynic discourse of Ilbe Storage[일베저장소], website of having anti-leftist, anti-feminist and right-wing tendency, reveals homo social and nationalistic feature. Studies on new women and comfort women in colonial period of Korea have begun in the 1990s. The rise of feminism was developed into curriculums of universities and popular cultures, which was prompted by democratization and liberalism of Korea around the late 1980s and the early 1990. In that same times, deconstruction of communist nations in the Western World forced the social landscape of post capitalism to be articulate in the cultural and intellectual texts with erasing pursuits for historical cause based marxism. The boom of studies on modernity of Korea in the early 20th century reached its peak in studies on new woman, in which new woman was described in heroine of modernity characterized by individualism and enjoyment of commercial culture of colonial capital Keijo [京城]. Many of scholars criticized on the negative discourse of new woman in the colonial period in reason of their behaviors not to meet nationalist cause. Of course, most of scholars were female intellectuals educated and teaching at universities. New woman became a representative representation of modernity and trans-nationality from the 1920s to the early 21th. On the other hands, comfort women became a nationalist representation, although a lot of feminists criticized that comfort woman movement leaded by Korean Council for Women Drafted for Military Sexual Slavery by Japan [한국정신대문제대책협의회] have made the representation as pure girls in sexual. However, it needs to accent the fact that repetitive testimonies of comfort women tended to "imagined community" and that various contents of which didn't satisfy with nationalist representations and narratives could also be told by listening to request to tell the painful experiences as comfort women. The fact it needed a long temporal gap for them to able to tell the experiences suggests to need to examine the relationship of colonialism and sexuality. Study on colonial sexuality need to reconstruct intimacy in the colonial society into the racial discourses and practices.

칸트의 여성관과 성담론

윤영돈 ( Young Don Yoon ) 한국윤리교육학회 2012 윤리교육연구 Vol.0 No.28

본고는 칸트의 철학이 여성차별적이며, 가부장적인 성격이 강하다는 비판에 맞서 그의 여성관과 성담론에 나타난 남성적인 것과 여성적인 것의 상호보완성을 밝히는 데 목적이 있다. 칸트의 여성관은 18세기라는 시대적·문화적 한계를 지니고 있지만 그의 윤리이론이나 결혼과 성에 관한 논의에서 성차별적 요소가 생각만큼 두드러지지 않고 오히려 남성적인 것과 여성적인 것 간의 통합을 지향한다. 칸트의 성담론은 대체로 보수주의의 성격이 강하지만 일정 부분 자유주의의 관점으로 해명될 수 있는 측면도 있다. 자연법칙의 정식(제1정식)은 자연법적 성윤리를 강하게 지지하며, 목적 자체의 정식(제2정식)은 자발적이고 고지된 동의에 근거한 성의 향유를 도덕적으로 정당한 것으로 간주하는 자유주의 성윤리를 지지하는 것으로 보인다. 그러나 성에 관한 자유주의의 관점은 칸트의 제1정식과 제2정식을 위반하기 때문에 칸트 윤리학에 근거한 자유주의 성담론은 정당화되기 어렵다. 칸트는 성적 경향성의 욕구충족이 불가피 목적으로 대해야 할 인간성을 사물로 전락시키기 때문에 오로지 결혼이라는 제도 속에서만 이 문제가 해소될 수 있다고 보았다. 그는 출산과 양육뿐만 아니라 부부간의 성적 향유 또한 결혼의 중요한 목적으로 제시한다. 칸트에 따르면 성적결합에 있어서 여성은 한갓 출산과 양육을 위한 도구가 아니라 남성과 함께 상호 보완함으로써 의지의 통합체를 이룰 수 있다. This study aims to investigate into the interrelationship between masculinity and femininity in Kant`s philosophy which has been often criticized by feminist philosophers to the effect that Kant philosophy is the very root of discrimination in women. Of course, Kant`s view of womanhood and sexual discourse has some limitations in the sociocultural atmosphere in 18th century. Nevertheless, we cannot fail to find considerable harmony between the masculine and the feminine in Kant`s ethics and discourses on marriage and sex. Kant`s discourses on sex and marriage can be mostly not only in the context of conservatism, but also partly in liberalism. While natural law formulation supports strongly natural law ethics on sex, humanity or end in itself formulation relates relatively to liberalism in which voluntary informed consent makes sexual enjoyment permissible morally. But liberalism cannot satisfy the first and the second formulation of Kant`s ethics, According to Kant, sexual inclination inevitably uses of another person whom we have to consider as an end itself. Such a problem can be solved only in the marriage institution. But we need to remember that Kant looked upon sexual enjoyment between husband and wife as well as birth and bringing-up as a major purpose. Therefore, women in sexual intercourse are no means of birth and bringing-up, but women with men can compose a unity of will.