황석영 소설에 나타난 디아스포라

최은영(Choi, Eun-young) 한국언어문학회 2012 한국언어문학 Vol.80 No.-

The aim of this thesis is to find the aspect of diaspora which is appeared in Seokyoung Hwang's novels, expecially, <Visitor> and <Baridegi>. This thesis points out that the two novels are different from other novels written by Hwang, in order to investigate the difference, it considers the aspect of diasrora appeared in <Visitor> and <Baridegi>. Then, What is diaspore? This thesis shows that diaspora is not only in a specific country or ethnic group, but also over the world in 21th century. They are forced to move to other countries without their will. Moreover, diaspora is a negative result of the nco-Iibcralism and the globalism. However, this thesis does not make diaspora identity simply 'the victim of a super suppression', and analyzes what they agonize about concretely, how they think the world and themselves differently, how they react actively. Bari, who is the main character in <Baridegi> is a diaspora, a North Korean refugee moving unstabled. On the other hand, Y oseop, who is the main character in <Visitor> apparently looks stable in USA, but at the same time he is a different kind of diaspora being restrained by his memory of Korea war. Bari and Yoseop, both of them try to drag a memory to the present. They critically think that the society easily trow away important memories. The one of the main themes of two novels is a dichotomy between good and evil. They criticize not a 'evil', but the belief in 'absolute good'. <Visitor> shows revenges between a christian group and a communist group. This novel points out that the belief in 'absolute good' and revenges ruin the each of human beings. Meanwhile, <Baridegi> shows aspect of a dichotomy between a western world and non western world. but Barry, who is the main character of this novel does not join the way of thinking, and asking for herself. For her, dichotomy just make'> oppressions stronger. She criticizes the dichotomy that globalism is evil and diaspora is good. Seokyoung Hwang experiments a way of writing in borrowing Korean Shamanism in <Baridegi>,<Visitor>. The main characters Bari and Yoseop work as a shaman. They are minorities not only in Korea but also the outside of korea, and never accepted in a main world like a shaman in a Korean history. As a minority, they become a subject of healing and communicating as if the shamans unacceptable in a Korea history. In these two novels, Korean shamanism is a opposite to Mass media which has a strong power. While Mass media delete important memories, Shamans try to make it be. These two novel are different from other novels written by Seokyoung Hwang that diaspora becomes a subject of healing. In his previous work, the characters shows a contradiction of the world, but not a subject of healing others. but these two novels do not make characters victims in history, do make them a very strong human being to oppose that history.

황석영 소설에 나타난 디아스포라-<손님>, <바리데기>를 중심으로-

최은영 한국언어문학회 2012 한국언어문학 Vol.80 No.-

The aim of this thesis is to find the aspect of diaspora which is appeared in Seokyoung Hwang's novels, expecially, <Visitor>and <Baridegi>. This thesis points out that the two novels are different from other novels written by Hwang, in order to investigate the difference, it considers the aspect of diaspora appeared in <Visitor> and <Baridegi>. Then, What is diaspora?This thesis shows that diaspora is not only in a specific country or ethnic group, but also over the world in 21th century. They are forced to move to other countries without their will. Moreover, diaspora is a negative result of the neo-liberalism and the globalism. However, this thesis does not make diaspora identity simply 'the victim of a super suppression', and analyzes what they agonize about concretely, how they think the world and themselves differently, how they react actively. Bari, who is the main character in <Baridegi> is a diaspora, a North Korean refugee moving unstabled. On the other hand, Yoseop, who is the main character in <Visitor> apparently looks stable in USA, but at the same time he is a different kind of diaspora being restrained by his memory of Korea war. Bari and Yoseop, both of them try to drag a memory to the present. They critically think that the society easily trow away important memories. The one of the main themes of two novels is a dichotomy between good and evil. They criticize not a 'evil', but the belief in 'absolute good'. <Visitor> shows revenges between a christian group and a communist group. This novel points out that the belief in 'absolute good' and revenges ruin the each of human beings. Meanwhile, <Baridegi> shows aspect of a dichotomy between a western world and non western world. but Barry, who is the main character of this novel does not join the way of thinking, and asking for herself. For her, dichotomy just makes oppressions stronger. She criticizes the dichotomy that globalism is evil and diaspora is good. Seokyoung Hwang experiments a way of writing in borrowing Korean Shamanism in <Baridegi>,<Visitor>. The main characters Bari and Yoseop work as a shaman. They are minorities not only in Korea but also the outside of korea, and never accepted in a main world like a shaman in a Korean history. As a minority, they become a subject of healing and communicating as if the shamans unacceptable in a Korea history. In these two novels, Korean shamanism is a opposite to Mass media which has a strong power. While Mass media delete important memories, Shamans try to make it be. These two novel are different from other novels written by Seokyoung Hwang that diaspora becomes a subject of healing. In his previous work, the characters shows a contradiction of the world, but not a subject of healing others. but these two novels do not make characters victims in history, do make them a very strong human being to oppose that history.

민중과 유토피아: 1984년 이후 황석영 문학과 미륵신앙

이철호 한국현대문학회 2019 한국현대문학연구 Vol.0 No.59

It is remarkable that the narrative world of Hwang Seokyoung, which represented the literature of the 1970s, comes down to the ‘South’ utopia. This geographical representation is not only linked to the tradition of Maitreya faith, but also linked to the main theme of South (1982), which was written by Kim Jiha who was fascinated with the thought of Donghak. This Maitreya faith did not disappear from Hwang Seokyoung’s literature due to his giving up writing after his visit to North Korea in 1989, but came to acquire a more extended narrative world through his novels of trilogy in 2000s. In his novel Simcheong, the Road of Lotus (2003), the trans-ethnic and trans-national solidarity of the people (Minjung) groaning under the global capitalism was embodied, and the main character, Simcheong, was a kind of manifestation of Maitreya in the tradition of East Asia. The representative method of Minjung literature of 1970s~80s which made the people (Minjung) spiritual still displays its narrative authority in the novel Simcheong. However, it is questionable whether the spiritualization of Minjung still has the power of a Resistance Discourse at the time of 2003. The narrative of East Asia in Simcheong which returned to the historical origins of imperialism in the 19th century rather resembles a colonial plot which homogenizes the linguistic and cultural differences in each region. 1970년대를 대표하는 황석영 문학의 서사적 세계가 ‘남(南)’의 유토피아로 귀결된 다는 사실은 주목된다. 이 지리적 표상은 미륵(彌勒) 신앙의 전통과 연결될 뿐 아니 라, 동학(東學) 사상에 심취하여 김지하가 쓴 『남(南)』(1982)의 주제의식과도 연결 된다. 그런데 미륵 신앙은 1989년 방북 이후의 절필로 황석영 문학에서 사라진 것이 아니라, 2000년대의 장편소설 3부작을 통해 더욱 확장된 서사적 세계를 획득하게 된다. 『심청, 연꽃의 길』(2003)에는 세계자본주의 체제하에서 신음하는 민중들의 초민족적, 초국가적 연대가 형상화되어 있으며 심청은 미륵의 동아시아적 현신이다. 민중을 영성(靈性)화하는 1970-80년대 민중문학의 재현 방식은 『심청』에서도 여전히 서사적 권능을 발휘하는 것이다. 하지만 ‘민중의 영성화’가 2003년의 시점에서도 여전히 저항담론으로서의 위력을 지니는지는 의문이다. 19세기 제국주의의 역사적 기원으로 되돌아간 『심청』의 동아시아 서사는 오히려 각 지역의 언어적, 문화적 차이를 균질화하는 식민(植民)의 플롯과 흡사하다.

셰익스피어의 『페리클레스』와 황석영의 『심청』에 나타난 여성의 몸과 모성

오수진(Sujin Oh) 한국셰익스피어학회 2017 셰익스피어 비평 Vol.53 No.1

This paper aims to explore the female body and maternity in Shakespeare’ romance play, Pericles and Hwang Seokyoung’s novel, Shimchung. Pericles and Shimchung are similar in that female figures have sea experiences and their bodies are in danger under men’s power. The female body in each work is described as a product to make much money in male-centered ideology or a patriarchal society. In Pericles, although Marina separated from her father is sold to the brothel and is confronted with losing her virginity, she succeeds to keep her virginity and tries to educate men visiting the brothel with the outstanding wit and persuasive language skills. Eventually, her excellent capacities enable her to overcome her crisis. In Shimchung, Shimchung sold by money, apart from her family makes a miserable tour of the whole Eastern Asia including China, Taiwan, and Japan. Even though Shimchung faces the cruel reality of capitalism and loses her virginity under men’s power unlike Marina, she actively responds to her severe reality without only submission, trying not to lose the original independence for her spirit. Pericles and Shimchung also emphasize the importance and power of maternity. Maternal power in Marina plays a significant part in relieving Pericles’s suffering as well as rehabilitating his power and reuniting his wife and daughter. Shimchung begins to show her maternity in taking care of her colleague’s daughter, and her maternal instinct is expanded for the neglected. Marina and Shimchung create their own maternal value and demonstrate their capacities as the subject of each life in male-centered society. It is obvious that Shakespeare and Hwang Seokyoung describe Marina and Shimchung as not petious victims but strong-minded women to be try to overcome their perilous moments.

다이아스포라로 인한 다문화 사회의 바리데기적 비젼 -황석영의 『바리데기』를 중심으로

박정근 ( Jeong Keun Park ) 한민족문화학회 2009 한민족문화연구 Vol.31 No.-

한국현대르포문학사 서술을 위한 시론

장성규 ( Jang Sung-kyu ) 국제어문학회 2015 국제어문 Vol.0 No.65

이 글은 한국현대르포문학사 서술을 위한 시론적인 문제제기를 수행하고자 했다. 이를 위해 우선 주요 르포 문학 텍스트를 실증적으로 살펴보고, 나아가 이로부터 르포 문학 고유의 미학을 추출하고자 했다. 그 결과 다음과 같은 세 가지 미학적 특성을 확인할 수 있었다. 첫째, 박태순, 김남일, 정지아 등의 르포에서 나타나는 공적 담론장 `외부`의 증언과 다른 `리얼리티`의 복원 가능성이다. 이는 르포 문학이 `문학` 텍스트이기에 가능한 것인 바, 공식적인 역사학이나 사회학의 관점에서 포착될 수 없는 미세한 `외부`의 `리얼리티`가 르포 텍스트에 잠재되어 있음을 의미한다. 둘째, 특히 황석영의 르포에서 두드러지게 나타나는 이질적인 장르 혼종과 다성적 텍스트의 구성 원리이다. 르포 문학은 매우 다양한 서사 텍스트들을 내포하고 있으며, 이들 이질적인 서사 장르들은 서로 각기 상이한 역할을 수행하여 르포 텍스트의 고유한 서사적 구성 원리를 형성한다. 셋째, 공지영, 오수연 등의 르포에서 나타나는 기록자의 자기 인식과 서술적 정체성의 모색이다. 르포는 서술 주체인 기록자와 서술 대상간의 교섭과 충돌을 통해 서사가 진행되는 독특한 양식이다. 이 과정에서 기록자의 정체성은 서술 대상과의 관계 속에서 변화하는 양상을 보인다. 이러한 르포 문학 고유의 미학적 특성은 다른 서사 장르와는 구별되는 독특한 성격을 보여준다는 점에서 중요한 성과로 평가될 수 있을 것이다. This paper aimed at performing introductory problem presentation for the description of Korean modern reportage literary history. For this, firstly this research empirically investigated major reportage literary texts, furthermore, intended to extract inherent esthetics of report literature from this. As the result, three esthetic characteristics were determined as follows. First, possibility of restoration of `reality`, different from the `outside` testimony of public discussion that appears in reportages of Park taesun, Kim namil, Jeong jia, etc. This is possible since reportage literature is `literary` text, which means that minute `reality` of the `outside` which cannot be detected from the viewpoint of official historical studies or social studies underlies in report texts. Second, different genres mixture and composition principle of multi natured texts, particularly which outstandingly appear in Hwang seokyoung`s reportage. Reportage literature includes very diversified narrative texts, which different narrative genres form inherent narrative composition principle of report text by performing different role each other. Third, groping of self-awareness of the recorder and narrative identity that appear in the reportage of Gong jiyoung, O suyeon, etc. Reportage is a unique form to progress narration through the negotiation and conflict between recorder, the main agent of narration and the subject for description. In this process, identity of recorder shows an aspect to change in the relationship with the subject for description. This esthetic characteristic of inherent reportage literature can be evaluated as an important outcome in respect that it shows a unique characteristic which is distinguished from other narrative genres.

여성의 몸과 노동, 그리고 민주주의

이소영(Lee, SoYoung) 한국현대문학회 2018 한국현대문학연구 Vol.0 No.54

이 글은 1987년 체제의 산물로 간주되는 노동소설에서 남성 노동자와 여성 노동자의 몸이 정형화된 방식으로 재현되는 것에 문제를 제기한다. 이에 남성과 여성의 몸에 대한 상상력이 미분화되어 있던 시기로서 1970년대 한국문학에 접근하고자 하였다. 이때 1970년대 소설과 수기에서 재현되는 여성의 몸에는 일정한 낙차가 존재한다. 본고는 이러한 낙차를 겨냥하여 수기와 소설을 아울러 살펴보는 동시에 1970년대의 대표적인 여성 인물형인 여성 노동자, 여대생, 창녀를 함께 검토하였다. 이는 이 글이 분석의 과정에서 초점을 둔 것이 ‘여성 노동자’라는 실체가 아니라 ‘여성의 몸과 노동’의 관계성이었기 때문이다. 즉 서사 상에서 여성의 몸과 노동이 나란히 배치되었을 때 어떠한 정동(affect)이 발생하는지에 대해서 묻고자 한 것이다. 2장에서는 석정남의 『대화』 연재 수기를 중심으로 자본주의적 노동 규율 안에서 이해되었던 몸과 노동의 관계를 정동 이론의 관점에서 새롭게 탐구하였다. 이를 통해 석정남에게 노동의 경험은 자신의 육체를 소모하고 마모하는 것에서 머무르지 않고 몸에 아로새겨져 있던 수치심의 정동을 극복해나가는 과정이었음을 밝혔다. 이는 노동하는 몸이 어떻게 벗은 몸이 됨으로써 정치적인 몸으로 비화할 수 있었는지에 대한 실마리를 제공한다. 수치심의 정동에서 해방된 육체는 원초적이고 근본적인 의미에서의 민주주의에 대한 강력한 이끌림에 정동된 것이다. 3장에서는 1970년대 소설에서 여성이 노동을 하거나 여성이 노동을 하는 남성과 만나는 장면 등을 세밀하게 분석하여 여성들이 노동에 대한 긍정적인 정동적 가치에서 소외되어 있었음을 드러냈다. 그러나 이들의 역할은 정동소외자로서 한정되지 않는다. 황석영의 「섬섬옥수」에서 여대생은 민중문학에서 상정하는 사회적 선으로서의 노동의 의미를 되묻는다. 조선작의 영자의 전성시대 에서 창녀들은 울분의 정동을 발산하면서 스스로를 노동자로 정위하고 몸이 요구하는 바를 말한다. 홍성원의 「흔들리는 땅」에서 여성 노동자는 서사 상에서 등장하지 않지만 다른 등장인물들은 그녀가 발산했던 민주주의의 정동에 전염되어 있다. 즉 이 작품들은 여성의 몸에서 야기되는 정동이 민주주의의 직접적인 구성 원리로서 기능했다는 점을 보여주는 것이다. 따라서 이 글은 1980년대 후반 등장한 노동소설의 기원에 가장 정치적인 몸으로서 여성의 몸이 존재했던 것을 증명하고자 하였다. This paper explores the representations of the body of male and female workers in a stereotyped manner in the labor novel, which is regarded as the product of the system of 1987. I attempt to analyse the 1970s literature, which is the period when the imagination of the male and female body was undifferentiated. At this time, there is a disjunction in the female body presented in novels and memoirs in the 1970s. In addition to exploring the memoirs and novels, I also discuss the female laborers, female college students, and prostitutes, who were representative female figures of the 1970s literature. This is because I have decided to take to a new perspective and concentrate on the relationship between “women” and “labor” instead of “female laborers”. In other words, I focus on what kind of affects occur when a woman’s body and labor are arranged side by side in the narrative. Chapter II newly deals with the relationship between the body and labour, that have been understood as capitalist labour contract, in the view of affect theory by focusing on a series of memoirs from Seok JeongNam. For her, labour experience is not wasting her body, but the process she overcame affect of shame established in her body. This explains how the working body can be a naked body and changed as a political body. The body released from affect of shame was moved by primal and fundamental democracy. In chapter III, I examine the scenes when women were working or women encounter with male workers in the novels of the 1970s, and establish that women were alienated from the positive affective values of labor. At the same time, however, I emphasized that the female body was not limited as affect aliens. Female college student makes the meaning of labor, Minjung-oriented critics prefer as social goods, rethink in Slender Hands by Hwang SeokYoung. In YeongJa"s Heydays of Jo SeonJak, prostitutes shape their identity as laborer and tell what the body wants by expressing the affect of anger. Hong SeongWon’s Shaking Ground shows how characters are affected by democratic movement that female laborer triggers even if she does not appear in the narrative. That is to say, these works describe affects that the feminine body makes are the basic principles of democracy. Therefore, this paper reconstructs the existence of the female body as the most political body in the origins of labor novels that appeared in the late 1980s.

5·18과 황석영의 기억술 : 후일담으로 읽는 『오래된 정원』

이철호(Lee, Chul-ho) 구보학회 2020 구보학보 Vol.0 No.26

This novel focused on representating The May 18 the historical orgin of democratic movements in Korea. However, it is problematic to exclud massacre itself from the object of represetation and to make women a man’s proxy. A true reading of this novel can be possible by overlapping Galmae and Gwangju, especially by reinterpret them as the manifestation of utopia. In sum, Hwang Seokyoung mythicized Galmae and Gwangju as the historical origin by embellishing the story of love and revolution with Utopian languages. If his celebrated epic novel Janggilsan is the Important achievement of Minjung discourse in the 1970s and 1980s, Minjung disappear and only utopia remains in Old Garden. 『오래된 정원』이 보여주는 후일담의 서사는 5·18을 역사적 기원으로 형상화하는 데에 집중된다. 하지만 그것은 학살 자체를 재현의 대상에서 제외하는 한편, 여성을 남성의 대리자로 설정하는 서사적 전략을 통해 구현된다는 점에서 문제적이다. 『오래된 정원』의 진정한 독해는 갈뫼와 광주를 겹쳐서 읽음으로써, 즉 그 두 장소를 유토피아의 현현으로 재해석함으로써 가능해진다. 다시 말해 황석영은 갈뫼와 광주, 사랑과 혁명을 유토피아의 언어로 윤색함으로써 그곳을 유력한 역사적 기원으로 낭만화한다. 1970-80년대의 민중론이 도달한 문학적 재현의 한 절정이 황석영의 『장길산』이라고 한다면, 『오래된 정원」은 민중이 사라지고 유토피아만 남아버린 것이다.

쓰레기장의 다크 에콜로지와 문학의 기록 : 난지도 소재 소설의 재발견

임태훈 현대문학이론학회 2020 現代文學理論硏究 Vol.0 No.82

쓰레기 처리에 관련된 제도와 기술 일체는 집단적 기억상실증과 정신 조작의 문화 장치다. 종량제 봉투와 분리수거장, 화장실의 배수구와 정화조, 하수종말처리장과 광역 쓰레기매립장이 현대인의 사회적 신체와 정신을 구성한다. 이 연구는 쓰레기의 역사와 문학의 접점을 찾는다. 문학은 필연적으로 장소에 관한 기록이고, 온갖 시공간에 엮인 인간과 비인간의 관계에 집중하므로, 모든 것이 쓰레기가 되어 흘러가는 세계에 어떤 강도(强度)로든 반복적으로 반응한다. 쓰레기로부터 결코 도망칠 수 없는 장소에서 이 문제는 한층 비판적으로 인식된다. 이연구에선 난지도에 대한 소설인 정연희의 『난지도』(1984), 유재순의 『난지도 사람들』 (1985), 황석영의 『낯익은 세상』(2011)를 중심적으로 다룬다. 크게 두 부분으로 난지도의 역사와 난지도 소재 소설을 분석한다. 난지도가 지나온 100 년의 역사를 파괴적 에너지의 경합 방식, 부서지고 망가진 뒤의 잔여들에서 전개되는 인간과 비인간의 복잡한 얽힘 관계에서 정리한다. 그리고 1978년부터 1993년까지의 난지도에선 쓰레기로 이뤄진 인공 지층 위의 삶을 재해석한다. 그들이 오염된 물을 마시는 방법, 쓰레기 퇴적층의 밀도와 강도를 관리하고, 발밑에서 뿜어나오는 가연성 가스와 화재에 대응하는 방식을 주목하며, 물, 바람, 공기, 흙, 풀, 벌레의 생태를 한데 엮어 사유하고자 했다. 이러한 문제의식을 본 연구는 ‘쓰레기장의 다크 에콜로지’라고 부른다.