매춘에서 회심한 성녀: 이집트의 마리아 성녀의 역할을 중심으로

이필은 한국서양중세사학회 2021 西洋中世史硏究 Vol.- No.47

In medieval society, the saints’ lives served an educational purpose for lay people as the ideal Christian model. The hagiography, which recorded the saints’ lives, had a profound influence on lay people through preaching and reading in medieval Europe. In the social or religious environment at the time, the editor changed the emphasis on the saints’ life stories according to a specific purpose and composed the contents of the hagiography by selecting saints that fit their intentions. Although most of the hagiographies were of male saints, consisted with there being more male saints than female, some hagiographies did feature female saints. There are differences in content between hagiographies that featured male saints and those that featured female saints. Unlike hagiographies of male saints, which mainly focused on miracles after death, in those of female saints, the scene of martyrdom to protect purity was the mainstream. For medieval women, chastity was very important. However, the Golden Legend, edited in the 13th century, contains records of converted prostitutes, including Mary of Egypt. At the time, this book was edited to educate the Dominican to preach to lay people and was later used to educate other religious monks and secular priests through the University of Paris. Through this study, the motives for the widespread use of prostitutes who were converted in the 13th century were analyzed.
The sin of the prostitutes was not the act of prostitution, but the beauty and worldly desire that made it possible. The prostitutes came from an aristocratic family, but lived a degraded life against their origin due to worldly desire. This was a warning message to lay women at the time. Christian women in the 13th-century lived extremely ascetic lives to receive grace like a converted prostitute. At that time, various religious movements, including Beguines, were a threat to the Catholic Church’s authority. As a result, the Dominican Order led to the inquisition, and the inquisition accompanied. The saints' biography was portrayed as extreme violence against the saint's body to protect her devotion. The violence that abuses the body in an extremely ascetic lifestyle to protect their faith and to receive grace can be interpreted as rationalizing the violence that accompanied the inquisition at the time. 중세사회에서 성인들의 삶을 기록한 성인전기는 설교나 독서 등을 통하여 평신도들에게 지대한 영향을 주었다. 성인전기의 대부분은 남성 성인이었으나 여성 성인들도 등장한다. 숫자에서 월등히 남성 성인의 내용이 많지만, 남성과 여성 성인기의 내용에서도 차이가 존재한다. 주로 사후의 기적에 초점이 맞춰진 남성 성인전기와는 달리 여성 성인전기에는 순결을 지키기 위한 순교 장면이 주류를 이루었다. 중세 여성 성인들에게 순결은 중요한 요소였다. 그러나 13세기에 편집된 『황금성인전』에는 이집트의 마리아를 포함한 회심한 매춘성녀들에 대한 기록이 나타난다. 이 연구를 통해서 편집자가 매춘성녀를 이 서적에 포함한 동기를 분석하였다. 13세기의 평신도들은 도시의 팽창과 경제적 부유함으로 인하여 세속적 가치관을 중요시하게 되었고, 이러한 상황에서 도미니코 수도회와 프란체스코 수도회는 금욕적 삶을 강조하는 운동을 벌였다. 매춘성녀들의 죄는 매춘행위가 아니라, 매춘을 가능하게 했던 미모와 세속적 욕망이었다. 매춘성녀들은 귀족 가문 출신이지만 세속적인 욕망으로 인하여 출신에 위배되는 타락한 삶을 살았다. 이것은 당시 평신도 여성들을 향한 하나의 경고 메시지였다. 13세기 도시의 여성들이 천국에 입장하기 위해서는 매춘성녀와 같은 금욕적 삶을 살아야 했다. 그리고 당시 다양한 종교운동은 가톨릭교회에 위협적 요소였다. 가톨릭교회는 도미니코 수도회를 주축으로 폭력을 수반한 종교재판을 시작하였다. 성녀들의 성인전기는 성녀의 몸에 대한 극심한 폭력을 신심을 지키기 위한 것으로 묘사했다. 자신들의 신앙을 지키기 위한, 은총을 받기 위한 극도의 금욕적인 생활로 육체를 학대하는 폭력은 당시의 종교재판으로 수반된 폭력을 합리화하는 것으로 해석될 수 있다.

김춘수 문학의 여성 인식에 나타난 이상화/대상화의 기제 연구

최희진 한국여성문학학회 2023 여성문학연구 Vol.58 No.-

본고는 김춘수의 자술·자평으로부터 벗어나 김춘수의 문학을 재독해보는 시도의 일환으로, 김춘수의 문학에 나타나는 여성 인식에 대한 분석을 시도한다. 김춘수의 문학 작품에서 여성의 존재는 추상화되거나 이상화되는 경향을 보인다. 이것은 대상화의 기제와 상통한다는 점에서 문제적이다. 여성을 이상의 상징으로활용하거나 지극히 이상적인 존재로 그려내는 시인의 사유 속에서 대상화의 기제는 작동한다. 존재의 구원에 대한 탐구라는 주제의식의 강렬성이 대상화의 기제를 은폐한다. 그러나 ‘성녀로서의 창녀’ 모티프는 그와 같은 문제적인 지점을결정적으로 탈은폐하는 역할을 수행한다. 존재의 구원에 대한 갈망이라는 주제를 형상화하는 과정에서, 김춘수는 성녀로서의 창녀라는 남성 중심적 판타지를 재생산한다. 이것은 김춘수라는 시인이 활동하던 1970년대 호스티스 영화의 문법 구조와도 일정 부분 맞닿아 있다. 그러나 성녀가 아닌/이상적이지 않은/현실의 여성을 외면한 채, 성녀적인/이상적인/고통을 승화시킨 존재가 될 것을 요구한다는 점에서 ‘성녀로서의 창녀’ 판타지는 문제적이다. 존재적 구원에의 갈급을 주제화하는 작품의 배면에 자리한시인의 여성 인식은, 남성 중심적 이데올로기의 한계점을 경유하여, 타자에 대한윤리적 숙고의 지점까지를 생성시킨다. 이상의 논의를 통해 김춘수의 문학 작품에 나타나는 여성 인식을 현재적 관점에서 재검토하는 동시에, 시인의 언술에 의존하는 경향을 벗어나 김춘수 연구의 자장을 확장해보고자 하였다. This study analyzes the representations of women in the literary works of Kim Chunsoo in order to reread his writings in a way that breaks away from his own explanations of his works. In Kim Chun-soo’s literary works, there is a tendency to idealize women or treat them in the abstract. This approach is problematic, as it is similar to objectification. The objectification of women appears when Kim Chun-soo uses female figures to symbolize utopia or when Kim describes women as idealized beings. It is difficult to identify these moments of objectification, as the theme of “the salvation of being” is quite dominant in these works. However, the motif of the “prostitute as a saint” plays a crucial role in concealing such problematic representations. When representing the salvation of the individual in his literary works, Kim Chunsoo summons and reproduces the fantasy of the prostitute as a saint. This fantasy is related to the hostess film boom in 1970s Korea. The problem, however, is that the fantasy of “the prostitute as a saint” requires women to become sacred-idealized-sublimated beings who are not sacred nor holy while ignoring the actual realities of women. Kim Chun-soo’s understanding of women, which operates as a premise for the theme of the salvation of the individual, creates space for the ethical contemplation of others via the problem of masculinity ideology. Through the discussion above, this paper attempts to reexamine the representation of women in Kim Chun-soo’s literary works from a contemporary perspective.

무라카미 하루키(村上春樹) 문학의 여성 이미지 고찰

趙柱喜 단국대학교 일본연구소 2009 일본학연구 Vol.28 No.-

Women's image in Murakami Haruki's works could be classified as a woman saint and a prostitute. While Haruki did not demand openly virginity or feminine virtue through the women represented in his works from the initial work consistently, he conceals his admiration for virginity with tactful tricks. In the base of his concept, there is a male-dominated way of thinking for him that women only exist as the others supporting for men. It cannot be denied that Haruki's novel lies lethally in the outer edge with the prospective of feminism in that women are not assessed to women themselves, but described as the others for men. Of course, although every author does not have to develop their works on the ground of equality, in case of Haruki's works, that is tactfully concealed and well packed with the subject of 'a hurt' and 'a cure'. If the theme of Haruki's future works will focus on 'a relief' and represent the direction, it is necessary that Haruki indicates more lucid and direct commitment to the theme.

참회의 막달라 마리아: 중세 말 이탈리아의 막달레나 이미지와 신앙

이은기 서양미술사학회 2009 서양미술사학회논문집 Vol.30 No.-

The Mary Magdalene’s legend, that says she was a prostitute but became a saint through her penitent, had been formed from South France, but expended in Italy in the thirteenth and fourteenth Century. Magdalene, who had appeared in part at the Jesus’s passion scene, began to appear in the independent altarpiece and frescos in the chapel from this period. The story of Magdalene painted in the panel of <Santa Maria Magdalena> in Florence Academy, in frescoes in Renuccini Chapel in Santa Croce and Magdalene Chapel in Inferior Church in Assisi, tells us that Magdalene was a prostitute but after the meeting of Jesus, she was converted and became one of the most beloved apostles of Christ. After the death of Christ she had preached to the pagans and her body was covered with long hair like a hermit with the penitence at the desert for 30 years . Her cult try to persuade to repent in order to be saved as we can see at the scroll that reads : “Do not despair, those of you who are accustomed to sin, and keeping my example, return yourselves to God.” In fact, this panel is used as an effective tool of persuasion. Mary Magdalene was emphasized by the mendicant orders, especially by the Franciscan Confraternity that approached the religion more emotionally. She is grieving beneath the Cross with Saint Francis in the fresco of Saint Francesco Church. From this period she has been expressed as a woman who wails bitterly with the red mantle underneath the foot of Christ. This is the pictorial image of the song of Lauda at Good Friday Mess in 14th century. It sings, “I, sorrowful Magdalene, throw myself to the bottom of Your feet. By doing so, my sin would be cleaned. He calls me. He calls me, never leaving me.” Mary Magdalene is the fabricated saint for persuading to make atonement. Then, why was a sin of the prostitute chosen among many kinds of human sins? Perhaps it was because it was a period of asceticism. The virginal purity was a primary condition of sanctity as we can see that the marriage of the clergyman was prohibited from this period. This fastidiousness of purity in the era enforced penitent even on a widow because she is not pure. The body of penitent Mary Magdalene was covered with long hair after her hermit life. But her image was changing from the end of 13th century: her long hair in the fresco in Madalene Chapel at Assisi is no longer stiff as in the altarpiece of the early 13th Century. Her beautiful blond hair falling on her white body reminds us a Venus. Magdalene’s long hair and her nude get a double allusion. Her long hair implies not only her past life as a prostitute but also the hermit practice at the end of her life. Her nude also retains her sexual attraction and purity simultaneously. The origin of the image of Mary Magdalene is that of Venus. The man-made legend, the penitent Magdalene covered with long hair, wears the clothes of repentance, associated with Venus. It is a contradictory irony for sensualism to survive under asceticism in Medieval Era. Mary and Eve represent binary interpretation of womanhood in the Middle Ages: purity and impurity, innocence and sin, humility and arrogance. Even if the medieval Christianity forced to adore a Virgin Mary intending to asceticism, they needed a penitent Saint to control the irresistible sensuous desire. The legend and the cult of Mary Magdalene were made for this purpose and her images in the altarpiece and frescos were the effective instrument to persuade spectators and devotees into this penitence to survive.

성서 속 상징의 현대적 적용을 위한 제언 : 요한계시록에 나타난 ‘성녀’와 ‘창녀’ 이미지를 중심으로

한규현,권혁남 부산대학교 여성연구소 2023 여성학연구 Vol.33 No.2

The language of the Bible reflects the violent and patriarchal times of thousands of years ago, so modern readers are required to reinterpret it according to the changing times. At this time, it is difficult to grasp the meaning of the book of Revelation written in the symbolic language of fantasy. This thesis aims to guide readers to interpret and experience symbols in various ways through the horizon of the hermeneutic diversity of symbolic language in the Bible. To this end, it presents a horizon for symbolic language to be interpreted and experienced in various ways by presenting an aesthetic appreciation attitude as a biblical interpretation methodology. This requires a minimally moderate hermeneutic framework that does not undermine the theological message the Bible originally intended to convey. As an example of the biblical author's use of anachronistic language, this paper pays attention to the use of dichotomous images of 'saint' and 'prostitute' through the symbols of "the woman clothed with the sun" and "the harlot of Babylon" in the Book of Revelation. This dichotomous language does not reflect the violence of the author of the Bible against weak women but rather reflects the situation of historical violence that the author himself was experiencing. In other words, it means that the place of the author's life is revealed as a suffering weak man, not a strong man. Therefore, it is suggested that the reader can expand the horizon of experience in the language of the weak and the life of the weak as suggested by the Bible.

『나목』에 나타난 여성 혐오와 사랑의 양상

김문정 고려대학교세종캠퍼스 한국학연구소 2024 한국학연구 Vol.88 No.-

This article aims to examine the socialization process and gender consciousness of the main character, Lee Kyung, focusing on Park Wan-seo's debut work, Namok. The PX, which appears in the background of the work, is a place that makes Lee Kyung feel proud as an economic subject, and is also a problematic space in that misogyny and the commodification of women are rampant. Lee Kyung meets several people at her PX. First, the inevitable failure of her meeting with the American soldier, Jo, can be interpreted as resistance to his dichotomous view of women as a ‘maid from a foster home’ and a ‘prostitute.’ However, this misogynistic view is also revealed in Lee Kyung herself. Lee Kyung discovers that Diana Kim, whom he thought was a corrupt woman, is actually a kind mother. Diana Kim’s heterogeneous appearance clearly exposes the falsity of the dichotomy of ‘mother’ vs. ‘prostitute’ maintained by patriarchal society. In the work, the characters who have a special relationship with Lee Kyung are Ok Hee-do and Hwang Tae-soo. If Lee Kyung’s feelings for Ok Hee-do are close to agape love, her feelings for Hwang Tae-su can be seen as eros love. However, the possibility of two seemingly contradictory aspects of love can also be said to be an effect of the PX space. The ending, in which Lee Kyung chooses Hwang Tae-soo as her spouse, could be read as a continuation of an old plot and a passive choice for a stable life. However, it is appropriate to interpret this as an embodiment of erotic love that emphasizes the rational aspect. Namok can be said to be a useful work that captures the topography of gender awareness in Korean society during the Korean War.