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近代日本におけるキリシタン認識とキリシタン殉教地の変容 ―長崎を中心に―
阪野祐介 대한일어일문학회 2023 일어일문학 Vol.100 No.-
The objective of this study is to analyze the evolving perspectives of Japanese society regarding Catholic missionaries and Christianity in modern Japan, as well as the consequent alteration of societal dynamics. In the year 1862, prior to the resumption of missionary work in Japan, the canonization of the 26 Japanese saints took place in Rome. When the Christians were "discovered" in Nagasaki in 1865, they were thought to be the offspring of martyrs who had adhered to their forefathers' faith. Christianity had experienced a "revival" in Japan, according to the missionaries. However, the Catholic Church considered Christians who chose not to ally themselves with the church as heretics because they were constrained by outdated beliefs and superstitions. Ironically, they were suppressed by missionaries from "civilized" France and the contemporary Catholic Church, despite having gained religious freedom through civilization and Western modernization. The popularization of "Nanban (European) tastes" at the end of the Meiji period caused society's perception of Christians to change from one of magic and hostility to one of exoticism and civilization. Books of tourist information have also altered their descriptions. The locations that Christians had once referred to as "execution sites" or "places of execution" were now considered historical landmarks significant to the history of cross-cultural exchange and exoticism. They were also given the religious significance of "martyrdom site" and became hallowed sites.
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식민지도시 부산을 그린 요시다 하츠사부로(吉田初三郞)의 조감도(鳥瞰圖)와 타소표상(他所表象) : 그려진 것과 그려지지 않은 것
阪野祐介(Yusuke SAKANO),김윤환(Yun Hwan Kim) 한국문화역사지리학회 2021 문화 역사 지리 Vol.33 No.2
본 연구는 근대 식민지도시 부산을 그린 요시다 하츠사부로(吉田初三郞)의 조감도를 분석대상으로 한다. 조감도의 제작배경과 구도를 살펴보고, 조감도 지리정보의 데이터베이스화 및 묘사내용 분석을 통하여 타자/타소(他所)표상에 대하여 고찰한 것이다. 이 조감도는 1929년 조선박람회 개최에 맞추어 선전용으로 제작된 것이다. 조선총독부의 조선박람회 개최목적은 일본 내지인들에게 조선을 선전하는 것으로, ‘조선에 대한 올바른 이해’ 를 위한 것이었다. 조선 각 지방 일본인 사회는 조선박람회를 지역 진흥과 관광객 유치를 위한 절호의 기회로 삼았다. 이러한 배경을 바탕으로 하츠사부로 조감도에 그려진 식민지도시 부산의 경관은 어디까지나 제국일본의 ‘시선’에 의해 선택된 요소로만 구성되어 있다. 조선 사람들의 시간의 흐름과 삶의 터전은 불평등하고 불균형한 역학관계 속에서 은폐, 망각, 배제된 채 주변화되어 있다. 거기에는 보는 측과 보이는 측의 사이에 메워지지 않는 ‘거리’ 가 있었다 Using the bird’s-eye view map of colonial-era Busan by renowned cartographer Hatsusaburo Yoshida, this study delves into the background of the production of the map, analyzes its bird’s-eye view composition, creates a database of geographical information, and examines the representation of “others/other places” through analysis of the map’s depiction of Busan. The bird’s-eye view map of Busan was made for the promotion of the Joseon Exposition held in 1929. For the Governor-General of Korea, the main purpose of holding the Joseon Exposition was to promote Joseon to the mainland Japanese and to have them have a “proper understanding of Joseon”. The Japanese communities in each region of Korea saw the Joseon Exposition as a great opportunity to promote the region and attract tourists. Against this background, the landscape of the colonial city of Busan depicted in Hatsusaburo’s bird’s eye view map was composed only of elements selected from the viewpoint of Imperial Japan. The flow of time and the daily lives of the people of Korea are covered up, forgotten, excluded, and marginalized under an unequal and unbalanced power relationship. There was an unbridgeable “distance” between those who saw and those who were seen.
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阪野祐介(사카노 유스케) 한국해양대학교 국제해양문제연구소 2013 해항도시문화교섭학 Vol.0 No.8
“Silence” by Endo Shusaku was published in 1966. Theme of this novel is the persecution of Kirishitan(Roman Catholics in Japan in 16th-19th centuries) in Nagasaki in the 17th century. In 1987, a monument “Memorial of Silence” was built in Sotome town, Nagasaki Prefecture which is the model of the “Tomogi village” in the “Silence”. In 1988, the monument was attacked with paint. This paint attack was performed by some people in Sotome town. Inhabitants of this region did not have a feeling of dislike against the Christian and Catholic faith. Even though Endo wrote the story of severe torture against Kirishitans by the Tokugawa Shogunate, physical and mental suffering of Kirishitans and God’s silence, why did such a matter with the monument happen? There would be differences between memories of Kirishitans shared by the local residents and memories of Kirishitan created by the novel. This problem with memory of Kirishitan attracted public attention through the monument erection. This happening that was caused by an impact of “silence” has closely related to problems with ‘representation of place’, ‘images of place’ or ‘memory and place’. Increasing interest in ‘memory and place’ has to do with the emergence of social constructivist theory. The purpose of this paper is to consider relationships between memory and place, images of place through a case of conflict that arose over the construction of monument “Silence”.
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사카노 유스케(阪野祐介),김선화(金仙花) 한국해양대학교 국제해양문제연구소 2020 해항도시문화교섭학 Vol.0 No.22
본 논문의 목적은 제국 일본이 제작한 부산 도시도(都市圖)를 대상으로 하여 도시도의 간행상황, 도시도의 구성요소와 구도의 특징 및 식민도시 부산에 대한 심상지리(心象地理)를 고찰하고자 한 것이다. 근대기에 일본이 제작한 부산 도시도의 간행은 1900년대부터 확인되고 있으며 1910년 일본이 한국을 병합하면서 도시계획도나 행정지도, 상공안내도 등 다종다양한 도시도가 간행되기 시작하였다. 1920년대에 이르러는 식민지 투어리즘의 유행과 동시에 관광안내도의 간행이 현저히 증가되기 시작했다. 부산 도시도가 근대적 지도로 전환된 시기는 방위 기호, 축척, 등고선 채용, 사진 게재 등을 고려하면 1910년대 이후에 진행됐다고 생각된다. 다만 1929년에 발간된 요시다 하츠사브로(吉田初三郎)의 조감도처럼, 회화적 요소를 지닌 전근대적 지도가 완전히 도태되었다고 말하기는 힘들다. 또한 일본에서 제작한 근대 부산 도시도를 고찰할 때 중요한 점은, 근대 이후 일본과 한국의 불균형한 관계에 있어서 지도가 제작되었다는 점이다. 따라서 근대 부산도시도, 특히 부산 관광안내도에는 일본의 시각에서 바라본 부산의 심상지리가 짙게 표현되어 있음을 발견할 수 있다. 일본의 군대나 식민지통치기관이 제작한 관제지형도뿐만 아니라 다양한 지도들이 당시 식민 도시 부산에 대한 일본의 식민지주의를 지탱하고 있었다고 생각된다. The purpose of this paper is to examine the publication situation of Busan city maps produced by imperial Japan, the characteristics of the components and compositions of these maps, and the imaginative geographies of colonial city Busan under Japanese rule. The publication of Busan city maps that produced by Japan in the modern period seems to have begun in 1900s. When imperial Japan annexed Korea in 1910, various kinds of city maps began to be published in Japan; including city planning maps, administrative maps, business information maps etc. In the 1920s, the publication of travel guide maps increased rapidly as colonial tourism became popular in Japan. Considering use of azimuth sign, scale bar, contour lines and insert photograph, it is impossible to argue that the ‘modernization’ of the Busan city maps have progressed after the 1910s. However, pre-modern pictorial maps, such as the bird’s eye view of Hatsusaburo Yoshida published in 1929, were not disappeared. Another important point in considering the modern Busan city maps produced by Japan is that these maps were produced in unbalanced relationship between Japan and Korea in the modern era. And, Busan city maps, especially the travel guide maps of Busan, showed the ‘imaginative geographies’ of Busan by Japan. Thus, not only the government-manufactured maps, but also various Busan city maps supported Japanese colonialism at the time.
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