윤리적 주체 형성을 위한 문학 교육의 가능성 탐색

박죽심(Park, Juk sim) 다빈치미래교양연구소 2020 교양학연구 Vol.0 No.11

With the invention of letters making it possible to record, mankind has inherited the legacy of the past and made progress in history. The development of printing techniques in both East and West brought the popularization of letters, and at the modern entrance choseon were able to realize a unity of speech and writing only through the "spreading of Han-gul". This paper explored the possibility of the birth of an ethical subject through the education of literature in university literature. Move from traditional, professor-centric lectures, students were able to ask questions and speak for themselves, sympathizing with the pain of individuals and times, and confirming the growth of the inner world. College liberal arts education is aimed at making learners think self-reliance and enriching their lives. This will only be possible by reading, thinking and speaking.

재일 신세대 작가의 새로운 방향 모색

박죽심(Juk-sim Park) 중앙대학교 문화콘텐츠기술연구원 2012 다문화콘텐츠연구 Vol.0 No.12

이 글은 재일 신세대 작가인 가네시로 가즈키의 작품을 통해 새로운 세대의 재일의 방향을 탐색하는데 목적이 있다. 재일 3세대는 민족에 대한 인식과 재일의 차별문제를 접근하는 데 있어서 전 세대와 확연하게 구별된다. 2세대에 해당하는 이회성의 작품 「반쪽발이」에서는 관념적이지만 민족에 대한 상이 확고했고 이것을 통해 자신의 정체성을 구축한 반면 3세대인 가네시로 가즈키 작품의 경우 탈민족주의적인 시각이 명확하고 재일 조선인 국적에서 ‘한국’으로 국적을 변경하는 데 있어서도 유연한 입장이 확인된다. 또한 이들 신세대는 일본 사회에서 재일이 겪는 ‘차별’을 재일만의 특수한 문제이기보다는 일본 사회의 문제 중의 하나로 접근한다. 이것은 일본에 정착해야 하는 현실적인 측면에서 타민족?타인종과 공존하기 위한 하나의 전략으로 보인다. 가네시로 가즈키는 전대의 재일 한국인 작가들과는 다른 방식으로 ‘민족’을 재구성하고 새로운 방향을 제시한다. The purpose of this writing is to explore direction of new generation in Japan through works of Kaneshiro Kazuki who is new-generation writer in Japan. The third generation in Japan is definitely distinguished from the previous generations in recognizing race and approaching a problem of discrimination in Japan. ‘I’ in 「Banjjokbari」, which is Lee Hoe-seong’s work of corresponding to the 2nd generation, is ideological. However, the image on race was firm. Through this, own identity was implemented. On the other hand, given the works of Kaneshiro Kazuki who is the third generation, the post-nationalism sight is clear. The more flexible position is confirmed in changing the nationality from Korean in Japan to ‘Korea.’ Also, these new generations approach ‘discrimination’ from which the Koreans in Japan suffer in Japanese society as one of universal problems in Japanese society rather than a problem peculiar to Koreans in Japan. This seems to be one strategy for coexisting with other nations and other races in the realistic aspect of needing to settle in Japan. Kaneshiro Kazuki reconstructs ‘race’ with different method from Korean writers in Japan of the previous generations, and suggests new direction.

손창섭의 자전적 성격의 소설에 나타난 의미 고찰

박죽심(Park, Juk-sim) 중앙어문학회 2013 語文論集 Vol.53 No.-

?;?;Sohn Chang-seop emerged as a writer who stands for literatures before and after the 1950s in the existing literary history. This evaluation led to relative indifference to a research on works after this, and produced a result of limiting Sohn Chang-seop to the literature in the 1950s. Also, he visited Japan where is his wife’s country in 1972, thereby having thrown several questions to us.<br/> ?;?;The purpose of this writing is to examine 「Naksojok」 and 「Shinui-hui-jak(A Comic creature of God)」, which were known as autobiographical novels in the psychoanalytic aspect, based on biographical fact, which was wrongly known, such as interview with Ueno who is Sohn Chang-seop’s wife as for 「Shin-ui-hui-jak」 after visiting Japan.<br/> ?;?;As a result, the following conclusions could be obtained. What had the greatest influence upon Soho Chang-seop’s forming attitude toward character, disposition or life is family. His childhood when he had lived with grandmother due to mother’s remarriage after losing his father in infancy shows impossibility of forming normal relationship with parents. The lack of affection with parents in childhood had influence even upon<br/> grown-up. The absence of father, who is the identified subject with himself, was expanded into subject in ‘imagination.’ In 「Naksojok」, it is indicated to be a form of desiring a father of joining in the independence movement. It could be known that the bigger longing for father leads to being ‘more excessive’ in speaker’s behavior and that this lead to being shown to be absence of mother. On the other hand, 「Shin-ui-hui-jak」 could be confirmed to be expressed with a distorted method on sexual subject in adolescence when failing to form relationship of attachment in relationship with mother during childhood. However, it shows that a sense of shame disappears when meeting a woman who recognizes himself, but that maladjustment to social relationship cannot be easily overcome.

이광수의『무정』에 나타난 여성의식

박죽심(Park, Juk-sim) 춘원연구학회 2013 춘원연구학보 Vol.- No.6

고정희 시의 탈식민성 연구

박죽심(Park Juk-sim) 중앙어문학회 2003 語文論集 Vol.31 No.-

The purpose of this writing is reading Go Jung-Hee’s poetry from the perspective of postcolonialism. Postcolonialism is the theory to find out not only the colonial period the identity of the colonial vestige which exercise considerable influence in various ways since then. Her poetry(writings) has the proper voice for being examined from the view of postcolonialism. This is why she passed through the times of repression as an intellectual and a womanhood, as if it showed in traces left in this life as well as her writings. To find the various poetic methodology as she accepted strict lined christianity independently as a christian and borrowed a traditional pitch is a result, however, the absence of the feminin daily routine that is confined in great-discours remains to be poetic limits.

근대 여성 작가의 자기 표현 방식

박죽심(Park Juk-sim) 중앙어문학회 2004 語文論集 Vol.32 No.-

The purpose of this study is to examine the inward world of three persons such as Na Hye-seok, Kim Myeong-sun and Kim Il-yeop of the first modern female writers. These people, who received the benefits of modern education, had gone away for studying in Japan, which is not common, during the mid and the latter half of the 1910s, issued the magazine named Women's World, and after returning home, even published the magazine named New Women only for womanhood. A method of living as a new woman in the contemporarily Joseon society, included two things such as adjusting oneself to and denying social conditions. These three persons refused the given life and took the way to which others do not go, thereby having not been smooth and having become the target of criticism. It is a well-known fact that a modern novel has a form of ‘confession.’ In order to allow a mode called ‘confession’ to exist, above all, the inward formation needs to be premised. The novels of three persons will be able to be said to be put in a magnetic field called a ‘confession-writing novel’ from the aspect that has perception toward oneself who is a ‘woman.’ In the wake of these people's works, it is discovered ‘self,’ ‘us’ and ‘woman’ through the life of literary women who had lived in the 1910~20s.

김영팔 노동소설 연구

박죽심(Park Juk-sim) 중앙어문학회 2008 語文論集 Vol.39 No.-

The purpose of this study is to examine significance and limitation in Labor Novel that was released by Kim Yeong-pal in the mid-and-latter half of the 1920s. Kim Yeong-pal's labor novels are based on a writer's autobiographical experience, thereby being put at the point different from writers of belonging to 'KAPF' who were active in works during the similar period. Kim Yeong-pal's novel in 1927, which was started the primary directional conversion in KAPF, is having certain distance from the creative methodology in KAPF. In a big frame, it is consistent with the direction in Proletarian Literary Movement. However, what he partially sticked to a creative method peculiar to him can be said to be his unique point. This position was accepted critically by the inside of KAPF. And, Kim Yeong-pal had also recognized this. His diverse walks of life such as essayist, dramatist, broadcasting entertainment caster, and child-play research association became an opportunity that he came to be negatively evaluated by KAPF. Consequently, it resulted in what he came to be distant from literature. Nevertheless, in the aspect that he achieved the certain performance in embodying inconsistency of the labor field with realistic depiction in the mid-and-latter half of the 1920s, Kim Yeong-pal's novel is clarified to have significance.

한일 근대 여성작가의 탄생과 정체성 연구

박죽심(Park, Juk-sim) 중앙어문학회 2016 語文論集 Vol.66 No.-

한·일 양국의 시대적 요구에 의해 시작된 여자교육은 여성 스스로 ‘자아를 각성’하고 ‘현실의 모순을 인식’하는 것으로 이어졌다. 근대여성작가는 이러한 과정에서 자연스럽게 탄생할 수 있었다. 여성 작가의 탄생은 교육의 기회와 신문·잡지의 발간으로 가능했다. 일본은 국가적인 정책으로 여자 교육을 뒷받침했지만 조선은 그럴 여건이 마련되지 않았다. 물적 토대의 차이는 인적인 한계로 이어졌고 이런 시대적 환경은 여성 자신의 정체성 형성에도 영향을 주었다. 여성을 위한 잡지의 발간은 남성 지식인의 도움으로 시작되었다. 조선의 『여자계』(1918)와 일본의 『여학잡지』(1885)는 여성들을 위해 발간되었지만 남성중심적인 시각이 강했다. 이러한 문제점을 인식한 여성들은 자신들만의 힘으로 『신여자』(조선, 1920)와 『청탑』(일본, 1911)을 발간하며 ‘여성해방’을 선언하였다. 하지만 형식과 내용면에서 여러 가지로 달랐다. 『신여자』는 창간사를 비롯해 여성의 계몽을 일관되게 강조하고 있는 반면 『청탑』은 문예작품들로 채워졌고 여성의 여러 고민들이 다양한 장르를 통해 드러났다. 일본의 근대여성작가들은 일본여성으로서의 정체성보다 다른 무엇으로도 환원되지 않은 개별자로서의 ‘주체’인 ‘나’를 이야기했다면 조선의 근대여성작가들은 ‘우리’라는, 복수로서의 ‘조선여성’을 강조했다. 이것이 한일 근대여성작가들이 스스로를 인식하는 기제였다. Women’s education in Korea and Japan, sparked by the needs of the times, led women to discover themselves and become “aware of contradiction of their reality.” In this process, the modern woman writer was born naturally. The birth of the woman writer was enabled by the opportunity of education and by the publication of their work in journals and magazines. Japan supported women’s education systemically, but Joseon was not fully prepared for it. The difference in material foundation between the two countries, which was connected to human limitation, and the period affected the building of women’s identity. Magazines for women were started with the help of the male intellect. 『女子雜誌』(1885) in Japan and 『女學界』(1918) in Joseon were originally published for women, but they had a male perspective. Women recognized this drawback and published 『新女子』(Joseon, 1920) and 『靑鞜』(Japan, 1911) by themselves. These were a declaration of the “liberation of women.” However, the magazines were different in many ways such as in content or form. 『新女子』 constantly focused on women’s enlightenment but 『靑鞜』 was filled with literary works, various issues faced by women, and a variety of genres. Modern women writers of Japan wrote using the first person “I” revealing the writer’s identity as an individual, a Japanese woman, but the modern woman writers of Joseon emphasized on “us” or “we” in plural usage. This helped modern woman writers to recognize themselves.

이양지 소설에 나타난 재일 여성의 정체성

박죽심(Park,Juk-sim) 중앙어문학회 2011 語文論集 Vol.47 No.-

The purpose of this study is to research into identity of korean women in Japan presented in Lee Yang-ji’s novel. She is the second-generation as an ethnic Korean living in Japan(Joseonin: Korean). The characteristic of the second-generation writer at this time can be said to be a sight of marginal man, who is worried between Korea and Japan, unlike the first generation, who identified the fatherland with them, and the third generation, who shows de-nationalism tendency. 「Nabitaryeong」(1982) and 「Haenyeo(woman diver)」, which were addressed in this study, are the works that were reflected the primitive experience related to Lee Yang-ji’s identity. Aeja in the former and ’she’ in the latter are thickly reflected the writer’s autobiographical life enough to be allowed to be Lee Yang-ji’s other self. 「Haenyeo」 is a work that shows tragic life of ethnic Korean living in Japan(Joseonin). A person whom Korean mother selected as a subject of the second marriage is a Japanese. She got remarried again to a Japanese person with avoiding Korean husband who strives for violence. However, even a Japanese husband is not greatly different. In a sense that patriarchy is equally shown regardless of a nation, it shows that a haven for a woman is impossible for either nation or husband. What proceeds with living as an ethnic Korean(Joseonin) woman living in Japan ultimately implies the necessity of bearing double difficulty, which is forced the sacrifice of patriarchy, along with national discrimination. These two works prove this.