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 조선인 여성 작가의 존재 방식에 대한 연구

박죽심(Park, Juksim) 중앙어문학회 2018 語文論集 Vol.73 No.-

이양지(1955~1992)와 유미리(1968~)는 재일 2(3)세대로 일본에서 태어나 일본 교육을 받으며 ‘모어’와 ‘모국어’가 불일치한 환경에서 성장했다. 두 사람은 재일 한국인(조선인) 여성으로는 최초로 일본 순문학상인 아쿠타가와 상을 수상하며 새로운 재일여성의 존재방식(정체성)을 문학으로 형상화했다. 두 작가의 작품에는 정체성과 관련해 민족 · 가족 · 성(性) · 가부장제 · 언어 등 어느 한가지로 수렴되지 않는 중층의 문제가 깔려있다. 일본지향적이며 식민지배 논리가 내면화된 가장(「나비타령」)과 모국지향적이며 일본어에 문맹인 가장(『돌에서 헤엄치는 물고기』)은 공통적으로 가부장제의 논리에 포섭되어 가족에게 폭력을 행사한다. 이로 인해 가족들은 불화하고, 일본어에 문맹인 여성은 이혼으로(「나비타령」), 일본 교육을 받은 여성은 외도와 별거로 (『돌에서 헤엄치는 물고기』) 대응하며 가부장제에 균열을 낸다. 두 작품에서 화자는 양친의 세계에 거리를 유지하며 새로운 세대의 정체성을 보여준다. 여기에는 일본어인 ‘모어’의 세계에서 성장한 두 사람의 언어적 환경이 개입돼 있다. 이양지와 유미리는 작품을 통해 ‘모어’와 ‘모국어’의 불일치에서 오는 모국에 대한 동경과 반감을 형상화하였다. 두 여성작가의 내면에는 식민본국의 언어(일본어)에 대한 무의식적 동경과 모국어에 대한 무의식적인 반감이 혼재되어 있다. 이것은 어디에도 정착할 수 없는 재일 조선인(한국인) 여성 2(3)세대의 정체성을 보여주는 것이다. Lee Yang-ji (1955-1992) and Yu Mi-ri (1968-) were born in Japan as second (or third) generation Korean residents and grew up with Japanese education in an environment where their “mother tongue” was not identical to their “native language.” They became the first Korean women residing in Japan to be awarded the Akutagawa Prize, which is a Japanese literary award, and they embodied a new existential mode (identity) of Korean women residents in Japanese literature. These two writers’ works are based on multi-layered identity issues, which do not converge on any of the issues related to nation, family, gender, patriarchy, and languages. Both the head of a family, who is Japan-oriented and has internalized the logic of the colonizer (Butterfly Ballad), and the one who is homeland-oriented and illiterate in Japanese (A Fish Swimming on a Rock) are caught by the logic of patriarchy and use violence on their families. This leads to family discord, with women causing a crack in patriarchy; the one who is illiterate in Japanese gets a divorce (Butterfly Ballad), and the one getting a Japanese education cheats on her husband and separates from him (A Fish Swimming on a Rock). In both works, the narrators keep a distance from their parents’ world and show the identity of a new generation. Here is the linguistic environment of two persons who have grown up in the world of the “mother tongue”- Japanese. Lee Yangji and Yu Mi-ri’s works embodied longing for and antipathy toward their native country due to the disagreement between the “mother tongue” and the “native language.” Inside the two women authors is an unconscious admiration for the colonial language (Japanese) and an unconscious antipathy toward their mother tongue. This shows the identity of the second (and third) generation Korean women residing in Japan, who cannot settle down anywhere.

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.

사기사와 메구무 문학의 원풍경 ― 초기 작품을 중심으로

박죽심(Park, Juksim) 중앙어문학회 2020 語文論集 Vol.82 No.-

재일 한국인 3세대 작가인 사기사와 메구무(1968~2004)는 18살에 쓴 소설이 1987년 <문학계> 신인상을 수상하면서 문단에 데뷔했다. 데뷔 첫 해이자 대학 1학년 때인 1987년 한 해에 단편 세 편을 발표하며 동세대를 대표하는 작가로 떠오른다. 스무 살 무렵 가족 소설을 쓰기 위해 자료를 조사하던 중 할머니가 한국 사람인 것을 알게 된다. 자신이 쿼터 한국인이라는 사실은 작가의 삶과 작품세계에 변곡점이 되는 계기가 되었고 이후 한국을 체험하고 한국어를 배우는 한편 ‘재일’의 정체성을 다룬 작품을 지속적으로 발표했다. 사기사와 메구무의 ‘재일’ 정체성을 다룬 작품은 동세대 여성작가 이양지와 유미리 작품 세계와는 다른 문제의식을 보여준다. 본고는 사가사와 메구무 초기작(1987~1991)의 의미를 탐색하는 것이 목적이다. 초기작은 ‘재일’ 정체성을 형상화한 작품 이전에 발표한 작품들로 사기사와 문학의 원풍경을 보여준다. 초기 작품과 ‘재일’ 정체성을 형상화한 중기 작품 사이에는 내용과 형식적인 면에서 간극이 확인된다. 이러한 변화의 내적논리를 파악하기 위해서는 초기작에 대한 연구가 필수적이라고 판단했다. 사기사와 초기 작품은 가족서사를 다룬 작품과 개인과 공동체의 연대를 다룬 작품으로 나눌 수 있다. 「강변길」과 「돌아가지 못하는 사람들」·「달리는 소년」은 가족서사에 해당하는 작품으로 소년의 성장 과정을 통해 자기변혁에 이르는 과정을 형상화했다. 「은하가 흐르는 거리」·「갈매기 집 이야기」와 「썩어가는 마을」·「여윈 어깨」는 사회문제를 다룬 작품으로 개인과 공동체의 관계성을 보여준다. 사기사와 작품에서는 인간관계에 대한 고민과 일본 사회에 대한 문제의식도 함께 발견된다. Sagisawa Megumu (1968–2004), a third-generation Korean in Japan, made her literary debut by winning the Rookie of the Year award for the novel Literary World, written in 1987 at the age of 18. The year of her debut, when Megumu was a freshman in college, she published three short stories and emerged as a writer as well as a representative of her generation. At around the age of twenty, she discovered that her grandmother was a Korean while researching material and resources to write a family novel. Unveiling her Korean heritage provided the turning point in the writer"s life and literary world. In addition, she experienced Korea, learned the language and continued publishing works about the identity of “residents of Japan.” Sagisawa Megumu’s works dealing with the identity of Koreans residing in Japan show a different set of issues than those in the works by Lee Yang-ji and Yoo mi-ri, who are female writers of the same generation. This study investigated the meaning of her early works (1987– 1991), which manifest the primary psycho-scenes in the memories of Sagisawa’s literature, as works that were first published to embody the identity of Korean residents of Japan. It has found out that a change in content and formal aspect occurred after her early works, which embody the identity of Korean residents of Japan. This researcher considers such change, investigating her early works in order to comprehend the intrinsic logic of this transformation. Sagisawa’s early works may be roughly divided into those dealing with the family narrative and others dealing with the solidarity between individuals and communities. Her works Riverside path, Those Who Can Never Return, and The Running Boy embodied the process leading to self-transformation through a boy’s growth by tackling the family narrative. On the other hand, The Streets Where Galaxy Flows, The Story of Seagull House, Decaying Village, and Thin Shoulders showed the solidarity between individuals and communities. By analyzing Sagisawa’s early works, the current study shows an awareness of problems concerning human relations and the Japanese society.

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.

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.