반공주의적 순교 담론의 탈신비화 -김은국, 『순교자』론-

선민서 ( Seon¸ Min-seo ) 우리어문학회 2021 우리어문연구 Vol.71 No.-

본고는 김은국을 반공작가로 규정하거나 『순교자』(1964)를 반공주의 소설로 이해했던 그간의 관점이 지닌 한계를 넘어서고자 한다. 6 · 25전쟁 이후 한국교회에서는 경쟁적으로 순교자 추서에 열을 올렸다. 그러나 허위로 진행되는 순교추서는 반공화한 집단 기억 만들기의 일부가 되어 진실한 희생의 의미를 축소시킬 우려가 있었다. 『순교자』에서 일부 등장인물들은 반공 순교자를 조작하는 것이 국민들에게 희망을 심어주고 그들을 사랑하는 일이라 믿는다. 조국을 지키려는 목적을 지닌 장 대령, 신도들에게 환상으로나마 희망을 부여하려는 신 목사, 대중에게 한 편의 동화가 필요하다고 믿는 박인도는 나름의 진정성과 민중을 사랑하는 마음을 가졌지만, 결과적으로 그들은 백성을 기만하며 배교행위를 한 인물까지 순교자로 둔갑시킨다. 진실 없는 사랑은 결국 한계에 봉착한다. 반공주의에 경도되는 이들 등장인물들의 사랑에는 ‘진실의 부재’라는 근본적인 결핍과 결여가 내재한다. 반공주의적 믿음의 한계를 간파한 이 대위는 개신교 반공주의의 흐름과 거리를 두고 다만 고향을 그리워하는 민중의 마음을 염원한다. 『순교자』는 반공이데올로기를 내면화하고 폭력의 사용을 부추기는 행위가 진심의 사랑일 수 있는지를 우리에게 묻는다. 만약 그것 역시 사랑이라면 결국 『순교자』의 서사가 우리에게 보여주는 것은 그 진실 없는 사랑의 실패이자 불가능성이다. 그럼으로써 이 소설은 우리로 하여금 폭력을 재생산하지 않는 진실한 희생과 사랑의 의미를 성찰하게 만든다. This paper intends to transcend the limitations of previous views that defined Richard E. Kim as an anti-communist writer or understood The Martyred(1964) as an anti-communist novel. After the Korean War, Korean churches competed to celebrate martyrs. But there is a fear that the false martyrdom will become part of the anti-communist making of collective memories, reducing the meaning of true sacrifice. Some characters in The Martyred believe that manipulating anti-communist martyrs is to instill hope in the people and to love them. It is true that Colonel Jang with the goal of defending the country, Pastor Shin who wants to give hope to the believers even through a fantasy, and In-do, Park who believes that the public needs a fairy tale, have their own sincerity and love for the people. However, as a result, they deceived the people and turned even those who committed apostasy into martyrs. In the love of these characters who are inclined to anti-communism, there is a fundamental lack and deficiency of 'absence of truth'. Captain Lee, who saw the limit of the paradox of anti-communist love, distanced himself from the flow of Protestant anti-communism and longed for the hearts of the people who only longed for their hometown. The Martyred asks us whether the act of internalizing anti-communist ideology and encouraging the use of violence can be true love. If it is also love, after all, what the narrative of this novel shows us is the failure and impossibility of love without truth. Richard E. Kim's The Martyred demystifies the anticommunist discourse on martyrdom. In this way, this novel makes us reflect on the meaning of true sacrifice and love that does not reproduce violence.

염상섭 소설의 예술가 표상 연구 -「사랑과 죄」,「모란꽃 필 때」를 중심으로-

선민서 ( Min Seo Seon ) 우리어문학회 2016 우리어문연구 Vol.55 No.-

「사랑과 죄」, 「모란꽃 필 때」는 염상섭이 식민지 조선에서 예술가로 산다는 것의 정치·사회적 의미를 질문하는 식민지형 예술가소설이다. 「사랑과 죄」와 「모란꽃 필 때」에서 조일(朝日) 예술가의 관계는 사제(師弟) 관계의 형식으로 표상된다. 근대미술의 이식에 따른 식민화단의 형성은 제국 일본/식민지 조선의 불균형한 위계를 바탕으로 했다. 염상섭 소설의 조일(朝日) 예술가가 사제관계로 표상되는 저변에는 제국/식민지 예술 사이의 낙차가 존재한다. 염상섭의 소설 「사랑과 죄」는 식민지 조선에서 서양화단이 형성기에 있었던 시기에 발표된 작품이다. 이 작품에서 조일(朝日)의 예술가들은 낭만주의적 의미의 예술가(artist)가 아닌 문사(文士)의 형식으로 표상된다. 반면에 1930년대작 「모란꽃 필 때」에 이르러 조일(朝日)의 예술가는 낭만주의적 예술가(artist)의 형상으로 주조된다. 「모란꽃 필 때」에 이르러 미술가라는 직업은 가난이라는 기표와 연관을 맺으며, 무일푼의 상태로 자신의 예술 세계에 전념하는 낭만적 예술가 형상이 나타난다. 「사랑과 죄」와 「모란꽃 필 때」에 나타나는 예술에 대한 묘사에서 특징적인 점은 두 작품이 모두 ‘동경미술전람회’라는 기표를 소환하고 있다는 점이다. 염상섭은 식민지 조선의 예술가들을 그려내며, 그들이 자신의 예술 세계를 인정받는 정점에 동경미술전람회를 배치한다. 이는 예술가로 서의 미적 성취를 인정받기 위한 최상의 선택지가 제국 미술계로의 진출일 수밖에 없었던 식민지 예술가들의 불우한 운명을 보여준다. 제국미술의 장(場)에 노출된다는 것은 제국 권력의 시선을 학습하고 내면화해야 한다는 것을 의미했다. 그러나 피식민자를 검열하고 포섭하려는 제국/식민 권력의 작용 속에서도 식민지 조선의 예술가들은 내파의 지점들을 마련해왔다. 염상섭의 장편소설 「사랑과 죄」, 「모란꽃 필 때」는 식민지 조선의 예술가로 살아간다는 것의 의미를 탐색한다. Yeom Sang-Seop``s novel Love and Sin, When the Peony Blooms which published in the Japanese colonial period can be named ``colonial artist novel`` which raised the following questions: ``What does it mean living as an artist in colonial Joseon?``. In Love and Sin and When the Peony Blooms, the relationship between Joseon and Japan``s artist is represented as master-pupil relations. The formation of Colonial art world which was driven by transplanting the western modern art on Joseon is based on unbalanced hierarchy between Empire Japan and Colonial Joseon. In Love and Sin the late 1920s artworks published in a formative period of western painting art system, artist in Joseon and Japan are both represented as a ``literary man`` rather than a romanic sense of ``artist``. However in When the peony blooms the early 1930s artworks published in the periods after the exhibition system is established, Japanese master Bang-Cheon-Chu-Su and Korean(Joseon) pupil Kim-Jin-Ho are represented as a romantic sense of artist. In When the peony blooms, a career visual artist is related to a signifier of ``poverty`` and finally ``a poor artist features`` are completed. Artists in Joseon were to fall into financial hardship and the only way they can get recognized as an career artist is to gain the official approval from the empire of Japan. However it meant that they should learn and internalize the point of view of the empire. Yeom Sang-seop``s artist novel shows us the following: To live as an artist in colonial Joseon, they had to consistently come up with point of implosion against the empire/the colonizer which try to oppress and sensor the colonial/colonized.

간첩설과 타자화, 그리고 실존주의 -강용준, 「광인일기」론-

선민서(Seon, Min-Seo) 우리문학회 2021 우리文學硏究 Vol.- No.72

「광인일기」를 재독함으로써 우리는 반공주의를 양가적으로 대하는 강용준의 정치적(무)의식을 간취할 수 있다. 간첩조작사건이 횡행하던 시기에 실존철학을 통해 간첩죄를 저지른 자를 이해하고자 노력하는 반공주의자의 내면을 이 소설은 형상화한다. 「광인일기」의 모티프가 된 1959년의 조봉암 사형과 1967년의 동백림 사건은 남한사회의 대표적인 간첩조작사건이다. 간첩죄인이자 빨갱이라 낙인을 찍힌 조순덕의 행위를 최 대위는 실존주의를 통해 이해하고 분석하려고 한다. 조순덕의 자살을 해석하는 최대위의 모습은 담론장의 왜곡 속에서 간첩설에 휘말리는 사람들의 고통을 가시화해야 한다는 강용준의 무의식적 맥락을 드러낸다. 빨갱이에 대한 실존주의적 해석의 시도는 동백림 사건과 같이 해명되지 않고 있었던 당대의 간첩조작사건이 남긴 잉여에 따른 결과일 수 있다. 1974년에 「광인일기」를 표제작으로 내세운 작품집 『광인일기』를 출간하던 때에 그에게는 반공주의를 객관화하려는 의지가 있었다. 예컨대 「악령」에서 그는 반공 풍조에 기생해 물질적 이득을 취하려는 인물을 비판적으로 형상화했다. 또한 「화령장기행」에서는 7 · 4남북공동성명 당시의 화해 분위기 속에서 인민군을 죽인 국방군에 관한 목격담을 소개하거나 국군으로 참전해 사람을 죽인 적이 있다고 고백하는 등장인물을 묘사하며 그는 반공주의와 거리를 두었다. 거제도 포로수용소 시절을 회고한 1975년의 에세이에서도 좌익수용소에서의 폭동이 좌익포로들이 아니라 미군으로 인해 일어났다고 명시할 정도의 균형 감각을 그는 가지고 있었다. 1974년 2월에 발발한 지식인 · 문인 간첩단 조작 사건이나 1975년 5월 13일자로 시행된 박정희 정권의 긴급조치 제9호가 표현의 자유를 제한하며 강용준의 자기검열을 부추길 수 있었다. 그러나 1975년 7월까지만 해도 그는 반공이데올로기에 완전히 포섭되지는 않은 상태였다. 그러나 남한사회의 강박적이고 신경증적인 반공주의 광풍 속에서 강용준의 작품은 점차 반공텍스트로 귀결되었다. 1976년 1월에 발표한 에세이「춤추는 붉은 악령들」에서 빨갱이라 낙인을 찍힌 사람을 이해하기 위해서가 아니라 공산주의와 관련된 일체의 것을 배격하겠다며 그는 실존철학을 인용했다. 1976년의 제1회 반공문학상 대통령상 수상 이후에 반공주의는 그의 에세이만이 아니라 소설에까지 깊은 영향을 미쳤다. 1984년작 「고독한 영웅」에서 평화주의자를 비난하고 폭력 사용을 주창하는 반공주의 이데올로그들의 언설에 그는 동조하게 되었던 것이다. 반공문학가로서의 정체성을 확립하기 이전에 반공주의에 대한 양가적 태도를 지녔던 강용준의 내면세계를 짐작할 수 있게 해준다는 점에 「광인일기」가 지니는 문제적 가치가 있다. Through a critical analysis of Madman"s Diary, we can grab the political (un)consciousness of Kang Yong-jun who treats anti-communism in an ambivalent manner. This novel embodies the inner aspects of an anti-communist who attempts to understand a person who committed espionage through existential philosophy at a time when espionage cases were widespread. The death penalty imposed on Jo Bong-am in 1959 and the Dongbaek-rim incident in 1967, which became subjects of Madman"s Diary are representative cases of espionage manipulation in South Korean society. Captain Choi seeks to understand and analyze the behavior of Jo Sun-deok, accused of espionage and of being a red, through existentialism. Choi"s interpretation of Jo Sun-deok"s suicide reveals Kang Yong-jun"s unconscious context that he should visualize the suffering of people involved in espionage in the distortion of the discourse. Attempts to interpret existentialist interpretations of the reds may be a result of the surpluses left behind by unexplained contemporary espionage manipulation cases such as the Dongbaekrim case. In 1974, when he published a collection of works that featured Madman"s Diary as the title, he was determined to objectify anti-communism. For example, in Evil Spirit, he critically portrayed a person who was parasitizing anticommunism and trying to gain material benefits. In addition, in Journey to Hwaryeongjang, he introduces eyewitness accounts of South Korean soldiers who killed their North Korean counterpartss in an atmosphere of reconciliation between the two countries during the joint communiqué of July 4, 1972, or describes a character who confesses that he has killed someone by participating in the Korean War. In an essay he wrote in 1975 reflecting on the days of the Geoje P.O.W camp, he had a sense of balance to state that the riots in the left wing camp were triggered not by left wing prisoners of war, but by the US military. The intellectual/literary spy ring manipulation case in February 1974 and the emergency measure No. 9 of the Park Jeong-hee regime, which took effect on May 13, 1975, restricted freedom of expression and encouraged Kang Yong-jun"s self-censorship. Nevertheless, he was not fully embraced by the anti-communist ideology until July 1975. However, in the midst of the obsessive and neurotic anti-communist frenzy in the South Korean society, Kang"s work gradually reflected anti-communist expositions. His anti-communist tendencies deepened after receiving the President"s Award at the 1st Anti-Communist Literature Awards in 1976. In an essay he wrote in 1978, he quoted an existential philosophy not to understand the person accused of espionage, but rather to reject the communists. In The Lonely Hero written in 1984, he acknowledged the comments of anti-communist ideologues that criticized pacifists and advocated the use of violence. The problematic value of Madman"s Diary is that it allows us to imagine the inner world of Kang Yong-jun, who delicately described the innards of anti-communism before establishing his identity as an anti-communist writer. In the essay "Dancing Red Demons" published in January 1976, he said that he would reject anything related to communism, not in order to understand people who are branded as reds by citing an existential philosophy. After receiving the award(the 1st Anti-Communist Literature Award in 1976), he was deeply influenced by anti-communism which reflected his novels and his essays. In Lonely Hero in 1984, he agreed with the statements of anti-communist ideologues that criticized pacifists and advocated the use of violence. The problematic value of Madman"s Diary is that it allows us to imagine the inner world of Kang Yong-jun, who had an ambivalent attitude toward anti-communism before establishing his identity as an anti-communist writer.

6·25 참전자 혹은 타락자와 함께 살아가는 사람들의 고통 -이청준, 「병신과 머저리」론

선민서(Seon, Min-Seo) 한국현대소설학회 2020 현대소설연구 Vol.- No.79

Freud said that not only the subjects death, but also the subjects depravity, results in object loss. Many of the Korean War veterans killed someone, and many people lived alongside the corruptor, losing him before the corruption. Polarized literature can also be read as a narrative of a past loss of object. Yi Cheong-Joons A Fool and a Stupid is the story of a younger brother who has transformed into a corrupt brother who may have been involved in murder. In his brothers pathological pain, the universal form of pain caused by the Korean War and division is revealed. This is because all wars are a possibility to make a close acquaintance a corrupter. In A Fool and a Stupid, ‘I’ suffers from his brothers corruption. When he hears that his older brother, who had a meek personality, became a murderer, ‘I’ began to suffer from depression. Without letting the lost elder brother away from his heart, he feels the ambivalence of love and hatred toward his elder brother, suffers a setback in daily life, and makes abnormal behaviors. ‘I’ said that there was no disease in his pain, but there was an obvious reason for the pain of ‘I’. However, Hye-In compares ‘I’ with his brother, who was in the Korean War, and says that ‘I’ have no reason for pain. This is no different from the discourse of the time that made the Korean War veterans a hero and concealed their testimony about their corruption. At the root of the melancholy of ‘I’, there was a social discourse that regarded the veterans as heroic without recognizing them as corruptors. The atmosphere of heroizing veterans accelerated after the dispatch of the Vietnam War in 1964. Published in 1966, A Fool and a Stupid was born in the mid-1960s militarism. The suffering of those who had to live with countless corrupters is manifested by signs and symptoms. The trauma of war existed not only for the veterans but also for those who had to tolerate their corruption. Being wary of the heroization of veterans caused by militarism, Yi Cheong-Joons A Fool and a Stupid visualized the suffering of those who had to live with the veterans.

최인훈 『화두』에 나타난 정치적 주체성 연구

선민서 ( Seon Min-seo ) 한국어문학국제학술포럼 2018 Journal of Korean Culture Vol.40 No.-

The purpose of this search is to examine the aspect of the political subjectivity in Choi In-Hun's novel. In South Korea, a revolution took place on April 19, 1960. In November of that year Choi In-Hun published a problematic novel The Square in the magazine “Dawn”. Since then, he has published several novels, such as The cloud dream of Nine, the Gray Man, The Journey to the West, and The Typhoon. Writer Choi In-Hun wrote important historical events such as the independence of the colonial Joseon, the Korean War which broke out on June 25, 1950, and the ‘4.19 revolution’ which occurred on April 19, 1960 in these novels. Through writing these themes in his novels, he continued his historical and political reflection on Korean society. The novel Hwadu was published after 1992 when the Cold War ended and the Soviet Union was dismantled, and this novel contains a sense of the problem of socialist ideology. I, who was a boy from North Korea before the liberation of the colonial Joseon from the novel Hwadu, experiences psychological trauma in his childhood due to his self-criticism, which was an ‘ideological device(dispositif)’ of socialism. However, afterwards he grasps the theory of socialism and the working principles of real socialism, finally he establishes his political subjectivity. I, who was an intellectual in the semi-peripheral state, initially suffers from a precise understanding of socialist ideology, but later on he read newspaper articles on Chiang Kai-shek, Zhou Enlai, Mao Zedong and Franco in Spain, and learn about the history of real socialist politicians and real socialist regimes. Through these occasions, finally I can understand the theory and the implementation of socialism. And I traveled to Russia built on the basis of socialist ideology and understood how socialism was operated in the former Soviet Union, which was the central state in the Cold War era. I also confirm that the Stalinist regime revealed the violence of socialist ideology. In the Soviet Union in the 1930s, Stalin forced the minorities to migrate, and the Korean Russian, one of the ethnic minorities in Russia, were persecuted by moving to Kazakhstan and Uzbekistan. In the colonial period in Korea, Cho Myung-Hee was also Korean Russian, and he had a decisive influence on the birth of Choi In-Hun's novel Hwadu. After moving to the Soviet Union, Cho Myung-Hee insisted that socialism should be modified to meet the needs of the mother country. And he also asked us not to be unilaterally subordinated to the grand discourse, but to accept it in a subjective way. In conclusion, the writer Choi In-Hun shapes the person who has escaped the suppression of ideology and dramatically provided one’s political subjectivity. This search will examine how the 'I' of Hwadu accepts the grand discourse of socialism and establishes his own political subjectivity.