은폐와 투사

심진경(Jinkyung Shim) 도서출판여이연 2003 여성이론 Vol.- No.8

원초적 장면과 여성적 글쓰기의 기원

심진경(Shim Jinkyung) 경성대학교 인문과학연구소 2015 인문학논총 Vol.37 No.-

이 논문은 오정희의 <바람의 넋>에 대한 분석이다. 지금까지의 기존논의에서는 이 소설 속 여주인공의 반복되는 가출에 대해 중산층 여성의 일탈 욕망 혹은 여성의 자기 탐색 서사로 분석해 왔다. 그러나 이러한 분석은 오정희 소설에 대한 상투적 분석의 연장선상에 있을 뿐 이 작품 고유의 개성과 의미를 포착하는 데는 이르지 못하고 있다. 이 논문에서는 소설의 결말 부분에 이러한 여성의 가출 충동을 논리적으로 설명할 수 있는 힌트를 던져 놓는다고 보았다. 그것은 어린 ‘은수’가 전쟁통에 부모와 쌍둥이 여동생이 도둑들에게 몰살당하는 상황을 목격하는 장면이다. 그럼으로써 작가는 여주인공의 기이한 가출 심리에 대해 소설 내적으로 설득력 있는 근거를 마련하고 있다. 따라서 이 논문에서는 소설의 결말 부분에 마련된 원초적 장면이 구성되는 방식과 이 장면이 전체 서사와 맺는 상관관계를 분석함으로써 『바람의 넋』 에 대한 새로운 이해에 도달하고자 한다. 이 소설의 원초적 장면에는 분명 한편으로는 실제 ‘은수’가 겪었던 6·25의 상흔이 각인되어 있는 것이지만, 작가 오정희의 시선은 단순히 거기에서 드러나는 6·25의 역사적 상흔 자체에 초점을 맞추고 있지는 않다. 작가는 오히려 그 체험의 역사적 맥락을 치환하여 1980년대 여성이 처한 현실 속에서 자기 존재의 기원을 탐색하고자 하는 형식으로 바꾸어놓고 있다. This essay is an analysis on Parameuneok(『바람의 넋』) by Oh Junghee. In former discussion on this novel, the repeated elopement of heroine have been interpreted as deviation desire of the middle-class woman or the narrative of self-exploration. However this analysis could not grasp the individuality and meaning of this novel. In this essay, I understand the end of this novel give a hint about the drive of elopement of heroine. That is the scene in which little girl Eunsoo witnessed the situation of her parents and little sister murdered by strangers. Through that, the writer is setting the persuasive foundation in this novel about strange elopement desire of heroine. Therefore this essay aims to renewal understanding on this novel, by analyzing the constructing way of this primal scene and interrelationship between this and whole narrative of this novel. The trauma of Korean War is stamped on this novel"s primal scene which little girl Eunsoo had experienced on the one hand, but the writer do not accentuate the trauma of Korean war. The writer displace the context of that experience and change that into the form of exploration of the origin of self-existence in women"s reality in 1980s Korea.

오정희의 옛우물 다시 읽기

심진경 ( Jinkyung Shim ) 시학과 언어학회 2015 시학과 언어학 Vol.29 No.-

The thesis is an attempt at re-reading the text of An Old Well by Oh Jung-Hee. Existing interpretation of ``the old well`` in the text remains unbearably stereotypical. The wide-spread view is that ``the old well`` manifests the maternal life force. However, the issue with this interpretation is that the maternal in Oh Jung-Hee``s work remains largely indistinct and hazy at best. Rather the maternal in her work is rarely accepted as a positive sign. The problem is that serious conflicts, contradictions and fissures are present internally within the maternal. The maternal simply defies a singular interpretation. In the background of the interpretation of ``the old well`` as a source of the maternal life force lies the stereotypical conception or equation of ``serious women``s literature as affirmation of maternity``. The thesis raises the question by starting off from this vantage point. The sequence of events in An Old Well from the disappearance of ``Yoendang house``, decision to sell the ``small house``, ``his death``, smashing of the mirror and then finally filling of the well, forms a close interconnection with dissolution and death in terms of their significance and moreover are intertwined with the sense of loss felt by the present ``I``. The meaning of the old well in Oh Jung-Hee``s work should be understood within the context of the symbolic space and also within the space that defines the beginning and end of existence. The legend of the golden carp that appears at the end of The Old Well can be seen as compensation for the loss of 『I』 and a narrative to make up for the power of life that is ebbing away. However, to view this immediately as signifying the principle of the maternal life force and its approval in a singular, simplified manner is problematic. ``The old well`` that is described in the novel holds its significance within the overall context of those that are in the process of dissolution or already expired with particular reference to the ``Yeongdang house``, ``small house`` and ``him``. The most fundamental point is that as is the case with Oh Jung-Hee``s other work, the significance of the text remains volatile and insurgent. As with the process of writing on parchment, multiple versions of writing remain defiant against an ultimate fixed position of interpretation to offer a multifaceted narrative. This is the case with Oh Jung-Hee``s An Old Well. ``The old well`` is a world that is covered up voluntarily after having reached a sympathetic rapport on the part of 『I』 with the blessings offered by the customary order symbolized by family and at the same time, is the root of the primordial feminine narrative that makes up for the principal loss of existence that cannot be cast off.

1990년대 문학의 이성애 강박과 로맨스 중독 - 양귀자의 『나는 소망한다 내게 금지된 것을』을 중심으로

심진경(Shim Jinkyung) 계명대학교 한국학연구원 2024 한국학논집 Vol.- No.97

양귀자의 『나는 소망한다 내게 금지된 것을』은 1992년 출판 당시 베스트셀러였고 지금도 젊은 여성 독자들의 절대적인 지지를 받는 장편소설이다. 그 이유는 이 소설이 취하고 있는 미러링 전략 때문이다. 즉 이 소설은 여성에 대한 폭력을 남성에 대한 폭력으로 되돌려주는 함무라비식 평등의 논리를 전면에 내세우고 있다는 점에서, 디지털 페미니스트의 미러링 전략을 선취하고 있다고 볼 수 있는 것이다. 게다가 “그녀에게는 사랑도, 섹스도, 결혼도 없다.”는 구절에서도 알 수 있는 것처럼 남성과의 사랑, 연애, 결혼을 거부하는 강민주의 태도는 남성과의 관계 일체를 강제된 이성애주의에 의한 강요로 보고 거부하는 영영 페미니스트들의 반섹시즘적 태도를 연상시킨다. 그러나 강민주는 영영 페미니스트들과 달리 자기 안에 있는 인간적인 배려와 헌신, 따뜻함 등의 ‘부드러운’ 감정을 이성애적 관계 속에서만 발견하고 해소하는 이성애적 강박에 사로잡혀 결국 이를 뒷받침하는 남성 중심적 논리 속에서 제거되고 만다. 특히 소설 후반부의 실험극은 소설 전반부까지 강민주의 분노와 의지로 뒤집어버린 현실의 젠더규범을 재소환함으로써 강민주를 탈권력화하고 백승하에게는 다시 권력을 부여하게 된다. 결국 강민주는 이성애적 젠더관계를 벗어나지 못함으로써 자신의 새로운 실험에 실패하고 만다. Yang Guija’s I Wish What’s Banned to Me was a bestseller when it was published in 1992 and is still a favorite among young female readers. This is because of the mirroring strategy it employs: it foregrounds the logic of Hammurabi’s equality, in which violence against women is reflected in violence against men, and it can be seen as prefiguring the mirroring strategy of digital feminists. Furthermore, Kang Min-joo’s rejection of love, romance, and marriage with men, as evidenced by the line “She has no love, no sex, and no marriage,” is reminiscent of the anti-sexist attitude of Young-Young feminists, who rejected all relationships with men as forced heterosexism. However, unlike the Younger feminists, Kang Min-joo is caught up in the heterosexual compulsion to find and resolve her ‘soft’ feelings of human care, devotion, and warmth only in a heterosexual relationship, and is eventually eliminated by the male-centered logic that supports it. In particular, the experimental drama in the second half of the novel reintroduces the real-world gender norms that Kang Min-joo’s anger and determination overturned in the first half of the novel, thereby disempowering Kang Min-joo and empowering Baek Seung-ha. In the end, Kang Min-joo fails her new experiment by failing to escape heterosexual gender relations.

변신하는 주체와 심리적 현실로서의 환상 - 한강의 『채식주의자』를 중심으로

심진경 ( Shim Jinkyung ) 세계문학비교학회 2018 세계문학비교연구 Vol.65 No.-

This paper is about how The vegetarian of the Han Kang's the fantastic and the pathological are combined with the violence experienced by women in the society dominated by the patriarchal ideology, We will examine how pathology examines the 'normal / abnormal' criteria in our society. The vegetarian of the Han Kang is composed of a unique fantasy texture formed by combining pathology and reality. Such fantasy can be interpreted as the fantasy inherent in Han Kang which is difficult to understand with the existing theoretical framework. It is in two dimensions. One appears in the process of becoming a tree of YoungHae and the other in the process of becoming a spirit of InHae. In the vegetarian of the Han Kang, the desire to transform YoungHae into‘vegetarians-vegetative flesh-trees’ evolves under realistic conditions and circumstances without any mediator of fantastic devices. Eventually, becoming a tree of YoungHae turns out to be impossible in reality. In the process, however, the desire of the suppressed reality of the YoungHae creates the stage of fantasy summarized by psychical reality by confronting the problem of taboo within the limits of patriarchal ideology. The stage of this fantasy built on a realistic space that has been overtaken, brings tension to reality and thereby makes us recognize the reality familiar to us from a new point of view. In this series of novels, InHae emerges as a mediator for understanding the YoungHae of being a non-deterrent, other being and a speaker of the tree flame”. In the process of understanding YoungHae imprisoned in a mental hospital, the unintentional attempt to become YoungHae makes her become a borderline person. As a result, she experiences the instability and ambiguity of life existing between reality and unreal, normal and abnormal, life impulse and death impulse. Thus, the novel tacitly shows that this world is not as self-evident or transparent as our thoughts, through the reciprocal relationship with the spiritual partly.

1990년대 은희경 소설의 섹슈얼리티

심진경 ( Jinkyung¸ Shim ) 세계문학비교학회 2020 세계문학비교연구 Vol.72 No.-

The paper aims to examine how easily women’s sexual freedom turns into exploitable for men within the patriarchal discourse combined with capitalism, while women’s sexual deviance and freedom lead to the emergence of new female figures through the discourse on sexual liberation in the 1990s. The female characters in Eun Hee-kyung’s novel are not the subjects of sexual freedom and liberation, but rather the ones located on the “border” between the existing sexual order and sexual confusion. They play the subject of sexual desire and pleasure, leaning on a popular image of women’s desires on the one hand, but also masquerading as a passive subject who wants to remain the object of male desire on the other. This is why Eun Hee-kyung’s novel, while raising the issue of male ideology, does not go as far as overthrowing paternal authority. Based on this point, this article aims to look at the sexuality of Eun Hee-kyung’s novel in the 1990s in two broad aspects. One is an analysis of the sex scenes reproduced in the novel, while the other is an analysis of the gender hierarchy between “Looking at Me” and “Seeing Me.” And based on this, the article reveals that the female characters of Eun Hee-kyung’s novel in the 1990s are still trapped in the gaze of the male-centered patriarchal system while challenging and resisting the limitations of the male-dominated system. The female characters of Eun Hee-kyung’s novel in the 1990s can be regarded as hysterical subjects in that they want to make themselves objects of men’s desires while rejecting such a masculine order.