『매연』과 그 문학공간

오성숙 ( Sung Sook Oh ) 韓國日語日文學會 2008 日語日文學硏究 Vol.65 No.2

중일전쟁과 요시야 노부코(吉屋信子) -『여교실(女の敎室)』을 중심으로-

오성숙 ( Sung Sook Oh ) 한일군사문화학회 2015 한일군사문화연구 Vol.19 No.-

본 논문은 소설가로서 최절정기를 누리던 요시야 노부코가 1937년 주부의 벗사(主婦の友社)의 황군위문특파원, 펜부대로 본격적으로 중일전쟁에 뛰어들었던 행적에 주목하여, ‘전쟁’을 다룬 그녀의 첫 작품 『여교실(女の敎室)』(1939.1.1.∼8.2)의 ‘전쟁 편’을 다룸으로써, 중일전쟁 안에서 문학의 역할, 기능과 함께 요시야 문학에서의 전쟁협력의 양상을 살펴본 것이다. 요시야가 ‘전쟁’과 관련된 일련의 활동을 가능하게 했던 것은 다수의 견고한 여성 독자층이 이미 형성되어 있었기 때문이다. 『여교실』의 ‘전쟁 편’에서 흥미로운 점은 ‘전사’ ‘자살’을 비롯하여 ‘이별’ ‘출정’ 등으로 남성의 ‘부재’가 여의사들의 ‘자립’ ‘갱생’의 길로 이끌었다는 것이다. 총후 일본은 여성들만의 공동체, 나라가 되어 간다. 전시 하의 남성들의 ‘죽음’ ‘부재’로 말미암아 여의사들은 ‘국가의 보건위생’ ‘건민정책’의 국책 수행자라는 아이덴티티를 부여받으면서 ‘개인’을 넘어 ‘국민’으로 거듭나고 있었다. 여기에는 ‘연애’ ‘결혼’이라는 여성의 욕망이 말살, 은폐되는 기제로서 ‘정조’가 이용되며, 국가를 위한 희생, 헌신을 강요하면서 ‘자립’ ‘갱생’의 삶이 ‘일본 여성의 길’로서 제시되고 있다. 결과적으로 요시야 문학은 전시 하에서 ‘전쟁’을 긍정하는 시선을 제공하고 여의사들을 이상적인 ‘총후 여성’으로 거듭남을 보여줌으로써, ‘지성’을 갖춘 잉여적 중산계급층 독자들의 전쟁협력을 부추기는 역할을 다하고 있었다고 할 수 있다. This paper is to give attention to the past of Nobuco Yoshiya who was at the crest of a novelist at that time, plunged into the Second Sino-Japanese war in earnest as a consoling Japanese army correspondent of SHUFUNOTOMO and a member of pen corps in 1937, and to examine the aspects of war collaboration in Yoshiya``s literature together with the role and function of literature in the Second Sino-Japanese war by dealing with ``War Story`` which was her first work covering ``war`` in 『women``s classroom』(1939.1.1.∼8.2). The reason Yoshiya was able to do a series of activities related to ``war``, was because there were already a lot of women readers for Yoshiya``s works. The interesting point in ``War Story`` of 『women``s classroom』 is that the ``absence`` of men due to ``death on the battlefield``, ``suicide``, ``parting``, ``going to war`` and so on, led women doctors into the way of ``self-reliance`` and ``rehabilitation``. The rear Japan, off the front lines, was becoming a country of women, that is, a community of women only. As women doctors were assigned to the state policy performers of ``national health hygiene`` and ``healthy people policy`` due to the ‘death’ and ``absence`` of men in war time, they were reborn as ``people`` beyond ``individuals``. As they were forced to sacrifice for and dedicate themselves to the country, wiping off and covering up the women``s desires such as ``dating``, ``fidelity`` and ``marriage``, here they were led into the way of ``self-reliance`` and ``rehabilitation``. As a result, Yoshiya``s literature provided positive eye view for the ``war`` in war time and presented the rebirth of women doctors as ideal ``women in rear Japan``, consequently it can be said that her literature was playing its role completely to lure the war collaboration of redundant middle-class readers with intelligence.

피폭여성문학자 하야시 교코(林京子)의 원폭문학 : 원폭의 범죄성(정치권력)에 대항하는 서벌턴 여성 피폭자의 침묵과 증언을 중심으로

오성숙(Oh, Sung-Sook) 일본어문학회 2021 일본어문학 Vol.95 No.-

本論文では、林京子の原爆文学『無きが如き』を中心にサバルタン女性被爆者の表象を通じて沈黙と証言の意味を考察したもので、次のようにまとめることができた。 まず、長崎の娘は、被爆者でも非被爆者でも被爆者の運命、長崎の運命を​​背負って地獄のような終りのない8月9日を過ごしていた。ここでは、｢8月9日｣、｢長崎｣、｢原爆｣が結び付いて、社会からの偏見や差別に苦しみながら沈黙していた。 そして、サバルタン被爆者は、原爆の危険性、犯罪性をあらわすだけではなく、逆に原爆が無害性を反証する絶望感を感じていた。しかし、サバルタン女性被爆者は生き残った罪悪感と不思議の中で生き残った使命を覚えて長い沈黙を破って、8月6日、8月9日に声を出しはじめている。 最後に、林京子の原爆文学は政治権力に対抗し、時空を超えて人類の生存を脅かす核(原爆)の犯罪性を想起させる作業であったと評価することができる。ここでは、原爆神話崩し、そして戦争体験の風化、原爆体験の風化の警鐘でもある。 This paper examines the meanings of silence and testimony through the reproduction of Subaltern atomic bomb woman victims, around Kyoko Hayashi’s atomic literature, 󰡔Nakigagotoki (無きが如き)󰡕. The findings of the present study can be summarized as follows: First, the daughters of Nagasaki, who suffered from the fate of atomic bomb victims, whether they were atomic bomb victims or not, underwent hellish and unended August 9. They have become silent about the disastrous scene of the day, as they have been annoyed by the restraints including ‘August 9’, ‘Nagasaki’ and ‘atomic bomb’, as well as social prejudice and discrimination. Second, they despaired of the fact that the ‘survival’ of Subaltern atomic bomb victims does not only reflect the risk and criminality of atomic bombs but also its harmlessness ironically. Subaltern atomic bomb woman victims, however, remembered the mission of people who survived in the guilty of the survival and the mysterious fate. In August 6, they broke long silence and began to speak out about August 8. Third, Kyoko Hayashi’s atomic bomb literature attempts to remind us of the criminality of nuclear weapons (atomic bomb) threatening the survival of human beings, by transcending time and space. Her literature ultimately may be a resistance to the political authority favorable toward nuclear weapons. It is also a warning against breaking the myth of atomic bombs and the weathering of war and atomic bomb experiences.

여학생의 "우정"을 둘러싼 제국 일본 담론과 대동아공영권 -요시야 노부코(吉屋信子)의 『여성의 우정』『여교실』과 미디어 담론을 중심으로-

오성숙 ( Sung-sook Oh ) 한국일어일문학회 2015 日語日文學硏究 Vol.95 No.2

本論文は吉屋の戰爭協力に注目し、吉屋の少女小說から始まった「友情」が中日戰爭を通し、「大東亞共榮圈」という欲望のなかでどのように歪んでいったのかを明らかにしたものである。まず、帝國日本の女學生の「友情」は變態性欲の「同性愛」と「友愛」とが對立しながら展開された。このような對立が先銳化するなか、吉屋は「純碎な愛」という處女性を强調しながら、感情を刺激する少女だけの共同體を形成するに力を入れた。1930年代の「友情」は同性愛という變態性慾とは決別する。この時期の『女の友情』では結婚適齡期の女性が少女時代の感性的な「友情」を持ち續ける一方、男性に對抗する連帶意識へ擴張していくことがわかる。そして、女性に友情はないという社會偏見に立ち向かいながら、男性の專有物であった「友情」を女性も所有することになったと思われる。最後に、中日戰爭の時期である『女の敎室』では、日本女性の「友情」「連帶」が日本帝國を越え、世界人類の「女性」「連帶」へと擴大するなかで、人類や國境を越える「連帶」が見られる。このような女性の「友情」「連帶」の超越性は「大東亞共榮圈」の具現するための「親善」「平和」に爲造される機制だけではなく、帝國主義の侵略を隱蔽する機制として作用していることが窺える。 This paper aims to investigate and reveal how the concept of “friendship” that began in Nobuko Yoshiya’s girls novels is distorted with the coming of the Sino-Japanese War and the rise of “the Greater East Asia Co-prosperity Sphere.” First, the “friendship” among Imperial Japan’s schoolgirls unfolded in the background of a dichotomy between the perversion of “homosexuality” and “friendly affection”. With the backdrop of this sharp dichotomy in her novels, Yoshiya concentrates on forming a community of girls by accenting their innocence in the form of “pure love” and provoking an emotional response from the reader. By the 1930s, their “friendship” was expanding itself into the area of women’s solidarity against men. It went against the common notion of the day that women could not have true friendship among themselves. Now women could have a feminine type of “friendship” which had been monopolized by men up to that date. Another of Yoshiya’s works, The Women’s Classroom, which came out of the era of the Second Sino-Japanese War, portrays the “friendship and “solidarity” of women that goes beyond the boundaries of the Japanese Empire and seeks to establish itself as the “femininity” and “maternity” of the entire human race, and also “solidarity” across national and racial barriers. The universal appeal of such “friendship” and “solidarity” of women acts as a mechanism for establishing “the Greater East Asia Co-prosperity Sphere” under the pretext of “friendship” and “peace” and furthermore conceals the true motive for the Japanese Empire’s invasion of its neighbors.

최근 일본문학의 동향 -하루키 소설을 그 연결고리로 하여

오성숙 ( Sung Sook Oh ) 세계문학비교학회 ( 구 한국세계문학비교학회 ) 2015 世界文學比較硏究 Vol.52 No.-

본 논문은 최근 일본문학, 일본소설의 동향을 파악함에 있어 무라카미 하루키의 소설을 그 연결 고리로 하여, 형식적인 측면과 주제적인 측면, 독자에게 다가가는 마케팅적인 측면에서 검토한 것이다. 최근 일본문학은 순수문학과 대중문학의 구별에 이의를 제기하면서 순수문학을 넘어 대중문학으로 옮겨가는 한편, 서브컬처의 영향을 받으면서 문학사로 환원되기 보다는 커뮤니케이션 등 향유자(독자)를 중심으로 한 라이트한 문학으로 변모해가고 있다고 하겠다. 먼저, 형식적인 측면에서 살펴보면, 일본문학의 대표라고 할 수 있는 무라카미 하루키 문학을 비롯하여 일본문학은 서양의 문체로부터 그 신선함을 획득하고 있다. 또한 프랑스의 자연주의 수용으로부터 왜곡된 일본의 자연주의는 개인의 고백과 폭로성을 무기로 작가를 주인공으로 하는 사소설과 1인칭 소설 시점을 대중화하였다. 사소설은 개인의 폭로성을 넘어 사회성을 획득하며 현대소설에서도 진화를 계속하고 있다. 더 나아가 최근 젊은이들의 핸드폰 소설은 사소설적 성격의 커뮤니케이션 문학으로 그 위력을 발휘하고 있다. 주제적인 측면에서 최근 일본소설은 가족 로맨스를 중심으로, ‘아버지의 부재’가 두드러진 특징이라고 할 수 있다. ‘아버지의 부재’는 권위의 타파로 해석될 수 있다. 한편, 부재와 함께 패럴렐 월드(Parallel World)는 최근 3·11 동일본대지진을 계기로 일본문학에 나타나는 특징으로 볼 수 있다. 노벨문학상의 강력한 후보로 부상한 하루키 문학 또한 일본문학의 형식적, 주제적인 특징을 고스란히 담고 있다. 독자에게 다가가는 마케팅적인 측면에 주력하는 하루키 문학은 문학자체의 힘과 그의 문학이 갖고 있는 엔터테인먼트적인 요소가 대중성을 획득하면서 동아시아의 하루키 붐을 주도하는 한편, 세계문학으로 발돋움해가고 있음을 확인할 수 있다. This study discusses the recent trend of Japanese literature, especially Japanese novels from the formal aspect, thematic aspect and marketing aspect of approaching the readers in order to understand it. Raising objection to the distinction between pure literature and popular literature, recent Japanese literature moves to popular literature beyond pure literature, while influenced from subculture, it turns into light literature, centered around the enjoyers (readers) like communication literature rather than being reduced to literary history. First, from the formal aspect, Japanese literature, including Haruki Murakami``s literature, which can be said to be a representative of it, was obtaining its own freshness from the Western style of writing. In addition, Japanese naturalism distorted since the acceptance of French naturalism popularized I-novels and first-person point of view in novels with the writers as protagonists with weapons of personal confession and revelation. I-novels continue evolving in modern novels, obtaining sociality beyond personal revelation. Moreover, recent young people``s mobile phone novels were exhibiting their power as communication literature with characteristics of I-novel. From the thematic aspect, recent Japanese novels are prominently characterized by ``the absence of father’ centering around family romance. ‘The absence of the father’ may be interpreted as breaking the authority. In the meantime, along with the absence, the parallel world can be seen as a characteristic in Japanese literature, taking the opportunity of the recent Great Earthquake in East Japan on March 11. Literature of Haruki Murakami, who is emerging as a strong candidate for the Nobel Prize in Literature contains formal and thematic features of Japanese literature as it is. Haruki’s literature that focuses on the marketing aspect of approaching readers leads a boom in East Asia, as the power of literature itself and entertainment factor of his literature gain popularity, while it stretches itself as a global literature.

미디어의 "연애" 담론에서 『매연』의 연애로

오성숙 ( Sung Sook Oh ) 한국일어일문학회 2008 日語日文學硏究 Vol.67 No.2

8월 15일 패전과 여성, 여성문학자

오성숙 ( Oh Sung-sook ) 한일군사문화학회 2016 한일군사문화연구 Vol.22 No.-

본 논문은 여성, 여성문학자의 담론과 소설을 통해 1945년 8월 15일 패전을 기점으로 전복되는 관념과 가치에 대해 살펴본 것이다. 먼저, 일본의 패전을 말함에 있어, 일본이 말하는 종전, 정전이라는 표상은 일본의 침략전쟁에서의 `패전`과 `전쟁책임`을 은폐하고 있음을 논했다. 일본의 패전은 지금까지의 사회를 지탱했던 관념, 가치의 붕괴였다. 이러한 관념과 가치의 전복이 아무런 모순 없이 받아들여질 수 있었던 것은 `천황`이라는 존재의 역할이 켰기 때문이다. 둘째, 일본이 말하는 종전에는 슬픔과 충격을 넘어, 죽음에 대한 해방감과 일상의 회복이라는 기쁨이 여성, 여성문학자들에게 나타나고 있음을 알 수 있었다. 셋째, 일본으로 돌아온 귀환병은 승리한 것도 전사(戰死)한 것도 아닌 열등한 패전병으로 표상되면서, 일본사회의 범죄자, 성폭력자로 몰리고 있음을 발견할수 있었다. 넷째, 패전과 함께 미점령군의 상륙은 미군에 의한 부녀자 폭행이라는 유언비어를 만들어내기도 한다. 하지만, 이러한 미군, 미국에 대한 이미지가 전전(戰前)의 `귀축`의 이미지에서 패전을 기점으로 신사적, 과학적, 낙관적인 이미지로 전복되고 있음을 확인할 수 있었다. This paper examines the overturning of ideas and values after Japan`s defeat in World War II on August 15, 1945, through the discourses and novels of the women and literary women of Japan. First of all, with respect to Japan`s defeat in the war, this paper discusses the fact that the Japanese expressions “the end of the war” and “the armistice” attempt to conceal the truth of Japan`s outright “defeat” in its war of aggression. Japan`s defeat in the war meant the total collapse of the ideas and values which had hitherto sustained Japanese society. And the Emperor of Japan played a key role in enabling the Japanese to accept such an overturning of ideas and values without much conflict. Secondly, the end of the war as spoken of by the Japanese entailed a sense of liberation from imminent death and the joy of the restoration of day-to-day life, beyond the grief and trauma of war, in the eyes of the women and literary women of Japan. Thirdly, it is evident that the Japanese soldiers returning from the war were depicted as inferior losers, as they were neither victors nor those who had honorably died in war, which led to their being branded as criminals and sex offenders in post-war Japanese society. Fourthly, with Japan`s defeat in war, the arrival of US occupation forces brought about wild rumors of US soldiers sexually assaulting Japanese women. However, one can see that the pre-war images of the US and US soldiers as “cruel monsters” slowly gave way to a more positive image of them as gentle, rational, and romantic human beings.

요시야 노부코(吉屋信子) 문학의 전쟁책임 - `전쟁미망인(戰爭未亡人)`을 둘러싼 담론을 중심으로 -

오성숙 ( Oh Sung-sook ) 韓國外國語大學校 外國學綜合硏究센터 日本硏究所 2017 日本硏究 Vol.0 No.71

This paper is part of an effort to inquire into the war guilt in the literary works of Nobuko Yoshiya. Yoshiya`s literary works sought an exclusively female community for women who did not wish to follow the conventional women`s policy which entailed that a woman should be "a good wife and wise mother." Her literary works exhibit changes in the representation of widows and women in general as she joins the war effort as a member of "the Imperial Army comfort correspondents" and the "Pen Unit" when the Sino-Japanese War broke out. In this study, we will see that Yoshiya`s novel "the Widow" emphasizes the "maternal instinct" and "sacrifice" which her other previous works of literature did not deal with. We will also see that her novel is in sympathy with the women`s policy of the time and the remarriage denial which was part of the expected discourse concerning the women of the day. We have also pointed out that the symbolism which had been imposed only on war widows was being transferred also to widows in general. The Sino-Japanese War, also known as "the Hundred Years` War" or "the Eternal War," made all the soldiers` wives on the home front potential war widows. In this way, Yoshiya`s literary works needed to construct an idealized image of the "war widow" or just "widow" because of the fact that a great number of Yoshiya`s readers were women. To meet this need, Yoshiya`s works provided a driving force for the war by imprisoning women in a system of sacrifice and endurance. For this reason, it is thought that we can pursue a close inquiry into the war guilt in Yoshiya`s literary works.

일본문학(日本文學),일본학(日本學) 편(篇) : 일본 여성과 내셔널리즘 -오쿠무라 이오코, 애국부인회를 중심으로-

오성숙 ( Sung Sook Oh ) 한국일어일문학회 2011 日語日文學硏究 Vol.77 No.2

本論文は、日本女性とナショナリズムという觀点から、日本のナショナリズムに積極的であった女性であり。朝鮮や大陸開發に熱誠的であった奧村五百子を論じたものであった。とりわけ、日本女性の自發的なナショナリズムに注目したものでもあった。まず、一章では、先祖奧村淨信法師が文祿の役の前から朝鮮にわたり、布敎と朝鮮侵略に積極的に加擔した人物であったこと、そして彼の子孫である五百子が朝鮮開發の使命を帶び、朝鮮の光州に渡ったのは奧村家からみると偶然ではなかったのを論じた。結局、女丈夫、女傑である五百子は、大陸の開發、植民地建設という國家的な使命を受け、朝鮮に渡ったのであった。これは、女性として家庭を離れて社會、國家的な使命をやり遂げるためには、男性を凌ぐ女丈夫、女傑でなければならなかった時代の要請からでもあった。しかし、淸日戰爭、露日戰爭などの大陸侵略戰爭に直面していくうちに、日本は女性の力が絶對的に必要となった。その背景から、愛國婦人會がうまれ、愛國婦人會の活動は國家的な事業であり、男性の役割を代る事業であった。當時、戰時總動員體制という意識が成立する前、愛國婦人會は「戰地は男子、戰死者、負傷者、その遺家族という銃後は女性」という公式を形成させた。帝國主義を指向し、世界へ視野を廣げていくなかで、近代日本は「愛國」「國民」という名で女性にも積極的に國家の發展に寄與することを訴えながら、社會的責任を果たすことを求めた。また、戰前まで多くの彼女の再生産物(評傳、名婦傳、傳記小說、劇、映畵)を中心に、五百子の表象という面から論じた。その結果、五百子は、英米の帝國主義が日本を侵略する激動期に生まれ、祖國日本のための「愛國の母」、大東亞共榮圈の「東アジアの母」として日本のナショナリズムの眞ん中に立っていた女性であったことが分かった。

森田早平の<煤煙事件>

오성숙 ( Sung Sook Oh ) 韓國日語日文學會 2009 日語日文學硏究 Vol.70 No.2