1960년대 과학소설의 팽창주의 욕망과 남성성

장수경(Jang Sukyung) 한국아동청소년문학학회 2018 아동청소년문학연구 Vol.- No.23

이 글은 1960년대 한낙원의 『우주항로』와 『금성탐험대』를 중심으로 당대 아동청소년을 위한 과학 소설에서 남성성이 어떻게 구성되고 이미지를 형성하였는지를 살피는 데 목적이 있다. 1950-60년대는 미소냉전 체제를 중심으로 우주 개척에 대한 열광, 유행, 최면(催眠)이라고 할 수 있는 대중들의 욕망이 영화, 텔레비전, 라디오, 신문과 잡지 등의 인쇄 매체에서 과학소설의 형식으로 유통, 소비되었다. 아동청소년을 위해 창작된 과학소설에서는 우주개척에 대한 팽창주의 욕망이 발동하면서 두 가지 서사적 특징이 드러난다. 첫째, 과학소설에서는 팽창주의 욕망과 소년영웅의 귀환을 통해 강인한 남성성을 재구축하려는 시도가 나타났다는 점이다. 과거 제국주의적인 남성성의 문화가 병사와 영웅의 이미지로 남성성의 문화를 구성했다면, 1950년대 후반에는 전쟁의 폐해로 인해 남성성이 위축되면서 병사와 희생자(불구자)의 이미지로 변모하였다. 그런데 1960년대로 오면 과학소설을 통해 소년영웅이 귀환하고 팽창주의 욕망이 드러난다. 다만 모험의 장소가 지구에서 우주(화성과 금성)으로 공간을 이동하였다는 것이다. 둘째, 불완전한 타자들과의 분리를 통해 완전한 남성성의 이미지를 구축하고 남성중심의 문화를 강화하려는 시도가 나타난다. 과학소설에서 여성은 통신원과 같은 부차적인 인물로만 기능하며, 이들은 외계인(敵)에게 갇힌 몸이 되거나 우주선에서 기다리는 역할을 하는 수동적인 여성상으로 존재한다. 특히 여성인물들은 적에게 납치되어 남성들이 여성을 구출하기 위해 적진까지 침입하는데 죽음을 각오한 투쟁을 통해 지도자적 남성성이 강조된다. 또한 외계인은 위대한 문명을 건설했음에도 불구하고 ‘늙은 개구리’나 디즈니에 나오는 ‘오리’ 같은 우스꽝스럽고 징그러운 동물적인 이미지로 비하된다. 이는 고결한 남성성을 강조하기 위한 것으로 여성과 외계인을 타자화한 것이다. 1960년대 급속한 산업화를 추진하기 위해서는 강한 남성성이 필요하다는 사회적 분위기가 팽배하였다. 이는 과학소설에서 우주에 대한 팽창주의 욕망과 함께 강인하고 완전한 남성성을 문화적으로 이미지화하는 것으로 나타난다. The purpose of this study is to examine Han Nak-won’s 『Woojuhangro』and 『Geumseongtamheomdae』to see how the aspects of masculinity were constructed culturally in children’s science novels of the time and how they formed images then. In the 1950’s to 60’s when there was the Cold War between the US and the Soviet Union, the public’s desire that could be summed up as enthusiasm, trends, and hypnosis about pioneering the universe was distributed and consumed in the forms of SF through newspaper or magazine’s articles, movies, the television, radio, or printed media. As children’s SF narratives triggered expansionistic desire about pioneering the universe, two narrative characteristics were revealed then. First, with expansionistic desire and the boy hero’s return, they tried to reestablish powerful masculinity culturally. Previously, the imperialistic culture of masculinity constructed the culture of masculinity with the images of solders and heroes, but the 1960’s, masculinity got withered due to the harmful consequences of the war, and their images were changed to solders and the handicapped. In the 1960’s, however, boy heroes returned through SF novels, which revealed expansionistic desire. Yet, it was just about the change of places for adventure from the Earth to the universe, for example, the Mars and Venus. Second, through separation from incomplete others, they tried to establish the perfect image of masculinity and reinforce male-oriented culture. In SF novels, women function as an auxiliary character like a correspondent and exist as a passive female image playing roles as a being either trapped by alien enemies or just waiting in the spaceship. Particularly, when the female characters are kidnapped by the enemies, men penetrate deep into the enemy’s position to save them, and here, through their struggle in spite of death, their masculinity as a leader is highlighted. Also, although they have achieved great civilization, aliens are depicted there as either ridiculous or gross animal images, for instance, ‘an old frog’ or ‘a duck’ in Disney. This is to stress the nobility of masculinity by describing the images of women and aliens as others contrastively. As examined above, in the 1960’s, there was an overflowing social atmosphere demanding powerful masculinity to promote industrialization as rapidly as possible. In fact, SF narratives contributed to creating the images of expansionistic desire towards the universe as well as complete and powerful masculinity culturally then.

한낙원 과학소설과 포스트 휴머니즘

장수경 ( Jang Sukyung ) 건국대학교 동화와번역연구소 2021 동화와 번역 Vol.41 No.-

In today's science fiction, the post-human subject is a complex arrangement of human beings and non-human beings, planets and spaces, given and made, and demands a holistic readjustment of our way of thinking. From this point of view, the purpose of this paper is to examine how a post-global and post-human perspective appears and forms meaning. Its main focus is on Han Nak-won's science novels, “People Who have gone to Mars”, “The Lost Boy”, and “The Venus Expedition”. Han Nak-won's science fictions deal with expanded space from the Earth to the universe. In the universe, human beings show posthumanistic perspectives in that they broaden their relationship with the others through unfamiliarity such as “becoming an alien.” This text reveals the terraforming imagination of a planet other than the Earth and the posthuman value through two opposing characters. Adults who symbolize antrophos in the text set up factories on Mars and Venus to transform them into an environment similar to Earth. The characters' thoughts show the violence of humanism in that they are based on capitalist and selfish desires. On the other hand, children and aliens are represented as nomadic subjects, and the characters are open to all others. The post-human subject expands the relationship between human and other life based on transversality and tries to build solidarity with them. In this respect, these novels show positive aesthetic. As discussed above, Han Nak-won’s novels expands the relationship between human and non-human beings into transverality by moving space from earth to space. In addition, characters are characterized by seeking ethic of coexistence with others based on integrated thinking. The post-human value is meaningful in that it acts as a basis for recognizing the relationship and interdependence between the Earth and the non-Earth environment, and between human and non-human beings.

소설 『작은 아씨들』과 영화 <작은 아씨들> 스토리텔링 전환 양상과 의미

장수경 ( Jang¸ Sukyung ) 건국대학교 동화와번역연구소 2020 동화와 번역 Vol.40 No.-

This study attempts to provide strategic adaptation of three versions of film based on the different periods, to tell the story of the original novel Little Women. They are focusing on narrative structures and personality changes of the characters. For this, I will examine how the main stream of storytelling are changed from the original novel to the 1949 film, the 1994 film, and the 2019 film respectively. The combination of two perspectives in the original novel of Little Women opens up diverse possibilities for interpretation. First, it directly reveals on the surface of the novel as an edifying message through contents that provide education on femininity that was demanded in the 19th century. Second, it displays subversive imagination, taking advantage of existing cultural values and morals. In particular, the original novel opens up possibilities for new interpretations in that it conflicts with contemporary moral views or values through the lines or action descriptions of the characters. The mixed values of the original piece also affected the reinterpretations of the three films. The 1949 film focuses on the romantic lives and marriages of the daughters to compose the whole narration, reproducing a story of a moral family saga. Therefore, the 1949 film is limited in that it reproduces male-centered and traditional values by focusing the traditional and conservative lives of families and women on marriage instead of on the unique character compositions of each character. There is a time gap between the 1994 film and the 1949 film and they reveal values of changed feminity. The 1994 film changed the personalities of some of the characters to externally reveal subversive voices on traditional feminity and it reveals the changed values and morals of today in that the film was made from perspectives that support feminism. The 2019 film reinforces feministic views dealt with in the 1994 film and focuses even more on narrations through which the characters attempt to fulfill their dreams. This piece places the character of ‘Jo’ in the center to show narrations of a sense of challenge and achievement in relation to the dreams of today and develops the stories of the four daughters through cross editing. The 2019 film displays views that are different from those of the 1994 film in that it attempted to make reinterpretations of hidden meanings in the original piece to be appropriate for today by reinforcing the characters of ‘Jo’ and ‘Amy’ and their processes of dream fulfillment. Like this, the novel Little Women has elements of newness in that it shows possibilities of diverse interpretations through the rich imagination and multi-layered problem awareness of the original work. It is anticipated that the diverse possibilities of the original Little Women will graft with diverse perspectives of contemporary social and political realities to display free imagination.

드라마 <라켓소년단>의 청소년 캐릭터와 서사전략 연구

장수경 ( Jang Sukyung ) 건국대학교 동화와번역연구소 2022 동화와 번역 Vol.43 No.-

The purpose of this study is to examine how youth characters and narrative strategies appear and acquire meaning, focusing on the drama “Racket Boys.” The drama, Racket Boys, showed a new possibility of the drama in that it was successful by expanding its subject matter to unpopular sports. The characteristics of this drama are summarized as follows. First, the drama shows 6 characters with different personalities. and It presents a picture of a youth trying to cross the boundaries of their dreams. It also captures the image of ordinary youth living now-here. This satisfied the desire of viewers who wanted to talk about individual characters, away from the stereotypical character of the stereo type that appeared in the existing youth characters. Second, this drama is meaningful in that it attempted a narrative strategy that can be enjoyed by various youth viewers. The drama takes three narrative strategies. First of all, this drama reinforced the character of sports genre of sports. Second, the literary norm of the love story was strengthened. Third, characters show the characters growing together through relationships with peer groups. Furthermore, the drama helps teenagers enter a new world of growth in that they open their minds, communicate with friends, and grow together in large spaces such as “field” and “sea” rather than narrow spaces such as “school” and “home”.

1960년대 『가톨릭소년』과 어린이 교양

장수경 ( Jang Sukyung ) 건국대학교 동화와번역연구소 2018 동화와 번역 Vol.35 No.-

The purpose of this study is to closely examine the system and contents of Catholic Boys published in the 1960’s and explore how children’s refinement was planned and organized through which contents and system for description in the 1960’s. Catholic Boys is a general magazine for children, and its first issue was published on January 1, 1960. Regarding the magazine’s editing system, 1/3 forms religious contents, another 1/3 is about literary contents, and the rest 1/3 is composed of entertaining contents for learning or hobbies. Many pages of this magazine were particularly used for literary contents and intended for children’s culture movement. It has significant meaning in the history of children’s culture because we can capture how the contents of children’s refinement were organized at that time with this magazine. First, a space science novel was published serially on Catholic Boys for a long period. This is associated with their desire for the future of Korea enjoying scientific development.By suggesting children who would be the future leaders to show concern and interest towards science, this magazine told them it would be the virtue of contemporaries of refinement to be equipped with scientific as well as universal knowledge then. Second, this magazine continuously dealt with how to enjoy culture and arts, for instance, ‘masterpieces’, ‘noted movies’, or ‘plays’, and revealed their desire for the elements of refinement contemporaries should be equipped with in the aspects of Western culture. Particularly, in the introduction of masterpieces, they used the storytelling of ‘exposition-text synopsis-introduction to the writer’ and stressed the fact that children should grow up equipped with universal intelligence. Third, Catholic Boys introduced its 4 major culture projects and also the trends and events in the circles of children’s literature aggressively and wrote articles about them. It did contribute to distributing and spreading information in the circles of culture then to readers positively. With this process, the magazine urges children to realize it is the virtue of contemporaries of refinement to raise the power of thinking and create sound culture for children. As examined above, from 1960 until now, Catholic Boys has been suggesting knowledge and the practice of good deeds as the virtue of children’s refinement. The contents of children's refinement formulated in the 1960's can be regarded significant in that they are still being reproduced for education for children's refinement.

<뽀롱뽀롱 뽀로로>에 나타난 놀이 연구

장수경(Jang Sukyung) 한국아동청소년문학학회 2016 아동청소년문학연구 Vol.- No.18

This manuscript divided the aspects of play appearing in the 52 shows of season 1 of <Pororo> into the four domains of Agon, Alea, Mimicry, and Ilinx according to the classification of Roger Caillois and observed their properties. The characteristics of play in season 1 of <Pororo> are as follows. First, the characters in <Pororo> begin play because of a playful desire, pursue competition in the process, and realize creativity. Furthermore, properties of children’s play are exposed through the point that the element of Alea in <Pororo> gains abstract symbols such as ‘a beautiful flower garden’, ‘friendship’, and ‘friends’ as a result of luck. Second, Mimicry and Ilinx play are repeated and varied in <Pororo> and in such play, desires for growth and a sense of freedom are often satisfied simultaneously. The characters want to escape reality through Mimicry and they realize their desire to become adults through acting and with an imagination which projects a new reality. Also, the characters satisfy a sense of freedom by enjoying mental ecstasy (1’extase) such as furious spinning or fear. As observed thus far, the greatest significance of <Pororo> is that its characters display the desires of children and an understanding through free play. The results of this study exceed existing perspectives through which children’s animations were discussed from a formal level as educational, interesting, or successful contents, as they enlighten people to how important the development of contents which realize the desires of children is. However, this manuscript simply revealed the properties of children’s play in <Pororo> and was unable to deal with the viewpoints of consumers. Also, because the research scope of this manuscript was limited to season 1 of <Pororo>, it was limited as it did not generally deal with the properties of play in seasons 2, 3, 4, and 5.

마해송의 동화에 나타난 연민의 양상과 의미 - 단편동화를 중심으로 -

장수경(Jang, Sukyung) 한국아동청소년문학학회 2021 아동청소년문학연구 Vol.- No.28

이 논문은 누스바움의 연민의 개념 중 세 가지 인지적 요소를 활용해 마해송의 동화 「어머님의 선물」, 「형제」, 「오돌돌 한우물」, 「꽁초노인의 새장」에 나타난 연민의 양상과 의미를 탐색하는 데 목적이 있다. 첫째, 「어머님의 선물」과 「형제」는 ‘부모-자식’의 갈등관계에서 연민의 감정이 화해와 친밀감을 형성하는데 강력한 동기를 제공한다는 데 주목한다. 「어머님의 선물」은 ‘죽음’이라는 인간 필멸의 문제를 다루면서 연민의 감정이 서로 이해하고 연대하는 통로로 작동한다는 데 의미를 부여한다. 또한 「형제」에서는 ‘부모-자식’의 관계에서 연민의 감정이 자식을 고유한 개별성을 지닌 존재로 이해하고 억압과 차별을 해체하는 동기가 된다는 점에서 감정의 중요성을 강조한다. 둘째, 「오돌돌 한우물」과 「꽁초노인의 새장」은 연민의 감정을 ‘인간-동물’의 관계로 확대해 공존과 연대의 상상력을 드러낸다. 「오돌돌 한우물」에서는 연민의 감정이 ‘인간-동물’이 서로 종의 경계를 해체하고 연대와 공존을 추구할 수 있음을 보여준다. 「꽁초노인의 새장」은 동물에 대한 연민의 감정이 동물을 소유물처럼 간주하거나 관리자의 역할을 자처하는 교만에서 벗어나게 해주고, 진정한 상생을 구현하도록 해주는데 가교 역할을 한다는 점을 강조한다. 이상에서 살펴본 바와 같이 마해송의 동화는 인간의 삶에서 연민의 감정이 타자를 이해하는데 강력한 동기를 제공하며, 도덕적, 사회적 가치 판단과 실천에 긍정적 비전을 갖게 한다는데 의미가 있다. The purpose of this study is to explore the aspect and meaning of compassion in Mahaesong’s fairy tale by applying three cognitive elements of Nussbaum’s concept of compassion. For this purpose, we intend to analyze “Mother’s Gift”, “Brother”, “A well of Odoldol”, and “Ggongcho Old Man’s Birdcage”. First, ‘Mother’s Gift’ and ‘Brother’ pay attention to the fact that the emotion of compassion provides a powerful motive for forming reconciliation and intimacy in the conflicting relationship between ‘parent-child’. ‘Mother’s Gift’ deals with the mortal issue of ‘death’ and gives meaning to the fact that compassion works as a channel for understanding and solidarity with each other. In addition, "Brothers" emphasizes the importance of feelings in the sense that the emotion of compassion in the ‘parent-child’ relationship is a motive for understanding the child as a being with unique individuality and dismantling oppression and discrimination. Second, “A well of Odoldol” and “Ggongcho Old Man"s Birdcage” expand the emotion of compassion to the “human-animal” relationship, revealing the imagination of coexistence and solidarity. In “A well of Odoldol”, the emotion of compassion shows that ‘human-animal’ can dismantle the boundaries of each other and pursue solidarity and coexistence. “Ggongcho Old Man"s Birdcage” shows compassion for animals, freeing them from the pride of considering animals as possessions or taking on the role of managers. In this respect, this work emphasizes that it serves as a bridge in enabling humans and animals to realize coexistence. As discussed above, the emotion of compassion is applied in Mahaesong"s fairy tale, providing a powerful motivation for understanding others in human life, and helping to develop a positive vision for moral and social value judgment and practice.

권정생 동화에 나타난 사랑의 양상과 의미 - 『중달이 아저씨네』와 『빼떼기』를 중심으로 -

장수경 ( Jang Sukyung ) 건국대학교 동화와번역연구소 2017 동화와 번역 Vol.34 No.-

This article takes a look at the aspect and meaning of Love with the focus on Uncle Jungdal and Bbaddegi, the fairly tales of Kwon Jung-saeng. Main flow of literature of Kwon Jung-saeng is ‘Love’ and the manifestation method of the love is displayed in the tendency of freedom from avarice and generosity in the works. First of all, Bbaddegi displays the point of view of generosity(generosite). This work has the chicken with burning injury to pay attention to the fact that practice of love turns into a situation with impossible to practice love in encountering of the situation of external violence when people follows the method of division for the method to practice sharing. In particular, as the first victim of a war, the death of Bbaddegi is even more tragic in the point that sacrifice of the most vulnerable and pitiful being would be the starting point of violence in this story. Under the reality where war or illegal force controls, humans attempt to practice love through generosity, but this is failed by physical force at all times that Bbaddegi inquires paradoxically what method should be facilitated for practicing of true love. Next, in Uncle Jungdal where the point of view of freedom from avarice(desinteressement) is well displayed, an idiot is emerged to tell that sharing through freedom from avarice would be the method that displays the relationship of true human and the world. In this work, Uncle Jungdal part away with the existing traditional value of exchange in the point that it facilitates the criteria in buying goods like 'one piece, two piece' and so on, not the method of understanding with the social standard unit of land in 'One Parcel, Two Parcel' and so on when its share is divided. This work structures the narrative of irony in that the expression of ‘Love’ in paradoxical way to be available when the passion of freedom from avarice to give a half of mine and then the rest is all given away, not for the method of installment. As such, these two works formulate aesthetically that the point of view on freedom from avarice is much more humane method of love when Kwon Jung-saeng displays the love. However, this article has significant limitation in the point that it is the study limited on two fairly tales of Kwon Jung-saeng. The insufficient parts in this study would be supplemented through the studies at a later time.

백희나 그림책에 나타난 헤테로토피아

장수경 ( Jang Sukyung ) 건국대학교 동화와번역연구소 2024 동화와 번역 Vol.48 No.0

The purpose of this paper is to examine how the aspect of heterotopia is realized and formed, with a focus on Baek Heena's picture book Moon Pops, The bath Fairy, I'm a dog, and Magic Candies. Based on this analysis, two main conclusions are drawn. First, in Moon Pops and The Bath Fairy, ‘water’ functions as both a place and contra-space that challenges modern civilization. It mobilizes imagination toward the outside, drawing from the historical and cultural contexts of 'apartments' and 'public baths' in Korea. These contra-spaces make us imagine the outside of the norms of arrangement that otherize the now-here and operate within this space. In this sense, 'water' reveals the heterochronia of the past and present by positioning apartments and public baths―symbols of modernization in Korea―as spatial others. Second, in I’m a dog, and Magic Candies, ‘sound’ is connected to humans, animals, objects, and nature, which allows it to penetrate the body's space, secure areas, and sensibly recognize that all beings are interconnected through various sounds. In other words, ‘sound’ becomes a passage that leads the space closed by the suppression and anxiety of reality to an open heterotopic space where the senses are alive.