일본문학의 수용 : ‘상실’의 시대가 재구축한 『노르웨이의 숲』

조헌구 대한일어일문학회 2018 대한일어일문학회 학술대회 발표논문 요지집 Vol.2018 No.4

귀환자가 표상하는 한·일 근대 소설의 특질:비교 연구 관점에서 - 감정 공유 공간으로서의 도쿄를 중심으로 -

조헌구 한국일본어문학회 2019 日本語文學 Vol.82 No.-

This study excluded from the text interpretation the 'growth' that the narrative constructed from the synchronic, centered on the texts represented in the modern space of Korea and Japan. It focuses on the surroundings of ‘discours’ and examines the relationship that the characters create and the ‘discours’ in the space where the relationship is made. Through these study, the researcher extended the elements of 'inside(reality)' and 'outside (unreality)', which are the criterion for classifying the fictional text, to derive the meanings of the boundaries between them. The beginning of 'novel' in Korea and Japan can be redefined by studying the semantic expansion of 'discours' in this boundary area. It begins with the discourse that cultural conflicts triggered by 'imported words' beyond the limit of being 'imported' have led to the discovery of new narrative forms.

토포스로서의 담론 가능성 고찰 : 『만연원년의 풋볼』과 『광장』에서 보이는 ‘회귀’와 ‘탈출’을 중심으로

조헌구 韓國日本文化硏究會 2011 日本文化論叢 Vol.11 No.-

『万延元年のフットボール』と『広場』、二つの作品の間にはいかなる接点もないように思われる。が、大江健三郎と崔仁勳、そして作品の内的空間に焦点を合わせるとサルトルの実存からフーコーのヘテロトピアまでつながる相互関係が見える。現実世界の実存として人々が自由でいられるユートピアを夢見たのが万延元年のフットボールでの都市というならば、蜜三郎と鷹四と菜採子はその都市でそれぞれ挫折を経験している。しかし'『万延元年のフットボール』が語っているのはその挫折から再び立ち直るために帰るトポスとして想定されている谷間の村である。その谷間の村は百年前からの歴史的時間をそのまま持ち続けているトポスであるし、現在には朝鮮人が運営するスーパー·マーケットによる経済支配に左右されている。本研究はこのような谷間の村を今までユートピアとして見なしてきた先行研究から第三の他なる空間としてフーコーが取り上げた、目的の多様性がみとめられているへテロトピアとして新しい解釈を試みる。そのため、'『万延元年のフットボール』から見られるトポス的移動をユートピア探しではなく、へテロトピアへの回帰であることをより一層明確にするための方法として、冒頭に挙げた崔仁勲の『広場』と比較する。『広場』はいままで韓国の文学史では実存のイデオロギー的解釈によって位置づけられてきた。結論から先に言うと、『広場』はマクロ的には社会的空間をめぐる回帰性の強い実存的な空間構造を持っているが、ミクロ的に具体化すると個人的空間への脱出として解釈することができる。その脱出の意味を崔仁勲において相対化してみると、個人が持ったトラウマを一九五〇年代韓国社会が持った社会的特殊性と結びつけ、戦時イデオロギーから脱出できたと言い換えることができる。そして、従来の実存のイデオロギー的解釈を超えることがこの大江の『万延元年のフットボール』との比較によって、できるのではないかと期待する。

『용의자 X의 헌신』, 텍스트의 소비공간과 그 변용

조헌구 일본어문학회 2018 일본어문학 Vol.81 No.-

In this paper, the researcher reinterprets the meaning of ‘poetic spirit,’ ‘novel without narrative which seems to be a story line,’ ‘structural beauty’ and ‘a story telling novel’ by deriving the keyword ‘expression’ in the literary debate between Akutagawa Ryunosuke and Tanizaki Junichiro in 1927 and based on this, the researcher considers the characteristics of space for text acceptance in Korea and Japan. The subjects of this study are Korean and Japanese movies based on novel 『The Dedication of Suspect X 』(2005). The researcher compares the difference between the two films. It is confirmed that the film made in Korea has built a love story that is not represented in the original novel, otherwise the film made in Japan has removed the beautiful story of “devotion” expressed in the original. However, neither of them is completely re-creating or omitting the world of the novel 『The Dedication of Suspect X』 which is mentioned in the literary debate. Just merely it can be said that the two works are constructed as ‘expressions’ that differ from each other in consideration of the acceptance aspect where they are consumed.

본격 미스터리의 장르적 변용이 가져온 새로운 추리 공간의 탄생 ―<12명의 죽고 싶은 아이들>의 영화적 표상을 중심으로―

조헌구 한국일본문화학회 2021 日本文化學報 Vol.- No.89

This study analyzes the transformation of the mystery genre through an alteration in story structure as exemplified by the film 12 Suicidal Teens. It examines the process by which a divided detective story is dissolved and the new range of such a process by leading with art from a history of literature. First, the structure of the story in the film 12 Suicidal Teens is analyzed. As a result detective story caused change to mystery from a detective story as expansion of the range of the novel. And the special quality as the genre became extinct and detective story could get a symbol of art and could confirm the thing which plays the role more than builds a story of mystery. A successive change in the post human-like situation is dissolving a detective story as the genre at present. Therefore, there is a need to consider this new possibility for mystery and its process from topos.

‘나’라는 소설가, 다시 만들어지다

조헌구 대한일어일문학회 2017 대한일어일문학회 학술대회 발표논문 요지집 Vol.2017 No.4

『飼育』での閉鎖と開放の轉倒

조헌구 한국일본언어문화학회 2007 일본언어문화 Vol.10 No.-

‘상실’의 시대가 재구축한 『노르웨이의 숲』 - 1990년대 한국문학의 포스트모더니즘을 중심으로 -

조헌구 일본어문학회 2018 일본어문학 Vol.83 No.-

Researchers have considered the reinterpretation of modern literature acceptance in the early Meiji period as a critical discourse of Japan in the 1980s and the collapse of the binary oppositional framework of the pure literature and the popular literature triggered by Murakami Haruki’s novel 『Norwegian Forest』. And in connection with this, I have focused on the critical discourse in the text construction of the new generation of Korean writers in the 1990s. As s result, I realize that the critical discourse which was generated in the process of accepting 『Norwegian Forest』 changed to 『the age of loss』 in Korea is linked to the American postmodernism, and through it, novels in the 1990s built storytelling and narrative in the area of ​​‘culture.’ In other words, in the 1990s, the new generation of Korean writers attempted to borrow a heterogeneous culture, not a relativity of the existing system. 本稿では1980年代に行われた日本の批評的ディスクールである明治初期における「小説novel」の受容とそれの再読、村上春樹の『ノルウェーの森』が呼び起こした純文学と大衆文学の二項対立的構図の崩壊を検討した上で、そのプロセスに沿って1990年代の韓国の新人作家たちが物語を構築するに見られる批評的ディスクールに注目し、そこから表象された「小説fiction」の特質を考察した。 その結果、『ノルウェーの森』が『喪失の時代』に変わって受容されながら形成された批評的ディスクールがアメリカ的ポストモダニズムとリンクされているといえるし、それを通じて「カルチャー」の領域から物語(story)と物語言説(narrative)が構築されている「小説fiction」という特質がテクストとして表象されたと思われる。すなわち1990年代における韓国の新人作家たちは既存のシステムに対して相対化するのではなく異質な文化の借用を試みたと言える。

오에와 하루키, ‘이야기하기’를 통한 서사구조의 비교문학적 연구

조헌구 대한일어일문학회 2015 일어일문학 Vol.66 No.-

Since 1990’s, we have been living in a time when literature has lost its position as total culture and is considered as sub-culture, which is surrounding culture. This research has significance for the fact that it tries to approach ‘Genzaburo Oe’ and ‘Haruki Murakami’ by reverting these people to cultural text, not to culture, in the context of master narrative, constructed in the absence of total culture. Namely, by accommodating these people as cultural text, this paper progressed discussion on ‘Oe’ and ‘Haruki’ keeping existing social ‘discourse’ on them, formed in Korean society, away. As a step towards it, this paper brought 『Letter to faint nostalgia』 and 『Norwegian Wood』 as main comparison subject texts. Each text has something in common in that it has similar way of building a story, but has difference in the story of ‘I’, namely Oe and Haruki tried some changes on the narrator’s ‘discourse’. Based on above common ground, this paper compared and analysed between the story of ‘I = A NOVELIST K’ and ‘I = WATANABE’ in the ‘discourse’ level putting distance from the Expression of Autobiographical Memory. As a result of that, this paper could draw out the analysis possibility of ‘I’, who leads readers to meta-fiction.

메타인지가 표상하는 중층적 이야기구조의 ‘사실’과 ‘허구’—<신조합평회>와 <조선문단합평회>의 텍스트를 중심으로—

조헌구 한국일본문화학회 2022 日本文化學報 Vol.- No.94

This study attempted to derive peculiarities in "the symposium sponsored by Shincho" through comparison to "the symposium sponsored by Choseonmundan" with the methodological aspects of the novel. As a result of the discussion, it was confirmed that the text of "the symposium sponsored by Choseonmundan" was discussed after recognizing "fiction" as a plot, and it was argued that the text of "the symposium sponsored by Shincho" was encapsulated in "facts" but was evaluated in a critical space that could recognize "fiction" as a plot and could recognize "new forms". Finally, narrative discourse on the method of the novel created from this critical space is unique as a process in which a multi-layered narrative structure methodically constructed to represent "facts" gradually recognizes "fiction" beyond "realism". At the same time, I was able to explain this process in the metacognitive way of the narrator, that is, as "presentation" and "explanation". 本研究は小説方法論的側面から<朝鮮文壇合評会>との比較を通じて<新潮合評会>の特殊性を導き出そうとしたものである。考察の結果、まず<朝鮮文壇合評会>のテクストは「虚構」をプロットとして認知した上での議論されたことが確認できたし、これを通じて<新潮合評会>のテクストは「事実」に閉じ込められているが、「虚構」をプロットとして認知できる「新しい形式」を認知できる批評空間で評価されたと論じられた。 そして、その批評空間から造られた小説の方法に関する物語言説は「事実」を表象するため方法的に構築された重層的物語構造が次第に「写実」の彼方にある「フィクション」を認知していくプロセスとしての特殊性を持ち、そのようなプロセスを語り手のメタ認知的な方法、すなわち「提示」と「説明」として説明することができた。