日本における韓流

Masahide 한국일본근대학회 2017 일본근대학연구 Vol.0 No.55

This essay settled the result that I investigated for eight women in Kyoto from the teens to 50 generations in 2015 about the Korean wave in Japan. In late years verbal explanation called "the Korean wave was over" is frequent in Japan. However, as a result of investigation, the Korean fan of the old and middle age woman enjoyed Korean contents without changing. And I understood that a youth enjoyed the Korean wave actively.The study of Korean wave in conventional Japan had many things which analyzed the reception form of the old and middle age woman, but thought that it might be necessary for an investigation to analyze the reception form of the youth more. In addition, the Korean wave in Japan plays a role as the mirror to project Japanese society on. Through the mirror, the Japanese problems such as the loss of absence of the communication in a family and the society asked even about the investigation and the Confucianism-like consciousness are seen. The Study of Korean wave will not be meaningless after analyzing modern Japanese culture from such a point of view. 本稿は日本における韓流について、2015年に京都市内の10代から50代までの8人の女性を対象に調査した結果をまとめたものである。日本国内で「韓流は終った」などという否定的な言説が多く見られるなかで、中高年女性の韓流ファンも健在であることと、想像以上にアクチュアルに韓流を享受している若者を発見できた。これまでの日本における韓流研究は中高年女性の受容形態を分析するものが多かったが、若者の受容形態をさらに調査、分析する必要があるのではないかと思った。 また、韓流という鏡を介して映し出される日本の現状について考えることで、調査でも聞かれた家族や社会のなかでのコミュニケーションの不在や儒教的な意識の喪失なども見えてくる。このような観点から、現代日本文化を分析する上でも、韓流の研究は無意味ではないだろう。

北原白秋『思ひ出』における<異界>幻想

Masahide 한국일어일문학회 2009 日語日文學硏究 Vol.68 No.2

『思ひ出』の世界は、詩的話者の<思ひ出>という情緒に向かって、多種多様な角度から投げかけられた多彩な表現で埋め尽くされている。その形象化された世界は表現のレベルにおいて、いわゆる当時隆盛していた自然主義リアリズムの作風とは質の異なる不可思議世界の造形と言ってよく、白秋初期の特徴とされる情緒象徴詩、あるいは色彩を大胆に使った印象派的な感覚詩の作風を表している。 本稿では『思ひ出』において、廃れゆく故郷と、没落した家を重ねつつ愛惜の情を寄せながら、白秋の内なる「郷里柳河」の情景を反近代的な死の風景として形象化した異界として捉え直した。それを、具体的には「わが生ひたち」の情景、「生胆取」「骨牌の女王」「願人坊」といった架空の存在、さらには、「青き甕」の幻想形象などの内に見た。 すなわち、『思ひ出』は従来論じられてきたように異国情緒の産物であるということは当然として、その枠に収まりきらない異界的な要素を差し挟んでいるわけだ。後に、白秋は「童心」という詩における指標を訴えるにいたるが、この概念などは、異界を怖れおののきながら感知する感受性にも通じているであろう。 異界は日常生活に奥行を与えるという指摘があるが、それは「私たちの世界」、日常生活の陰の部分、裏側の部分を構成している。じつは人々の日常生活は・世界は異界がなければ成立しないのであるが、近代化へと向かう明治末期において、このような異界を描いた詩的世界が多くの人々の心も捉えたことからも、近代化という光に対して、反近代的な陰の部分がどうしても必要であったのであり、そのようなベクトルに白秋は自らの美意識を注いだのであった。

映画『血と骨』に関する一考察

Masahide 한국일어일문학회 2017 日語日文學硏究 Vol.101 No.2

This treatise is to examine the film “Blood and Bones” which was directed by Yang-il Choi. First, my reserch briefly describes Korean residents in Japan, both Republic of Korea and North Korea, reflected on Japanese movies and extends to life of Jun-Pyeong Kim whose character is different from those of the protagonists of the existing movies by other Korean-Japanese directors. Jun-Pyeong Kim is featured as a person suffering from many hardships in the Japanese society during the postwar period, having experienced not only Japanese occupation but also liberation of Korea after he left Jeju-island in Korea and moved towards Osaka in Japan in 1923. Furthermore, I analyzed <history of Korean Japanese> around the liberation period of Korea based on the contents depicted in “Blood and Bones”. Contemplating modern history of postwar period of Korea described in backdrop of this movie, I could broaden my horizon on the status of Korea residents in Japan in a new direction. In other words, this movie makes me have a peculiar angle on the aspect of them in that the character in the movie refreshes the image of Korean residents in Japan under the difficult situation of history instead of being formulated as <Victim>, <Inferior>, and <Foreigner> from the historical viewpoint of Japan. 본 논문은 최양일 감독의 영화 『피와 뼈』에 대해서 고찰한 것이다. 우선 일본 영화 속의 재일코리안상에 대해 간략하게 서술하였고, 그리고 기존의 재일교포 감독의 영화의 주인공과는 다른 캐릭터로 그려진 『피와 뼈』의 주인공 김준평의 삶의 특징에 대해서도 고찰해보았다 그는 1923년 제주도를 떠나 일본 오사카로 건너가 일제 강점기와 해방을 거쳐 전후 일본 사회에서 고단한 삶을 살아야 했던 인물이다. 그리고, 논자는 『피와 뼈』속에 그려진 한국의 해방 전후의 <재일코리안의 역사>를 작품의 내용에 의거하여 분석해보았다. 이러한 작품의 뒷면에 그려진 한국의 전후 근대사를 살펴봄으로써 기존에 그려진 재일코리안의 위상을 좀 더 새로운 각도로 바라볼 수 있게 되었다. 즉 역사적으로 일본에 <피해자> <열등자> <이방인>이라는 재일코리안상과는 다른 「역사의 다이너미즘」에 번농되지 않는 재일코리안상으로서 영화 속에서 새롭게 부각되고 있다는 것을 확인할 수 있었다.

北原白秋『とんぼの眼玉』の童心と植民地主義

Masahide 일본어문학회 2015 일본어문학 Vol.68 No.-

北原白秋の初期の童謡集『とんぼの眼玉』について論じた。まず、国家の イデオロギーを注入する役割を担った唱歌に対する反発から白秋の童謡が生まれていることを確認した。その上で、『とんぼの眼玉』のうち「りすりす小栗鼠」と、ほとんど取り上げられることのなかった「ねんねのお鳩」を中心に、まずはわらべ唄と対照․分析し、どのように日本在来の伝承童謡の流れを継承しているかを検討した。この方面において、白秋は日本在来の伝承童謡を発掘․保存に勤しみながら、童謡において伝統を近代に蘇生する重要な役割を果たしたと評価できる。次に、「ねんねのお鳩」に加えて、『まざあ․ぐうす』の「10人の黒坊の子供」と白秋の「金魚」を取り上げながら、白秋が同時代の子どもを取り巻く過酷な状況を子どもの心で無邪気に描き出していることに注目した。そこには、弱肉強食的、植民地主義的な過酷なストーリーが秘められているのであるが、「童心」、すなわち子どもの無邪気さを優先するあまり、暴力的な要素をあるがままに許容してしまうのは問題であろう。そのような「童心」というベールに包まれた「悪」の芽が、後年の戦争肯定の童謡につながったと推定できるからだ。

宮崎駿『となりのトトロ』考 - 韓国の大学授業における学生発表例と作品解釈の可能性 -

Masahide 한국일어일문학회 2019 日語日文學硏究 Vol.111 No.-

This thesis is related to the analysis of Miyazaki Hayao's animated film "My Neighbor Totoro" with regards to the case study of the class. The analysis is based on students’ presentations, discussions, and academic data on "My Neighbor Totoro" that were covered in undergraduate courses. In addition the analysis of the characters, the students' main presentation focused on deeply reading the background of the work by referring to books related to Japan's indigenous faith that has ties with Korean thesis and work. In other words, this thesis developed research in the cultural and religious background of latter purpose, not just to understand the nature and the relationship between the characters that have become the motif of the work. Also, one of the arguments during the class is associated with the term “different world.”; in this concept, this thesis explained the characteristics of anti-modern “different world” in terms of "My Neighbor Totoro" in class and pointed out the sense of crisis in Hayao Miyazaki about the situation in Japan, which is losing its previous space during the process of modernization. Moreover, he pointed out that 'My Neighbor Totoro' has been a series of historical stories from Japan. In addition, "My Neighbor Totoro" is basically a story about the situation sister missing her mother, but it can also be discussed in terms of "the triumph of mother's education" by the fact that the children's imagination was expanded with picture books. 본고에서는 미야자키 하야오의 애니매이션 『이웃집 토토로』의 작품 분석을 수업의 한 사례와 함께 논자의 작품해석을 중심으로 구성하였다. 학생들의 주된 발표내용은 일본의 토착 신앙에 관련된 자료를 참고로 작품 배경을 깊게 읽어 내는데 주안점을 두었다. 즉, 작품의 모티브가 된 자연과 등장인물과의 관계를 이해하는데 그치는 것이 아닌, 그 배경에 있는 문화적· 종교적인 탐구에 논을 전개해 보았다. 또한, 논자는 『토토로』에 대해 우선 이계(異界)라는 관점에서 반근대적인 이계의 특징과 동시에, 근대화가 진행되는 과정 중에 그 영역이 상실되어가는 일본의 상황에 대한 미야자키 하야오의 위기감 등을 지적하였다. 또, 도시에서 농촌으로 이사를 해서 교육을 잘 받아왔던 계층의 자녀인 사츠키와 메이 자매만이 마을의 수호신인 토토로를 만났지만, 마을 아이 켄타는 토토로가 보이지 않았다. 사츠키와 메이는 어릴 적부터 그림책에 접할 기회가 많았지만, 교육 혜택이 없는 농촌 아이 켄타는 그림책을 접해보지 못했기 때문에 토토로의 존재를 알 수 없었던 것이다. 자매가 병원에 입원한 어머니를 그리워하는 마음과 함께 메이와 사츠키에게 그림책을 읽어주었던 어머니의 훌륭한 교육때문에 두 자매가 토토로를 만날 수 있게되었다는 새로운 관점에 이 작품을 분석할 수 있었다.

宮崎駿『魔女の宅急便』を使った授業の事例研究

Masahide 한국일본언어문화학회 2018 일본언어문화 Vol.44 No.-

This thesis indicates how his work has been handled in Korean universities. Also, not only will this research help courses to be developed, but also it will be the clue of the research for my animation. The information given by students from 2015 to 2018 is arranged in this dissertation. From these data, this research paper shows rites of passage, the story of coming up to the capital, and the story of talents which are the important factors in his work. What I was impressed is that one student in class conducted in 2015 pointed out that “Kiki’s delivery service” and ‘Tangled“ have a same characteristic, the formula of girl’s growth. Similarly, presentation from class in 2018 shows the genealogy of ‘magic girls’, so people notice this work due to the direction of evaluating the main character of witch historically. After student’s presentation and group discussion, the author, who is the professor in charge, prepared to argue the basic factor for his work such as its background as well as argument, and to complement the contents that students suggest. However, there is a problem that the research about his work is not fully achieved; thus, this dissertation was highly based on the words of Hayao Miyazaki. From now on, it is necessary to discuss, not interpretations based on such an author’s remarks, but even the parts that appear in the author’s unconscious areas in the face of the work.

田村俊子『木乃伊の口紅』に関する一考察

Masahide 한국일본근대학회 2012 일본근대학연구 Vol.0 No.35

At first this article identified that it was the times when individualism stood side by side as the trend of thought as the principle of good wife and a wise mother about the times of "the lipstick of the mummy" of Toshiko Tamura. With that in mind, I grasped the aspect that woke to the way to rule over own in own from the way ruled over to a husband in conflict with husband, Yoshio by "writing" it because I read a work again, and a heroine grew. It right grew, but I knew that I lived in own which was true and was the trace which was going to step forward on the way to the true independence as the human being beyond the frame called "the woman" in the times when the principle of good wife and a wise mother was deep-rooted as a model of "the women". In addition, I considered the possibility that this work was a rare novel written with "doing damage to awareness" for women. Furthermore, the last scene shows reverse of the percent allotment to use the nature that reflected the then patriarchy and principle of good wife and a wise mother and suggests replaceable things such as sex role allotment when the man lives without a woman if the man and woman relations that I defied in such times die. 本稿は、まず田村俊子の『木乃伊の口紅』の時代について、良妻賢母主義と個人主義が思潮として並立する時代であったことを確認した上で、作品を読みなおし、女主人公みのるから、夫ㆍ義男との相克の中で「書くこと」によって、夫に支配されたあり方から自身で自身を支配するあり方へと目覚めていく様相を把握した。それはまさにみのるが本然の自身を生きることに通じており、良妻賢母主義が「女性」の規範として根強い時代において、「女性」という枠を超えた人間としての真の自立への道に進み出ようとした軌跡であった。また、この作品が「加害意識」を持って書かれた珍しい女性小説である可能性を探った。さらに、最後の場面は当時の家父長制と良妻賢母主義を反映した性役割分担の逆を示しており、このような時代を逆らった男女関係は、死んでしまえば男も女もなく、生きているときも性役割分担など入れ換え可能であることを暗示している。

林京子における原爆體驗と加害意識

Masahide 한일군사문화학회 2010 한일군사문화연구 Vol.9 No.-

日本の原爆體驗を綴った作品について韓國で論じることは、決して歡迎されないと思われるが、林京子の作品は、原爆だけでなく加害の歷史を含めて、戰爭體驗の變質と風化に抗して個人の視點から綴られており、戰時中の日本の軍國主義の狂氣と幼少期に滯在した中國に對する罪惡感まで對象化している。また、核兵器が人?を脅かし續けている今日、原爆=核の破壞力を直視してみることは決して無意味ではないだろう。そこで本稿では、林京子の小說を中心に、1945年8月9日の長崎における原爆投下と戰後に及ぶ被爆者の樣相とともに、日本人としての加害意識について考察した。前半で主として取り上げた『祭りの場』は通常の虛構作品とは性質を異にし、原爆の威力と人體への影響を綴る記錄文學的な意義が見いだせた。その中で、原爆を投下したアメリカ、そして、何よりも戰爭を引き起こした日本に對して「私」の怒りは向けられている。それはまた、「破壞」や「死亡」や「不明」という記述と數字の下に埋もれていた級友や先生たちが、どのように死に、どのように傷を抱えて生きているのかを綴ることによってなされた。「私」の發する言葉は、誤った目的に向かう國家に對する「滅私報國」という思想に殉じようとした被爆者たちの思いを代弁している。さらに、原爆に被爆すると死に至るまで後遺症が續くとされるが、それは被爆者を取り券く家族關係にも暗い影を投げかけていた。息子との關係においては、放射能障害の被爆2世への影響が取り上げられていたが、林は「親と子」を脅かす核を告發する意圖をもって作家として出發した。一方、林の作品は戰後日本が原爆體驗をはじめ侵略の體驗まで變質し風化させている狀況に對して、警鐘を鳴らす側面を色濃く表している。林の場合、戰爭に對する日本人としての加害意識は、幼年期に上海で過ごしたことと關連して、戰後において過去の日本の侵略行爲に對して罪惡感を感じ、恥として認識されていた。このように上海を舞台にした小說から、鄕愁と罪の二律背反する意識に引き裂かれる人物の造形がなされる。これは、戰爭を經驗した日本人における罪と罰の一つの型として見ることができるだろう。このような加害の表象は、侵略という恥ずかしい記憶を「恥じ入り續ける」ことによって、被侵略國に對して倫理的責任をとることに通じており、「自國の死者」のみを「先に置く」という方向に行きがちな原爆文學の限界を乘り越える上で重要である。

梁石日『血と骨』におけるアジア的身体と二重の植民地性

Masahide 한국일어일문학회 2018 日語日文學硏究 Vol.104 No.2

In Japanese literature world, the appraisal of literature has been divided into pure literature and popular literature. When it comes to the assessment of literature, such a simple categorization about the work could function as an enormous prejudice and might be an obstructive factor to evaluate the work. Yang Seok-il’s long novel, “Blood and Bones”, has not been discussed adequately, having been considered as popular literature. I posed a question on such contradiction and raised re-evaluation about the work. Also, in this thesis, with regard to the modelling of the main character, it is possible to figure out this work from analyzing “Asian's body” as well as “Attribute of double colony”. “Asian's body” means ‘the body that is not systemized’ and additionally it has intense individuality which can not be obviously defined as ‘the modern systemized body’ with uniformity. “Blood and Bones” with such modelling of the main character could be interpreted as the meaning of Anti-system related to modern society. In addition to these features, “Attribute of double colony” is based on the fact that the meaning of Jeju-island’s location expresses geographical, but also political position; this island is located in the area where it can be tortured by both Korea and Japan. As a result, Jun-pyeong, who is Korean-Japanese and has lived in Japan for a long period, chooses not Jeju-island but North Korea as the final destination. If he relies only on his body and does not accept the others, this means that he collapses by himself. Wandering to the various places during the war, however, he tried to avoid the fact that other Korean-Japanese cooperate with Japanese army. In conclusion, the matter of this situation also reveals that tortured people have a nonpolitical tendency, considering Jun-pyeong's aspect. 일본 문단에서 문학 작품의 평가는 「순문학」과 「대중문학」으로 구분 지어져 왔다. 이러한 작품에 대한 단순한 분류는 작품 평가에 있어서 커다란 선입견으로 작용을 하여 문학적 평가에 커다란 방해요소가 되었다고 말할 수 있을 것이다. 양석일의 장편소설『피와 뼈』에 대한 평가는 오랫동안 「대중문학」 작품으로 간주되어 왔었기에 지금까지 문학적인 작품 평가가 충분히 논의되지 않았다. 필자는 이러한 작품평가의 모순점에 의문을 제시하며 『피와 뼈』의 작품의 재평가를 시도하였다. 또한 본 논문에서는 주인공 김준평의 조형에 관해 「아시아적 신체」, 「이중의 식민지성」이라고 하는 점에 그 특징을 찾아냈다. 그의 「아시아적 신체」라는 것은 「시스템화 되지 않는 신체」이며, 인간을 획일화하는 근대의 「시스템화 된 신체」로 의미를 단정할 수 없는 강렬한 개성을 소유하고 있다. 그러한 인물 조형을 할 수 있었던 『피와 뼈』는 근대에 대한 안티테제로서의 의미도 있을 것이다. 또, 「이중의 식민지성」은 점은, 제주도라고 하는 지리적·정치적 위치에 기인하는 것으로, 본국인한국과 일본 제국으로부터 이중적으로 학대받았던 위치에 자리매김하고 있다는 것을 의미한다. 그 결과 재일조선인으로서 오랜 세월 일본에 생활한 준평이 마지막으로 선택한 귀향의 장소는 제주도가 아니고 북한이었다. 한편, 준평은 자신의 육체만을 의지하여 다른 사람을 수용하지 않으며 자기의 껍데기에 함몰되고 마는 존재인데, 전쟁 중에 다른 재일동포가 일본군에 협력해 가는 (하지 않을 수 없었던) 것에 대해, 각지를 방황하면서 그러한 사태를 회피하고 있었다. 따라서 이러한 준평의 모습에서 학대받은 사람의 비정치적인 정치성의 양상도 나타나고 있다.

「荒地」派と戦争 - 鮎川信夫を中心に -

Masahide 일본어문학회 2013 일본어문학 Vol.60 No.-

本稿ではまず「荒地」派の詩人の詩と言説を取りあげ、戦争との関係から 彼らに共通する特徴について考察した。三好豊一郎と田村隆一の詩を通して、彼らが戦時下の国家主義や愛国主義の色濃い現実を否定的な心象でくぐりぬけ、敗戦後においても戦争へと盲進した国家や社会への不信とそれらから距離をおくスタンスで詩作した点を指摘した。その上で、鮎川信夫の戦争を対象とした3篇の詩「神の兵士」「もしも明日があるなら」「戦友」から、敗戦後の時代状況に応じて、「神」の欺瞞、自己の再定義、そして、戦争体験の風化などのテーマが取り上げられていることを確認した。鮎川の場合、詩の題材として戦争体験を対象化したのであるが、その方法は時代状況という現実に応じてなされていたものと察せられる。一方、鮎川は先行の詩人が戦争の現実に対して肯定的に処して、戦争詩まで書くに至ったことに対して厳しく批判したことを取りあげ、先行の詩人と伝統との結つきを否定的に見ていた点にも言及した。