고전문학에 투영된 한국 여성 영웅의 담론적 특성

강명혜 사단법인 한국문학과예술연구소 2013 한국문학과 예술 Vol.11 No.-

현재까지 우리나라 대표 영웅은 주로 ‘남성’들만의 전유물이었고 고전소설에 등장하는 ‘여성영웅담’은 ‘여화위남’을 해서 ‘남성’으로 분장하고 활약한 후 얻은 칭호였기에 진정한 의미의 여성 영웅은 부재한다는 것이 기존 시각이었다. 그러나 ‘영웅’이라는 어휘의 표상성은 불변이지만 그 단어가 함유하고 있는 표의성은 사실 古今東西에 따라서 동일하다고 할 수 없고, 영웅이란 고전소설에서만 등장하는 인물이 아니며, 또한 박제된 씨니피에도 아니라는 것을 근거로 하여 본고에서는 헤게모니를 지닌 남성적 시각이 아닌 다른 시각으로 우리나라 여성 영웅의 모습을 찾고자 시도했다. 그 결과 여성 영웅이 없었던 것이 아니라 작가나 잠재작가적 시각, 혹은 해석자의 시각이나 시선에 따라 은성화되거나, 축소, 혹은 함축되거나 유사한 영웅의 모습만 반영되었음을 알 수 있었다. 우리의 시조모인 웅녀는 생생력을 지니고 있으며 인고와 고행을 거쳐 재생하는 지모신을 상징하고 있었다. 그동안 잠재 작가의 남성적 시각에 의해 단군과 환웅에게 가려져 있는 은성화된 영웅이었다. 고구려의 시조모인 유화 또한 당당한 영웅에 해당된다. 모든 시련을 당당하게 극복하고 많은 능력을 보유하고 있으며 지속적으로 국가를 건설하는 인물인 아들에게 도움을 주고 자신은 당당히 곡모신의 위치를 차지하면서 여러 사람에게 존경과 추앙을 받게 되는 등 위대한 영웅이었다. 단지 편견과 오독, 그리고 시각의 외면에 의해 그 동안 축소된 영웅이었다. 수로부인도 신물들이 모두 주목하는 고귀하고 신이한 인물이며 국가의 위기를 극복하게 한다는 점에서, 그리고 많은 사람들의 조력으로 이를 극복하고 많은 사람들에게 도움을 준다는 의미에서 영웅으로서 손색이 없었다. 비록 암시와 상징, 축약, 알레고리로 되어 있어서 이를 해독하는데 수월하거나 단선적이지는 않지만 어려움을 극복하면서 풍요와 생명을 관장하는 신이한 인물인 수로부인은 당당한 영웅에 해당된다. <홍계월전>을 비롯해서 고전소설 텍스트 속의 주인공(actant)들을 그 동안 텍스트 구조 속에서 여화위남, 즉 남복을 입고 영웅적 행위를 함으로서 진정한 의미의 영웅이 아닌 것처럼 취급되었다. 이러한 점이 아쉽지만 이러한 측면도 조선시대 고전소설에 등장하는 여성영웅의 특질로 인정하고 자리매김해야 할 것이라고 결론내렸다. From today, a representative hero in Korea is mainly exclusive property of ‘male’ and true meaning of heroin is absent because ‘female epic tales’ come from classical literature originated from ‘Yeohawuinam’ which means females were in the guise of male and acted like male. However, iconicity of ‘hero’ is unchangeable but the meaning of word cannot be said identical both in the past and now. Hero is not only come from classical novels but also is not come from stuffed symbolized character. Based on the premise, it was tried to find aspects of heroine from different viewpoints other than hegemonic male viewpoints. As a consequence, a reason why heroin seemed not to exist in the ancient times is because of latent viewpoint of author or interpreter’s perspective on hero as maximizing, minimizing or implying the character which seems mostly similar. Our mother of ancestor, Woongnyeo, has a mysterious power in nature and symbolizes mother goddess as bearing the endurance and undergoing through the regeneration. This mother of ancestor covered with Dangun and Hwangwoong who are standard for hero in our ancient times is the very hidden heroine. Moreover, Yoowha who is a mother of ancestor in Goguryeo times is a dignified heroine. She is a great heroin as continuously helping her son to build up his own nation and had undergone and overcome all of ordeal with her ability. Once she helped her son, she was able to be a ‘Gokmosin’ which means a god of the earth and was held in high esteem and in honor. In the past, her existence or value was undervalued by prejudice, misinterpretation and avoidance by on purpose. Sooro’s wife was a noble and mysterious person who received all the attention from people as overcoming national crisis. She can stand comparison with heroin as helping lot of people and overcome hardship by others’ help. Although, it was not easy to decode her character due to the implication, symbolization, contraction, and allegory but Sooro’s wife is a dignified heroin who was taking in charge of abundance and life as overcoming hardships. Including the Honggaewoljeon, a classical Korean novel, and actant in text of the novels were treated them not to real meaning of heroin as they dressed up as male. At this point, it is a bit sorry and proposed that those features in Chosun era are also required to be recognized as a characteristic of heroin.

<화문록>의 텍스트 형성 및 서술시각에 대한 고찰

이지영 ( Ji Young Yi ) 한국고전여성문학회 2011 한국고전여성문학연구 Vol.0 No.23

<화문록>은 당대 향유되었던 한글장편소설을 적극적으로 차용하여 창작된 작품이다. 선행소설에서 등장인물의 이름과 지명 등을 차용하였을 가능성이 높으며, 서사의 측면에서는 <소문록>과 <옥린몽>의 영향이 감지된다. 그러나 여타 소설과의 유사성에도 불구하고 서술자의 시각은 선행텍스트와는 다르다. <화문록>은 한글장편소설에서 흔히 등장하는 부부갈등을 다루고 있지만, 여성인물의 내면에 초점을 맞춘 선행작품과는 달리 남성인물의 내면에 주목하고 있다. 또한 여타 한글장편소설과 달리 여성의 애욕(愛慾)에 대해서 관대하다는 점에서, 야담이나 한문전기소설과 친연성을 보인다. 이러한 점으로 미루어 볼 때, <화문록>은 남성적 시각과 성향이 나타나는 작품이라 할 수 있다. This study is on the male-oriented narrative of Hwamunrok. Hwamunrok is a classical korean novel written in Hangul. It was composed in the reception of preceding Hangul-novels of the day. So we can the find the similarities of charaters, story and apearance of frictions between Hwamunrok and the preceding novels, for example Somunrok and Okrinmong. But Hwamunrok`s is narrated in the point of hero, not of heroin like other novels written in Hangul. Also it is liberal to passion or love against the rule that is simular to the story or novel written in classical chinese. So I suppose that the writer would be a man.

남성적 응시에 의해 구조화되는 패션사진의 시각적 재현체제에 기반 한 여성의 재현

이영희 ( Younghee Lee ),임은혁 ( Eunhyuk Yim ) 복식문화학회 2015 服飾文化硏究 Vol.23 No.6

This study is a theoretical research to investigate a methodological framework for analyzing the representation of women in fashion photography. For this study, this article attempts to develop a conceptual framework of the visual representation system through Lacan`s gaze theory, and analyze the representational aspects of women configured by gendered characteristics in the visual representation system. Structuralizing the visual representation system based on that theory, the gaze, the image/screen, and the subject of representation in the Lacan`s triangle diagram are replaced by the camera as the signifier of gaze, the representational image, and the seeing subject respectively. In the visual representation system, the camera creates a male-oriented visual field and structures a relationship of gendered power between male gaze as the seeing subject and female eye as an object to be seen. Looking into the representational aspects of women in this visual representation system structuralized by male gaze, women are represented in a way that reflects male desire through masquerade to comply with the patriarchal gaze, or differences that emphasizes the uniqueness and autonomy of women released from a patriarchal discourse. This study would be significant in that it provides theoretical basis for an analytic approach to the representation of women in fashion photography which we accept as a fixed one through the ideology of naturalization.

남성적 응시에 의해 구조화되는 패션사진의 시각적 재현체제에 기반 한여성의 재현

이영희,임은혁 복식문화학회 2015 服飾文化硏究 Vol.23 No.6

This study is a theoretical research to investigate a methodological framework for analyzing the representation of women in fashion photography. For this study, this article attempts to develop a conceptual framework of the visual representation system through Lacan’s gaze theory, and analyze the representational aspects of women configured by gendered characteristics in the visual representation system. Structuralizing the visual representation system based on that theory, the gaze, the image/screen, and the subject of representation in the Lacan’s triangle diagram are replaced by the camera as the signifier of gaze, the representational image, and the seeing subject respectively. In the visual representation system, the camera creates a male-oriented visual field and structures a relationship of gendered power between male gaze as the seeing subject and female eye as an object to be seen. Looking into the representational aspects of women in this visual representation system structuralized by male gaze, women are represented in a way that reflects male desire through masquerade to comply with the patriarchal gaze, or differences that emphasizes the uniqueness and autonomy of women released from a patriarchal discourse. This study would be significant in that it provides theoretical basis for an analytic approach to the representation of women in fashion photography which we accept as a fixed one through the ideology of naturalization.

근대 야담의 생성원리, 이야기하기의 즐거움 연구 - 『월간야담』 소재 「압록강의 꽃」, 「정열의 낙랑공주」, 「국경의 비화」를 대상으로

김신정 이화어문학회 2019 이화어문논집 Vol.47 No.-

이 글은 『월간야담』 소재 야담작품 세 편을 대상으로 1930년대 야담의 생성원리를 추적하고 야담을 만드는 즐거움의 근원을 파악하고자 하는 목적을 지녔다. 연구대상은 야담잡지 『월간야담』에 수록된 「압록강의 꽃」, 「정열의 낙랑공주」, 「국경의 비화」이다. 2장에서는 세 야담 작품의 서사적 전개에 있어서 여성인물의 감정과 행위가 사건의 중요한 계기가 된다는 점과 그로 인해 서사가 비극적 상황으로 귀결되는 점에 주목한다. 여성인 물의 감정과 행위를 추동하는 남성인물의 욕망은 서사 내에서 교묘히 가 려져 있고 여성인물의 선택과 행위가 서사를 비극적 결말로 이끄는 것처 럼 보여 여성인물의 책임을 두드러지게 만든다. 이는 곧 서술적 태도가 여성인물의 감정에 부정적 가치를 투영시키고 있기 때문이다. 그로 인해 서사적 세계에서는 남성인물과 여성인물이 드러내는 서사적 의미와 가치가 대립항을 이루고 있다. 또한 묘사에 있어서도 남성인물과 여성인물에 대한 서술적 태도는 차이를 보인다. 남성인물의 내면과 행위는 전개상 불 필요하다고 생각될 만큼 장황하게 묘사된다. 또한 남성인물은 지략과 용 기를 가졌거나 공적인 가치를 지향하는 존재로 그려진다. 반면 여성인물 의 경우 그녀가 행한 중요한 행위나 인간적 고민에 대한 서술이 전개상 필요함에도 불구하고 생략되어 있으며 여성 신체를 대상화하는 묘사 속 에서 잔인하게 잘려진 모습이나 성적 대상으로 그려진다. 이런 서술적 특 징을 통해 서술자적 시각이 남성적 시각임을 포착하였다. 3장에서는 2장 에서의 분석내용을 바탕으로 야담 창작자들의 서술적 태도 곧 이야기를 창작하는 태도의 근원이 시대읽기나 시대에 대한 고민이 아니라 개인적 이고 현실도피적인 즐거움의 욕구라는 사실을 도출하였다. This article aims to trace the principles of creating yadam in the 1930s and the sources of yadam writers’ pleasure of writing stories. To this end, examine three yadam stories published in Monthly Yadam(1934-1939): “Yalu River Flower”, “Nakrang Princess of Passion”, and “Sad Story of the Border”. The emotions and actions of female characters, which seem to precipitate the development of the narrative, also lead each yadam story to a tragedy. In this paper, I argue that it is male characters’ desire that enforces female characters’ emotions and actions. On the surface, the female characters seem to move the narratives along; however, it is hard to consider them as leading figures. The urges and desires of male characters, both hidden and revealed in the narrative, evoke emotional reactions in the female characters and make them take action accordingly. Also, androcentric perspectives are revealed in all the characters, resulting in oppositional juxtapositions. In different ways, each story describes male and female figures in a masculine view. Also, description of male characters is longer than necessary and male characters are described as resourceful and brave. On the other hand, the female characters’ crucial behavior and deep anguish are not mentioned in the narratives. Based on this textual analysis it can be concluded that the masculine viewpoints of yadam writers are derived not so much from reading of the zeitgeist of the 1930s as from the private and escapist pleasure of writing stories.

영화에서 재현되는 시각장애인의 이미지와 성차-2000년대 이후 한국영화를 중심으로-

박홍근 ( Park Hong-geun ) 인하대학교 한국학연구소 2017 한국학연구 Vol.0 No.44

This study attempts to explore images of the disabled in movies represented differently based on gender and explains those images are grounded in male-dominated media ideology. Generally, images of the disabled in movies shows prejudices against people with disabilities that they are passive because the disabled can not control their body and mind as they wish. The earlier studies have questioned the problems of those images. However, this perspective can lead to misinterpretation that the disabled are asexual. This study focus on Visual Impairment represented by male gaze discuss of Laura Mulvey. This study examines 35 korean films with characters playing the disabled released from 2000 to 2016 in Korea. Those characters who have a visual impairment can be divide into two categories. Male characters are represented like an self-sacrificer. Female characters are represented like a immature girl controlled and protected by men. This study concludes that images of visual impairment in movies reinforced the male ideology.

여성의 자아발견과 글쓰기 : [서있는 여자]와 [왼손잡이 여자] 비교연구 A Comparative Study on Die Linkshandige Frau and A Standing Woman

한혜선 한국비교문학회 2003 比較文學 Vol.31 No.-

Marianne in Peter Handke's Die Linkshandige Frau and Ha yonji in Park Wan Seo's A Standing Woman are represented as women with a distinctive token different from other women. The mark of the left-handedness is a metaphor of ‘a woman alone’distinguished from ordinary people, and ‘a standing woman' can be interpreted as a woman who stands at the starting point of doing something new, not a woman who live peacefully in a current situation. Peter Handke is considerably controling himself in narrating, and Park Wan Seo is not restricted to express the female behavior and consciousness. Peter Handke doses not reveal the inside of woman but describes the outside to configure the image of the woman. Therefore, Peter Handke intends to mystify the left-handed woman. Park Wan Seo narrates about Ha Yonji without reservation adhering to her, and describes her as a positive and lively woman by outlining vividly the female character's thought. In A Standing Woman, Park Wan Seo deals with women's problems from a woman's perspective. As Peter Handke narrates about Marriane seen through the window, the character is walled within the narrator's gaze. On the other hand, Park Wan Seo reveals Ha Yonji moving free in her own space. Marriane is an object being seen and Ha Yonji is a subject seeing. In Die Linkshandige Frau, Marriane feels humiliated due to the relationship with her husband, and she is self-awakened and wants to be free. In A Standing Woman, Ha Yonji has a firm belief that equal marriage relationship between husband and wife can be made, but at last realizes that the belief was an illusion. Marriane and Ha Yonji have obstacles to get over for the establishment of their identity as women. Marriane is in the pursuit of freedom against the subjugation to man, in spite of the man-oriented narrative structure in which Marriane is not free among the men who pay court to her and which she may choose less authoritative and more romantic lovers rather than her husband. This discourse is derailed from the masculine discourse of the conventional literary texts. Longing for her father's study and dreaming his elegant world, Ha Yonji wants to be like her father. This is an adoration of the male-oriented culture. But after she finds out the falsity of the equality of man and woman that her husband has supported and the superiority consciousness that her father has had, she longs for her own room and her own writing. In the end, Marianne ascertains the freedom, drawing her own body. The drawing of her body is not an entity, but an image of language. The drawing is a writing in a language of silence. Ha Yonji obtains the pure freedom through her owning writing in which a woman can be a subject.