자서전의 역사와 원리, 그리고 자서전 쓰기 교육의 새로운 방향

심선옥 반교어문학회 2019 泮橋語文硏究 Vol.0 No.53

The first topic of this study is to research the historical development of autobiography and the theory of autobiography in Korean society. The second topic is to examine the current status of autobiography and self-narrative writing’s education at universities. This study will present the new direction and potential of them. After reviewing the area and function of autobiography from the 8․15 Liberation of Korea to the 2000s, we found three types of autobiography. The first type is a classic autobiography. It identify the value of an individual's life with historical and universal value. In the process of trying to realize the ideal, it records the person's life growing into a great human being. The second type is an autobiographical notes. A new group emerged as a ‘writing entity’ who was the class most affected by social contradictions, but they were excluded from expressing their own unique experiences. As they became to record their daily experiences, they understood the nature of life and the contradictions of society at once. The third type is the combination of autobiography and psychology. It turns out that writing an autobiography has the effect of reflections and healing, self-knowledge and self-identity. This type has spread rapidly through autobiography writing public lectures in the 2000s. Currently, the concept and educational effects of autobiography and self-narrative writing at universities are concentrated in psychological areas. To settle this bias, it is necessary to open up various areas and effects of autobiography and self-narrative writing. It is a way that classical autobiography and autobiographical notes can be reinterpreted that suits the young generation. For example, the classic autobiography can help young people that it integrates fragmented experiences and organizes prospects and insights in the life. It is another problem about autobiography and self-narrative writing at universities that it finds the way to expand the writer’s territory for other and world without being locked up in a closed place. We must create a new way of writing and form for autobiography. As it materializes, self-reflection and expression are always progressive to every individual what Diltai said about autobiography. 이 논문에서는 한국 사회에서 자서전의 역사적 전개양상과 자서전 원리에 대한 이론적 고찰을 선행한 뒤, 현재 대학에서 자서전과 자기서사 교육이 진행되는 현황과 문제점을 살펴보고, 자서전과 자기서사 교육의 방향과 가능성을 제시하였다. 자서전 양식의 역사적 고찰에서는, 8․15 해방 후 고전적 양식의 자서전 『백범일지』에서 출발하여, 1970년대 자서전 집필이 일반인에게 확산되면서 새로운 ‘쓰기 주체’로 노동자가 등장하게 된 과정, 노동자의 자전적 글쓰기가 개인의 삶과 사회의 모순을 통찰하고 자기해방에 이르는 양상, 그리고 2000년대 글쓰기 대중강좌에서 자서전과 심리학이 결합하면서 내면치유와 성찰, 자아정체성의 효과가 강조되는 현상을 살펴보았다. 그리고 딜타이의 이론에 근거하여 고전적 양식의 자서전 원리를 정리하고, 산업화 이후 자서전이 대중화되는 현상에 맞는 이론으로 이청준의 소설 「자서전들 쓰십시다」와 필립 르죈의 자서전 이론을 분석하였다. 2000년대 들어와서 글쓰기가 대중교양의 중요한 영역으로 부각되었으며, 글쓰기 대중강좌도 급속히 증가하였다. 자서전 쓰기 강좌는 1990년대부터 꾸준히 인기를 얻고 있었다. 대학 글쓰기 교육에서도 2010년을 전후하여 자기표현 글쓰기가 주목받기 시작했고, 자기서사 쓰기의 비중이 높아졌다. 또한, 2000년 이후 대학 교양교육에서 자기서사 쓰기가 심리적 효과에 기울어지는 것의 문제점을 지적하고, 자서전과 자기서사 쓰기의 방법을 새롭게 모색할 필요성을 제기하였다. 구체적으로, 고전적 양식의 자서전을 현대 청년세대들에게 맞게 재해석하여 ‘역사의 흐름 속에서 개인이 삶을 기록하는 방법’과, 일상의 글쓰기에서 통찰과 자기해방을 획득하는 자전적 글쓰기를 적용하여 ‘개성적인 스타일로 자기 삶을 기록하는 방법’을 제안하였다. 이러한 방법을 통해 연대기적 자서전 쓰기의 한계를 벗어나고, 자서전의 내용보다 형식, 즉 ‘어떻게 쓸 것인가’에 주목할 수 있다 또한 자서전 쓰기가 개인의 체험을 완결되거나 규정된 형태로 서술하는 것이 아니라 언제나 새로운 삶의 형식으로 전환할 수 있는 열린 글쓰기를 지향하였다.

노년 세대를 위한 자서전 제작의 사례 연구 - 자서전 작가의 목소리를 중심으로 -

정진석 ( Jung¸ Jin-seok ),정대영 ( Jung¸ Dae-young ) 한국어교육학회 2021 국어교육 Vol.- No.174

This study analyzed the experiences of autobiography production for the elderly, focusing on the voice of the autobiography writer. Specifically, by interviewing four writers belonging to a social enterprise specializing in autobiography production, the difficulties experienced during the interview and writing stages of autobiography production were identified, and the value of the autobiography production process according to the writer were explored. At the interview stage, the writer explores and shares the information necessary for autobiography production with the author through questions and answers. The writer faces the author’s “short words” and “long words” in the interview, which hinders obtaining sufficient information for autobiography. Further, in this process, the writer confirms the value of the healing and self-understanding of the interview. Conversely, at the writing stage, the writer produces an autobiography based on the author’s life, which was grasped through interviews. In writing, it is difficult for writers to represent the author’s “truth” as the author's “voice”. The writer attempts to reproduce the author’s voice by “writing dryly, avoiding lies” or “recording all the words faithfully”. In this process, the writer confirms the value of recognition and communication in writing. Finally, this study suggests four implications for the status of the autobiographic genre, identity of the autobiography writer, procedural knowledge for autobiography production, and application of autobiography production.

근대 자서전의 관점에서 본 아우구스티누스 『고백록』

유재경(Jae-Kyoung Yoo) 영남신학대학교 2021 신학과 목회 Vol.55 No.-

This study explores St Augustine’s “Confessions” from the perspective of the core discussions of modern autobiography. It aims to illustrate that “Confessions” belongs to the literary genre of modern autobiography. Modern autobiography scholars find the author of St Augustine’s Confession problematic because the author himself should be the narrator and the protagonist, but it is not entirely clear. However, autobiography is not simply a story development, but a story of the author’s own identity formation which also reveals the authors’ character. In this regard, the philosophical and theological themes in St Augustine’s “Confessions” further strengthen and expand the autobiographical writing. An autobiography is written by a present person by recalling past experiences. St Augustine remarkably explores memory to such depth that he wrote one entire book on memory. Based on this understanding, “Confessions” presents a new path to the modern autobiography genre. The issue of fiction and facts in autobiography shows that the literature field of autobiography lies somewhere between novels and historical writings. Past experiences cannot be completely restored by the present self through memory alone. This incompleteness of memory eventually raises doubts about the reality and authenticity of the narrator in the autobiography. When an autobiography is discussed from the perspective of memory, it will be difficult to find an autobiography with a clearer perspective than St Augustine’s “Confessions”. It should also be noted that the author wrote the “Confessions” in front of God and Saints. The academic discussion on discovering and forming the literary identity of this autobiography is consistent with the purpose of St Augustine’s “Confessions”. St Augustine’s endless exploration of his inner self is a process of finding his self-identity, and in this process, he discovers how his self-identity was formed. As such, St Augustine’s “Confessions” contains an important element that modern autobiography literature should have. In addition, it is not an example of a classic autobiography but rather a work that will enrich the field of future autobiography literature. St Augustine’s “Confessions” as a literary autobiography will help the readers find their own identity, reconcile with themselves, and enrich their lives.

오토픽션의 논리

류은영(Ryu, Eun-young) 한국외국어대학교 외국문학연구소 2012 외국문학연구 Vol.- No.46

1977년 출간과 함께 세르주 두브로브스키의 소설 『아들』은 소설과 자서전 사이에 자리하는 새로운 오토픽션 장르에 관한 논쟁을 불러일으킨다. 1973년 필립르죈이 제시한 자서전의 규약이 학계 공론이 된 상황에서, 두브로브스키는 『아들』을 실례로 자서전의 규약에 이의를 제기하며 ‘오토픽션’이라는 새로운 용어, 새로운 장르의 성립 가능성을 역설하였고, 마침내 오토픽션은 1984년 『앙시클로패디아 위니베르살리스』 백과사전의 한 항목으로 공식화된다. 이후 오토픽션은 허구성에 기반한 개념의 확대해석으로 장르가 확장되어 현재 프랑스 문학계의 화두 중 하나가 되고 있다. 하지만 오토픽션 장르의 성립 논리 내지 당위성을 이루는 자아의 타자성, 언어의 불환원성, 현실의 재현불가능성은 본래 오토픽션이 담론화되기 시작한 20세기 후반 이전부터도 줄곧 논의되어온 자서전의 내재적 논리, 다시 말해 자기 고백인 동시에 문학으로서의 자서전의 필연적 허구성을 밝히는 자서전의 원론적 미학이었다. 따라서 오토픽션의 미학이 자서전의 미학과 원론적으로 다르지 않다면, 과연 오토픽션은 자서전과 다른 장르일까? 그렇다면 오토픽션 장르 고유의 논리는 무엇일까? 이에 우리는 오토픽션 고유의 논리에 관한 연구의 일환으로, 오토=픽션의 ‘애매성’을 규약으로 하는 오토픽션의 미학 및 그 현대성의 문제를, 자서전의 현대적 전형으로 일컬어지는 미셸 레리스의 자서전에 비춰 상대적 관점에서 변별, 이해하고자 한다. Published in 1977, Serge Doubrovsky"s novel Fils renews the dispute over the so-called "autofiction" genre positioned between fiction and autobiography. When the Autobiographical Pact proposed by Philippe Lejeune in 1973 became an issue for academic discussion, Doubrovsky raised objections to the Autobiographical Pact with his novel Fils as an example and emphasized the possibility of establishing the new term and new genre "autofiction." Eventually, autofiction was formulated as an item in the Encyclopaedia Universalis in 1984. Since then, autofiction has expanded in genre with a broad interpretation of its concept based on fictiveness, and currently it is emerging as one of the major topics in French literature. However, the otherness of self, the non-reducibility of language and the unrepresentability of reality that constitute the logic or reasoning behind the autofiction genre has continually been discussed as manifesting the internal logic of autobiography since before the late 20th century when the discourse on autofiction began. In other words, it is the theoretical aesthetics of autobiography that reveals its inevitable fictiveness as self-confession and simultaneously as literature. Therefore, if the aesthetics of autofiction are not different in principle from the aesthetics of autobiography, is the autofiction indeed a distinct genre from autobiography? If so, what is the essential logic of the autofiction genre? As part of our study of the essential logic behind autofiction, we aim to understand the aesthetics of autofiction?which accepts the ambiguity of "auto=fiction" as their pact?and its modernity from a relative point of view, in light of Michel Leiris" autobiography which is commonly referred to as the modern archetype of autobiography. 1977년 출간과 함께 세르주 두브로브스키의 소설 『아들』은 소설과 자서전 사이에 자리하는 새로운 오토픽션 장르에 관한 논쟁을 불러일으킨다. 1973년 필립르죈이 제시한 자서전의 규약이 학계 공론이 된 상황에서, 두브로브스키는 『아들』을 실례로 자서전의 규약에 이의를 제기하며 ‘오토픽션’이라는 새로운 용어, 새로운 장르의 성립 가능성을 역설하였고, 마침내 오토픽션은 1984년 『앙시클로패디아 위니베르살리스』 백과사전의 한 항목으로 공식화된다. 이후 오토픽션은 허구성에 기반한 개념의 확대해석으로 장르가 확장되어 현재 프랑스 문학계의 화두 중 하나가 되고 있다. 하지만 오토픽션 장르의 성립 논리 내지 당위성을 이루는 자아의 타자성, 언어의 불환원성, 현실의 재현불가능성은 본래 오토픽션이 담론화되기 시작한 20세기 후반 이전부터도 줄곧 논의되어온 자서전의 내재적 논리, 다시 말해 자기 고백인 동시에 문학으로서의 자서전의 필연적 허구성을 밝히는 자서전의 원론적 미학이었다. 따라서 오토픽션의 미학이 자서전의 미학과 원론적으로 다르지 않다면, 과연 오토픽션은 자서전과 다른 장르일까? 그렇다면 오토픽션 장르 고유의 논리는 무엇일까? 이에 우리는 오토픽션 고유의 논리에 관한 연구의 일환으로, 오토=픽션의 ‘애매성’을 규약으로 하는 오토픽션의 미학 및 그 현대성의 문제를, 자서전의 현대적 전형으로 일컬어지는 미셸 레리스의 자서전에 비춰 상대적 관점에서 변별, 이해하고자 한다. Published in 1977, Serge Doubrovsky"s novel Fils renews the dispute over the so-called "autofiction" genre positioned between fiction and autobiography. When the Autobiographical Pact proposed by Philippe Lejeune in 1973 became an issue for academic discussion, Doubrovsky raised objections to the Autobiographical Pact with his novel Fils as an example and emphasized the possibility of establishing the new term and new genre "autofiction." Eventually, autofiction was formulated as an item in the Encyclopaedia Universalis in 1984. Since then, autofiction has expanded in genre with a broad interpretation of its concept based on fictiveness, and currently it is emerging as one of the major topics in French literature. However, the otherness of self, the non-reducibility of language and the unrepresentability of reality that constitute the logic or reasoning behind the autofiction genre has continually been discussed as manifesting the internal logic of autobiography since before the late 20th century when the discourse on autofiction began. In other words, it is the theoretical aesthetics of autobiography that reveals its inevitable fictiveness as self-confession and simultaneously as literature. Therefore, if the aesthetics of autofiction are not different in principle from the aesthetics of autobiography, is the autofiction indeed a distinct genre from autobiography? If so, what is the essential logic of the autofiction genre? As part of our study of the essential logic behind autofiction, we aim to understand the aesthetics of autofiction?which accepts the ambiguity of "auto=fiction" as their pact?and its modernity from a relative point of view, in light of Michel Leiris" autobiography which is commonly referred to as the modern archetype of autobiography.

자서전 연구의 성격과 전망

최경도(Kyong-do Choi) 한국영미문학교육학회 2008 영미문학교육 Vol.12 No.1

  This paper aims to explore the question of autobiography in its theoretical and cultural contexts. Unlike other literary genre, autobiography did not go through the systematic process of development and, consequently, did not have the authentic theory. The literary theory of autobiography came into being in the late 20th century, especially in the 1970s, and our own is being called the age of autobiography with the booming of the publication of all kinds of autobiography in virtually every field. Though it deals with the unique individual experience, autobiography is more universal than local, more timeless than historic, and more meaningful in the portrayal of individuals than merely personal. In its exploration of the lived experience of individuals and its written record, the study of autobiography enhances our understanding of autobiography in its history, theory and practice. Autobiography has the premise that all knowledge begins in self-discovery, so that man is the starting point of the universe. In other words, to produce autobiography is to define the concept of the self in its diverse manifestation and this self is best understood from the single source. After all, man carries out his instinctive desire by the act of seeking his own image through autobiography.<BR>  Autobiography becomes, more than any other genres, the literary genre that can engage our immediate interest since it is based upon the individual life which is growing to be personal and authentic. Though it treats specific times and individuals, autobiography becomes a vehicle through which we get to the individual life realistically and learn a deep understanding of humanity. Part of the reason that autobiography appeals to many readers is that by looking at the actualities of other people, they get access to the order of life that cannot be easily found in the daily experience itself. As one of the rare historical sources about individuals, autobiography brings us the direct experiences of individuals by allowing the possibility that each person might have his own autobiography allotted to him. The other reason that autobiography is getting important in recent years is that it became a source for understanding others whose voice had been denied due to their race, gender, religion, and social standing. In conclusion, autobiography needs to be newly recognized through the social and cultural context that it contains and to come to grips with the question of what it has been and is, and what it aspires to be.

루시 그릴리(Lucy Grealy)의『얼굴의 자서전』(Autobiography of a Face)에 나타난 장애여성의 정체성과 치유

전세재 ( Seh Jae Chun ) 한국영미문화학회 2013 영미문화 Vol.13 No.3

This paper is designed to analyze Lucy Grealy`s Autobiography of a Face to broaden our understanding of the identity and sexuality of the disabled woman and to explore the constituting and healing potential of the autobiography. Autobiography of a Face shows her ordeal with Ewing`s sarcoma of the right lower jaw, diagnosed when she was nine years old, whose treatment required years of chemotherapy, radiation and operations. Autobiography of a Face as a counter discourse offers readers insights into how the face shapes her experience as a disabled woman with a facial deformity and how reading and writing open the possibility of healing her wounds. Autobiography of a Face shows that she is forced to concede that her face is herself, because of her deformed face caused by the facial surgery, one of the medical procedures to fight cancer. Unlike the identity understood in terms of autonomy and individuality among others, the fact that her face which becomes her is not a trivial or meaningless aspect of self but a site of a culture`s socially shared understanding of female sexuality. But the failed effort to restore her face to what is the normal, which serves as models against which her identity continually judges, measures, disciplines and correct itself, leads her to the healing potential of writing and reading. The autobiographical act of writing her memoir itself narratively constructs herself through the autobiographical gap between the narrating “I” and the narrated “I”. Reading and writing become the essential activity for her to go beyond the catharsis to heal her emotional wounds. Newly reconstituting herself by narrative acts of reading and writing, she is able to accept her deformed face. In spite of, and because of the epistemic problems with autobiography, and the healing effects not on the social dimension, but on the individual level, Autobiography of a Face serves as the troubling but meaningful text in the study of autobiography and healing.

노년의 자기 재현으로서의 자서전과 정체성 형성

임순철(Im Soon Cheol),김예란(Kim Ye Ran) 한국출판학회 2015 한국출판학연구 Vol.41 No.3

이 연구는 현재 한국사회에서 점차 활발해지고 있는 노인들의 자서전 쓰기 문화에 주목하여, 노년세대가 자기 글쓰기를 통해 문화적 정체성을 재형성하게 되는 방식과 의미를 분석한다. 자서전과 정체성에 관한 이론적 바탕 위에서 자서전을 출간한 경험이 있는 노년세대를 대상으로 구술 인터뷰를 수행하고 그 내용을 분석했다. 우선 자서전의 의미에 대해, 사회적 단절을 겪으며 정체성의 위기에 처한 노인들에게 자서전은 자기의 인생을 정리하고 자신과 가족을 명시하는 기록의 기능과 함께, 이루지 못한 인생의 열망과 동경의 대상을 구현하는 의미를 지니고 있었다. 자서전은 한 개인의 삶의 진실을 담아 표현하는 매체로 역할을 하는 것이다. 자서전 쓰기 행위는 노인의 정체성 형성에 중요한 실천적 의미를 지닌다. 자서전을 작성하는 과정을 통해 그간 상실해왔던 자신의 삶을 위로하고 긍정적으로 수용하며, 자아 및 타인과의 관계 회복을 통해 자존감을 획득하고 기억의 불멸을 도모하는 등, 황혼기에 자신의 서사적 정체성을 새로이 구축하는 노인들의 모습을 발견할 수 있었다. This study focuses on the culture of writing autobiography, which has been recently increasing among the elderly people in South Korea and analyses the ways and significances in which they form cultural identities through the practice of autobiography. Three categories of questions, that is motivation, self-perceived meaning, and cultural (re)identification regarding the practice of autobiography, are examined, based on the interpretation of the materials of oral history interviews of the elderly people who have an experience of publishing a non-commercial autobiography. Autobiography is seen to be adopted by the elderly people as an important media for recalling memories and narrating them in a discursive manner of confession. The elderly people are convinced that they have become able to accept their lives in a positive attitude free from the present weak and fragment realities in everyday life, manifest their own and familial histories and realize their longstanding dream and anticipation in the process of writing autobiography, all of which may be converged at the creation and expression of the one's truth in life. The autobiography also contributes to revising the authors' social relations, leading them to pursuing the symbolic immortality by way of leaving autobiography with their offsprings. The autobiography is the media of self-formation based on the articulation of memories particularly for the elderly people who are anticipated about their death soon thus aspire further to building up self-pride and confidence in their own lives.

특집논문 : "그들" 의 자서전 -식민지 시기 자서전의 개념과 감각을 형성한 독서의 모자이크(mosaic)

김성연 ( Sung Yeun Kim ) 한국문학연구학회 2013 현대문학의 연구 Vol.0 No.49

이 논문은 미셸 푸코의 마지막 저작 <자기의 테크놀로지>의 문제의식 인 ``내가 나의 정체성을 찾을 수 있는 토대는 무엇인가?``를 공유하여, 자기 정체성 서술의 장르적 결정체인 ``자서전``을 논의의 대상으로 삼았다. 특 히, 독서를 통해 형성된 근대적 자서전의 개념과 감각을 살펴보고자 했다. 식민지 조선에서 독자들은 수입 혹은 번역된 서양 자서전을 독서하며 자 서전의 내용과 형식, 필자의 자격과 태도를 모방했거나 이를 무의식적으 로 학습했다. 따라서 20세기 이후 한국의 자서전 장르는 서양의 자서전 장 르를 독서한 이후 이를 모델로 하여 재탄생했다고 볼 수 있다. 자서전을 독서하고 집필한 개인적 경험은 집단적으로 축적되었고 이는 일본으로부 터의 해방 직후 많은 수의 자서전이 출판될 수 있었던 토대를 마련했다. 따라서 본론에서는 (1)식민지 시기 지식인들은 자서전에 대해 어떻게 생각했는가? (2)그들의 자서전 개념에 영향을 미친 영어나 일본어 자서전 은 무엇이 있었고 이들로부터 어떤 특성을 찾을 수 있는가? (3)식민지 조 선에서 조선어로 수 차례 번역되며 적극적으로 독서되었던 자서전은 무 엇이 있었고 이들은 일본의 식민지라는 정치적 상황과 미국 선교사들의 교육, 그리고 자본주의 체제 하의 입신출세 욕망과 어떻게 결합되어 있었는가에 관해 밝히고자 했다. 이를 통해 무엇이 자서전으로서 존재했고, 실 제로 무엇이 읽혔으며, 그들은 어떤 독후 반응을 보였고, 그 결과 이후 자 신에 관한 어떤 자서전을 쓰게 되었는지에 도달하는 경로를 추적하고자 했다. 자서전과 관련된 당시의 담론들을 살펴보면, 자서전이란 기본적으로 자신의 정체성을 적극적으로 서술하는 장르이므로 ``작가``, ``지식인``, ``민족 의 지도자``, ``스타``, ``일반인`` 등 필자에 따라서 다른 목적을 띠게 되고 다른 평가를 받게 된다. 또한 자서전은 독자의 기대지평과 필자의 발화욕망, 그 리고 출판사의 의도 사이의 역동적 관계 속에서 제작, 유통, 소비, 비평되 었으며 따라서 인정투쟁을 기반으로 한 정치적, 사회적 텍스트로서 해석 될 수 있을 것이다. This study explored a theme from Technologies of the Self, the last work of Michel Foucault: What is the basis for finding one`s identity? To address this question, the study examined autobiographies, as this is a genre that narrates self-identity. In particular, the study aimed to examine the concept and sense of the modern autobiography formed by reading such works. During the period of the Joseon dynasty under Japanese colonial rule, readers imitated the content, format, qualifications, or attitude of authors, or learned them unconsciously, while reading autobiographies translated into Korean or imported from Western countries. Therefore, it is fair to say that the genre of autobiography in twentieth-century Korea was modeled after Western autobiographies. The collective experience of reading and writing autobiographies accumulated and laid a foundation for the mass publication of autobiographies immediately following liberation from Japanese rule. The main body of the study aimed to investigate (1) how intellectuals during the Japanese colonial period thought about autobiographies; (2) how certain autobiographies written in Japanese or English affected the concept of autobiography; (3) and how autobiographies frequently translated into Korean and read during the period of the Joseon dynasty under Japanese rule were linked to the political situation at the time, the education provided by missionaries, and the desire to succeed in a capitalistic economy. In the process, the study traced the progress of the genre during this period by examining what existed as autobiographies, which ones were actually read, what responses they received, and what autobiographies were written after existing ones were read. Based on discourse related to autobiographies during that time, the autobiography can basically be described as a genre that actively describes self-identity. Thus, depending on the kind of author (e.g., a writer, intellectual, national leader, star, or ordinary person), there exist different purposes in writing, as well as different evaluations of, such works. Autobiographies were published, distributed, consumed, and criticized with dynamic interactions among readers` expectations, the desire of authors to speak, and publishers` intentions. Therefore, autobiographies can be interpreted as political and social texts based on the struggle for recognition.

뉴실버세대의 디지털 자서전 사례 분석

주선이,김한일 제주대학교 교육과학연구소 2020 교육과학연구 Vol.22 No.1

본 연구의 목적은 국내외 디지털 자서전 사례를 분석하여 디지털 자서전의 역할과 의의를 살릴 수 있는 글쓰기 단계를 제안하는 데 있다. 연구의 대상은 뉴실버세대의 디지털 자서전 쓰기 과정에 관한 것이며, 글쓰기 과정 전후로 일어나는 내면적 변화와 의미에 중점을 두었다. 본 연구를 위해 디지털 자서전을 쓰는 주체와 글을 쓰는 목적, 디지털 자서전이 가진 언어적 형식과 글쓰기 방식에 관한 이론적 배경을 먼저 살펴보았다. 그 결과를 바탕으로 디지털 자서전 사례 분석을 위한 평가 기준과 항목을 선정하였다. 국내외 디지털 자서전 사례 중 온라인에서 자서전 플랫폼 3가지 사례와 영상 자서전을 제작 교육 과정 3가지 사례를 분석 평가하였다. 분석 결과에 따라 3단계 글쓰기 과정을 제안코자 한다. 1단계는 글쓰기 전 단계로 미해결된 갈등의 기억을 주제로 평가, 종합하는 인생회고 단계이다. 2단계는 본격적인 글쓰기를 통해 플롯을 구성하고 원형 이야기를 쓴 뒤, 자서전 형태를 기획하고, 자료를 수집 및 정리하도록 한다. 마지막 단계는 디지털 매체를 통해 자신이 발견한 인생의 의미를 표현해본다. 본 연구의 분석 결과가 뉴실버세대 뿐만 아니라 자아통합을 필요로 하는 이들의 디지털 자서전을 이용한 교육 프로그램 설계에 도움이 되길 바란다. The aim of this paper is to analyze domestic and international digital autobiography cases and to propose a writing stage that can make use of the role and significance of digital autobiography. The study focuses on the digital autobiography writing process of the New Silver Generation, focusing on the internal changes and meanings that occur before and after the writing process. For this study, we first reviewed the writer of digital autobiography, the purpose of writing, and the theoretical background of the linguistic form. Based on the results, evaluation criteria and items were selected to analyze the digital autobiography cases. Three cases of online autobiography platforms and three training programs for video autobiography were analyzed. According to the results, we suggest a three-stage writing process. The first stage is the pre-writing, where the life review happens. The writer evaluates and synthesizes the unresolved conflicts. It is an important and essential process of finding the meaning of the life. In the next stage, the original story plot is constructed through authentic writing and the form should be planned. The final stage is to express the meaning of life through digital media. We hope that the results of this study will be helpful in designing educational programs using digital autobiography not only for the New Silver Generation but also those who need self-integrity.

기업가적 자아와 젠더: 90년대 여성 기업가 자서전을 중심으로

김혜인 동악어문학회 2023 동악어문학 Vol.90 No.-

This article aims to discuss the autobiographies of Jang Young-sin and Jo An-ri, which have been previously regarded as “women's self-narratives” during the mid-1990s, within the context of Korean entrepreneurial autobiographies. Women's entrepreneurial autobiographies are a distinct form of entrepreneurial narrative that emerges under different conditions compared to those of male entrepreneurs. The autobiographies of Jang Young-sin and Jo An-ri employ different gender strategies in constructing their entrepreneurial identities. Jang Young-sin's autobiography, shaped by her involvement in business through spousal succession, presents a distinct leadership style as a female entrepreneur that contrasts with the authoritative and patriarchal leadership associated with male entrepreneurs. It narrates how her experiences in nurturing and motherhood became the seeds of her entrepreneurial capabilities. On the other hand, Jo An-ri's autobiography foregrounds impulsive passions and the emotions of love, which have often been dismissed as “irrational,” and bestows upon them the capacity for entrepreneurial adventure and exploration, imbuing them with meaning and value. In contrast to male entrepreneurial autobiographies, which often simplify or make invisible the realm of intimate emotions and the private space of the home, these women's entrepreneurial autobiographies emphasize the experiences in the personal sphere and impulsive passions as the primary seeds for subsequent entrepreneurial capabilities. Moreover, an ideal entrepreneurial identity is constructed around these aspects. These dimensions hold significant importance for these authors in terms of securing the legitimacy of their entrepreneurial lives and self-assertion. Jang Young-sin, following her husband's death, transitioned from a housewife to the head of the family business through spousal succession within the structure of a family- owned enterprise. Jo An-ri, after marrying a foreign clergyman and facing societal condemnation, left Korea and ventured into business to achieve economic independence. These autobiographies create a meaningful and valuable model that justifies the entrepreneurial lives of female authors who started as “inherited widows” and “marginal men” engaging in challenging entrepreneurship. However, the autobiographies of Jang Young-sin and Jo An-ri can also be seen as narratives of the lives of the “elite ruling class” who have succeeded in wealth accumulation and class reproduction within Korean society. In Jang Young-sin's autobiography, the process of succession is narrativized as part of a universal gender struggle. Furthermore, her “extraordinary success” is portrayed as the manifestation of accumulated capabilities within the domestic sphere. These aspects make her autobiography more akin to a gendered version of strong individualism. In Jo An-ri's autobiography, the “capital flowing across borders,” driven by multinational corporations and state power during the 1980s and 1990s, is represented as a humanized form of capital, bracketing its power and class attributes, appearing as a “warm” and “alive” entity. Within the narrative of love and business, capital and the economy are also transformed into the realm of “warm emotions.” The more “femininity” is emphasized in these autobiographies, the more these women position themselves as “elite entrepreneurs” with entrepreneurial capabilities rather than simply being labeled as “women.” As they emphasize their gender identity, they assume the position of the “economic ruling class.” This can be seen as a paradoxical gendered self-expression in women's entrepreneurial autobiographies that reproduces class and justifies economic wealth. In the 1990s, the autobiographies of Jang Young-sin and Jo An-ri narrativized their entrepreneurial lives at the intersection of gender and class. These narratives oscillated between providing an altern...