TV 드라마 <디어 마이 프렌즈>에 재현된 가부장 이데올로기 고찰

윤복실 ( Yun Boksil ) 한국사상문화학회 2017 한국사상과 문화 Vol.89 No.-

The Confucian ideology based on the practice of filial piety influences the Korean society to this day. This is confirmed through television dramas that reproduce everyday life. However, the ideology that dominates the society is changed throughout generations. So the ideology of the drama shown in TV dramas is not a taste in the past society but rather a discourse of the current generation. Therefore, the analysis of the ideology of the TV dramas will be a meaningful work that can derive the flow of ideology. The TV drama < Dear My Friend > is a film about family problems the Korean society faces today. Author Noh Hee-kyung, who wrote this work, emphasizes that the elderly generation should adjust to the changed family ideology as the theme of the drama is called the growth period of the elders. In this paper, we try to confirm the variation of family ideology by comparing patriarchal ideology reproduced in TV drama with patriarchal ideology of the traditional society. As a result of this study, we can see that the patriarchal ideology of < Dear my Friends > is realized through the character Kim Seok-gyun, and the patriarchal ideology recreated by Kim Seok-gyun is formed with a strict separation of gender discrimination, monopoly of the family economic power, a thorough distinction of sex role, and sacramental service through the dedication of women. Also, Kim Suk - gyun 's patriarchal ideology was deduced to be based on the idea of filial piety which was completed in the late Choseon dynasty since the 17th century. However, the patriarchal ideology recreated through Kim Seok - gyun showed a difference from the traditional patriarchal ideology, which entrusted a part of the family economy to women and did not place much emphasis on filial piety.

재일한국인2세 작품에 나타난 ‘무사도’

이승진(Lee, Seung-jin) 가천대학교 아시아문화연구소 2015 아시아문화연구 Vol.38 No.-

본고는 재일2세 문학을 ‘무사도’라는 유교이념의 근대주의적 확장이라는 측면에서, 재해석함으로써 일본의 제국주의화에 깔려 있는 정신적 기원을 해명하고, 그 발현 양상을 고찰해 보고자 한 것이다. 일본의 경우, 무사도적 유교이념은 ‘가족국가관’과 ‘천황제이데올로기’라는 근대적 사상, 그리고 그에 기초한 근대시스템 창출에 결정적인 영향을 미치게 된다. ‘가부장제적’집 질서 구조가, 신민과 국민을 이어주는 상상된 공동체로 발전해 가는 과정은 일본 근대 제국주의 형성에 주요한 근거로 작용했다. 한편 ‘천황제이데올로기’에 내재된 유교문화적 가치는 식민지 조선인, 그중에서도 종주국에서의 삶을 강요받았던 재일에게, 때로는 자신들의 생활원리를 지지하는, 때로는 그 생활원리 자체를 부정하는, 매우 이중적이며 모호한 모습으로 다가 온다. 고사명과 이회성의 작품에는 이러한 이데올로기적 작용이 상징적으로 그려지는데, 이들 작품에 전경화된 심상풍경은 그야말로 천황제이데 올로기의 이면에 감추어 있는 내밀한 확장 원리를 잘 보여준다. 그리고 여기에 주목할 때, 종래의 식민 · 피식민이라는 경직된 이분법적 구도에서 ‘민족성’의 회복이라는 단선적인 해석에 머물러 온 재일문학 연구에 새로운 시야를 제시할 수 있을 것이다. This paper aims at identifying a mental origin of Japanese imperialism and examining its representational aspects by reinterpreting the 2nd generation Korean-Japanese literature in terms of the modern expansion of the Confucian ideology of the ‘Bushido’. In Japan, the Confucian ideology of Bushido had a critical effect on the modern ideas of the ‘Family-State’ and ‘Emperor System’ ideologies and also on the creation of a modernized system based on such ideologies. A process that "patriarchal" familial order structure developed into an imaginary community connecting the subjects and the people acted as a primary basis for establishing the Japanese modern imperialism. On the other hand, for the colonized Joseon people, particularly for Korean-Japanese who lived a forced life in a suzerain state, the Confucian cultural values inherent in the ‘Emperor System ideology’ were very dual and ambiguous ones sometimes supporting or sometimes denying their living principle. Such an ideological effect is shown symbolically from works by Ko Sa Myeong and Lee Hoe Seong. Mental landscape foregrounded from their works shows a secret expansion principle hidden in the back of the Emperor System ideology.

사회주의 이데올로기와 ‘연애’의 이상적 규범 ― 趙樹理의 <小二黑结婚>을 중심으로

김윤수 고려대학교 중국학연구소 2018 中國學論叢 Vol.0 No.62

In the early 20th century, when ‘love’ spread in China, ‘free love’ was a term meaning free love between men and women and emerged as a means of institutional reform against the patriarchal traditional society. However, at the time of the revolution, a large number of Chinese intellectuals began to look for the theory of ‘love’ newly in the light of socialist love. Particularly, in the Yan’an era, ‘love’ was placed in the public domain, not the private domain, in order to establish the ‘love theory’ in line with socialist ideology. Originally, ‘free love’ was the exclusive property of the intellectual class, but in the Yan’an era, it was intended to establish a new social order by spreading ‘free love’ to the peasant class. The ‘love’ of the male and female characters in Zhao Shuli’s “Xiao Erhei’s Marriage”, which caused a great sensation in Yan’an era in 1942, was different from the ‘love’ in existing works. ‘Free love’ was the exclusive property of the intellectual class, and although the marriage law was enforced, love for farmers was just vague and abstract. This work allowed the farmers to naturally accept modern marriage culture by clearly showing the way how the two young man and woman love and marry eventually. And “Xiao Erhei’s Marriage” shows the process of the collapse of ‘father’-oriented family order according to socialist ideology by the medium of Xiao Erhei and Xiao Qin’s love and marriage. The success of their marriage, based on new ‘father’ centered on the village headman, socialist ideology, shows that the socialist ideology penetrated into the space called ‘house’, a private domain separated from the national system.

권력의 공포와 모성 이데올로기의 붕괴 -<분신사바> <신데렐라> <령> <여고괴담4: 목소리>를 중심으로

박진 ( Park Jin ) 국제어문학회 2007 국제어문 Vol.39 No.-

In this paper we will take a look at aspects of power and image of maternity in four recently released Korean horror movies namely < Bunshinsaba >, < Cinderella >, < Dead Friend >, and < Whispering Corridors 4: Voice >. These four movies center on high school girls and weave tales about their relations with their friends or mother thereby presenting the problem of power. In particular, each of these movies depicts maternity from different perspectives which in turn show different viewpoints on patriarch and family ideology. < Bunshinsaba > in accordance with a cliche formula of `the oppressed - the weak - the vindictive spirit` depicts simple aspect of power. In addition, it masks mother`s dominance over daughter in the name of maternity and mystifies the meaning of biological maternity thereby advocating maternal ideology that conforms to the establishment. < Cinderella > discloses the aspect of power hidden in maternity and its narcissist side thereby de-mystifying the myth of maternity. Though limited by the exclusiveness of blood ties, the film reveals the conservative family ideology. Meanwhile, < Dead Friend > effectively depicts the essence of power as an element of correlation with horror and the complex mechanism of power. In particular, the fight over a body between mother and daughter is noteworthy in that it interprets family as a venue of power struggle. On one hand, < Whispering Corridors 4: Voice > dissects the close relations between love and dominance and the desire of power to `survive` to the end. On the other hand, it recalls family ideology in that it links reversed relation between mother and daughter with lack of love in a family. Thus, each horror movie shows a different perspective of the dominating ideology by presenting its version of answers to questions such as who becomes the ghost in a horror movie? What is the relation between the aggressor and the victim? How is power depicted in their relation? What is the view of maternity and family? The narrative significance of horror movies lies within aesthetic value and carnival-like effectiveness but this narrative significance can also change depending on the ideological perspective. Active reading looking for subversive power that lies in horror movies takes on significance in that it expands the possibility of popular narrative as a socio-cultural text.

『오드리 부인의 비밀』에 나타난 푸코적 광기와 빅토리아 가부장제 사회의 비밀

김일영 ( Il Yeong Kim ) 한국근대영미소설학회 2011 근대영미소설 Vol.18 No.1

The aim of this paper is to investigate the nature (“secret”) of bourgeois patriarchical society in Braddon`s Lady Audley`s Secret by examining the issue of madness in terms of Foucaultean “madness,” since the definition of madness itself reveals the nature of the society. Foucault argues that definition of madness in the 19th century is a kind of strategy employed to control those who deviate from the bourgeois morality as well as those who threaten the bourgeois society, while regarding a madhouse as the instrument which inculcates bourgeois ideology through its patriarchical family system. The ways to control the “mad” woman in Lady Audley`s Secret almost exactly corresponds to those indicated in Foucault`s Madness and Civilization. Helen/Lady Audley is defined as a mad woman because she oversteps the boundary of womanhood set by the bourgeois patriarchical society which demands passivity and blind obedience from women, and then she is ultimately “buried alive” or rather banished to a madhouse whose operation system resembles that of a patriarchical family with its keeper as an authoritative father and its inmates as his “should-be” obedient children. In this sense, Robert Audley who banishes Helen/Lady Audley as a mad woman after accusing her of her bigamy as well as her attempted murder can be considered to grow into an upholder of the patriarchal ideology. His growth as a “responsible” member of the patriarchical society, however, is paradoxical, because his growth is achieved through his concealment of the “unpleasant truth” that the ideal woman, that is, “angel in the house,” is a myth enforced upon Victorian women who cannot but be mad in the light of patriarchical ideology. This is the real “secret” which the patriarchical society wants to conceal.

『등대로』와 「어부와 그의 아내」의 관련성

조한선 한국현대영어영문학회 2013 현대영어영문학 Vol.57 No.1

Cho, Han-Sun. “The Relationship between To the Lighthouse and “The Fisherman and His Wife” ”. Modern Studies in English Language & Literature 57.1 (2013): 221-40. This study examines the relationship between one of the misogynic fairy tales, The Fisherman and His Wife and To the Lighthouse. Mrs Ramsay, one of the protagonists in To the Lighthouse, reads the fairy tale to James, her youngest son. The fairy tale conveys a patriarchal ideology: the world would be in danger and perished if women`s desires were not restrained. Although Mrs. Ramsay does not support the ideology, nor is she able to protest, subvert or transcend it. Because she is ``an angel in the house``, she is conditioned not to say what she feels, what she thinks and what she wants. Nevertheless, Woolf makes her instill Lily and Minta representing the next generation with the ideology. Even she seems to preach marriage life to them to stabilize the patriarchal society. At last one of Woolf`s personas, Lily overcomes the ideology, realizes her wish and achieves her success in being a painter on her own. As Lily finishes her picture, Woolf herself completes her novel overcoming her traumatic childhood. (Kyonggi University)

채만식의 〈여인전기〉에 나타난 ‘모성’ 연구

이병순(Lee ByungSoon) 세계한국어문학회 2009 세계한국어문학 Vol.2 No.-

채만식의 〈여인전기〉에 나타난 모성은 크게 두 가지로 양분해 볼 수 있다. 봉건적 모성과 군국주의 모성이 그것이다. 여기서 봉건적 모성이란 가정이라는 사적 영역에 묶여 자식을 위해 희생하고 봉사하는 전통적 의미의 어머니뿐 아니라, 자식을 자신의 소유물로 판단, 맹목적인 사랑을 퍼붓는 전근대적 어머니상까지 포함한다. 군국주의 모성이란 군국주의 지배 이데올로기에 부합하는 총후의 어머니로서, 자신의 아들을 기꺼이 국가에 헌납하며 국민으로서의 의무를 다하는 어머니를 가리킨다. 〈여인전기〉에는 이 두 모성이 교묘하게 착종되어 있어 주목을 요한다. 그러나 이 두 모성은 사실 강요된 관제적 모성이라는 점에서 공통적이다. 즉 전근대적 봉건 이데올로기는 잔여적 이념의 형태로, 군국주의 이데올로기는 당대 현실을 추동하는 지배적 이념의 형태로 작동되고 있었기 때문이다. 결국 일제 말기 채만식의 〈여인전기〉에 나타난 모성은 관제적 모성으로 철저하게 획일화된 주입식 모성이라고 볼 수 있다. The motherhood in “A Biography of a Woman” is roughly divided into two. Those are feudal motherhood and militaristic one. The feudal motherhood in this study contains the image of premodern mother that showers blind love on children considering them as her belongings as well as traditional mother that sacrifices herself for children being restricted in such private area as home. The militaristic motherhood is the mother that is willing to present her son to the State and fills her duty as a subject represented as Chonghoo Buin(Madam in the rear guard) who accords with militaristic ruling ideology. In “A Biography of a Woman”, these two motherhoods are skillfully entangled, which we need to notice. However there is something in common in these two motherhoods in that they are, in fact, forced ones manufactured by the government. That's because premodern feudal ideology comes into action in the form of remaining ideology and militaristic ideology in the form of ruling ideology driving those days forward. In conclusion, the motherhood in Chae Man-sik's “A Biography of a Woman” at the end of the rule of Japanese Imperialism is manufactured by the government and implanted completely uniformly.

1950년대 장덕조 소설에 나타난 연애와 결혼 ― 『多情도 病이련가』를 중심으로

최미진 현대문학이론학회 2009 現代文學理論硏究 Vol.0 No.37

The purpose of this paper is to find out how to gain popularity and the underlying feminine consciousness by examining the representative love story of the 1950s written by Jang, Deok-jo “Too Sweet To Be”. First, this novel leaves room for popularity by using a complicated but loose grammar of a romance novel. The subject of conflicts in an intricate love triangle is women. Conflicts among male characters are not serious or even nonexistent, while women seem to internalize conflicts as their fate. The failure to diversify conflicts and the readily sublimation of an eternal love into patriarchal ideology shown here can be described as both major characteristics and limits of popular novels. Second, this novel puts the post-war pleasure-seeking culture and the newly-emerged love culture into context. The rapidly growing pleasure-seeking culture during the post-war period turns places like coffee houses, clubs and hotels into a place for sex. With the appearance of modern women, discriminatory gender ideology gains more ground, leading to a punitive dicourse on the infidelity of women during this period. In addition, the love culture of this time is replayed through the watching of theaters, concerts and American movies. The hierarchy in the tastes implies the changing relationships among characters, while the west-centralism exercises great influence here. Even if this can be a feature of a romance novel, the gender ideology and the western-centralism constructed by the writer pose some problems. Third, this novel displays the changes in marriage custom after the war by putting together the mixture of the old and new custom for marriage and remarriage. Female characters are at the forefront of facing the conflicts caused by these changes, but they also show the ability to deal with those conflicts as love sufferers, while adding more values to traditional norms. This conclusion is nothing but an indication of their agreement to the patriarchal ideology. “Too Sweet To Be” by Jang, Deok-jo tries to explain the post-war bipolarization and the chaotic value system due to conflicting old and new values through women's troubles for marriage. Female characters who aspire to have a new take-off through love are frustrated by traditional female dicourse, but the writer faces up squarely to the social reality and the patriarchal ideology and puts them together in a romantic way. This seems to be the main reason why Jang, Deok-jo, who led the female discourse at that time, could establish herself as one of the most popular female novelists of the day.

“집안의 유령”: 흰 옷 입은 여인 에 나타난 빅토리아 시대의 이상적 여인

김일영 ( Il Yeong Kim ) 한국근대영미소설학회 2012 근대영미소설 Vol.19 No.3

This paper aims to investigate the implied meaning of “the woman in white” in The Woman in White in terms of Victorian patriarchal ideology. The woman in white has several connotations in its connection with patriarchal ideology because the color white is associated with female purity, chastity, blank, and absence (since white color results from the absence of color). Consequently, the woman in white refers to the pure and chaste woman or non-identity/absence of identity. In this respect, the woman in white represents the Victorian ideal woman who is characterized by chastity, purity, and submissive feminity without any independent identity. The color white is also associated with marriage (because color of the traditional wedding dress is white) and a ghost which is usually depicted as wearing a white clothes, thus making a woman in white a symbol of a bride as well as a ghost. In a word, the woman in white stands for an ideal woman in a patriarchal society as well as a ghost which loses its identity through marriage. The title of the novel is meaningful in that the woman in white represents the Victorian ideal woman, that is, the angel in the house, as well as the ghost in the house. The angle in the house, however, is another name for a ghost in the house who is deprived of her own identity by submitting to the demand of patriarchal society, while the ghost in the house becoming the “metonymy of femininity” under patriarchal society. Thus, this novel is about the angel in the house who becomes a ghost as well as the patriarchal society which produces such a ghost.

‘집’의 장소성과 젠더

홍혜원(Hong Hye-weon) 어문연구학회 2016 어문연구 Vol.88 No.-

장소와 젠더에 대해 사고하고 재현하는 방식은 서로 긴밀히 연관되어 있으며 이것은 유동적이고 불확실한 경계를 지닌다. 또한 장소와 젠더는 당대 사회의 이데올로기와 권력 관계를 재현하거나 사회공간적 실천을 통해 경계를 가로지르기도 한다. 이러한 인식을 바탕으로이논문은‘집’의장소성과여성/남성의젠더가 상호작용하는양상을 염상섭의단편집 [일대의 유업]을 대상으로 규명하고자 하였다. 여성의 삶을 주요 소재로 다루고 있는 일대의 유업은 ‘집’이라는 장소를 배경으로 여성 주체가 자아를 인지하는 과정과 남성성의 약화 양상을 서사화하였다는 점, 또 세속의 가혹한논리에의해여성들의삶이좌절될수밖에없었다는점을드러냄으로써가부장이념의 해체와 재응집을 보여 주고 있다. <일대의 유업> 연작에서는 폐쇄되었던 집의 장소성이 개방되면서 공/사적 영역이 서로 혼재되고 여성적 젠더의 속성 역시 유동적 양상을 보인다. 나아가 공간의 이동에 따라 새롭게 구성된 장소성은 여성의 잠재된 욕망을 표출하게 한다. 이는 곧 장소와 젠더의 상호규정성에 의해 여성 욕망의 발견이 장소의 의미망을 확장하는 과정이기도 하다. 그러나 가부장적 자본주의 이데올로기는 그 속성상 젠더의 경계를 끊임없이 확정짓고 내부의 질서를 규범화한다. 이에 따라여성적 젠더는 다시 가부장의 이념에, 또 자본의 논리에 속박당한다. 또한 <굴레>와 <절곡>에서처럼 집의 장소성이 부정적으로 형상화될 때 남성성의 혼란과 약화가 나타나는데, 이는 남성 젠더 역시 경계가 모호하며 다층적 의미망이 충돌하는 불확정적 속성을 내포하고 있음을 보여준다. <순정의저변> 등일대의유업에속한일군의단편들은대부분불행한결말이거나문제가전혀해결되지않고갈등이반복되는상태로마무리되고있다. 특히여성인물이불구적사랑의양태를보일때더욱그러하다. 이때‘집’의장소성은주로‘부재’로서기표화되고있으며 완강한 내구성을 지닌 자본과 가부장의 논리 속에 여성 인물은 비극적 상황으로 내몰린다. 한국전쟁 직전과 1950년대 염상섭의 단편소설에 나타난 장소와 젠더의 유동적 양상은 여성인물의 정체성 구성에 있어 다양한 가능성을 내포한다. 이는 동시기 다른 작가에 비해 염상섭의 젠더 인식이 상대적으로 진보적임을 보여주는 것이기도 하다. 그러나 현실을 향한냉정한시각을보유하였던작가의태도는결국당대사회를지배한가부장적자본주의 이데올로기를 수용하고 이를 전면화한다. 그렇기에 [일대의 유업]에 실린 작품들에서경제적인 자립을 시도하거나, 적극적으로 사랑을 찾아 나선 여성들은 ‘집’과 ‘돈’을 잃어버리고 사랑에서조차 실패하는 것이다. How to thinking and reflection about place and gender are closely related to each other. This has the fluid and uncertain boundaries. And the place and gender representation and reflects the ideology and power relations in society. And it crosses the border into parameters of the social-spatial practice. Based on this recognition, this paper will argure the aspects that interact about sence of place and female/male gender. Target is a collection of short stories “The heritage of the one generation" of Yeom Sang-seop. “The heritage of the one generation” selects the lives of women as the main material, and was the home of a place in the background. And the author was describing a process of self - conscious women-subject and aspects masculinity weakened into a novel. It also shows the aspect of women's lives are frustrated by the capitalist patriarchal domination. After all the work shows the reunion and dismantling of patriarchal ideology. When I analyzed a series of “The heritage of the one generation", a sense of place in the home that was closed was open to communicate with each other be public experience and private experience, gender characteristics of women will have a flexible nature, women have also been found to self-identity. However, the dominant ideology is inherently continue to build fixed the boundaries of gender, it attempts to standardize the order of the interior. The female gender is thus redeemed back to the ideology of patriarchy. In addition, as in “Bondage" and “Fasting", when the spatial sense of the home is to be shaped in the negative, features of men are weakened. This shows that the male gender also implies uncertainty so that multiple layers of meaning networks are in conflict with one another. The short story that belongs to “The heritage of the one generation" are mostly unhappy ending or the problem is finished in a state where there is repeated conflict is not resolved at all. Especially when the person is female commit adultery, and when there is no house, and she is a figure of tragedy in the logic of capitalism and patriarchy. The fluid aspects of place and gender appeared in the 1950 short story of Yeom Sang-seop implies the various possibilities of identity construction of female characters. This shows that gender awareness of Yeom Sang-seop is relatively advanced compared with other writers. But Yeom Sang-seop maintain an objective attitude when describing reality. So he accept the ideology of capitalist patriarchy of contemporary society, and it shows in the work. Therefore, in the novel published in “The heritage of the one generation" women should try for economic self-reliance or actively trying to get the love, but the girls are losing their homes and economic power, it fails in love.