TV 드라마 <디어 마이 프렌즈>에 재현된 가부장 이데올로기 고찰

윤복실 ( Yun Boksil ) 한국사상문화학회 2017 韓國思想과 文化 Vol.89 No.-

효(孝)의 실천을 근간으로 하는 유가사상은 아직까지도 한국 사회에 영향을 주고 있다. 이는 일상을 재현하는 텔레비전 드라마를 통해서 확인이 된다. 하지만 사회를 지배하는 이데올로기는 시대에 따라 변주되는 것이다. 그래서 텔레비전 드라마에서 재현되는 드라마의 이데올로기는 과거 사회에서 풍미하였던 것이 아니라 현 시대의 담론이다. 그렇다면 텔레비전 드라마의 이데올로기에 대한 분석은 이데올로기의 흐름을 도출할 수 있는 유의미한 작업이 될 것이다. 텔레비전 드라마 <디어 마이 프렌즈>는 오늘날 한국사회가 직면한 가족의 문제를 다룬 작품이다. 이 작품을 집필한 노희경 작가는 드라마의 주제를 ‘꼰대들의 성장기’라고 하면서 노인 세대가 시대에 따라 변화된 가족 이데올로기에 적응해야 함을 강조하고 있다. 이에 본 논문은 텔레비전 드라마에 재현된 가부장 이데올로기를 전통 사회의 가부장 이데올로기와 비교함으로써 가족이데올로기의 변주를 확인하고자 하는 것이다. 연구결과, <디어 마이 프렌즈>의 가부장 이데올로기 재현은 김석균이라는 인물을 통해서 이루어지는데, 김석균을 통해 재현된 가부장 이데올로기는 남녀차별과 가정경제권의 독점 그리고 여성의 헌신을 통한 제사봉사와 성역할의 철저한 구분 등을 통해 수행된다는 것을 알 수 있었다. 그리고 김석균의 가부장 이데올로기는 17세기 이후 조선 후기에 완성된 유가사상의 효(孝)사상에 근거한 것으로 추론되었다. 하지만 김석균을 통해 재현된 가부장 이데올로기는 예(禮)를 중시하지도 않고 가정경제를 일정부분 여성에게 일임한 전통적 가부장 이데올로기와 차이를 보였다. 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.

1960년대 손창섭 장편소설에 나타난 가부장제 이데올로기 비판

류동규(Ryu, Dong-gyu) 한국문화융합학회 2009 문화와 융합 Vol.31 No.-

This study aims at examining the criticism of Patriarchal Ideology of Son Chang-seob s novel in the 1960 s. Son Chang-seob published 9 volumes of novels serially in the newspaper during 10 years in the 1960 s. The principal themes are marriage and sexuality. Leading characters desire to get a position of patriarch through finding-wife narrative. A hero of <As time goes by(세월이 가면)>(1960) and a heroine of <My Name is Woman(내 이름은 여자)>(1961) have a strong desire to return to traditional patriarchy, but these trials are ended in failure. Patriarchy connects with modernized ideology at that time. In <Husband and Wife(부부)>(1962) and <The Class of Human(인간교실)> (1963), the principal characters show ambivalent attitudes toward traditional patriarchy and modern patriarchy. In Son Chang-seob s novels, a sexuality means resistance against patriarchal ideology. But patriarchal ideology controls this kind of sexuality. It appears as a separation of spirit and body. The spirit (tends to) control the body efficiently with modernized ideology.

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

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

이 논문에서는 최근 한국 공포영화 가운데 <분신사바>, <신데렐라>, <령>, <여고괴담4: 목소리>에 나타난 권력의 양상과 모성의 형상을 검토해본다. 이 네 편의 공포영화는 모두 여고생들을 주요 등장인물로 하여 친구 관계와 모녀 관계를 통해 권력의 문제를 이야기한다. 특히 모성을 형상화하는 이 영화들 각각의 관점은 가부장제와 가족주의 이데올로기에 대한 서로 다른 입장을 대변해준다. <분신사바>는 `피억압자-약자-원귀(寃鬼)`의 상투적인 공식에 따라 권력관계를 평면적으로 그려낸다. 또한 딸에 대한 엄마의 지배를 모성애로 미화하고 생물학적인 모성의 의미를 신비화하는 등, 체제 순응적인 모성 이데올로기를 표방한다. <신데렐라>는 모성애에 내포된 권력의 성격과 그 나르시시즘적 속성을 폭로함으로써 모성의 신화를 탈신비화한다. 그러나 혈연주의적 배타성의 한계 속에서 보수적인 가족 이데올로기를 드러내기도 한다. 한편 <령>에서는 상호 공포 관계로서의 권력의 본질과 권력의 복합적인 메커니즘이 효과적으로 형상화된다. 특히 모녀 사이의 몸 쟁탈전을 통해 가족을 권력 투쟁의 장소로 그려내는 이 영화의 관점은 주목할 만하다. <목소리>에는 애착 관계와 지배 관계의 밀접한 연관성과 끝까지 `살아남고자` 하는 권력의 끈질긴 욕망이 묘파되어 있다. 반면에 전도된 모녀 관계와 사랑이 결핍된 가족 관계를 불길한 공포와 연결시키고 있다는 점에서는 가족 이데올로기를 재소환하는 결과를 초래하기도 한다. 이처럼 공포영화는 누가 귀신이 되는가, 가해자와 피해자는 어떤 관계인가, 그들 사이의 권력 관계는 어떻게 묘사되어 있는가, 모성이나 가족을 바라보는 관점은 어떠한가 등을 통해 지배 이데올로기에 대한 각기 다른 입장을 드러낸다. 공포영화의 서사적 의의는 미학적 가치나 카니발적인 효용성 이외에도 이와 같은 이데올로기적 관점의 차이에 따라 달라질 수 있다. 이런 차이들에 주목하면서 공포영화에 내재한 전복의 에너지를 적극적으로 찾아내는 독법은 사회문화적인 텍스트로서의 대중 서사물이 지닌 가능성을 확장시키는 의의를 지닌다고 하겠다. 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.

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.

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

김일영 ( Il Yeong Kim ) 한국근대영미소설학회 2011 근대 영미소설 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)

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 근대 영미소설 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.

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.