이호철의 「우국회사」에 나타난 우국 놀이에 대한 연구

조현일 현대문학이론학회 2023 現代文學理論硏究 Vol.- No.93

This study examines the artistic world of Lee Ho-cheol’s novel, “Ugukhoesa (Patriot Company)” (1967), focusing on patriotism play. In Chapter 2, the generational dimension of “Ugukhoesa” was identified. “Ugukhoesa” criticizes the old generation’s reality-compromising, militaristic inner side through journalist Sohn Sang-mun, history professor Kim Wal-jin, and Jeong Hyong-un, who creates a ‘patriotism loyalty professional association’. In Chapter 3, this study looked at the point that the ‘patriotism loyalty professional association’ satirized the ‘reconstruction’ (national reconstruction movement). Superficially, the patriotism loyalty professional association is an organization that aims at a national moral movement. It satirizes the militaristic national reconstruction movement including trainees in green uniforms, morning meeting instruction every morning, plancards saying ‘Let’s all gather in the great line of patriotism, patriotism, patriotism!’, and Jeong Hyong-un’s speeches and military songs, etc. Chapter 4 clarified that the real reason why Jeong Hyong-un created the patriotism loyalty professional association was to play patriotism play. Jeong Hyong-un plays to imitate Ahn Jung-geun representing the historical patriots and Ham Seok-heon representing the contemporary patriots. In the 1960s, not only the forces of the 5-16 coup, but also Ham Seok-heon, who resisted it, called for a national movement and advocated “patriotism,” a time when it was sacred. Ham Seok-heon as well as coup forces could not be free from secularization work as a form of political oppression. Lee Ho-cheol fully demonstrates the lightness and liberation of an artist who plays through “Patriot Company”. And it carries out the political work of profanating the political theology that dominated the 1960s through Jeong Hyong-un’s patriot play, or the sanctified politics.

‘만주국’의 문화통치정책과 연극 활동의 변화 양상 - 중국인 연극을 중심으로 -

LI FUSHI 국제한인문학회 2016 국제한인문학연구 Vol.- No.18

‘만주국’의 문화정책은 시기별(초기-1932~1936, 중기-1937~1940, 후기-1941~1945) 문화통치기구의 설립과 개혁에 따라 변화했다. 건국 초기 ‘만주국’은 식민정권의 정착과 안정을 도모할 목적으로 자정국 홍법처 및 정보처와 만일문화협회 등 문화통치기구의 설립을 통해 ‘만주국’의 건국이념을 적극적으로 선전했다. 그 과정에서 보다 효과적인 선전을 위해 ‘만주국’은 각종 문화단체를 조직하고 신문의 문예란 개설을 활성화시켰다. 이는 일종의 회유책으로서 ‘만주국’ 초기의 활발한 문화 활동을 촉진했다. 한편 건국 초기는 행정제도가 확립되지 않았고 보도체제 또한 정비되지 않았기 때문에 문화통치기구의 침투력이 깊은 편은 아니었다. 건국 초기의 항일연극은 바로 이러한 문화적 배경 하에 등장하게 되었다. 진젠샤오를 중심으로 한 중국의 일부 애국청년들은 『대동보』와 같은 ‘만주국’ 기관지의 문예란을 통해 반제반봉건 성격의 희곡을 발표함은 물론 극단을 조직하여 민중(중국인) 계몽을 위한 연극을 공연하기도 했다. 그러나 ‘만주국’의 문화 활동을 회유함과 동시에 반만항일세력에 대한 감시의 시선을 놓치지 않았던 일본제국의 이중적 문화통치에 의해 항일연극 및 그 주체들은 곧 탄압되고 말았다. 중일전쟁 후, 일본제국은 식민정권을 한층 더 강화하고 대동아전쟁에 대비할 목적으로 문화예술에 대한 통제를 ‘만주국’ 최고 실권기구인 홍보처(초기의 정보처를 홍보처로 명칭 변경)의 직접적인 통치 기능으로 추가 ‧ 확대했다. 이에 따라 선전도구로서의 문화예술의 기능을 확대 · 강화함과 동시에 ‘만주국’의 독자적인 문화를 창조하기 위한 이른바 문화건설사업이 전국적으로 추진되었다. 이 시기 ‘만주국’의 신극운동은 곧 그러한 문화건설사업의 일환으로서 전개되었다. 신극운동의 추진은 극단의 범람 및 극본공모의 붐을 일으키기도 했다. 그러나 그 실질은 ‘만주국’ 당국의 연극선동정책에 의한 표면 현상에 불과했다. 게다가 ‘만주국’의 독자적인 연극을 창조하기 위해 형식적인 측면에 치중함으로써 극적 효과를 약화시키기도 했다. ‘만주국’ 후기에 들어와 고도로 집중된 중앙정권의 관제개혁이 이루어지고 『예문지도요강』이 반포되면서 ‘만주국’은 홍보처 중심의 일원적인 문화체제 및 결전문예체제로 이행하게 되었다. 이에 따라 그 전 시기의 신극운동은 연극보국이라는 결전문예운동으로 돌입하게 되었다. 즉 신극운동을 강력한 선전도구로 이용하려 했던 일본제국의 파시즘적 문화 성격이 전시상황의 심입과 더불어 노골화된 것이었다. 이 시기의 연극보국운동은 증산, 개척, 헌금, 위문 등 전쟁동원을 목적으로 도시 극단과 지방 극단, 이동연극 또는 연극경연대회 등 다양한 조직과 방식을 통해 전국 각지에서 전개되었다. 그러나 ‘만주국’의 멸망으로 연극보국운동은 결국 실패하고 말았다. The cultural policy of Manchukuo changed according to the establishment and reform of culture governing body of respective periods - the early part from 1932 to 1936, the middle part from 1937 to 1940, and the latter part from 1941 to 1945. In the beginning stage after its foundation, Manchukuo actively propagated its founding principles through the establishment of culture governing bodies - Jajeongguk Hongbocheo, Jeongbocheo, Manil Culture Association, etc. - for the purpose of promoting the settlement and stability of the colonial power. In that process, Manchukuo organized all sorts of cultural organizations and vitalized the opening of the literary section in newspaper for more effective propaganda. This boosted active cultural activities in the beginning stage of Manchukuo as a sort of conciliatory policy. Meanwhile, since a governmental system was not established and the broadcasting system was not also organized in the beginning, the influence of culture governing body was not powerful. Under this cultural background, anti-Japanese plays came on the stage. Some patriotic youth led by Jin Jian Xiao not only presented plays that had anti-imperialistic and semi-feudalistic character through the Daedongdo literary section of the Manchukuo organization newspaper but also performed the plays to enlighten the Chinese people by organizing drama companies. However, anti-Japanese plays and their main agents were soon suppressed by the twofold cultural reign by the Empire of Japan that cajoled the cultural activities of Manchukuo and did not cease to keep a watch on the anti-Manchukuo and anti-Japanese forces. After the Sino-Japanese War, in order to strengthen the colonial power and prepare for the Greater East Asia War, the Empire of Japan added and expanded the direct governing function by Hongbocheo (the changed name of Jeongbocheo from the early part) - the highest power organization of Manchukuo - when it came to the governing of cultural arts. Accordingly, expansion and strengthening of the cultural arts function as a propaganda tool and the so-called cultural construction project for the creation of independent culture were carried out on a national scale. The theatrical reform movement by Manchukuo was conducted as a part of the project. The movement focused on the national policy plays that represented the interests of Manchukuo. As a result, other theatrical activities were relatively isolated. In addition, the pursuit of the theatrical reform movement brought about oversupply of theater companies and script public contest booms. However, in reality, it was a surface phenomenon by the Manchukuo authorities' drama incitement policy. Moreover, the policy weakened the dramatic effect owing to concentrating on formal aspect for the creation of Manchukuo's independent plays. For example, the theatrical reform movement failed to obtain diversity and artistry of play since it mainly focused on the thesis play of national policy propaganda or on the creation of independent culture. As intensive reform of the central government was carried out and 'Yemun Guideline' was proclaimed in the latter period, Manchukuo was carried through the unitary cultural system based on Hongbocheo and the final literary system. Thus, the theatrical reform movement of the previous period started the final literary movement 'patriotism of play'. In other words, the fascistic character of the Empire of Japan that strived to take advantage of the theatrical reform movement as a powerful propaganda tool became conspicuous along with the intensification of the state of war. During this time, the patriotism of play movements were held at many places in the country through various organizations and methods - urban theater companies and local theater companies, traveling theaters, play contests, and so on - for the purpose of war mobilization - production increase, colonization, collection, encouragement, etc. However, the patriotism of play movement...

복수주제를 통한 老舍의 풍자희곡 「歸去來兮」 읽기

김수진 한국중국언어문화연구회 2014 한중언어문화연구 Vol.- No.36

In short, Guiqulaixi, a satirical play centered around the Qiaoshen family by Laoshe, successfully depicts the psychological processes and clashes involving worries and conflicts over the selfish interests and desires, patriotism, and personal and national revenge of the characters with different personalities and positions during the Sino-Japanese War. Qiaorenshan is evolved from the Worrying Hamlet, who lacks activity and is made as a caricature a little bit, embodied in Tianlide, the main character of New Hamlet, a novel by Laoshe in 1936. He manifests Hamlet required by the times who discards indecisiveness and avenges himself with grim resolution. Laoshe’s plays during his fighting years were in the experiment stage and thus exhibit their limitations. He put too much emphasis on the fighting propaganda that his characters were divided by the extreme ends of good and evil. As a result, there is room for improvement in his creation of complex characters with reality and their images. Laoshe himself always showed a humble attitude toward playwriting he started late, despite which his plays demonstrate tight plots and the force of his written style as much as his novels, his representative creation genre. Guiqulaixi, his satirical play examined in the present study, also demands ongoing research and examination as part of the efforts to assess the literary values of Laoshe’s plays. In spite of its limitations as one of his early creative works, it holds huge significance by serving as the foundation for his masterpieces of great completeness after the establishment of New China such as Chaguan.

대한제국기 근대 학교의 소풍ㆍ수학여행의 도입과 확산

조성운 한국민족운동사학회 2012 한국민족운동사연구 Vol.0 No.70

This article was prepared to explore the introduction and spreading process of picnic and excursion as a part of research into modern tourism in colonial Joseon Dynasty in Korea’s imperialistic era. This study demonstrated that picnic in Korea’s imperialistic era was enforced since 1896 in the name of Hwaryu(gay-pursuit), play, and Weonjok(distance tour, and it was evolved to a school excursion since the opening of railroad. Excursion was based on our traditional play. Hwaryu play, and formulated by the influence of Christian-line schools and Japan. It can ba properly said to be characterized by acceptance of modern culture and loyal to the king and patriotism, which will have something to do with the acceptance of gymnastics having nationalism and ethnicism. With opening of railroad, school excursion destinations have been expanded to distant areas. This enabled students to go on a group tour. So accommodation facilities students can lodge in groups, that is, a hotel business came to rise. This can be found as constitution of one condition of modern tourism. Thus, spreading of school excursion will be a good example to look into the progress of modern tourism. Nevertheless, in the incomplete state of study on picnic and excursion, this article expects to be a cornerstone of such research. 이 글은 식민지 조선의 근대관광에 대한 연구의 일환으로 대한제국기 소풍과 수학여행의 도입과 확산 과정을 알아보기 위해 작성된 것이다. 이 연구를 통해 대한제국의 소풍은 화류, 놀이, 원족이라는 이름으로 1896년 이후 실시되었으며, 철도의 개통 이후 수학여행으로 발전하였음을 논증하였다. 소풍은 전통놀이인 화류놀이에 기반하여 기독교 계통의 학교와 일본의 영향을 받아 성립하였다. 그 성격은 근대문물의 수용과 충군애국적이라 할 수 있는데, 이는 민족주의적이며 국가주의적 성격을 갖는 체조의 수용과도 일맥상통한다고 할 수 있다. 철도가 개통되면서 원격지로까지 수학여행지가 확대되었다. 이는 학생들의 단체여행이 가능해지는 원인이 되었다. 그리하여 학생들의 단체 숙박이 가능한 숙박시설, 즉 여관업도 발달하게 되었다. 이는 곧 근대관광의 한 조건이 성립하는 것이라고도 볼 수 있다. 그러므로 수학여행의 확산은 근대관광의 발달을 살필 수 있는 좋은 사례라 할 것이다. 그럼에도 불구하고 소풍과 수학여행에 대한 연구가 미진한 상황에서 본고가 이러한 연구의 밑거름이 되기를 기대한다.

‘만주국’의 문화통치정책과 연극 활동의 변화 양상 - 중국인 연극을 중심으로

이복실 국제한인문학회 2016 국제한인문학연구 Vol.- No.18