김현 비평과 문학의 정치성

한래희 ( Han Lae-hee ) 국제비교한국학회 2018 비교한국학 Comparative Korean Studies Vol.26 No.2

The purpose of this study was to explore the characteristics and significance of the concept of politics of literature found in Kim Hyun critics. Kim Hyun is known as a critic with a strong belief in the autonomy of literature. His autonomy is related to the liberation possibility of literature. This connection is based on the request of the period situation starting from 1980 and the concept of his unique desire The researcher was able to conduct a research under the consciousness that it could be properly identified. In Chapter 2, Kim Hyun’s attitude about the politics of literature is focused on the anticipation of liberation possibility of literary utopia and dual negative movements. Chapter 3 explored the characteristics of Kim Hyun’s concept of desire and its effect on the concept of politics of literature. For Kim Hyun, desire is an uncontrollable birth force. This desire is also rooted in the utopian power of literature, but is recognized as a common source of violence in the ruling system and violence in opposition forces. In Chapter 4, we examined the question of how literary resistance is possible in a time when utopian resistance and literary practice of literature are the subject of fundamental meetings. The characteristics of the politics of literature that appeared in Kim Hyun’s criticism can be found in the fact that it is not determined by the alternative of pure poetry or participation, or participation in particular historicalism, but it is not defined as being limited to literary issues. The politics of Kim Hyun’s literature is far from the call for action for reform of existing reality and the transmission of reform consciousness. Kim Hyun is aiming at liberation of desire, imagination, and emotion suppressed by conscious change beyond the change of political consciousness. This change is achieved through continuous negative movements carried out between the existing reality and the aesthetic imagination, without giving up the impossible belief in the subversive possibility of desire. According to Marcuse, the concept of autonomy in art has a ground-based proposition that “things must change”. For Kim Hyun, the change directed by art means an orientation toward impossibility. The autonomy of art is essential to prevent denying the desire for impossibility as the logic of reality. In short, Kim Hyun’s literary politics is based on mutual demands of the autonomy of literature and the desire of impossibility.

마지 피어시의『시간의 경계에 선 여자』에 대한 여성주의적 독법: 유토피아 문학에서의 방문자 : 안내자의 관계를 중심으로

김지은(Kim, Jieun) 순천향대학교 인문학연구소 2021 순천향 인문과학논총 Vol.40 No.1

유토피아 문학은 현실사회와는 다른 이상사회의 특징을 단순히 백과사전식으로 나열하는 관광 안내문이나 개인적 경험을 담아내는 여행기가 아니라, 유토피아 사회(상)을 비판적으로 검토하기 위해 전략적으로 ‘안내 관광’의 형태를 취하고 있는 문학 장르이다. 유토피아 문학에서 방문자와 안내자가 주고받는 대화는 상호작용하면서 변증법적으로 유토피아 사회(상)을 검토하는 산파술적 ‘소크라테스식 대화’로 구성된다. 그렇기 때문에 유토피아 문학작품 속에서 유토피아를 방문하는 자가 누구이며, 이 외부의 방문자에게 유토피아의 내부를 안내하는 자가 누구인지, 또한 방문자와 안내자로서 이들은 어떤 관계를 맺게 되는지 파악하는 것은 작품을 읽어내는데 있어 매우 중요한 분석틀이다. 이 글은 마지 피어시의 『시간의 경계에 선 여자』에서 여성 방문자 코니와 여성 안내자 루시엔테가 맺는 관계를 기존 남성 작가의 유토피아 문학에서 남성 방문자와 남성 안내자가 맺는 관계와 비교하고, 그 특징으로 필연성과 미종결성 그리고 실천성으로 제시한다. 구체적으로 이 글은 코니와 루시엔테의 만남과 접속이 첫째, 우연이 아닌 필연이고 둘째, 일회성으로 종결되는 것이 아닌 복수적 접속으로 진행되며, 셋째, 적극적인 개입과 저항을 요구한다는 점에 주목하여, 피어시의 작품에서 상상되고 추동되는 페미니스트 유토피아(상)은 기존의 지배 이데올로기에 균열을 만듦으로써 여성 억압의 현실을 변화시키는 대안적 가치이자 저항적 실천 그리고 연대의 가능성으로 제시되고 있음을 살펴본다. Utopian literature is not just a travel guidebook that encyclopedically lists the characteristics of ideal society different from the real society, or a travel essay that describes the personal experience. Instead, utopian literature is the genre that strategically takes the form of ‘travel guide’ for a critical review on the utopian social aspects. In utopian literature, visitor and guide exchange an interactive conversation composed of the maieutic ‘Socratic dialogue’ which deeply examines the utopian social aspect in a dialectical method. Therefore, identifying who visits the utopia, who guides the visitor throughout the utopia, and what kind of relationship they form as visitor and guide in utopian literature are crucial analytical tools in interpreting utopian literature. This paper focuses on the relationship between a female visitor named Connie and a female guide Luciente, and the time which enables this relationship in the Woman on the Edge of Time by Marge Piercy. In this fiction, the feministic utopia imagined and driven by Connie and Luciente is suggested as the alternative value, resistant practice, and possibility of solidarity that ultimately changes the reality of suppression on female by causing a crack on the existing ruling ideology.

“문학의 정치”: 캐롤 앤 더피의 포스트-유토피아 시대에 시 쓰기

박주영 한국현대영미시학회 2019 현대영미시연구 Vol.25 No.1

This paper aims to argue how Carol Ann Duffy’s poems explore the poetic constructions surrounding the issues of immigration, ethnicity and nationalism under the Thatcher Years. Focused on the voices and positions of ‘outsiders,’ Duffy’s poetry―The Standing Female Nude(1985), Selling Manhattan(1987), The Other Country(1990), and Mean Time(1993)―is not only interested in the impact of the free-market economic policies upon the material lives of the common people, but also examines the treatment of national identity as strategically constructed and disseminated rhetoric of the policy. Furthermore, Duffy’s way of poetry writing reminds us Jacque Ranci`ere’s critical theory of “The Politics of Literature.” With the concept of “the distribution of the sensible,” Ranci`ere points out that literature (and aesthetics) is about “determining what presents itself to sense experience” and it essentially involves the inscription of the sense of community, like politics. He also stresses that literature is more radically political in the sense of bringing in disagreement than politics. Evoking Ranci`ere’s theory, Duffy’s poetry seeks to invalidate the political subjectivization by continuously disrupting the immigration control, racial discrimination and possessive individualism under the Thatcherite. Ultimately, this paper analyzes how Duffy’s poems destabilize supposedly fixed entity of collective identity—class, gender, race, religion, emphasizing the ‘in-between’ space of the ‘outsiders.’ In so doing, Duffy offers us the new possibilities of poetry writing in the post-Utopian age.

「허생전」의 지리지

유승환(Yoo, Sunghwan) 구보학회 2020 구보학보 Vol.0 No.26

This study aims to read Yi, Gwang-soo s “Heosaengjeon” in relation to the cultural planning of Sinmungwan in the 1910s, and at the same time, to read “Heosaengjeon” as a ‘Geography’ overlapping with the geographical perception that Choi Nam-seon directly revealed through his writings in Sinmungwan during this period. Yi Gwang-su s creation of “Heosaengjeon” in 1923, along with the creation of other novels, has significant importance that it was an attempt to place the multiple narrative traditions given to Choseon in ‘Chosen National Literature’. “Heosaengjeon” is a clue to how the position of traditional Chinese character literature was established in the planning of Yi Gwang-su s cultural plan. What s interesting is that Lee Kwang-soo s long-running interest in “Heosaengjeon” was shared with Choi Nam-seon s geographical interest. The specific setting, description, and pursuit of the southern region shown in Yi Gwang-su s “Heosaengjeon” embodies the pursuit of Choe Nam-seon, who insisted on advancing the southern region through the ocean. This common pursuit of Choe Nam-seon and Yi Gwang-su was influenced by the Japanese Southern Sea Discourses. Although “Heosaengjeon” was intended to introduce the socialism and anarchism that has been popular since the First World War, and to mix it with the popular “South Choseon” utopianism to form a new narrative that distinguishes it from simple colonialist narratives, but at the same time, the need for a “Namyang” as an ownerless or savage land was still needed to create a place where ideological convergence can be distinguished from the colonialist narrative. From this point of view, the shadow of colonialism cast on the process of summoning the traditional Chinese character Literature of these people, which began in Sinmungwan era and continued with the work of Lee Kwang-soo in the 1920s can be read. 이 논문은 이광수의 「허생전」을 한편으로는 1910년대 신문관의 문화적 기획과 관련하여 새롭게 읽어내면서, 동시에 이 시기 최남선이 신문관 활동을 통해 직접적으로 드러내었던 지리적 인식과 겹쳐 읽으며 이광수의 「허생전」을 일종의 ‘지리지’로서 살펴보려 한다. 1923년에 이루어진 이광수의 「허생전」 창작은 연이은 창작과 함께 당시 조선에 주어졌던 복수의 서사적 전통을 조선국민문학의 장에 배치하려 한 시도라는 점에서 중요한 의의를 지닌다. 이때 「허생전」은 이광수의 이러한 조선국민문학의 기획에서 한문학의 자리가 어떻게 설정되었는지를 볼 수 있는 단서이다. 흥미로운 점은 장기간 이루어진 「허생전」에 대한 이광수의 관심이 최남선의 지리적 관심과 공유되고 있다는 점이다. 이때 이광수의 「허생전」 개작에 나타난 남방에 대한 구체적인 설정과 묘사 및 지향은 해양을 통한 남방 진출을 주장했던 최남선의 지향을 구체화한 것이다. 최남선과 이광수의 이러한 공통적인 지향은 메이지 시기 일본의 남진론의 영향을 받은 것이기도 하다. 물론 1923년의 「허생전」은 1차세계대전 이후에 유행한 사회주의 및 무정부주의를 작중에 도입하는 한편, 이를 민중적 ‘남조선’ 사상과 혼합하여 단순한 식민주의 서사와 구별되는 새로운 서사를 구성하려 하지만, 동시에 식민주의 서사와의 구별짓기를 위한 사상적 융합이 가능한 장소를 마련하기 위해 여전히 주인이 없는 땅 혹은 야만인의 땅으로서 ‘남양’에 대한 「허생전」의 지리지가 필요했다는 점은, 신문관으로부터 시작하여 1920년대 이광수의 작업으로 지속된 이들의 ‘한문학’ 전통 소환 과정에 드리워진 식민주의의 그림자를 읽어낼 수 있는 부분이기도 하다.

토마스 모어의『유토피아』와 소설의 기원 담론: "허구성"을 중심으로

이혜수 ( Hye Soo Lee ) 한국18세기영문학회 2013 18세기영문학 Vol.10 No.2

Thomas More`s Utopia, which was written in the sixteenth century and has long been regarded as the first utopian literature, surprisingly matches with Michael McKeon`s now classical account of the origins of the novel. As if anticipating the dialectical development of the novel that McKeon explains, Utopia presents Morus, a character and a portrait of the public self of More the author, as a figure that believes in the traditional truth and virtue in the beginning of Book 1 (“romance idealism” “aristocratic ideology”). On the other hand, Hythlodaeus, a fictional character who asserts the supremacy of Utopia and also the narrator of Book 2, represents “naive empiricism” and “progressive ideology,” the anthesis in McKeon`s scheme; he believes in his own experiences of Utopia as the ultimate authority of truth while claiming for the inconsistency of status. Lastly, Morus takes a synthetical position of being skeptical of Hythlodaeus`s Utopia and contemporary England at once (“extreme skepticism,” “conservative ideology”). Morus` ultimate take of “extreme skepticism,” which reflects the overall epistemology of Utopia, assumes the blurring of truth (or fact) and fiction (or lie) as McKeon explains. Indeed fictionality is a key concept in Utopia and the novel genre at once. As Louis Marin argues, fictionality in Utopia is the core of utopian representation and also utopian practice since it is fictionality itself which enables the political message like the abolition of private property to be represented. According to Marin, the irreconcilable contradiction of reality, the starting point of utopian literature, can be negotiated and neutralized only in the space of fiction. Yet the fictionality of Utopia is a peculiar kind of fictionality in which a certain opposition or contradiction in reality is negotiated and neutralized, and which excludes a fantastic or escapist imagination as we see in e.g. romance. And this kind of fictionality is exactly what the genre of the novel pursues and embodies in the form of “realism” in its emerging period. Just as Utopia addresses the political through a peculiar kind of fictionality, the novel could be the leading genre of modernity with its specific kind of fictionality, i.e. realism. That said, we should remember the meaningful difference in the way of representation in utopian literature and the novel. While the novel takes “verisimilitude”, a similar rendition of reality/truth, as the principle of representation, utopian literature addresses reality only as a “missing term” which exists only inversely in the text.

『뉴 아틀란티스』와 『로빈슨 크루소』에 나타난 신대륙에 대한 상상력: 식민주의와 유토피아 사용법

이혜수 ( Hye Soo Lee ) 한국18세기영문학회 2013 18세기영문학 Vol.10 No.1

I examine in this paper how early modern utopian literature involved European colonial imagination for the New world, and how it has historically evolved into a modem utopian novel by reading Francis Bacon`s New Atlantis and Daniel Defoe`s Robinson Crusoe, The New World plays a great role in these texts, which take the South America and the Caribbean Coast as the background of each narrative. The New Atlantis presents the South America, the neighbor country of Bacon`s utopian society of Bensalem, as plato`s “great Atlantis.” Notabaly, however, even though the image of the South America in The New Atlantis is partly overlapped with a legendary continent and that it obliquely reflects European admiration for the newly discovered land the South America is to be conquered by Bensalem and eventually would degenerate into a land of :simple and savage people,” For Bacon`s utopian project embodied in Bensalem lies in building a NEW Atlantis, where formidable and merciless science rules over knowledge, religion, and politics. The purpose of Salomon`s House (an authoritative science research institute in Bensalem) to “enlarge[e]the bounds of Human Empire, to the effecting of all things possible” also shows how Bacon`s scheme for the predomination of science over humanities, like Thomas More`s Utopia is closely related to the imperial conquest of the nature and natives of the New world. while there is a mixture of attraction and contempt about the New World in The New Atlantis and in Robinson Crusoe, a transitional work from utopian literature into the novel, the New World is imagined and represented as an almost entirely naked and savage Other that functions as a sheer object of conquest and transplantation of European culture, The Caribbean desert island in which Crusoe stays for twenty eight years essentially functions as an ``individual utopia`` a space that an individual`s desire met with on rivalry, Even when anther human being comes to his ``individual utopia`` the man who is a Caribbean native and would be called Friday would exist only as an extension of Crusoe`s aggrandized self, In other words, an individual utopia becomes a ``colonial utopia`` in Defoe`s text, Robinson Crusoe manifests how utopian literature, which was initially propelled by a longing for a better community, has been twisted and displaced into an imagination focusing on an individual in the early novel.

『개벽』과 1920년대 초반 문학담론의 형성

김건우(Kim Kun-woo) 한국현대문학회 2006 한국현대문학연구 Vol.0 No.19

In 1920s, when 『Gaebyŏk』 appeared, 'Modernization discourses' was mostly driven by religions. This also means that religious utopianism played a critical role as a psychological mechanism in a socio-psychological dimension. In 1920s, what 『Gaebyŏk』 demonstrated was that this religious utopianism could be united with diverse political ideologies. Chŏndogyo's young intellectuals who led 『Gaebyŏk』 wanted to show that Chŏndogyo's creed had potential for leading and comprehending ‘general intellectual discourses’. In 1920s, 『Gaebyŏk』 became a representative discourse space which mediated diverse 'enligntenment discourses of intellectual subject’ including literature, so that what they wanted could be realized. These discussions imply that 1920's korean literature could worked as nothing other than ‘enlightenment knowledge’ in discourse space. So, it does not seem true and plausible that ‘Donginji(literary coterie magazine)’ literature could strip of all features of enlightenment and formed a self-sufficient sphere of aesthetic autonomy. Like other ideologies such as socialism and anarchism that was ‘recognized’ by korean intellectualls through the window of Japan in late 1910’s, art for art's sake also existed in ‘enlightenment’ discourse space which 『Gaebyŏk』 unfolded and outstretched.

유토피아 문학 『뒤를 돌아보며』에 제시된 평등 속 젠더 불평등

류다영(Da-Young Ryu) 한국산학기술학회 2021 한국산학기술학회논문지 Vol.22 No.1

본 연구는 벨라미의 『뒤를 돌아보며』라는 소설을 통하여 유토피아 문학 속에 제시된 젠더 불평등을 알아보고자 하였다. 벨라미가 제시한 2000년의 미국 보스턴은 생산과 분배가 효율적으로 이루어지고, 남성과 여성의 차별이 없이 모든 사람들이 동등한 기회를 통해 일을 할 수 있는 평등한 사회이다. 하지만 사회 구조를 좀 더 자세히 들여다보면, 가사와 육아의 일이 기본적으로 여성의 의무임을 표현하고 있으며, 여성과 남성이 가질 수 있는 직업이 차별화된다는 점에서 진정한 젠더 평등이라고 보기 어려웠다. 그리고, 남성의 기준으로 여성의 외모를 판단하는 미의 관념을 보여주는 등 젠더 불평등적인 요소가 여전히 잔재해 있음을 알 수 있었다. 하지만 벨라미의 『뒤를 돌아보며』는 여성의 지위를 향상시키고, 모든 사람들이 평등하고 인간애가 넘치는 세계를 제시함으로써 19세기 미국인들에게 앞으로 나아갈 사회적 발전의 방향성과 희망을 제시하였다는 점에서 의의가 있다고 할 수 있다. 본 연구는 나아가 현대 사회에서는 이러한 젠더 불평등적인 요소가 사라졌는지에 대해서도 알아보았는데, 여전히 가사노동, 직장 및 사회생활에서 젠더 불평등적 요소들이 많이 남아 있었으며, 여성을 성상품화하는 사회현상을 통해 아직까지 완전한 젠더 평등이 이루어지고 있지 않음을 확인하였다. 따라서 여성과 남성의 차이가 차별이 되지 않도록 사회구성원들의 인식 개선과 사회정책의 변화가 이루어져 진정으로 젠더 평등한 사회가 될 수 있도록 모두 함께 노력해야 할 것이다. This study examines gender inequality in the Utopian literature through Bellamy"s novel Looking Backward: 2000-1887 . Boston, USA, in 2000 is an equal society in which production and distribution are performed efficiently, and everyone can work with an equal opportunity without discrimination. But a closer look at the social structure shows that housework and parenting are predominantly women"s duties, and the jobs that women and men can have are differentiating. Therefore, it is hard to say that true gender equality has been achieved. In addition, we could see that there were still remnants of gender inequality, such as showing the notion of beauty judged by male standards. However, Bellamy"s Looking Backward: 2000-1887 is meaningful in that it improved women"s status and suggested the direction and hope of social development in the 19th century. This study further examined whether these gender inequality factors have disappeared in modern society and confirmed that there remain many gender inequality factors. Therefore, we should all work together to improve the perception of members of society and make changes in social policies so that there is no discrimination between women and men so that we can truly become a gender-equal society.

경계를 넘어, 대화적 관계를 향하여: 리 매러클의 『레이븐송』읽기

오민석 현대영미어문학회 2018 현대영미어문학 Vol.36 No.3

This paper analyses the modern Canadian indigenous writer Lee Maracle’s Ravensong in the concept of spacial practice and dialogic relation. On the surface of her text, she shows the compartmentalized places of the aboriginal and white people. The places are strictly demarcated and there are no paths for them to go over the border. The only character who transgresses the borderline is Stacey. She oscillates between the two places. She tries to make a spatial practice in Lefebvre’s term but actually fails. This fossilized places cannot be transformed into spaces by anybody of the two communities. Maracle represents the hard, cold, and solid reality whose transformation is almost impossible. However, this recognition is challenged by the utopian unconscious desire whose agent is Raven. Raven is the symbol of transformation, discontinuity, confusion, and transgression. Raven’s project is to destroy the binary demarcation by inflicting the people with epidemic flu. It is about to transform the monologic places into dialogic and polyphonic spaces. But also by making this project fail, Maracle shows the superiority of the reality over the utopian desire, which makes her a realist writer. .

에드워드 벨라미의 『뒤를 돌아보면서』를 뒤돌아보며

손세호 ( Se Ho Son ) 한국미국사학회 2008 미국사연구 Vol.27 No.-

This article first reconsiders whether Edward Bellamy`s bestselling novel Looking Backward, 2000-1887 could be appraised as one of the modern global classics. The book became a bestseller as soon as it was published and was immediately translated into numerous foreign languages. The book has remained in print since 1888 when its first edition appeared, and it has long had a place on the core reading lists of university courses in the U.S. Furthermore, this book is currently included in the Penguin Book`s Signet Classics Series and Oxford Classics of the World by Oxford University Press. By these standards, there should be no question that Looking Backward is one of the modern classics. And I could find the book has influenced so many social reform movements as a classic. The essay then asks how Bellamy came to write the book, and what differences it has made. Why did he offer a socialistic society as an alternative to contemporary capitalism? What were the detailed mechanisms of his utopian society? What is the value of the book as a classic that can still instruct individuals living in the 21st century? To solve these problems, the essay considers the principles and contents of the social system described in Looking Backward. There have been many studies on the book and Bellamy`s thought. Most scholars have linked Bellamy with Utopian literature, Populism, Socialism, Nationalist movements created by enthusiasts for the book, and the women`s rights movement in the U.S. One of the best ways to understand this complicated legacy is a detailed rereading of Looking Backward. I think the core social system in the book was based on the Industrial Army. As most modern utopian novels proposed, Bellamy also invented his unique social system in which the benefits of the Industrial Army would be equally produced and distributed. He tried to solve contemporary social problems of production and distribution, organization of labor, working hours, isolation of labor, etc. through his novel. According to this study, I conclude that Bellamy emphasized the revival of republicanism which was one of the American political traditions, which was being replaced in his times by the laissez-faire capitalism. In this respect, I think the book is giving a lesson to us who are living in the age of New Liberalism.