연구논문 : 한국 근대 단편소설의 서사 양식 연구

장소진 ( So Jin Jang ) 시학과 언어학회 2002 시학과 언어학 Vol.3 No.-

대학 글쓰기 교육의 실제 수사적 읽기와 수사적 글쓰기 -단락 분석과 배열의 문제를 중심으로-

장소진 ( So Jin Jang ) 시학과 언어학회 2009 시학과 언어학 Vol.16 No.-

교실과 권력, 교육과 성장

장소진(Jang So Jin) 서강대학교 인문과학연구소 2016 서강인문논총 Vol.0 No.47

이 연구는 근대 교육의 자유주의적이고 평등주의적 이념이 선택과 배제의 현실 논리에 의해 왜곡되고 있는 지금의 교육 현실에 주목하여 전상국의 「우상의 눈물」과 최시한의 「허생전을 배우는 시간」을 대상으로 그러한 교육 현실에 대한 문학적 성찰을 살펴보았다. 전상국의 「우상의 눈물」은 입시 위주의 획일화된 지향점만을 향하는 우리의 교육 현실에서 합법화된 규율 권력의 이름으로, 계층적 한계를 지닌 채 그러한 지향점에 도달하는 것을 위협하는 학생을 교육 현장에서 몰아내는, 교육이 배제와 이탈의 비극적 성장을 낳고 있음을 보여 준다. 최시한의 「허생전을 배우는 시간」은 획일적이고 권위적인 교육 현장에서 민주적 가치의 실현을 모색하는 교육적 시도가, 체계화된 권력의 억압을 통해 무력화되는 현실을 제시하는 가운데, 그러한 시도가 학생들에게 나름의 파장을 일으키면서 지향적 가치로 자리매김되는, 도전적 교육의 지향이 아이들의 성장의 영역을 확장시키며 새로운 길을 향하는 모습을 보여 준다. This study explored literary reflection on such education realities on a target of Jeong Sang-guk’s “Tears of Idol” and Choi Si-han’s “Time to Learn Heosaengjeon”. focusing on the reality of education today in which the ideal ideology of freedom and equality that modern education advocates are twisted or hoarded by the logic in reality of selection and exclusion, In the educational reality pointing to a uniformed aiming direction centered on college admission, Jeong Sang-guk’s “Tears of Idol” deals with the reality that threatens the intention of reaching the aiming direction in the name of legal disciplinary power which evicts those students with stratificational limits from the education spots. It shows that the education gives a birth to tragic development of exclusion and secession. Choi Si-han’s “Time to Learn Heosaengjeon” presents a phase of the reality in which educational attempts to grope for realization of democratic values are incapacitated through the suppression with systemized power in a uniformed education field centered on college admission as expected, and shows that such an attempt in its own way gives rise to an impact to students to become a directional value. It rather shows an aspect of an illogical jump with which a defiant educational direction expands the area of children’s development.

엄마의 부재, 기억 속 모성의 승화와 유전되는 모성

장소진(Jang, So-Jin) 서강대학교 인문과학연구소 2013 서강인문논총 Vol.0 No.38

본고는 신경숙의 『엄마를 부탁해』를 대상으로 엄마에 대한, 혹은 모성에 대한 타자들의 이해의 시선을 살펴보았다. 동시에 작품 속에 내재된 엄마의, 혹은 모성의 목소리를 듣고자 하였다. 그 결과 엄마를 향한 타자들의 이해의 시선은 엄마의 실존, 그 자체를 의식하기보다는, 오히려 그것과는 무관하게 과거 모성에 힘입었던 자신들의 마음을 위로하는, 자위적 예찬으로 드러난다. 모성이 일방적인 사회적 욕망으로 지속되는한 그러한 어긋남은 지속될 수밖에 없을 것이다. 엄마에 대한 일률적 예찬을 해체하고, 일방적인 사회적 욕망으로서의 모성을 해체하고 난 후에야 그 어긋남의 정도는 좁혀질 수 있을 것이다. 그러나 작품은 아직 그것이 요원한 문제임을 시사한다. 작품은 모성이 여전히 강고한 그 모습 그대로 사회 속에서 유전되고 있음을 말하고 있다. This article takes a look at the angles of others’ understanding of mother, of maternity in Shin Gyeong-suk’s Please Take Care of My Mother. At the same time, it tries to listen to the voice of mother, of maternity. After all, it turns out that the angles of others’understanding are self-defensive praises deviating from the precise aiming at the existence of mother. As far as maternity lasts as unilateral societal desire, its deviation cannot help lasting. Only after the uniform praise of mother is decomposed, and maternity as unilateral societal desire is deconstructed, the angle of the deviation will be narrowed. However, the work suggests that it is a problem far from the solution. This is because the work tells us that maternity is still inherited with its strong nature unchanged.

역사적, 사회적 억압과 개인적 실존의 모색 - 황순원의 『일월』론 -

장소진 ( So Jin Jang ) 한민족문화학회 2003 한민족문화연구 Vol.12 No.-

근대 도시 권력의 유혹과 배반

장소진(Jang So Jin) 서강대학교 인문과학연구소 2014 서강인문논총 Vol.0 No.41

본고는 박완서의 「엄마의 말뚝 1·2·3」을 대상으로 작품 속에 형상화된 엄마의 인생 역정을 고찰하면서 그것의 의미를 살펴본다. 봉건적 사회망을 탈피, 근대 지향의지를 적극적으로 실현하고자 하는 엄마가 실제 현실과 부딪히면서 드러내는 결과들은 근대 도시 권력의 유혹과 배반의 관계망으로 응집된다. 엄마의 관념적 지향의 내포와 근대의 현실적 외연의 불일치가 그러한 결과를 낳는 것이다. 근대의 외연이 이념적 문제로까지 확장되어 엄마가 직면해야 했던 아들의 죽음은 그러한 관계망의 극점을 이루면서 엄마에게 근대는 지향이 아닌 견딤의 세계가 된다. 그리고 엄마는 근대를 넘어 전근대를 지향하는 역설을 드러낸다. 하지만 근대는 세대를 이어 보다 강고한 권력으로 자리하면서 마침내 엄마의 의지와 무관하게 엄마의 주검까지 관장하는 힘을 발휘함으로써 엄마의 그러한 지향을 무의미화시켜 버린다. 그렇다고 낭떠러지 위의 말뚝이라는 불안정한 지표로 상징화되는, 엄마의 삶이 발한 미력한 기류가 무의미한 것은 아니다. 엄마는 그 불안정성을 역동적 힘으로 삼아 미래를 모색할 과제를 남기고 있는 까닭이다. Park Wan-seo’s series “Mother’s Stake 1?2?3” shows the life journey of a mother who sensed the undercurrent of the formation of modern society and declared to join the stream of the current. The mother’s pursuit of the modern world, breaking through the boundary of feudal society, is configured into a concrete aiming point, namely, the inside of the city gates of Seoul. It is because that is an avant-garde space of the modern world. However, advance into the place is not allowed easily to mother due to her sexual, economic and conscious limitations. As the discrepancy between the connotation of mother’s ideological orientation and the denotation of the modern reality forms the relationship network of temptation and betrayal, mother’s will toward modernism confronts failure and frustration. Furthermore, the discrepancy between the two develops into an ideological issue and mother is driven into the situation of her son’s death. Mother’s pursuit has become disgraceful. At this point, modernism becomes a world of great sorrow to mother. And burying the wound of sorrow as a suppressed memory under the bottom of consciousness, she endures her life in modernism. Mother’s consciousness reveals itself as a sober subject through the paradox of aiming at pre-modernism beyond modernism. Nevertheless, modernism keeps solidifying its power over generations. And finally it flexes its muscle until commanding mother’s dead body apart from her will and nullifying insignificant resistance. Mother’s buoyant journey leaving pre-modernism for modernism was not successful. However, it is not desirable to regard as meaningless the meager trend stirred up by her life, which is symbolized by the unstable stake on the cliff. It is because mother has left the task to explore the future relying on the instability as a dynamic force.

김유정의 소설 「소낙비」와 「안해」 연구

장소진 ( Jang So-jin ) 한국문학이론과 비평학회 2001 한국문학이론과 비평 Vol.11 No.-

Kim-Yujeong’s Shower〈소낙비〉,Wife〈안해〉picture a morally corrupted husband and a passive wife. Especially he is dependent on his wife by casting away his responsibility as a head of a family, while she stresses her subordinate traits by going after closely his moral corruption. Husbands in these short stories do violence to their wives depending on false authority or phallic perspective. They earn a living by prostitution or conceive only their wives as means of livelihood. Their attitudes stand for a corruption of patriarchy. Meanwhile wives also represent problematic aspects along with their husbands. They doesn’t struggle against their impersonal treats. On the contrary, Women in Kim-Yujeong’s short stories agree to husbands’ immoral attitudes by yielding to temptation of desire for money and property, or ally themselves with husbands’ phallocentric perspective. Their passive response to husbands' immorality, more emphases on their subordinate condition. Such a subordinate attitudes do not allow us to criticise only the patriarchy. Therefore, their dependent aspects suggest necessity of the reflective critique against self- consciousness of women themselves.

현대소설에 나타난 ‘집’의 의미와 가부장의 위상

장소진(Jang So-jin) 우리말글학회 2007 우리말 글 Vol.39 No.-

This paper, paying attention to the fact that man, who has enjoyed his power as a patriarch under the capitalistic system, paradoxically faced the problems of alienation and crisis, discusses such problems through the symbolic object, ‘House.’ Thus with Jo Seon?jak's ‘High Tension Wire,’ and Ho Yeong?song's ‘House in a Flow’ I have investigated patriarchs’ agony for providing a secure living spaces to their families, and the non human reality. With Lee Dong?ha's ‘Loud Laughter’, and Choi In?ho's ‘Others' Room,’ I have examined the problem with the house that is signified as a scene of a patriarch’s alienation and crisis. And with Park Wan seo's ‘Story of a Trivial Man,’ and Lee Mun yeol's ‘Snail's Going Out,’ I have tried to find out the meaning of house as an original world of the male existence and the responsibility as a patriarch.

소년(少年)과 소녀(少女), 이탈(離脫)과 고착(固着)의 성장(成長)

장소진 ( Jang So-jin ) 한국어문교육연구회 2006 어문연구(語文硏究) Vol.34 No.4

본고는 한 社會의 次世代的 成長과 그를 위한 個人의 精神的 진통의 問題를 다루는 成長小說이 性別的 差異에 의하여 成長의 方向을 根本的으로 달리한다는 前提 하에 이동하의 「유다의 시간」과 오정희의 「중국인 거리」를 性別과 成長의 觀點에서 論議하였다. 「유다의 시간」은 家族 共同體 와해의 아픔을 극복하고, 戰爭 이후의 廢墟化된 世界 속에서 기존의 男性性의 典型的 屬性인 暴力性에 抵抗하며, 社會的 離脫이라고 하는 극단의 방식을 통해 새로운 世界를 摸索하고자 하는 少年의 成長을 보여 준다. 이에 반하여 「중국인 거리」는 生來的으로 주어진, 그리하여 마치 女性의 運命처럼 世代를 거듭하며 反復되는, 生産的 存在로서의 女性的 正體性에 固着되어 가는 소녀의 성장을 보여 준다. 결국 이들 작품은 각기 소년과 소녀의 성장의 모습을 보여 줌으로써 결과적으로 成長의 이념이 性差別的인 理念을 再生産하고 있음을 증거한다. The present study discussed the issues of gender and growth using Lee, Dong-ha’s Jude’s Time and Oh, Jeong-hee’s Chinese Street, assuming that bildungsroman dealing with next-generation growth of a society and individuals’ mental pains for the growth takes fundamentally different direction of growth according to gender. Jude’s Time, which deals with a boy’s growth, shows the journey of the growth of ‘I’ who overcomes the pain of the breakdown of family community, resists violence rampant in the ruined world after the war, searches for a new world through the extreme method of social deviation. The attitude of ‘I’ who tries to shake off the violent and unjust realities originates from male-centered idea that takes the position of the main actor who changes the world and pursues active life. On the contrary, in Chinese Street that deals with the growth of a girl, ‘I’ shows the journey of growth that materializes the identity of a woman who has to live a mean life in the male centered world. As repeated through generations, the journey of the growth of ‘I’ who has to accept the identity of a woman as an inherently productive being shows the process of marginalization, materializing the fate of a woman who has been fixed as a sexual object in the male centered world. Through the two works, we confirmed a series of journeys that the direction of growth is determined by gender and the life pattern of men and women is decided differently according to the direction, and this suggests that gender discriminative ideas are reproduced expansively by the journey of growth distinctive between men and women.

여성의 몸, 물신에서 모신으로의 승화- 최윤의 『마네킹』을 대상으로

장소진 ( Jang So Jin ) 한국문학이론과 비평학회 2004 한국문학이론과 비평 Vol.24 No.-

In myths in the past, women's body was recognized as the origin of the universe, the land and all living creatures. In the contemporary society, however, it has fallen into base flesh, an object of carnal desires. For this reason, on the other hand, women's body dreams its past archetype in reflective consciousness of its current status. Choi Yoon's long novel Mannequin shows the reality and the dream of women's body of today. Thus the present study examined the current state of women's body and its dreamed archetype through Choi Yoon's Mannequin, and inquires into the context of creation and inheritance between the contemporary modern society and myths. In conclusion, Choi Yoon's Mannequin describes epically the process that 17 year old girl Jinny breaks away from fabricated herself as a mannequin formed inside the fence of the family and the society, sets off a journey to find her fundamental and original nature and finally restore her sacredness. Different from heroes in the past epic age who proved their heroicness based on the frame of separation, suffering and returning, however, Jinny's transcendental rise from separation to sublimation shows the limitation of this age that cannot be together with epic heroes.