근대 국가의 빌보드 - 식민지 조선에 나타난 춘향전의 시각적 각색

권경미 ( Kyong Mi Danyel Kwon ) 국제비교한국학회 2013 비교한국학 Comparative Korean Studies Vol.21 No.2

한국의 근대성은 식민지 경험과 더불어 민족주의 운동이 나타나는 긴장 상태 로 인해 혼란스럽게 여겨진다. 그리고 그러한 지배 서사는 근대의 대중과 대중 문화가 형성되는 데 있어서 산업 기술과 대중 매체가 수행한 역할을 폄하했다. 최근 소장 학자들은 20세기 초 한국의 대중문화 형성 과정을 재고(再考)하 면서 어떻게 대중문화가 당대의 역사적, 정치적 상황에 대응하고 반응했는 지를 밝히고 있다. 이런 맥락에서 춘향전은 한국의 근대성과 대중 매체 사이 의 관계를 새롭게 조망하게끔 해준다. 춘향전은 산업 기술과 대중문화의 발 전과 궤를 같이 하며 20세기 전반부에 인기를 누릴 수 있었기 때문이다. 한국에서 가장 사랑받는 민간 설화 중 하나인 춘향전은 다양하게 각색됨으 로써 대중들이 그들의 세계를 새로운 양태로 바라보고 이해하는 데 효과적으 로 사용되었다. 당대의 많은 여성들과 닮아 있는 춘향의 이미지는 한국의 근 대성이 지닌 대조적인 국면들을 표현하고 전시하는 ‘빌보드’의 역할을 했다. 본고에서는 춘향전이 식민지 조선에서 재창작되는 과정에 내포된 문화적 의 미를 추적하고자 한다. 이를 위하여, 초기 만화 형태로 기록된 패러디 작품에 주목하며, 당시 가장 인기 있었던 몇 편의 각색 작품을 살펴볼 것이다. Korea`s modernity is often complicated by the presence of colonial experiences in tension with the nationalist movement. And such dominant narrative had undermined the role industrial technology and mass media played in informing and shaping the modern masses and popular culture. In recent years, however, the new generations of scholars began to reconsider the makings of Korea`s popular culture in the early twentieth century and how it coped with and responded to the historical and political conditions of the time. The Tale of Ch`unhyang in this sense can shed a new light on the relationship between Korea`s modernity and the mass media because its new surge of popularity in the first half of the twentieth century paralleled and reflected the development of industrial technology and popular culture. One of the most beloved folktales in its various adaptations had become a very effective vehicle through which the masses experienced new modes of seeing and understanding the world around them. Like many women of the time, the recreated facets of Ch`unhyang also acted as a billboard which articulated and exhibited contrasting images of Korea`s modernity. In order to trace the cultural implications of The Tale of Ch`unhyang in its recreations in Colonial Korea, this paper first examines some of the most popular visual adaptations in light of one particular parody written in an early form of comic strip.

일상툰의 소시민성과 병맛툰의 경계 너머 내러티브

권경미 ( Kwon Kyong Mi ) 성균관대학교 인문학연구원(성균관대학교 인문과학연구소) 2016 人文科學 Vol.0 No.62

한국 웹툰은 웹툰 역사 10년 동안 눈부신 성장을 이뤘다. 특히 일상툰과 병맛툰은 지금 현재의 웹툰의 탄생 및 성장과 궤를 같이 하기 때문에 주목할 만하다. 일상툰과 관련해서는 작가의 성장 서사에 초점을 맞춘 연구가 주를 이룬다. 그런데 일상툰과 관련해서 주목해야 하는 것은 작가의성장과 변별되는 ‘독자의 정체(停滯) 내지 퇴보’이다. 어느 순간 웹툰 작가는 우리 사회의 영향력 있는 문화 인사의 자리에 오르게 되었다. 이들의 일상적인 에피소드가 연재되는 동안 그 누적된 시간과 무게에 비례해작가들의 사회적 지위나 경제적 풍요 역시 더해졌다. 반면 이들의 잉여력에 공감하고 열광하던 독자들은 이들의 성장 속도를 따라가지 못하거나 아니면 여전히 잉여적인 일상을 살아가고 있다. 따라서 일상툰 연구 역시성장하는 작가 내러티브와 변별되는 잉여로서의 독자에 주목해야 할 것이다. 병맛툰은 기-승-전-결의 형식이 아닌 기-승-전-병(신맛)의 구조를 갖는다. 즉, 지금까지 전개된 이야기와 무관하게 납득할 수 없는 결말에 도달해서 종내는 비논리로 응수함으로써 이야기 전체에 무의미성을 이루는 형태이다. 이러한 병맛툰과 관련한 최근의 연구 경향은 그 병맛툰의 특정한 구조적 형식의 특징을 정의하는 것이다. 이들 연구는 병맛툰 특유의 구조와 형식이 갖춰져 있음을 전제로 한다. 그렇지만 본고에서는 병맛툰에 특정한 구조와 형식이 존재한다는 그 발상이 곧 병맛툰의 경계 흐리기, 경계 지우기 내러티브를 다시 재영토화할 뿐이라는 것을 분석하고자한다. 즉 병맛툰은 그 자체의 내러티브 힘이 존재하며 그 내러티브는 곧경계를 넘나들기, 경계를 지우거나 흐림으로써 의미를 갖게 됨을 볼 것이며 이를 위해 이말년과 컷부의 웹툰을 분석했다. Korean webtoons have made a remarkable growth during the past 10 years. And in recent years, Korean webtoons have attracted special attention because of their role of covering the story of the visual contents industry. Research related to the trend of Korean webtoons is largely divided into social and cultural analysis and Korean webtoons related to the type of narrative analysis of the media dimension. This study is significant because it tends to provide clues that can significantly examine the present situations of Korean webtoons. The daily-toons reflect the day-to-day self-narratives of the author and has the characteristics of a growth narrative. In the early period daily-toons, the authors confessed shyly their surplus lives but now they tell their love, marriage, and parenting to readers. For 10 years the authors have changed their life style from that of surplus in their 20s to that of petit bourgeois in their 30s. And it’s true that the author’s narrative is the ‘growth narrative’. But the reader’s daily life was not that of the ‘growth narrative’ unlike the author. Rather, reader’s life has regressed for 10 years. Meanwhile the cripple taste [byeongmat] comics were very interesting. Usual narrative has the order of “introduction, development, turn, and conclusion,” but the cripple taste [byeongmat] comics are equipped with the structure of ‘introduction, development, turn, and cripple taste [byeongmat]’. Current trends in research related to the cripple taste [byeongmat] comics is to define the characteristics of the particular structural form. These studies are based on the premise that the cripple taste [byeongmat] comics are endowed with stocked distinctive structure and format. However, this paper attempts to analyze that the idea of its specific structure and format of the cripple taste [byeongmat] is just re-territorialization of previous narratives.

일반논문 : 말하는 꽃, 해어화 -식민지 조선 기생들의 이야기

권경미 ( Kyong Mi Kwon ) 국제비교한국학회 2013 비교한국학 Comparative Korean Studies Vol.21 No.3

갑오개혁으로 조선의 계급제도가 철폐되자 많은 기생들이 갑자기 생계수단을 잃게 되었다. 그 결과, 기생들은 곳곳의 근대 식당이나 음식점으로 옮겨갔고, 궁중 음악가와 함께 협업하여 조직적으로 기생 양성소를 만들기 시작하였다. 왕실이나 양반 계층의 “사적 소유물”이었던 기생들은 이제 유흥을 위해 비용을 지불할 수 있는 자들이 소비할 수 있는 상품이 되었다. 그와 동시에 근대 조선의 도시 풍경과 함께 재창조된 근대의 기생은 점점 더 많은 공적인 공간에 참여할 수 있었고 따라서 대중문화의 전달 수단이 될 수 있었다. 여성으로서 사회적 시선으로부터 비교적 자유롭게 거리를 활보할 수 있었다는 것은 그 당시에 매우 드문 일이었으며, 따라서 기생은 대중들에게 있어 욕망과 부러움의 대상이 되기도 하였다. 1930년대 중반까지, 기생에게 낙인 된 사회적 금기는 다소 줄어들었으며, 기생은 당시 여성에게 주어진 사회적 스펙트럼에서 제외되었기 때문에 더 자유롭게 이동하고 행동할 수 있었다. 새로운 대중매체가 등장하면서 기생은 영화배우로서, 광고모델로서 식민지 조선의 상징적 대변인이 되기도 하였다. 물론, 대중적 인기를 얻어 사회적 입지를 굳힌 기생들이 있는 반면, “팜 파탈”(femme fatale)로서의 불명예를 얻어 추락하는 기생들도 있었지만 이러한 불안정한 처지는 궁극적으로 그들에게 자율적인 공간을 형성할 수 있는 틈새를 마련하여 주었다. 특히, 식민지 조선의 기생은 지식인들에 의해 만들어진 여성성을 자신들에게 적합하도록 변형하였으며, 남성 고유의 공간으로 여겨졌던 공적인 공간에서 그들의 이야기를 나눔으로써 스스로의 주체성을 주장할 수 있었다. After the Kabo Reform abolished all class system in Korea, many kisaeng suddenly found themselves bereft of a livelihood. As a result, they quickly began working for the high-end restaurants and form their own unions and training schools with other court musicians. Women who used to be the “private possessions” of the court or of the elite class were now accessible to anyone who had enough money to request their service and entertainment. And the more these kisaeng became visible on the streets of the new urban landscape of Korea, however, the more they were allowed to participate in the public space and act asa vehicle for modern popular culture. Being one of the very few groups of women who could roam the streets without worrying about social decorum, the kisaeng also became an object of desire and envy. By the mid-1930s, social taboos previously attached to kisaeng diminished somewhat but because they were off the social spectrum, they gained more mobility and space without being bound by the social decorum or protocols usually placed on women. As actresses and models, kisaeng inadvertently became Korea`s spokesperson. They reappropriated the femininity defined and shaped by men and tried to assert their own agency by sharing their stories with the public and joining what used to be male spaces. At the same time, however, their cast roles were precarious and could quickly give way to either infamy or popularity.

▣ 일반 논문 : 문화계급과 "노스탤지어 명동" 공간의 내러티브 -명동백작 이봉구를 중심으로-

권경미 ( Kyong Mi Kwon ) 성균관대학교 인문학연구원(성균관대학교 인문과학연구소) 2016 人文科學 Vol.0 No.60

이봉구는 청춘, 청년의 상징이다. 이봉구는 영원한 청춘의 아이콘이자명동 담론의 대변자로 이미지화됐다. 그렇지만 이러한 당위적 접근은 오히려 이봉구 논의를 더 어렵게 한다. 사소설적 경향을 보이는 이봉구 문학은 청춘과 청년을 대변하기에 때로는 미숙한 글쓰기로 이해되기도 한다. 이러한 관점의 중핵은 이봉구를 청춘, 청년과 같은 나이 개념, 세대론적 시각에 입각하기 때문이다. 이봉구에게 청년, 청춘의 이미지를 약화시키면 매우 흥미로운 지점이보인다. 바로 취향·취미에 기반한 문화 계급이다. 이들을 청춘으로 규정하기 전에 근대화의 새로운 계급 출현으로 봐야 한다. 이들 계급은 문화계급으로 외국 경험, 고급문화에의 깊은 조예, 예술인·교양인으로서의 정체성 등을 가지고 있다. 이는 이념, 경제적 부유함과는 다른 철저하게 근대적인 문화 계급 성격을 띤다. 이봉구는 확고한 문화계급 정체성을 갖고 명동 다방을 새롭게 정리하고 정의내린다. 다만 해방 공간에서 이념, 사상 등으로 새롭게 자신의 정체성을 획득하거나 조정한 문인, 교양인, 예술인들과 달리 이봉구는 일관된 문화계급 정체성을 유지하고있다. 그리고 그 일관된 정체성이 청춘, 청년의 아이콘으로 해석된다. 그렇지만 청년과 청춘으로 불 것이 아니라 일제 강점기 때의 문화계급이해방 명동에서도, 전후 명동에서도 일관되이 나타나는 것으로 보는 것이옳을 것이다. 해방 공간에서, 전후 공간에서 재조정되지 않은 이봉구의 문화계급 정체성은 새로 출현한 계급 정체성이라는 의의는 갖지만 성찰적 근대성을확보하지 못했다는 점에서 미완의 정체성으로 봐야 할 것이다. 왜냐하면해방 공간, 전후 공간에서 이봉구는 청년이되 ``회상하기``를 통해 명동을``향수``하기 때문이다. Lee Bong-gu was a symbol of youth and the young. Having been recognized as the everlasting icon of youth, Lee Bong-gu had made a deep impression among the public as an advocate of the so-called Myeongdong discourses. This seemingly appropriate approach, however, makes it more difficult to evaluate Lee Bong-gu properly. The literary world of Lee Bong-gu, which appears to display a tendency of autobiographical novels, is often understood as an example of immature writings that fall short of representing youth and the young. The core idea of this perspective comes from the conceptual or generational views that try to confine Lee to the boundary of youth and the young. By looking at Lee Bong-gu less as an icon of youth and the young and more as a symbol of a cultural class based on tastes and preference, we can find an interesting perspective that helps us approach to his literature more properly. In other words, Lee Bong-gu not so much played the role of an icon of youth as represented the emergence of a new cultural class whose members had the experiences of living abroad, a deep taste for high-brow culture, and an identity as artists or men of culture. They had the characteristics of the modernist cultural class that differentiated themselves from the economically affluent and privileged class. Lee Bong-gu recreated and redefined Myeongdong Coffee Shop anew with his strong identity as a member of the cultural class. Unlike his fellow literary writers, artists and men of culture who newly found their identity as the advocates of new ideologies or thoughts in the space of liberation, however, Lee Bong-gu consistently maintained his own identity as a member of the cultural class, which also let others understand him as the icon of youth and the young. It, however, will be more appropriate to understand that the cultural class of which Lee was a member ― not Lee`s image representing youth and the young ― continued to exist consistently in Myeongdong after Korea`s liberation from Japan in 1945 and even after the Korean War (1950-1953). In the space of liberation, the identity of Lee Bong-gu as a member of the cultural class, having not been fully established in the postwar space, could be interpreted as a newly emerged class identity but also as a still incomplete identity in that it has not acquired a sense of contemplative modernity. It was because Lee Bong-gu, though a young man himself, felt nostalgia for Myeongdong through contemplation on the space of liberation and the situation of the postwar space.

신화화(神話化)된 고향과 현실 공간으로서의 농(어)촌

권경미(Kwon, Kyong-Mi) 한국현대소설학회 2016 현대소설연구 Vol.- No.63

대중소설의 도시적 교양성과 타자의 윤리

권경미(Kyong Mi Kwon) 한국현대소설학회 2014 현대소설연구 Vol.- No.56

Josunjak writes the characters excluded from the space, time of 1970`s Seoul. Maybe country-boy could see each other Seoul for a split of the space being a social and cultural divide more sensitive. He writes the degree of being classifying Seoul for deficiency and lack. And in the middle-class culture that reflects the tastes and cultural characteristics are well exposed and has a unique one. However, this cultural space, cultural space of the middle class in order to enter the marriage can be a very valid excuse. Both men and women farmhouse young men and women of their own weapons on marriage-market. Of their youthful market products soon to be married by him in Seoul because the space available for distribution. Note that here, but the product of their ``youth, youth`` is. In particular, the small man shipbuilding ``old`` men or ``late`` ``marriage`` does not have to follow the logic of the market economy and struggling to be exquisite. The youth because they are both young marriage-market products on the market which can be recognized to be sensitive to both men and women. This temporality of modern social conditions, and to be a small shipbuilding. Josunjak isn`t social condition writer for he recognizes the social conditions resulting from the characters` ethical attitudes. Josunjak characters are aware of modern values , rather than only those migrants in the city towards the sick and the afflicted to try getting out a warm hand. Love and care towards others suffering from the pain, through the ethical attitude to overcome the conflicts and contradictions. Josunjak but maybe too vulgar for vulgar flow in an atmosphere of flowing thoroughly moral attitude towards others as you wish to reconcile. Therefore, Joseonjak popular novels, social conditions can not be dismissed only novel insight into the times and the alternative would have to work to contain.

노동운동 담론과 만들어진/상상된 노동자

권경미(Kyong Mi Kwon) 한국현대소설학회 2013 현대소설연구 Vol.- No.54

Researchers interpreted the labor stories were labor`s pure voices. But the labor movement is affected the workers itself and external factors. So this paper analyze 1970`s labor stories how to reproduce workers themselves and what that process of the labor movement. Seok`s stories are transformed look in the process, the discourse of knowledge workers is injected from outside the narrative of one individual delete all. Yoo`s story is problematic in that manipulation of the workers, despite advocating workers to determine an individual`s voice. He directly in the plant construction trade unions and co-workers to educate and develop as an active labor movement. But he didn`t recognized as workers themselves, rather than the theological dimension of evangelization devise Corporation is recognized as a pre-plant labor minister deployment. In other words, workers with stories of workers and their awakening to overcome the absurd reality of working a typical pattern inside the narrative of the struggle for the deletion of the personal appearance and the desire to achieve religious salvation, as appears more complex and subtle point.

하층계급 인물의 생성과 사회 구조망

권경미(Kyong Mi Kwon) 한국현대소설학회 2012 현대소설연구 Vol.- No.49

This research aims to investigate how typical representation of ``prostitute`` was formed while prostitutes in 1970s were combined with popularity and populism of popular novels. This endeavor was arose from the fact ``prostitute``, a disparate being living in shade, had got a general figure of prostitute with the intervention of genre-specific characteristics, authors, readers, and reality of the time. This could be explored through ``translation of culture``. Interpretation of disparate culture within an identical language boundary requires the ``translation`` process, during which disparate objects are described from the perspective of an ``observer`` and a ``main agent``, who is subordinate to norms. Accordingly prostitute, a disparate object, gains general signification as being translated into the world of norms and order. At this moment a prostitute story, an excitatory writing material of reportage, acquires generality in the field of popular novels and is taken lightly by readers in the middle or higher class. This not only let readers satisfy their voyeuristic curiosity but also had them remain silent on contradiction of 1970s` Park Jeong-Hee Administration. Unique lightness of popular novels intentionally made the structure of prostitution out of attention by over-interpreting the prostitution itself only. This is portrayed by the government`s surveillance and control directly conducted on the underclass. Residence of the underclass represented by ``red-light district`` and ``bank district`` indicate where government power intervenes fast, easily, and effectively. By analyzing an intersecting point of realism attribute and popular novels, domination ideology and power, densely entangled under the name of popularity and populism, would be identified.

한국전쟁과 원한서사의 역방향성 연구

권경미(Kyong Mi Kwon) 한국현대소설학회 2012 현대소설연구 Vol.- No.51

This research aims to see the two times-1950s and 1960s- the continuous times not to be cut off. Many research of SeonUh Whee`s novels so far only considered the relationship between historical reality. However a look of the diachronic perspective in the 1950s can take off the weight of historical reality a little. This could be explored through ``nation reconstruction``. In the 1950s, others (socialism, the north) should be achieved by denying the national identity was retroactive as to individuals. The concept of 1960s` citizens also be attributed to be supported 1950s` social individual by pinch-conscious. It could be explained by the 1950s` political participation. In the 1950s was the emergence ``the political participation``. Seungngman Yi regime, the absolute power of public influence revealed. It also appeared throughout the novel, and the appearance of popular political participation can be found. The 1950s personal ressentiment narrative is converted to the community ressentiment due to the weight of historical reality. Individual revenge narrative is inclusion in the nations as combining a individual narrative and nation policy. Individuals moves to the position of the country. In other words, at any moment individuals ressentiment narrative reverse the direction of conduction by identifying the dominant ideology. Feelings of ressentiment are revealed by the violence. And the violence is revealed a convince violent, socially acceptable violence also due to the reverse- directionality of ressentiment narrative. By analyzing a diachronic point of view can be opened the viewpoint to see 5,60`s continually and understood the 50`s in three dimensions.

세계시민 양성을 위한 문학교육 방법 연구

권경미 ( Kyong Mi Kwon ) 이화여자대학교 한국문화연구원 2014 한국문화연구 Vol.26 No.-

외국인을 위한 한국문학교육은 의사소통의 언어 중심적 교육관이나 한국의 문화를 담지하고 있다는 반영론적 사고에서 크게 벗어나지 못하고 있었다. 한국문학교육 이 보다 더 명징하게 문학교육을 담지하지 못한 채 언어와 문화적 차원에서 머물 수밖에 없었던 이유는 명확한 문학교육의 목표에 대한 논의가 본격화되지 못했기 때문이다. 이에 본고에서는 외국인을 위한 한국문학교육의 목표를 언어 능력, 문화 능력, 문학능력은 물론 더 나아가 세계시민 양성으로 상정하고자 한다. 문학은 인간과 사회(세계)와의 대결과 해결, 갈등과 화해를 그리는 언어 예술이다. 따라서 문학 본연의 의의를 교육적으로 확대 적용시키기 위해 한국어에 대한 의사소통적 접근(언어능력), 한국 사회와 역사를 표징하고 있다는 문화적 접근(문화능력), 문학이 갖는 상징적 체계와 개성적 언어를 이해할 수 있는 문학적 접근(문학능력)은 물론 세계 안의 ‘나’를 인식하며 세계시민적 자질을 갖출 수 있는 세계시민을 위한 접근(세계시민성)까지를 모두 아울러야 한다. 이를 위해 일반 목적 한국어 교육에서 초중고급 학습자 각각에 맞는 언어문화문학능력과 세계시민 양성을 위한 교육 목표를 설정한 후 그에 합당한 문학 작품을 선정해야 한다. 초급 학습자들에게는 문학을 통해 다양한 한국문학과 한국문화를 접할 수 있게‘체험 중심’의 교육이 이루어져야 한다. 그래서 학습자들은 자연스럽게 문화상대주의 태도와 상호문화 교류를 이해할 수 있다. 중급 학습자들에게는 문학만의 개성을 접할 수 있는 작품 중심을 선택하는 한편 문학 안에서 세계가 공통으로 겪고 있는 문제의식을 발견하고 해결하도록 ‘리터러시’ 중심의 교육을 하고자 한다. 고급 학습자 들을 위해서는 문학적 언어와 일상의 언어를 횡단할 수 있는 이용후생 언어를 바탕으로 인간에 대한 합리적 이해를 갖는 방향을 모색할 수 있게 ‘스토리텔링’ 중심의교육 방안을 마련하고자 한다. Korean literary education for foreigners has not much deviated from both the view on the language-centered education for communication and the reflection theory that it is allegedly impregnated with the Korean culture. The reason why the Korean literary education could not but stay at the level of language and culture, while not clearly keeping itself, is that the discussion about the definite goals of literary education did not become serious.Therefore, this research is to advance the proposition that the Korean literary education for foreigners is aimed at further training them as world citizens as well as developing their linguistic, cultural and literary competence. Literature is linguistic arts depicting confrontation and settlement, and conflict and reconciliation, between individuals and world.For its true meaning to be applied educationally in an expanded manner, literature thus should encompass the communicative approach to the Korean language, the cultural approach,which is alleged to symbolize the Korean society and history, and the literary approach,which makes it possible to understand literature’s inherent symbolic system and personal language. At the same time, it also should include the global citizenship approach, which makes ‘self’ recognized and allows the personal qualities necessary to be a world citizen to be possessed. To this end, learners in the general-purpose Korean language education should be divided into three groups-elementary, intermediate and advanced learners, and their respective goals should be set to be well suited to the education for language, culture, literature, and world citizen. Then, literary works enabling a global citizenship education should be selected. For beginners to get access to cultural diversity via literature, they should be placed at a level to personally enjoy various genres of Korean literary works through an ‘experiencecentered education.’ Intermediary learners should have works (helping taste literature’s unique characteristics) chosen primarily, and concurrently they should get a ‘literacy-centered education’ to discover and solve a questioning awareness that the world undergoes in common within the literature. Advanced learners should be provided with a ‘storytelling-centered education’ to steer the course toward a resonable understanding of human beings, based on utilization-welfare language by which cultural and daily languages can be traversed.