일본의 문학텍스트 속의 「済州道」像 : 명치기의 기행문을 중심으로

소명선(So Myung-Sun) 동북아시아문화학회 2008 동북아시아문화학회 국제학술대회 발표자료집 Vol.- No.-

Cheju Island located in the most southernmost extreme of the Korean Peninsura is developed based on a subtropical zone-like grand natural scene as a sightseeing spot, and it is the island of Korea maximum called "Oriental Hawaii" "international free city" "island of the peace" now. However, I understand Korai and Korea dynasty, that, besides, it seems to be said with Great Japanese Empire of the colonization suzerain and U.S. forces, and it was with the stage of the right fight in sequence after it was belonged clothes TAMURA-kingdom which was an independent country this island from a peninsula if I sail up the history. In late years the construction plan of the sky / the naval base is pushed forward in this place where the history and the traces appear in everywhere of the island of suffering regardless of the objection of area inhabitants more in this way and lets you look in again another face with the calm sightseeing spot. As for Cheju Island being done a first interview of in a Japanese literature text, Japan agrees with the time when the Korean Peninsura has begun to pay attention to it as a base of the strategy to Asian aggression except the ancient documents such as the "description of folk history" "Japan Chronicle of Japan". This paper aims at how it has formed and circulated and the image of an island called Cheju Island following the origin of a what is called "Cheju Island" image through the travelogue of simultaneous cost in the statement of Meiji Era The Korea mass-produced almost simultaneously for Sino-Japanese / the Russo-Japanese War period-affiliated text arrested this as the savageness country which needed Japanese education / guidance by a key and the Asian recognition that I did in Japanese civilization in Korea and generated a minus image in order that Japan showed a thing in the predominance. And the minus image immobilized it, and it was spread, and I repeated it, and this was used in the recognition for Cheju Island. "Cheju Island book of travel" (1906) of Sanki Ichikawa projects sense of values and mixture of both of new images from "a personal experience" to led Korea that accompanied "imperialism" for Korea definitely in that. In other words the city river which was a young man of Japan caused a change in the sense of values through direct "Cheju Island experience" in one modem times when I was going to recognize the present conditions by a thought of imperialism imported based on the thought of "Asian-rejecting, European-strengthening bonds" by the European and American Great Powers while being affected by the verbal explanation about Korea where it spread in those days and the Korean. However, the figure which I live a collection life in the island, and reads "Robinson Crusoe" with avidity has a deep impression for a reader as a sign of the one of the ambition to the foreign expansion named the watches of the night when Japan was going to leave before long again. Does a city river individual with this sort of internal contradiction buy a flower in the model of the Japanese young man image which I produced while Meiji Japan switches it to empire Japan again?

사키야마 다미의 『달은 아니다』론

소명선(So, Myung Sun) 동아시아일본학회 2014 일본문화연구 Vol.0 No.50

This study considers Tukiya Aran (2012) by female writer Sakiyama Tami of Okinawa. The novel language of Sakiyama is difficult because she writes in the Okinawan dialect to let natural Japanese context dislocate, uses nonverbal phonetic signs, has a unique inclination of sequence, and enjoys the rhythm of the sound. This becomes more difficult because of the aspect of the other world in the novel based on such language awareness and method of expression. This paper reviews what message Sakiyama conveys, mainly through the mysterious phenomenon in the novel by imagination of the other world. Particularly, the focus is on the ecriture (written language) in the novel and the linguistic view of Sakiyama. What do “The Autobiography” of the blank paper, tape recording of voice, and a series of cases that happened around the character of novel, Takamizawa Ryoko mean? These showed a limit of the representation by the written language and violence of the representation for others. Sakiyama hears the voice of people who were suppressed by violent representation, against Okinawan discourse that circulated in Okinawa.

오에겐자부로의 『만년양식집(晩年様式集)』론

소명선(So, Myung-Sun) 동북아시아문화학회 2014 동북아 문화연구 Vol.1 No.41

This study targets Ōe Kenzaburō"s “In Late Style” which is published in 2013. The book review at the time of the publication has many things which paid attention to the catastrophe in the novel. But I considered Ōe"s consciousness of later years and ‘Late Style’ which appeared in this novel. Ōe begins to be conscious of his death since he exceeded 50 years old. The remark ‘Last Novel’ stands out at the same time as beginning to be conscious of his lateness, too. This phenomenon is corresponding to time when Edward Said started the research on artist"s ‘Late Style’. In the beginning of the novel, the narrator does one"s own commentary. He is talking considering Said"s “On Late Style”, having made to the title of “In Late Style”, and use in the meaning ‘living in the late style’. However, the term ‘Late Style’ used in “In Late Style” is different from it of Said. What Said analyzed in “On Late Style” is the new style that a great artist acquired in the later years of the life. Their late works show non-productive productivity that refuses any harmony and integration, and show the tendency to which the art that has been constructed till then destroys the whole. Such non-reconciliation and the denial of ‘Late Style’ are assumed to bring catastrophe with an extreme tension. However, ‘catastrophe committee’ in the Ōe"s “In Late Style” tends to pay attention to the way of life in later years than the late works. Only a catastrophe situation is drawn in “In Late Style”, and there are not characters who receive the catastrophe either. In addition, Ōe of the writer does not fall in a catastrophe by this novel. This work everyday of old writer who lives a situation that is expected catastrophe itself has become a ‘Late Style’. It is to imagine his catastrophe while he reviews the lateness of people who died before ‘3.11’ every day and interpret past own work again.

문학적 표상으로서의 〈섬〉 : 일본근ㆍ현대문학 속의 ‘제주도’

소명선(So Myung-Sun) 동북아시아문화학회 2008 동북아 문화연구 Vol.1 No.17

The study modem and contemporary Japanese literature as the text of space 'Jeju Island' on the overall goal of research. Jeju Island is modem Japanese literature that 〈Island〉 How would you have representation? The research area and Jeju 〈Island〉 and how that has been the embodiment. How to keep that process would have worked with the power of knowledge. Jeju 〈Island〉 is the image of the transformation? If so, what is that element. And what is it if there is something that doesn't change in origin? Departing from problems such as awareness. Jeiu 〈Island〉 perspective of modem and contemporary Japanese literature in that pursuit, the Japanese archipelago 〈Island〉 from the periphery of the Korean peninsula, Jeju 〈Island〉 perspective to ascertain the views will be at the same time, Jeju 〈Island〉 to explore literary and through the heart, the Japanese bombardment of modem and contemporary literature to reverse will work.

오에겐자부로(大江健三郎)론 : 구체지향의 문학적 특성에 대해

소명선(So Myung-Sun) 동북아시아문화학회 2011 동북아 문화연구 Vol.1 No.26

In this paper, I pay attention to poetry of Oe Kenzaburo's “Dripping of rain”. This poetry was written when Oe is a junior high school student, and the one made a type first. Oe discovers the world to be reflected with stare at the drop of rain in that. It is another world different from not the real world but the reality. The idea that the world is reflected in the drop of round like this water becomes an important element that interprets the outlook on the world of Oe from now on. I consider this to be original experience of the sphere-oriented manner of Oe. I research the sphere-oriented tendency and meaning of mystery experience in the Oe's literature. It is clarified to become important foundation of the outlook on the necrobiosis and the outlook on the world formation of Oe presented as a problem of the soul as the sphere-oriented tendency synchronizes with the myth world in the village in the valley of the forest in Sikoku.

호시노 사다하루(星野貞治)의 「제주도」론

蘇明仙(So Myung-Sun) 대한일어일문학회 2008 일어일문학 Vol.39 No.-

기리야마 가사네(桐山襲)론

蘇明仙(So Myung-sun) 대한일어일문학회 2008 일어일문학 Vol.37 No.-

사키야마 다미의 「수상요람」론 -‘섬’을 이야기하는 문학적 방법-

소명선 ( So Myung-sun ) 한국일본근대학회 2019 일본근대학연구 Vol.0 No.65

본 논문은 오키나와의 여성작가 사키야마 다미의 「수상요람」(2001)을 연구의 대상으로 한다. 사키야마는 데뷔작에서부터 ‘섬’이라는 일관된 주제로 그녀만의 독특한 세계를 구축해왔다. 그러나 ‘섬’이라는 주제와 ‘섬 말’을 사용하는 그녀의 작품은 종종 ‘토착의 표현’이라는 비판을 받기도 했다. 이러한 사키야마가 이번에는 지역색이 강한 오키나와 예능을 소설의 모티브로 도입한 「수상요람」을 발표했고, 문단과 독자로부터 아무런 반향을 불러일으키지 못했다. 본고에서는 「수상요람」이 외면당한 이유는 어디에 있을까 라는 의문에서 출발하여, 사키야마문학에 있어서 「수상요람」의 의미와 위치를 정립해 보고자 했다. 먼저 데뷔작에서부터 사키야마의 소설에서 ‘섬’이라는 문학적 주제는 어떠한 변용을 거듭해 왔는지 살펴보고, 특히 「수상요람」에서는 ‘섬’을 어떻게 이야기하고 있는지에 초점을 맞추어 고찰했다. 「수상요람」은 소설 속의 연극무대라는 이중구조를 취하고 있다. Y가 기획한 연극은 ‘섬’ 전체가 연극의 무대가 되고, ‘나’는 배우로서 연기를 하는 것이다. ‘나’가 소환하는 기억과 ‘섬’에서의 몽환적인 체험은 오키나와의 예능을 전경화하는 것이 아니라, ‘섬’이라는 무대 위에서 ‘나’가 연기해야 할 내용에 대한 암시로 작용하고 있다. 소설 속의 연극이 본격적인 무대가 펼쳐지기 직전에 막을 내리는 전도극이었던 것처럼, 소설은 ‘섬’의 무엇을 이야기하고자 한 것인가라는 의문에 대해서는 해답을 제시하지 않고 있다. 이후에 펼쳐질 ‘나’의 연기는 독자의 상상력에 맡긴 채 소설도 함께 끝나는 이러한 이중구조야말로 사키야마가 「수상요람」에서 ‘섬’을 이야기하는 문학적 방법이라고 할 수 있다. This paper is a study of the “SUIZYOU YORAN” (2001) of the Okinawan woman writer Sakiyama Tami. Sakiyama built the unique world on a theme called the sima from initial work. However, the style of writing, which combines the theme of ‘Shima(island)’ with ‘Shima-Kotoba(the dialect of island)’, has sometimes been read as an aboriginal expression. This time, such Sakiyama announced “SUIZYOU YORAN”, which uses Okinawan performing arts with strong locality as the motif of the novel, and no reaction from literary circles and the readers has occurred. In this paper, I start from the question of where the reason why the “SUIZYOU YORAN” was ignored, and try to establish the meaning and position of “SUIZYOU YORAN” in the literature of Sakiyama. First, I will search the variations in the literary theme of ‘Shima’ from the debut novel to the novel of Sakiyama, and focused on how the ‘Shima’ is drawn in the ‘SUIZYOU YORAN’, and then consider it. The “SUIZYOU YORAN” has a dual structure called the drama stage in the novel. The play planned by Y is that the whole ‘Shima’ becomes the stage of the play, and ‘I’ play as an actor. The recall of ‘I’ and the dreamy experience on ‘Shima’ do not make Okinawa performing arts foreground, but act as an implication of what ‘I’ should play on the stage of ‘Shima’. Just as the play in the novel was the invert play that came to an end just before the stage opens, the novel does not provide an answer to the question of what the ‘Shima’ is trying to tell. This dual structure, in which the act of ‘I’ on the stage is left to the imagination of the reader and ends with the novel, can be said to be the literary method in which Sakiyama narrates ‘Shima’ in the “SUIZYOU YORAN”.

사키야마 다미의 『당신의 정』론

소명선(So, Myung-Sun) 동북아시아문화학회 2017 동북아 문화연구 Vol.1 No.52

I consider literal imagination called the other world appearing in Sakiyama Tamai’s “UNZYUGA, NASAKI” in this paper. First, I clarifies what the writer tried to convey through the process that the narrator who entered the other world passing through the beach boundary between the reality and the other world finally comes to face many bones in ‘Q village’. Then, I analyze the relationship between the other world in the work and the real world. Like the thing which the file which is full of blanks symbolizes in a novel, Sakiyama casts doubts on the history of being recorded and documented. In order to inherit the memories of weathering war, she tries to listen to the voice of other historic others who cannot but remain silent as well as the testimony of the person who survived to succeed to memory of the weathering war. However, those who a narrator encountered in the other world only urge the narrator to remember their existence, they will not talk about themselves. The bones are silent as ever. The possibility is hidden in the substance called ‘Qmr cell’ which the narrator got through physical training in ‘Q village’. It is assumed that ‘Qmr cell’ is extracted only from the truth of the memory that the time of silence of the dead was fostered. The spread of those who internalized ‘Qmr cell’ mean that more people will listen the voice of historic others. Trying to listen to the silent witness’s voice is that non-experiences are conscious of the relationship with historic others and continue internal dialogue. Sakiyama’s thought of the other world can be said to be a literal method to inherit the memory of war and to understand the historic others excluded from the public history.

현월의 『말 많은 개(おしゃべりな犬)』론 : 재일제주인 사가(Saga)

소명선(So Myung-Sun) 동북아시아문화학회 2009 동북아 문화연구 Vol.1 No.20