프로테스탄티즘 윤리와 질병의 수사학 : 임옥인의 『힘의 서정』연구

송인화(Song In Hwa) 한국비평문학회 2010 批評文學 Vol.- No.38

This research tries to explore a way of christianity involving in establishing woman self-identity. Specifically, how it works on woman's body and emotion, and sex-role configuration. 『Power of lyric』 Published in 1962 is a works that Christian morality is clearly revealed writer's spiritual was based. Work was consisted of several love stories, in that stories love and emotion were critical to target the spirit contrasted. This was represented as a disease again, and was regarded as a the religious 'sin', so man and women falling in love were punished by a perverted psychopath. Protestantism ethics compulsively imposed on love and emotion. Furthermore that was restructured as women - the tempter / male - tempted, women - the perpetrator / male - the victims, Thus sexual discrimination were completed. Works shows surplus repression can't be explained only in Christian Ethics. All the marital relationship in works were formed by axiomatic duties and traditional norms. That conflicted with Christian doctrine emphasizing Individual autonomy and love. Rather that was connected with claims of the dominant discourse emphasized realistic economic development. Gender roll in works also showed appropriated traditional discourse. Despite of producing positive women who were escaped from man-dependent image, gender discrimination (re) was produced by re-enforce gender hierarchy in public roll. Women set to be disciplined under education and instruction of the male subjects. Women's public activities were limited to subsistence activities strictly confined to men's assistant. woman was placed in a subsistence workers, through that discriminatory placement. Women, while creating economic value placed in a repressive contradiction should obey the guidance and control of man.

저항에서 생명으로, 자연을 통한 화해와 치유 - 정연희 소설의 생태의식

송인화(Song, In-hwa) 문학과환경학회 2019 문학과 환경 Vol.18 No.3

본 연구는 90년 이후 발표된 정연희 소설을 대상으로 작품에 나타난 생태의식을 탐구하였다. 자연을 소재로 한 이들 작품은 낭만적 사랑과 기독교 교리를 다룬 작가의 이전 작품경향과 다른 예외적 작품으로 취급하며 거의 언급되지 않았으나 작가가 부단히 추구했던 자유와 욕망이라는 주제를 완미한 수준에서 탐구하고 있다는 점에서 심중한 의미를 갖는다. 이들 작품에서 자연은 자아를 변화, 성숙시키는 결정적 계기로 작용한다. 세계에 대항하고 저항했던 이전의 폐쇄적 자아가 자연과의 소통과 교감을 통해 세계와 화해하고 자유에 이른다. 자본주의적 목적성에 갇혀있던 근대적 주체로서의 자아가 자연 혹은 자연을 체현한 타자와 교감하면서 자신을 성찰하고 억압적 상황에서 벗어나는 것으로 이를 통해 인간중심적 주체가 유동적 자아로 변화한다. 자연은 자아와 분리된 수동적 피해자가 아닌, 함께 교섭하고 공감하며 자아를 새로운 인식으로 이끄는 살아있는 현존으로 제시된다. 자아는 근대적 주체의 우월함 대신 타자와의 관계 속에서 새롭게 변화하고 생성되는 존재로 거듭나는데 이를 통해 근대주의 계몽 서사와 다른 생태주의적 자아의 성장서사를 보여준다. 자본주의 근대의 문화와 제도와 적응하는 사회화 과정으로서의 교양이 아닌, 그것을 해체하고 극복하는 자아의 변화를 성장으로 제시하고 있다. 자아는 이념과 제도에 갇혀 있던 억압에서 벗어나 자기의 욕망을 실체로 인정하며 금기에서 해방됨은 물론 그를 통해 세계와도 화해한다. 지배하고 관리하는 계몽적 주체로서의 폭력성에서 비로소 풀려나는 것으로 화해와 눈물은 이를 입증하는 정서적 특징으로 나타난다. 구도자의 자세로 자연과 교호하며 자아는 무목적적인 미적 인식에 다가가는 것으로 이로써 이윤 추구의 속물성을 넘어선다. 성공을 향해 맹목적으로 질주했던 자아가 목적성의 억압에서 벗어나 진정한 자유에 이르고 생명으로서의 자기인식에 도달한다. 여기서 금기의 윤리로 억압했던 욕망이 인간을 구성하는 심원의 실체로 인정, 해방되며 인간을 포함한 모든 생명체가 동등하게 인식된다. 우주적 관점에서의 포용적 시각을 통해 유기체적 생태의식을 확보하는 것이다. 따라서 자연 소재의 90년대 정연희 소설을 전원적 풍경을 소재로 한 예외적 소설로 판단하는 것은 재고되어야 한다. 작가가 부단히 추구했던 욕망과 자유가 이들 작품에서 완미하게 성숙된 것이라 할 수 있다. This study explores the ecological consciousness in Jeong Yeon-Hee’s novels published after 90 years. These works of nature are rarely mentioned, as they are regarded as exceptional works, different from the previous work of writers dealing with romantic love and Christian doctrine. However, it has an in-depth meaning in that it explores the theme of freedom and desire that the artist has pursued constantly. In these works nature acts as a crucial moment to change and mature the self. The former closed self, which resisted against the world, reached reconciliation with the world through freedom of communication with nature and freedom. The self as a modern subject confined to capitalistic purpose reflects on itself and escapes the oppressive situation communicating with others who embody nature or nature Through this, the human centered subject changes into a fluid self. Nature is presented not as a passive victim separated from the self, but as a living presence that negotiates and empathes together and leads to a new awareness of self. The self becomes a new creature that changes and produces in the relationship with the other instead of the supremacy of the modern subject. This shows the narrative of the growth of the ecologicalist ego, which is different from the modernist enlightenment narrative. These works are not a cultivation as a process of socialization that adapts to the modern culture and institutions of capitalism, but rather the growth of self-transformation that overthrows and overcomes it. The self is escaped from the oppression confined in ideology and institutions, recognizing his desire as reality, freed from taboos, and reconciles with the world through him. Conflict and tears are emotional characteristics that are proved by the fact that he is released from the violence as the enlightened subject. The self is in contact with nature in the attitude of the investigator, approaches the purposeless aesthetic perception, and transcends the aptitude of pursuing profit. The self, which has been blindly rushed toward success, escapes the oppression of purpose, reaches true freedom, and reaches self-awareness as life. The desire that is suppressed by the ethics of taboo here is acknowledged and liberated as the reality of the mind that constitutes man, and all living things including man are recognized equally. It is to secure the organic ecological consciousness through the inclusive view from the cosmic point of view. Therefore, judging Jeong Yeon Hee Novel in the 90s of natural materials as an exceptional novel based on rural landscapes should be reconsidered. The desire and freedom that the artist constantly pursued can be said to be mature in these works.

인문학적 상상력과 서사전략 1950년대 지식인 여성의 교육과 기독교 -임옥인의『들에 핀 백합화를 보아라』를 중심으로-

송인화 ( In Hwa Song ) 한국현대문예비평학회 2011 한국문예비평연구 Vol.- No.36

In this research we look into the role of christianity involved in intellectual women`s educational ideology after 1945, centered on leem ok in`s 『look at the lilies on the field』. Christianity that contributed to women`s liberation early in the modernization takes on a important role again through an woman`s educational establishment and a policy maker`s role. So we want to investigate it`s acting on the woman`s education and identity forming. In this process we especially take notice of the distinct characteristics of the 50`s korea along with the general religious doctrine. The inside of korea christian in 50`s was maked up complex elements including guilt due to the shrine, conservative evangelical faith, regime adhesions, so we can not be objectively explained the repression and conservatism appeared on the christian discourse of women`s education without that. Ideology of beauty which constructing the core women`s liberal intellectuals, was appeared as the oppression of women. Contents of beauty was limited to altruistic ethics such a service, sacrifice, dedication etc. and oppressed of women`s sexual desire and the flesh, on the other hand, praised the flesh of women contributing to the nation through showing a favor for the Miss korea. That produced sexually discriminational discourse christian ascetic ethics and conformism conservativeness contradictorily combined. Woman`s education was strongly limited to simple -technical post focused on a livlihood irrelevant Intellectuals, women`s professional society activities. On the other hand men were placed on the mental-leadership - professional areas, so hierarchy sexual discrimination appeared. Through this woman alienated ideology of beauty and hierarchy of knowledge the text finally assisted a marriage and familism as a purpose of woman`s life. Marriage was not a matter of choice for women. It must reach, even if some sacrifices have to be assumed as an absolute value. Sexist logic that women were basically immature and unstable existence therefor must governed by a system of marriage was constructed.

어문학 : 김활란 자서전 『그 빛 속의 작은 생명(生命)』에 나타난 여성의 사회 참여 방식과 공간의 정치

송인화 ( In Hwa Song ) 조선대학교 인문학연구소 2016 인문학연구 Vol.0 No.51

본고는 김활란의 자서전 『그 빛속의 작은 生命』을 대상으로 자서전에 나타난 김활란의 공적 활동 과정과 방식을 여성주의 시각에서 검토하였다. 해방 이후 대표적 여성 지도자로 인정받는 김활란의 행보가 여성의 사회 참여를 끌어내는 데실질적으로 얼마나 기여했는가를 논의하려는 것으로, 공간 지리를 확장하는 방식을 분석함으로써 해방 이후 여성 지도자의 사회참여 방식을 해명하고자 하였다. 김활란은 금기의 영역인 정치에 참여하기 위해 ‘비정치적’이라는 수사를 동원하여 공간을 공적인 동시에 사적으로 점유하는 이중성을 보여준다. 금기의 영역에 진입하기 위한 ‘공모’라 할 수 있지만 ‘저항’의 장력을 가지 못함으로써 지배이데올로기에 대한 순응을 표현하는 도구적 수사로 사용된다. 김활란은 공적 영역 내부에 감성과 섹슈얼리티를 동원한 여성 정치를 재구축함으로써 젠더 규율을 준수하는 한편 국가주의 이데올로기에 의탁한 권위적 복종과 위계적 체계를 활동의 연대인 자매애에 구조화하고 있다. 정치 영역 내부에 남성과 다른 여성- 정치를 하위체계로 구성하고 젠더 정치를 실행했던 것으로 그러한 점에서 그것은 지배 체제와의 협력을 도모하는 하위 주체의 ‘조력 활동’이라 할 수 있다. 결국 김활란의 사회 활동은 억압적 경계/질서를 성찰하고 공적 활동의 경계를 새롭게 구축한, 진정한 의미에서 사회 참여 활동은 아니었으며 이후 한국 여성의 사회 활동의 성격을 제한하는 부정적 기여를 하게 된다. This Study tries to reveal the way of Women``s social activities in Helen Kim``s Autobiography A little life in the light. The main purpose of this article is clarifying actual contribution of Helen Kim, regarded as a representative women leader after independence from Japan, in enhancing the Korean women``s public activities by Analyzing her way of expand public border. In order to enter the political territory, she showed duplicity, occupying area in official and private, using a rhetoric of ``non-political``. That can be understand as a conspiracy to enter the taboo territory in first. But It was used as a tool to express the rhetoric conform to the dominant ideology, Because there was no resistance forces. She rebuilt female political territory mobilizing emotions and sexuality in internal public area. A oppressive gender political territory structured the authoritarian and hierarchical obedience. She constituted political sub-territorial systems in internal politics different from that of men``s, called ``support activity``. After all, Helen kim``s social activity was not social participation in the true sense. She did not critically reflect on the boundaries and repressive discipline to build a new public border activities for korean woman.

정연희 소설에 나타난 '자기세계' 구축 방식과 나르시시즘의 의미

송인화(Song In-hwa) 韓國批評文學會 2010 批評文學 Vol.- No.35

In this research we want to know how to change a way of constructing her own world of female subject in jung yeon hee's novel. Based on gender ideology 6,70's patriarchal norms, institutions and culture in relationship with a woman do not identify with the dominant ideology in the world to build self-configuring, and whether the principal wanted to be identified. The initial works including 「paryusang」 and 『thirsty trees』 showed the defiance and attack for woman oppressed by the ruling control. In these works, the author represented a nun of apostasy owing to doubt the god' saving. She drew womans' exceptional decision choosing a emotional love instead of moral justification. This female subject's desire to actively defend and criticize the reality of sexually discriminated. But in the works writting after the middle of 60's, a serious change was appeared. Through the works author used a strategy. she had a command of alibi and paradox. 『seokneo』, 「freedom of locked」 are the featuring works of that strategy. Come with an alibi and the paradox, she protected from the rulers eyes. and preserved their world. under these disguised mask it made a crack patriarchic moral and system. In this works self-staring and internalization were get strong which operated meaning of language and usual senses of language were capsized. The reason for making use of this complicated strategy is a fear with the ruling ideology. Author could not help recognizing it was impossible to fight the patriarchic world no more. The fear that made change to disguised mask intensified futhermore in 70's works. Woman incorporated into ruling ideology and internalized law of reality. In 『snail looking forward to rain』, woman regret on her desire for love as a bad passion betrays god's will. She confessed her sin to god and asked a pardon. Through the work extraordinary aggression and sadomasochism were appeared. Because of a sense of guilty violates law of god, woman endured pain and insult.

논문 : 정연희 소설의 죄의식 연구

송인화 ( In Hwa Song ) 한국문학과종교학회 2012 문학과종교 Vol.17 No.2

In this paper, we investigate the structure and content of guilt in Jung Yeon Hee`s Christian novel. Jung Yeon Hee was considered as a typical Christian female novelist and her work as a novel has a unique purpose of preaching Christian doctrine. For this reason only a few studies and evaluation were made explaining literariness for her novels. This paper raises the issue in the understanding of this view and tries to explain that God`s will contradictorily coexists with human desire in her work by analyzing the structure of guilt. For this research we take notice of nonverbal language such as symptoms underlying behind a logical argument in works. In her novels anxiety, fear, and anger distinctively appear and we explain those aggressive emotions as symptoms of suppressed desires of the ego against an ethical oppression. Those feelings can be read as the expression of human-ego against ethics made by the transcendent god. Human desire resists god`s will because of continued suppression from it. But at the same time human feels guilt and transfers sin to an external target in order to protect himself from guilt, and then attacks and criticizes it. For this reason, aggressive aesthetic emotion, which is the feature of her novels, can be considered symptom that expresses obsessive guilt of the self. For the above reason we do not agree with the conclusion that Jung Yeon Hee`s novels unilaterally convey God`s ethics and serve only the purpose of religious propaganda. Rather human desire and divine ethics contradictorily coexist in her novels. As a result we can conclude that there are human reflections and conflicts in her work and literary achievement of Jung Yeon Hee`s novel comes from the tension and dynamics between the two.

"예술"로 나아간 "동심", 그리고 폐쇄된 비극성의 세계 -이태준 동화 연구-

송인화 ( In Hwa Song ) 건국대학교 동화와번역연구소(구 건국대학교 중원인문연구소) 2005 동화와 번역 Vol.9 No.-

This paper researches the lee tae jun's fairy tale focused on the style. Until now, lee tae jun's fairy tale has been recognised as a work of just describe the writer's real life and a expression of his consciousness of orphan. This interpretation simply approaches lee tae jun's fairy tale as a immature work written early in his novelist's life. But in fact, lee's fairy tales show impressing treats making a attempt at new style. We can say this is a same context with his trial being confront to the contradiction of real life and modern age. The contents of 'Innocence of child' in lee's fairy tale had a same orientation with his 'art'. the beginning of his literature consciousness that pursuits for 'pureness' and 'innocence' and 'emotion' is being from the his fairy tale. in his early. His works focused on the empathic situation that narrator tried to emotional coincidence with orphan character which has purpose understanding and consent. After that in the early 30's, he actively borrows a style of drama that depends a dialogue. In this case narrator gradually fade out behind the text and a narrative grows week in the other side lyric treat intensified. This all indicate that lee the jun's fairy tale differs from the contemporary fairy tales that overwhelmingly had enlightenment feature. That shows lee tae jun's fairy tale prior to or overcome contemporary fairy tales. B: ut his fairy tale could not go through with tragedy of his age, and was confined by context of his age's tragedy.

정연희 소설에 나타난 기독교적 상상력과 여성 정체성

송인화 ( In Hwa Song ) 한국현대문예비평학회 2010 한국문예비평연구 Vol.- No.31

1960년대 연애 서사와 여성 주체 : 정연희 <석녀>를 중심으로 Focused on Jung yon hee`s novel, <Seokneo>

송인화 ( In Hwa Song ) 한국현대문예비평학회 2008 한국문예비평연구 Vol.- No.25

이태준의 『청춘무성』考 : 계몽의 서사와 여성(성)

송인화 한국여성문학학회 2003 여성문학연구 Vol.9 No.-

본 고는 1940년 발표된 이태준의 후기 장편 소설인 『청춘무성』을 대상으로 계몽성과 여성성과의 관계를 탐색하였다. 『청춘무성』은 이태준 장편 소설의 특징적인 계몽소설의 구조를 근간으로 하고 있다. 따라서 근대화 프로젝트의 이념이 서사를 추동하면서 감성/이성, 사적/공적, 육체/정신, 자연/문명, 개인/사회, 그리고 여성/남성 등의 이항대립적 개념이 작품의 주요한 갈등을 형성하고 있다. 본고에서는 이처럼 근대를 자기목적으로 추구하는 계몽적 서사에 내재된 여성 억압적 특징을 인물의 형상화와 계몽의 성취과정을 통하여 살펴보았다. 작품은 크게 전반부의 애정갈등과 후반부의 사회참여라는 두 부분으로 나뉘어져 있다. 이야기는 애정이라는 사적인 욕망을 제입한 세 남녀가 사회라는 공적인 영역에 참여하는 과정으로 진행된다. 여기에서 공간적인 영역의 이동은 시간적인 메타포로 전이되어 전자가 부정해야 할 사적인 영역으로서의 전근대적 세계라면 후자는 지향해야할 공적인 영역으로서 근대적 세계가 된다. 그런데 사적인 영역에서 제시되는 전근대성이 한결같이 여성적 젠더와 연결되어 있다는 점에 문제가 있다. 여성은 근대성에 미달된 영역으로서 계몽을 필요로 하는 열등한 대상일 뿐만 아니라 여성인물들의 자질로 구성되는 여성성은 그 자체로 근대성에 도달하기 데 위험한 방해물로 제시된다. 작품에 등장하는 여성인물은 소녀적 감상성에 매몰된 미숙한 인물이거나 육체적 열망에 사로잡힌 탕녀로 제시된다. 이들은 모두 비합리적이고 사적인 욕망에 사로잡힌 인물들로 이러한 이미지가 제공하는 감성성과 육체성은 전근대적인 것이자 동시에 여성적인 전유물로 제시되면서 계몽의 서사에 의해 끊임없이 억압되는 욕망의 주요한 내용이 된다. 따라서 전근대적인 표상들은 중립적인 것이라기보다는 여성적인 젠더 표상과 은밀히 내통한다. 그리고 결국 근대는 여성성을 억압함으로써 보장된다. 여성들은 성적 정체성이 제거되고 양육의 헌신성만이 강조된 모성과 교사 역할을 통해 공적인 영역에 참여하지만 가부장적인 젠더 경계의 성역할 모델은 엄존하여 영웅적인 남성의 부차적인 역할로 밖에 남지 않는 것이다. 성적욕망과 감성, 그리고 모성을 구성내용으로 하는 사적 영역이 공적 영역에 의해 통제되고 억압되는 이러한 계몽의 담론은 결국 총동원체제라고 하는 전체주의적 식민지 지배담론에 봉사하는 결과로 귀착된다. In this paper, I tried to examine the relation between the modernity and the femininity in the Lee tae joon's late novel 『Chung Choon Moo Sung』. This novel is based upon the structure of enlightenment narrative, that is notable trait of Lee Tat Joon's novel. So the Modernization project is a essential momentum of this narrative, and the binominal concepts like emotion/reason, private/public, physical/spiritual, natural/cultural, and male/female make the main struggle in this novel. Here I will check how the narrative that pursuits the modernity itself oppresses woman's desire and tries to restraint the woman's identity through the process of narrative and characterization. This novel divides into two part. the first half is made up a affection discord, and the latter half is constitute of participation in public affair. Moving onward the latter part, the characters suppress theirs sexual desire for social participation. Here we can find the spacial concept transfers to the metaphor for the time. The former private affection is metastasized to the premodern times, whereas the other turns into the modern world. The problem is here which premodern world is always related to the feminine gender. In this novel, the women are the person who need the lesson of enlightenment, all the more femininity that is constituted of woman's character is recognised of obstacle against getting to the modern world. The women in this novel are presented in a 'immature person' who is immersed in girlish loving affair or a 'prostitute' who is captured by sexual desire. They are all unreasonable and don't have any other concern without private passion. Such a images of emotionality and flesh are the woman's original characteristics in this novel. In the same time that are the object that enlightenment passion want to eliminate in the name of modernity. Therefore we can find the premodern symbols are not neutral but something in communicate secretly with the feminine gender in this novel. So the conclusion is that the modernity can be arrived by repressing the woman's identity. The women who get to the modernity eliminate their gender-identity and goes to the social sphere as the mother and teacher, but gender roll is derived from the patriarchism remains strongly. So they only do the secondary roll for heroic man. In the final analysis, the narrative of enlightenment in this novel that the public sphere completely controlled the private sphere serves to the ruling colonial narrative of 'Nation Mobilization Order'.