일제강점기 한국 농민 이주의 문학적 형상화 : 이민촌의 풍경을 중심으로

윤영옥(Yun Young-ok) 韓國批評文學會 2009 批評文學 Vol.- No.33

The aim of this writing is the searching into the aspects and its’ transition of literary representations about Korean peasants’ migration under the Japan’s colonial reign. This research have done focusing on the scenery of colonial migrant’s villages. This writing was intended to investigating about what were the scenery of colonial migrants’ villages and it’s the social discourses. Because the colonial migrants’ villages had made by Japan’s colonial government, it had showed the typical essences of colonial reign. The objects of this research are The Son of the Earth (Taejieui Adeul 대지의 아들 of Lee Ki-young, ?Peasants(Nonggun 농군)? of Lee Taejun, North Gando (Bukgando 북간도) of Ahn Soo-gil, Foreshore Fields (Gaetdeul 갯들) of Lim Young-chun, Arirang (아리랑) of Jo Jeong-rae etc. Social contexts of these texts ranged from colonial reign system to free diversified society. The changes of the social contexts had effected on the representative aspects of texts. During Japanese colonial reign, Korean peasants had been represented in utopian farmland by the imaginary geography. But since 1945, the scenery of colonial migrants’ villages were space that implied the coloniality and modernity and intervened the standpoint of colonizer and peasants settler. Korean migrant peasants have been changed in the literary texts following to social contexts. It had shown that they have possessed not ethnic identity but changed national identity. That have been represented from national to variety viewpoints.

이선희 소설에 나타난 동경과 가출의 젠더 지리

윤영옥(Yun, Young-ok) 한국언어문학회 2015 한국언어문학 Vol.95 No.-

Gender formed complex interrelation with spaces, cultural tastes, physical symptoms. Longing for other places, Leaving Home and physical illnesses in Lee Seon-hee’s fictions were related with gender-specific topography. The islands and primitive spaces as places for where women ran away from home in Lee seon-hee’s fictions were temporary alternative spaces. These compositions of home and spaces critically expressed against modern culture and institutions. Those awareness of home or other spaces acquired distances enabled us to gaze at and think about gender relations. Specially those represented that home was the place to negotiate for gender relation.

근현대 농민소설과 물의 재현

윤영옥(Yun Young-ok) 국어문학회 2012 국어문학 Vol.52 No.-

소설에서 물에 대한 표현은 시대와 사회, 문화, 작가의식에 따라 표상작용을 달리 하고 있다. 물의 표상이 달라졌다는 것은 그 표상을 가능하게 하는 사회문화적 코드의 변동을 의미하는 것이다. 농민소설에 나타나는 물의 재현은 '표상 시스템'의 산물이며, 물을 매개로 사회를 인식하는 방식의 산물이다. 농민소설들은 물을 농민의 삶과 관련된 사건들 속에서 포착하여 그 위치를 설정하고 구성하며 재현하고 있는데, 물을 인식하고 표상하는 방식은 물과 관련된 농민을 보는 패러다임과 관련되어 있는 것이다. 물이 개인적 감각으로서 드러나는가 아니면 사회적 복합체로 재현되었는 가는 농민이 처한 현실을 개인의 차원에서 접근하였는가와 사회구조적 차원에서 접근하였는가와 연관되어 있다. 특히 후자의 경우, 물의 문학적 재현은 물과 관련된 사회제도의 관계망과 사회 이데올로기의 관계를 표상하는 작업이기도 하다. 한국 근현대 농민소설에서 물의 재현이 사회체제의 연속체로서 등장한다는 사실은 물의 분배 및 통제가 대규모의 경제적, 정치적 관리 체계와 서로 결속되어 있다는 사고가 전형화된 인식틀로 작용하고 있음을 의미한다. 예컨대 문학 텍스트에서 수로와 수리의 근대적 관리시스템은 지정학적 지배의 은유이다. 자작농이 몰락해버린 식민지 조선에서, 식민 정부는 수세를 매개로 농민 개인과 농지라는 공간에 대한 미세하고도 총체적인 통제를 행사했던 것이다. 따라서 물의 재현은 농민의 삶과 식민지 근대의 삶을 전형적이고 총체적으로 드러내는 매개 역할을 하고 있다. In peasant novels the method of representing water operates within cognitive boundaries. In cases in which peasants' feelings in regards to water are lyrical and individualized, peasants' lives are depicted as close to a natural state, whereas in cases in which water appears as one part of the social structure, peasants' lives are depicted as part of a great chain linked with colonial modernization. We can detect that in peasant novels the modern usage of water and waterways, villages, routes, and facilities involving rice appear as a great network. Therefore, in the case of peasants who are depicted as having a "lyrical" relationship with water, the lives of peasants of have a quality of idealism, and in the case of peasants depicted as part of the modern social network, peasants' lives reveal the social reality. Also, whether water appears as an individual feeling or is represented as a social composite is closely related to the author's world view. In the case of the former, the meaning of water has the tendency to transcend concrete social time and space, and in the case of the latter the Korean farmlands of colonial modernity exist within a social web and within concrete space and time. This is because the existing understanding of the regulation of water, production of rice, and efficiency of distribution is related to social power relations in relation to water regulation. Therefore, we can discern that the method of representing water in peasant novels depends on whether the author deals with the realities the peasants face on an individual level or a social structural level.

여성소설의 환상과 문학 교육적 적용

윤영옥 ( Yun Young-ok ) 한국문학이론과 비평학회 2006 한국문학이론과 비평 Vol.31 No.-

The fantastics in women novels have represented the relations between women and men, the society. Because literary works have relations with social system in a capital society, the comprehension of the fantastics in novels need to be concerned about it’s semantic structure, the way of it’s circulation, it’s the social function. The fantastics should be discussed in a different way from the mimesis that imitate the objects. So in the educational process, it should be taken the suitable explanation for it. In advance of others, the learner should be needed to look about development and define a concept of the fantastic. Secondly, the learner inquire about/look into the relation between that and the existing culture and the way of that act on themselves. Then they would concern to it’s circulate process and social functions. This educational process expand literary objects from the inside of works to the outside and enlarge the subjects of literature from ‘teacher’ to ‘teacher―learner’. This literary education will not indoctrinate the learner the hegemony of ruling group but enlarge the concerns of learner into total aspects of lives and society and evaluate the flexibility of literary appreciation. Therefore the process of that applicate the fantastics in the women novels on literary education is needed to accept the way that the leaner understand the sociocultural meaning. When the learner interpretate the fantastics in the category of sociocultural context, he will grasp the meaning of it objectively.

염상섭 소설에서의 자유연애와 자본으로서의 젠더인식― 「제야」, 「너희는 무엇을 얻었느냐」, 「해바라기」를 중심으로-

윤영옥 ( Young Ok Yun ) 현대문학이론학회 2014 現代文學理論硏究 Vol.0 No.58

‘자유연애-결혼’ 복합체에는 근대 전환기 여성 지식인의 성적 욕망과 육체적 섹스와 결혼이라는 사회제도, 그리고 일상화된 생활 속에서 수행되는 성적 관행이 연관되어 있다. 이러한 복합체를 다루는 근대 전환기의 젠더 재현물은 인물들의 문화 취향과 경제 자본을 둘러싸고 작동하는 사회적 관계를 드려내고 있다. ‘자유연애-결혼’ 복합체를 재현하는 염상섭의 소설들은 근대 전환기에 젠더가 재구성되는 전범을 보여주면서, 다른 남성작가들과 변별되는 젠더 의식을 보여주고 있다. 염상섭의 소설에서 여성 지식인들은 경제적으로 자립하지 못했기 때문에 결과적으로 자신의 성적 욕망과 결혼을 자율적으로 선택하지 못한다. 여성지식인들은 자유연애라는 이상을 거세당하고 남성중심의 근대적인 가정의 틀로 들어와 순치된다. 염상섭 소설에서 이러한 과정의 재현은 논리적 비약과 불일치 등 서사적 틈을 수반하면서 이루어진다. 서사적 틈은 한편으로는 신여성인들의 성적 욕망과 문화 자본이 남성들의 경제 자본에 흡수되는 과정의 서사적 생략을 통해 남성중심의 서사를 형성하면서, 다른 한편으로는 자유연애―결혼의 담론이 남성중심적 논리로 흡수되는 과정에서 소설 앞부분에서 논의되던 신여성들의 문화취향과 예술과 문화자본, 문화사업 등을 계속 다루지 않고 방치함으로써, 결과적으로 그것들을 여성 자신들의 저항의 지점으로 남겨놓았다. Yeom SangSeub`s early fictions showed a classis of gender reconstruction in that time. ‘Free love―marriage’ complex was related with sexual desire, physical sex, marriage, and sexual practices of modern women intellectuals. The gender representative things in modernizing period that dealt with these complex and had social power relation worked by women`s cultural tastes and economic capitals. Since women intellectuals in Yeom SangSeub`s early fictions couldn``t achieve financial independence, they couldn``t pursuit their sexual desire and marriage with subjectivity. They had been deprived of their ideal free love and were domesticated in male-dominated home. The representation of these processes went with narrative gaps by some jumps and discordances of logic. As a result, narrative gaps enabled male―dominanted narratives that didn`t acknowledge women intellectuals` sexual desires and cultural capitals. Also they left women``s arts and cultural capitals alone, they set aside some room of women``s own logic in the fields of arts and cultural projects.

한국 다문화 소설에 나타난 문화취향과 사회통합의 문학적 재현

윤영옥(Yun, Young-ok) 국어국문학회 2014 국어국문학 Vol.- No.167

The multicultural fictions of Park Chansoon are unique because they considered social inclusions in muticultural societies as problem of culture or cultural capital and sought to settle the matter by cultural ways. At fictions of Park Chansoon, Multiculturalism implied that "Balhaepoongjung won" have materialized in our daily lives. In other words, the different cultures coexist and have mutual negotiations and recognition, produce economic?social?symbolic capitals by that. At park"s literary texts, the dynamics of culture and taste will effect social symbolic system of multicultural subjects. And the extension of cultural capital into other capitals and its" increase will change their social relations. Park"s multicultural texts were inclined toward interculturalism that diverse cultural subjects coexist by cultural inclusion, conversion from culture taste to capital. That is, at that texts, multicultural subjects wanted to realize the environment in that multicultural subjects preserve their cultural identities and utilize that for making various capitals, adapt themselves into their new surroundings. These characteristics have a tendency to adjust individually to the society rather than to change the social structures. Therefore, these fictions will present the logics to ameliorate multicultural conditions institutionally rather than to change the society.

1920~30년대 여성잡지에 나타난 신여성 개념의 의미 변화와 사회문화적 의의 : 『신여성』을 중심으로

윤영옥(Yun Young-Ok) 국어문학회 2005 국어문학 Vol.40 No.-

Mass media is composed of writing, publication, reading. Women who hadn't possess a capital were minority of mass media in 1920's~30's. Women were worse situated than men in mass media circulation structure. Women had try to make their good public image because they desired to spread their argument. Women hoped to argue the liberation of sex through mass media. They had published women Magazine Shinyeoza(New Women) that spoke for their stand point, But Shinyeoza(New Women) ceased to publish from running out of money. Women lost their vehicle that convey their voices to mass. Shinyeoseung(New Woman) and Yeoseung(Woman) were the women magazines were published by men. They had influenced to make the meaning of 'Shinyoeseung(New woman)' and the meaning change of 'Shinyoeseung(New woman)' was followed. So the liberating meaning of 'Shinyoeseung(New woman)' became weak and the denial meaning(sexual indulgence, vanity, extravagance of that intensified. In 1930's, it was substituted 'Hyundae yoeseung(Modern woman)' for 'Shinyeoseung(New woman)' which had lost it's appeal and fascination. Women was defeated throughly by men at making good image around the meaning of 'Shinyoeseung'. The meaning change of 'Shinyoeseung' was reflected the hegemony struggle between women and men. Women magazines were the battlefield of that struggle. Women as the ruled class presented their politic desire though the mass media but they didn't possess mass media that convey their voices to mass. Partly Shinyoeseung and Yoeseung presented korean modem women's resistance against patriarchy, but mostly spread and intensified their denial images. Modem women was reformed into the social structure centered around men. The meaning change of 'Shinyoeseung' was reflected the process of women's reformed into modem patriarchal society.

한국 근대 여성소설에 나타난 자기서사와 신여성 표상 -자유연애 결혼과 생활인으로서의 여성 젠더-

윤영옥 ( Young Ok Yun ) 현대문학이론학회 2015 現代文學理論硏究 Vol.0 No.61

신여성들의 생활공간은 근대의 차별적 젠더가 재생산되는 지점으로서 젠더 권력의지배와 젠더 권력에 대한 저항이 공존하는 공간이다. 신여성들은 자유연애―결혼의 이념에 호명되어 낭만적 사랑을 실천하였지만, 신여성에게 돌아오는 것은 대부분 성적방종이라는 사회적 비난과 비합법적인 결혼에서 오는 사회적 모멸과 경제적 파탄이었다. 나혜석, 지하련, 백신애, 최정희, 이선희 등의 소설들은 신여성들의 결혼 전후의 생활묘사를 통해 사회적 약자로서 자신을 재현하고 객관화하였다. 생활묘사를 통한 자기재현은 남성지식인들과 변별되는 여성들의 문제들을 탐구함으로써, 근대 젠더 재편성과정에서 차별적으로 부과된 여성 젠더의 열악한 규준을 비판적으로 드러내었다. 신여성들의 생활 경험들 특히 자유연애―결혼에 대한 망설임과 유예, 연애―결혼 과정에서 발생하는 남성 파트너와의 법적·경제적 관계 등은 그들의 연애와 결혼 생활에 대한 객관화된 통찰을 제공해주고 있다. 한국근대 여성소설들에 형상화된 신여성 표상은 생활인으로서의 여성 젠더를 천착함으로써 남성 중심의 서사와 변별되는 여성 서사의 한 계보를 형성한다는 점에서 의미가 있다. 여성소설에 나타나는 생활의 서사와 신여성 표상은 남성과 여성에게 차별적으로 유통되는 근대 젠더 체계에 대한 인지투쟁이었다. This study examined the images of New women in Korean modern women`s fictions, with its` contents, features, and social meanings. Texts of this study in the main were fictions by 1930`s Women writers. Their fictions had properties as self-narratives and empirical narratives founded in everyday lives. The living territory of New Women was space that modern discriminatory gender authorities and resistances against it had co-occurred. By description of daily lives around free love-marriage, Korean modern women fictions could represent and objectify New Women as second-class citizens. Their self-narratives through descriptions of daily lives showed critically modern discriminatory gender systems. Daily life experiences of New Women stoped at theirselves interpellation to ‘free love-marriage’ ideology and made a gap against it. The New Women images at Korean modern women`s fictions formed a genealogy of women narratives by descriptions of women`s daily lives around marriages. New Women`s empirical narratives and New Women`s images were struggles for recognitions against discriminatory modern gender systems.

한국여성 SF에 나타난 신체기술과 지구공동체 - 김초엽의 『지구 끝의 온실』을 중심으로

윤영옥 ( Yun Young-ok ) 현대문학이론학회 2022 現代文學理論硏究 Vol.- No.91

Kim Cho-yeop’s Greenhouse at the End of the Earth pays much attention to the combination of human and physical technology, and embodies how humans and posthumans are connected and coexist in the future (virtual) world. This thesis aims to explore the process in which a female scientist becomes a posthuman through the process of body transformation and the the social and cultural meaning that will be formed by the new social connection between humans and posthumans in The Greenhouse at the End of the Earth. As a result of the research, the fiction is a narrative in which people facing a disaster called Dustfall gather in a refuge (Prim Village) and overcome the crisis of extinction. In this novel, a female cyborg botanist plays a role in preventing the destruction of the earth from dust disaster and regenerating the earth by forming an interdependent and generative relationship with humans and plants with multiple identities of human female and machine. When life on Earth is in danger of extinction due to environmental pollution, various species such as humans, machines (posthumans), plants, and microorganisms each have their autonomy, cooperate with each other, and regenerate the earth in solidarity. This cross-species relationship is presented in the form of ‘sympoiesis’ that Haraway spoke of, and the concept of a global community in which non-human subjects, humans (female), and plants promote symbiosis and co-evolution on Earth is presented. The earth community is showing a new paradigm that breaks away from the modern male-centered, human-centered, and gender distinctions.

자유연애, 문화자본, 그리고 젠더의 역학

윤영옥(Yun, Young-ok) 한국언어문학회 2014 한국언어문학 Vol.88 No.-

Free love was the cultural symbol of Korean modern intellectual class. Literary representations of free love had relation with power functions which adjusted public images of intellectuals. By cultural tastes, modern fictions described the process that free love in individual privacy had entered into marriage in public space. And cultural tastes were featured through mutual accumulations of economic capital, social capital, symbolic capital. 'Free love-marriage' plots of modern fictions including Jaesaeng were involved in interactions among men intellectuals' capitals and women intellectuals' that. Specially 'free love-marriage' plots were unveiled inflection process of women gender. At Jaesaeng, women intellectuals and men intellectuals met by similar culture tastes. The cultural capitals of women intellectuals were isolated and could not be expanded reproduction. But the cultural capitals of men intellectuals which combined with economic and social, symbolic capitals reproduced and spread. These representations of free love with capitals accentuated mens' supremacy and aggravated women's social inequality. 'Free love-marriage' plots coordinated hierarchy of gender symbols through reconstitution on daily life. Because women intellectuals had no economic capital and social capital, they could not take part in the public social system and were exposed to symbolic violence which damaged their social reputations.