해방의 선택과 소설의 선택 - 해방기 현경준 소설 「불사조」의 현실 인식

차희정 ( Cha Hee-jung ) 국제어문학회 2015 국제어문 Vol.0 No.66

해방기 일본 잔재 청산과 민족국가 건설의 과제 해결을 위한 문학적 노력은 남과 북에서 각각 승리한 정치세력의 지도 아래로 봉합되어 버렸다. 해방 직후 북은 민주주의민족문학 건설을 위한 `민주기지론`을 주창하였고 1947년 2월에는 정식인민위원회를 발족하고 같은 해 3월에는 문학 창작 방법론으로서 `고상한 리얼리즘`을 발표 한다. 영웅적이고 긍정적 인물을 본받아 배우는 것을 이상으로 하는 창작방법은 혁명적 낭만주의에 가까워서 북한 문학의 도식주의적 경향을 드러낸다. 현경준의 「불사조」는 해방 직후 일련의 북한의 문예정책을 따르고 있는 소설인 것을 알 수 있다. 그러나 소설 속 영웅적 인물이 유치장 안의 다른 유치인들과 융합되면서 주체적 권력체로서의 `인민`으로 환원되는 모습에서는 개인의 존재보다는 공동체성이 두드러진다. 또, 유치인들 사이에서 발견되는, 사상적 동지애에 혼융된 형제애, 항일의 투쟁 의지와 견줄 만 한, 농부로서 갖는 농사일에 대한 애정과 갈증은 해방기 남과 북의 민족주의 담론에서 벗어나 원시적이고 전통적인 민족정서를 환기하며 남과 북으로 양분되었던 해방기 민족 담론에서 비켜 서 있다. Liberation period literary effort to eradicate the remains of the Japanese colony and to resolve issues in building a nation-state was sealed under the instruction of the political forces that won in South and North each. North, after the liberation, advocated `a theory of democratic basis` and in February, 1947, the official National People`s Congress was founded. In March in the same year, `the noble realism` was announced as a methodology for literary creation. Creating method with an ideal of learning from heroes or positive figures reveals schematism in literature in North Korea since it is close to the revolutionary romanticism. `The Phoenix` by Gyeongjun Hyeon follows the literature policy in North Korea after the liberation; however the heroic figure in the novel blends in among others in the jail and returns to the identity of `the mass` as the independent force and this emphasizes a sense of community more than identity. The bond found among the people in jail, as the bond of comradeship based on ideology, which can be paralleled with will of struggle against Japan; such affection and thirst that farmers can have for their farming go beyond the discourse on nationalism in South and North Korea after the liberation to remind primitive ethnic sentiments and traditional mentality and is put aside from the divided nationalistic discourse.

한중 여성 장애인 창작 소설에 나타난 자의식 발현 양상 비교 연구

차희정(Cha, Hee-Jung) 한국현대소설학회 2018 현대소설연구 Vol.- No.71

메두사의 후예들영미여성 문학텍스트의 여자 괴물 되기

차희정 ( Hee Jung Cha ) 조선대학교 인문학연구원 2011 인문학연구 Vol.0 No.41

While defining a mythical creature, Medusa, in terms of feminine anger and creativity, this paper discusses female monsters in women`s texts such as Charlotte Perkins Gilman`s The Yellow Wallpaper (1892) and Jean Rhys`s Wide Sargasso Sea (1966). In doing so, the paper attempts to answer some questions including what makes a woman a monster?, what does the female monster symbolize?, who/what defines (a)typical femininity?, and how is female madness interpreted in relation to identity, sexuality, and gender? As women`s texts have demonstrated, traditionally, a woman has been seen either as ``an angel in the house`` or ``a witch/monster`` in a male-centered society. Through autobiographical writing or writing the body in Cixous`s words, women writers have deconstructed such the patriarchal binary mechanism and empowered marginalized and silenced women with angry voice and madness. In Gilman`s The Yellow Wallpaper, against the wishes of her doctor-husband who diagnoses her illness as temporary nervous depression, the nameless wife-narrator keeps writing secretly which reveals the process of her becoming a monster in a haunted house. Likewise, in Rhys`s Wide Sargasso Sea which deconstructs Jane Eyre, a creole wife, Antoinette, is renamed as Bertha and locked in the attic of an old mansion by her English gentleman-husband who considers her emotional fragility as inherited mental illness. In the end, even though delusional and paranoid, these wife-narrators come to reject the feminine images or normality produced by patriarchal society and are reborn as Medusa`s daughters aggressive and creative. Put another way, in women`s texts, becoming Medusa or a female monster signifies transforming a silenced and subordinated female self to a ``speaking subject`` who dares to stare at men and makes new stories.

근대 고딕소설의 괴물 사냥꾼과 폭력의 이미지- 『프랑켄슈타인』과 『드라큘라』를 중심으로

차희정 ( Hee Jung Cha ) 21세기영어영문학회 2012 영어영문학21 Vol.25 No.4

While exploring the historical, cultural, political contexts of the Victorian society, this paper pays a special attention to monster hunters in relation to monsters in Mary Shelley`s Frankenstein (1818) and Bram Stoker`s Dracula (1897). As the world`s first industrial nation, Britain in the 19th century was tremendously diverse and complex. The society underwent the agricultural and industrial revolutions resulting in a burgeoning middle class which triggered major changes to the social strata itself. Thus, the Victorian era was understood as a time of peace, prosperity, social, political and religious movements, great imperial expansion, and unprecedented demographic increase. Culturally, various artistic styles and literary schools flourished. The popularity of the Gothic revival architecture grew rapidly, and the novel continued to thrive through this period. Interestingly, the Gothic pervaded Victorian literature. Even though the definition of the Gothic novel as a mixed genre has long been debated, without a doubt, it is strongly associated with something uncanny. Shelley`s Frankenstein and Stoker`s Dracula based on the supernatural phenomena and the prevailing morbid atmosphere are representatives of the Victorian Gothic novel in which Gothicism is closely related to romanticism. In spite of the fact that the Gothic novel has been disregarded as "un-academic," indeed, the influence of these most well-known Gothic romances are still evident today in modern popular culture. In essence, the fascinating and horrifying novels full of violent images ask the religious, political, and cultural question, "what is a human being?" While Frankenstein`s creature and Count Dracula become the archetypes of gruesome monsters which evoke a sense of anxiety, fear, and dread, Bourgeois white monster hunters are admired for their gentlemanship, goodness, cultivation, and faithfulness. Meanwhile, Victorian women are objectified and terrified by horrible violence exerted by both the monsters and monster hunters. Eventually, this paper demonstrates that in these novels, the uncanny monsters and rational monster hunters, who embody the images of modernity and justify their violent work, are grotesquely ambivalent in terms of monstrosity, violence, morality, and humanity beyond the religious boundaries of good and evil.

수단 여성의 미니스커트에서 히잡으로: 레일라 아부렐라의 『사원의 첨탑』

차희정(Hee jung Cha) 한국영미어문학회 2018 영미어문학 Vol.- No.130

This paper explores Minaret (2005) written by a muslim writer, Leila Aboulela, from a feminist perspective. This thought-provoking and disturbing novel revolves around the transforming process of a muslim woman from innocence to maturity along with her movement from Khartoum, Sudan to London, UK. The paper discusses the physical and spiritual journey of the narrator in relation to diaspora movement and cultural experience of in- betweenness. Aboulela brilliantly illustrates the religious conversion of the westernized modern woman who struggles with male characters such as her executed father, drug-addicted brother, egoistic socialist boyfriend, and immature fundamentalist lover and comes to gain religious spirituality as a redemptive power with the help of a transnational group of muslim women. In doing so, she endeavors to resist anti-Islam stereotyping and to represent a different, if not positive, portrayal of a muslim woman who is not merely victimized but independent, educated, and articulate.

장애인 창작 소설의 주제 변모 양상

차희정(Cha, hee-jung) 한국현대소설학회 2016 현대소설연구 Vol.- No.62

김유정 소설에 나타난 한탕주의 욕망의 실제

차희정(Cha, Hee-Jung) 한국현대소설학회 2016 현대소설연구 Vol.- No.64

바깥의 경험과 역동하는 공동체

차희정(Hee Jung Cha) 한국현대소설학회 2014 현대소설연구 Vol.- No.56

This study assumes those who came or returned to the South during the liberation period as ``the immigrants of the liberation period`` to identify characters of the immigrants by focusing on the life of the immigrants in novels during the liberation period and exploring their reality and experience. Reality of immigrants during the liberation period was so threatening that the most basic level of morality could be destroyed due to severe hunger after migration. This shows in the main character of <Seonggeun``s> who had to risk his life to cross the 38th parallel to return to the North; characters in <When Spring Comes> and <Bro-ker> also show extinction of a sense of morality. In <The Face>, <Apple> and <Homeless> however, the immigrants were not buried by the threatening reality but internalized to protect themselves from it. <Glory of sorrow and suffering>, <Barrier> and <Hyelgeobujok> show that the discourse on liberation, independence and the nation formed and transformed by the force during the liberation period was suspended, rejected and therefore facing ``outside``. As Blanchot said, the individual principle of life shows possibilities through encounter outside to confirm individual existence. Immigrants during the liberation period assume the sameness of ``we`` and ``compatriots`` as an intimate community, immobilizing the members and resisting the force. They were a dynamic community that tried to exist as a ``familiar`` community, beyond ``unidentified community`` and familiar community paradoxically continued through discovery of the other and the difference from the other.

논문 : 위티 이히마에라의 『고래 타는 사람』에 그려진 신화적 경계 허물기와 귀향

차희정 ( Hee Jung Cha ) 한국영어영문학회 2010 영어 영문학 Vol.56 No.2

해방기 소설 속 장애인의 현실 인식

차희정(Cha, Hee-Jung) 한국현대소설학회 2020 현대소설연구 Vol.- No.77