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치유와 소통을 위한 글쓰기: 리루이(李銳)의 『장마딩의 여덟째 날(張馬丁的第八天)』의 주변인물 ‘여성’과 ‘아이’를 대상으로
배도임 ( Bae Do Im ) 국민대학교 중국지식네트워크 2018 중국지식네트워크 Vol.12 No.-
본고는 리루이(李銳)의 장편소설 『장마딩의 여덟째 날(張馬丁的第八天)』(2012)에 대해 전통적인 남성중심사회에서, 또 가부장적 사회에서 여성과 아이들이 얼마나 깊이 상처를 받는가, 그들은 왜 절망하고 신음하는가, 남편과 가장이 마을공동체를 보존하기 위해 피를 흘리며 죽어갈 때, 그들의 남은 가족, 아내와 아이들은 어떻게 살아갈 것인가, 그들은 또 어떻게 살아야 할 것인가 하는 질문에서 출발했다. 남편의 복수가 일생일대의 목적이자 의무가 된 장왕씨, 수단과 방법을 가리지 않고 임신하는 아낙네들, 그녀들이 낳은 아기를 데려다 키울 마리아 수녀는 모두 ‘상처’ 입고 ‘병든’ 여성들이다. 또 의화단원들에게 윤간당한 롄얼, 그리고 그녀를 끌어안고 우물에 뛰어든 창바이청, 성당 공격에 가담한 아버지를 만나러, 또 의화단의 용감한 투쟁을 구경하러 갔다가 총알을 맞아 죽은 주얼, 고아 아닌 고아로 남의 보살핌을 받게 된 잉얼과 자오얼, 씨내리로 세상에 태어난 혼혈아들이 바로 가족의 이름으로, 그 가족의 해체로 인한 상처와 고통을 치료받아야 할 아이들이다. 이는 루쉰(魯迅)으로부터 시작된 ‘아이를 구하라’ 태제에 대한 리루이식 버전이자 문제 해부라 할 것이다. 리루이는 역사, 시대와 인간성의 어둠을 비판적으로 파헤치고 반성하는 작가이다. 이 작품은 중국과 서양의 갈등과 충돌이라는 거대한 어둠의 배경을 갖고 있다. 그러나 작가는 비극을 과장하지 않았다. 오히려 그는 개인에게 남은 상처를 보듬고 서로 끌어안고 다독여서 치유의 길로, 소통의 길로 안내한다. 그럼으로써 남을 이해하고 사랑하는 것, 그것이 사람마다 처한 고통에서 벗어나고 상처를 아물게 한다는 작가의 목소리를 들려준다. This paper was started from many questions like these: how deeply are women and children hurt in a conventional male-oriented and patriarchal society?, why do they feel hopeless and groan?, how will the bereaved family members survive after their husbands and fathers bleed to death to keep their community?, and how will they live their lives? Wang-Shiliu who was keen only to revenge herself on her husband in her whole life, wives who left no stone unturned in order to get pregnant, and Sister Mary who would raise those children herself later were ‘wounded and sick’ women altogether. Also, Lian’er who was raped by the members of Yihetuan, Chang-Baicheng who plunged into a well with Lian’er in his arms, Zhu’er who went to meet his father who had joined to attack the cathedral, and was shot to death after going out to see the bravery of Yihetuan, Ying'er and Zhao'er who were under the care of others even though they were not orphans, and half-breed children who were born through surrogation were the children who had to be healed of their emotional wounds which they got under the very name of family and due to the break-up of family. This literary work has a huge darkness called conflict and clashes between China and the West as a background. However, he did not exaggerate the tragedy. Rather, he guided the readers into the path of healing and communication after embracing and nursing the remaining emotional wounds of individuals. The readers will hear the writer’s voice telling them that to understand and love others instead of oneself will lead them to get out of their own agony and heal their wounds.
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이영구(Lee, Young-Koo),배도임(Bae, Do-Im) 중국문화연구학회 2016 중국문화연구 Vol.0 No.32
This paper compares and analyzes the journeys for their existences of ‘I’ and ‘another I’ through the descriptors of ‘I’, ‘You’, and ‘He’ in Soul Mountain (Gao Xingjian, China) and Into the Unfamiliar Time (Yi Inseong, Korea). Transfers of persons which appear in Into the Unfamiliar Time and Soul Mountain are the intended strategy of the writers which indicates the a cognitive splitting beginning from a question about an existence of an Individual. Both Yi Inseong and Gao Xingjian gave their attentions to the internal world of ‘Me’ and the existence of the external world looking at the internal world and its views, which show themselves as the fragmented and distorted descriptors of ‘I’, ‘You’, and ‘He’ in the works. It was the result from constant asking about his own existence, which are ‘I’ constantly identifying its own existence and ‘another I’ raising questions and prying about the ‘I’ existence in absurd society. In Soul Mountain and Into the Unfamiliar Time, they peels off the external barks one by one covering the truths and lies. The former did it through the intellectual journey of ‘I’ as an intelligent who had lived in a harsh and difficult society and history and the spiritual journey of ‘another I’, or ‘You’. The latter did it through a bitter self-autopsy by ‘another I’- ‘He’ and ‘I’, a young guy who in vain opposed to absurd Korean reality and society but was inevitably bound to them. The two authors showed modern selves and existences trapped in dilemmas and chaos of distortion and distortion and twisting and twisting, like in a mirror room, through the double narratives by ‘I’ and ‘another I’.
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아라이의 소설 「형 집행인 얼이」와 『색에 물들다』 속의 투쓰 삼부자의 ‘권력 욕망’ 연구
박정원 ( Park Jeong Weon ),배도임 ( Bae Do Im ) 한국외국어대학교 중국연구소 2019 中國硏究 Vol.81 No.-
Executioner Er Yi, writer A Lai’s novel, was published in the Issue No. 1 in the magazine Flower City in 1997. The Dust Settles was finished in 1994 but was published in book form by People’s Literature Publishing Company in 1998. The core point of Executioner Er Yi and The Dust Settles was who would be the next Tusi and who would grab the power. The common point that led the story was who the father Tusi would give his power to, first or second son. Accordingly, all three men, father and two sons, struggled for power in both works. In other words, around ‘Tusi=Power’, the power struggle among ‘Gangtuo Tusi (father) and elder son and Pabasijia (second son)’ and ‘Maiqi Tusi (father) and Danzhengongbu (the first son) and the Fool(second son)’ was the major events in the novels. Also, Monk Gongburenqin and Monk Wengboyisi disobeyed the authority of Tusi, who was an order-giver, and threatened to his power, so their tongues got cut. The headcutter(executioner) who obeyed his orders and was a slave, Er Yi (father) and Er Yi (his son) executed them.
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