1930년대 전반기 이효석 소설의 마르크시즘 차용 양상

이미림 ( Lee Mi-rim ) 한민족어문학회 2020 韓民族語文學 Vol.0 No.87

본고는 이효석 문학의 마르크시즘과 콜론타이즘 전유 및 차용 양상과 소설에 투영된 1930년대 전반기 사회적 분위기를 고찰하였다. 동반자문학으로 출발한 이효석은 전세계를 휩쓸었던 마르크시즘을 경성제대 영문과 재학시 일본인교수의 교육과 유진오와의 친분을 통해 공유하며 사상적 영향을 받았다. 192,30년대 식민지 지식청년에게 마르크스 사상은 독립운동의 수단이 될뿐만 아니라 제국과 식민지를 해체하는 탈식민주의적 관점에서 수용되었다. 카프에 가입하지는 않았지만 동반자작가로 호칭되는 그의 초기문학은 식민지조선의 비참함과 비루함을 그렸으며, 정치적 망명지 해삼위를 환희와 감격, 행복의 마르크시즘이 실현된 유토피아로 재현했다. 1920년대 중반부터 조선공산당을 탄압하기 시작했고 1931년 카프 제1차 검거 사건으로 가혹하고 살벌한 무단정치가 자행된 시점에서 사상과 이념에서 탈피하여 성과 자연, 세태로 함몰되는 전향과정이 형성되었다. 주의자와 맑스 레이디, 엥겔스 걸 등의 작중인물이 지속적으로 등장하는 1931년부터 1934년까지 발표된 이효석 소설은 이 시기가 삐라 뿌리는 시대, 파업의 시대, 붉은 혁명의 시대일 뿐만 아니라 황금광시대, 연애시대, 붉은 사랑의 시대임을 밝히고 있다. 유사단어의 나열, 대조적인 공간감각, 의식의 흐름, 색채미학과 같은 실험적인 기법을 차용하는 낭만적 심리적 리얼리즘 기법은 불온하고 감시당하는 사회의 어두운 주제의식을 검열을 피해가며 카프문학이 지닌 사상의 경직성과 이분법적 사유에서 벗어나는 이효석 문학의 특징이다. 작가는 사상과 본능, 이성과 감각, 의무와 쾌락 사이에서 번민하고 사유하는 근대인의 노정을 특유의 감성과 색채, 이미지로 표현했다. 본고는 1920년대 동반자문학과 1933년 <돈> 사이에 발표된 이효석 문학에 주목한바 일제압박과 공포가 극심했지만 마르크스, 콜론타이, 프롤레타리아, 투사,「자본론」등의 용어가 구체적으로 명시되며 주의자남성과 맑스 레이디의 붉은 혁명과 붉은 사랑이라는 양가적 요소가 가장 열정적이고 치열했던 시대에 마르크스 사상이 작품 속에 어떻게 구현되었는지를 분석하였다. 이 시기의 이효석은 주의자의 성과 사랑, 동거를 통해 인간본성과 생명력유지로서의 생존전략을 예리하게 해부했다. 이효석 소설에서 마르크시즘은 사상 자체에 주목하기보다는 실존과 인간본성을 파헤치는 소재로 차용되었다. The purpose of this study was to investigate the social atmosphere of the former half of the 1930s through the appreciation patterns of Marxism and Kollontaism and the extinction process of ideas in Lee Hyo-seok's literature. Starting with the companion literature, Lee graduated from Gyeongseong Imperial University in English Literature. He shared Marxism that swept over the globe with a Japanese professor and his close friend Yu Jin-o and was under the ideological influence of the professor's education and his friendship with Yu. In the 1920s and 1930s, intellectual youth in colonized Joseon found a means for their independent movement in Marxist ideas and accepted it from a post-colonial perspective to deconstruct the empire and colony. Even though he did not join the KAPF, he was called a companion writer. His early works captured the miserable and low state of colonized Joseon and depicted Vladivostok, a political place of exile, as a utopia where Marxism of joy, deep impression, and happiness was realized. An event occurred which suppressed the Joseon Communist Party in the middle 1920s. In 1931, the first round of arrests occurred for the KAPF. As the brutal and bloody military government was in place, a process of conversion was formed of escaping from ideas and ideologies and burying oneself in sex, nature, and social conditions. Lee's novels of 1931-1934 present a constant stream of ideologists, Marxist ladies, and Engels girls, showing that the period embodied the coexistence of the Gold Rush era and the dating era as well as the era of leaflets, strikes, and red revolutions. Lee adopted romantic and psychological realism techniques including the enumeration of similar words, depiction of contrasting spaces and senses, flow of consciousness, color aesthetics, and other experimental techniques. They are parts of the characteristics of his literature, which discussed the dark thematic consciousness of the rebellious society under observation by escaping censorship and emerged from the KAPF literature's ideological strictness and dichotomous thinking. During the period, Lee expressed the journey of modern people, with anxiety and thoughts between ideas and instincts, between reason and sense, and between duty and pleasure, in his unique sentiment, colors, and images represented by depression, darkness, splendor, and radiance. Focusing on Lee's literature between his companion literature in the middle 1920s and his The Pig in 1933, this study examined how Marxist ideas were embodied in his works in the era characterized by the greatest suppression and terror of the ruling Japanese, the specific presentation of such terms as Marx, Kollontai, proletariat, fighter, and capitalism, and the most passionate and fierce appearance of ambivalent elements including the red revolution and the red love between ideologist men and Marxist women. During the period, Lee dissected sharply the survival strategies of ideologists to preserve their human nature and life force through their sex, love, and cohabitation.

니체 관점으로 본 이효석 문학

이미림 ( Lee Mi-rim ) 한국문명학회 2016 문명연지 Vol.17 No.1

There is a huge accumulation of previous researches on Lee Hyo-seok, whose literary amplitude is known to be wide, according to various perspectives including the social class, gender, nature, orientation toward the West, aesthetics, lyricism, and travel motifs. Criticizing the premodern and modern times and having an anti-time and perspective-based viewpoint, Lee shared the same spirit with Nietzscheanism in that he placed the utmost value on civilization criticism, celebration of nature, elitism, criticism of philistine culture, superiority of nature/body, questions about morality and metaphysics, and Greek art and music in his literature and sought after salvation in literature. The writer was not able to accept the modern society based on colonial capitalism and the identity of colonial intellectuals, denying the old order and generation and trying to break down the common sense and usual conventions. Turning his back on the old order represented by the father, colony, nation, and grownup(father), challenging himself against suppression and taboos, and advocating the positions of animals, women, the poor, and foreigners as others, Lee was in pursuit of the true nature of human beings and led a nomadic life of never settling down in reality and going on an ongoing journey to find his ego and nature. In his When Buckwheat Flower Blooms, Wild Apricots, and The Gorge whose background was his hometown, he laughed at the hypocrisy and pretense of the father generation and resisted the adultery and immorality motifs. In his Juriya, Hwabun, and Byeokgongmuhan, he overturned the marriage institution based on patriarchy, heterosexuality, and monogamy through the issues of sex, body and love and did experiments with and investigations into the human nature. Revealing his doubts about the criticism of reality, restoration of humanity, and truth, he felt it was unfair that he and his literature were evaluated as an erotic writer and escapist literature, respectively. Nietzsche was also bombarded with criticisms in the pool of misunderstanding and prejudice in his days. His literature denied both the premodern(tradition) and modern times and displayed his disillusionment with people, thus criticizing civilization, cities, and modern days and taking a nature-friendly and ecological position. Just like Nietzsche that broke down metaphysics, Christianity, tradition, and convention, Lee had such longing for human liberation and freedom and exhibited his orientation toward others including animals, women, foreigners, the colonized, the elderly, migrants, and the lower class in his poems, novels, critiques and essays. Just like Nietzschean thinking is summoned and re-illuminated today, Lee`s literature is summoned and re-recognized in the 21st century. Having reflections on and raising questions about the old order and truth and seeking after diversity and pluralism, his literature has valid and problematic contemporary values in this post-modern time. Research on his literature, which has been at a standstill, will be able to receive new meanings in its relations with Nietzscheanism.

이효석의 성적 판타지 삼부작 연구

이미림 ( Lee Mi-rim ) 한국문명학회 2020 문명연지 Vol.21 No.1

This paper presents an investigation into the erotic trilogy of Lee Hyo-seok, who reflected on the love and lust issues most actively of the writers in the 1930s. The trilogy includes three novels titled Juriya, Pollen, and The Boundless Blue Sky. Lee depicted unity with nature, primitive instincts, and force of life in his early short stories. Starting with Juriya, the writer dealt with women's sex and love in an experimental and progressive manner. The novel depicts a country's girl entry into Seoul, where she becomes a modern person, ideologist, and adult and changes her name from Kim Yeong-ae to Juriya. She imitates the heroine of Kollontai's Red Love and turns herself from an awkward Marxist to a romanticist. She has conflicts between the object of her respect and that of her carnal desire, and her sexual contemplation reflects the conflict of modern people. Based on infinite sexual imagination, myths, and the Bible, his Pollen depicts violent and unconventional sexual aberrations. Making an inquiry into modernity through power and capital issues along with the complex and ambivalent sexuality of modern people, the author dissects human sexual desire in full scale including appearances, physical attraction, and social classes working between man and woman. Compared with Salome created by Oscar Wilde, Mi-ran goes through three men, Hyeonma, Danju and Yeonghun until returning back to art. This setting is based on Oscarism oriented toward aestheticism and the art-for-art principle. Written in his later years, The Boundless Blue Sky reflects multicultural and cosmopolitan ideas. The protagonist obtains love from a Russian lady called 나아자 and contributes to the foundation of the Nokseong Music Academy led by a group of women, thus showing his aesthetics leading to sexuality, good looks, and art and art-for-art principle putting an emphasis on 심미역. The erotic trilogy of Lee, who expressed the psychology and desire of modern people actively based on the topics of sex and romantic love as part of modern thinking, describes how capital, sexuality, and power work in a modern society and thus holds contemporary significance. In Lee's sex and love, nationality, gender, and age are the objects of transcendence or disregard. The sexuality of a capitalist modern society is found money, appearances, and social classes in the end. In the middle of the trend to assess the value of a literary work based on the awareness of reality and social consciousness, Lee's novels maintained the art-for-art principle and kept their literary value.

이효석 문학의 유토피아 지향과 낭만적 요소

이미림 ( Mi-rim Lee ) 한국현대문예비평학회 2016 한국문예비평연구 Vol.- No.50

이효석 문학 연구는 1933년「돈」을 기준으로 전기와 후기로 나뉘며, 동반자문학, 서정문학, 에로티시즘 문학, 도시소설 등으로 평가되었다. 본고는 진폭이 크고 다채로운 이효석 문학에서 일관되게 흐르는 특징을 낭만성으로 보았다. 기존의 이효석 문학은 심미주의나 예술지상주의로 언급되는데 예술과 인생의 가치를 극단적으로 전도시키는 심미주의보다는 낭만적 리얼리즘으로 해석될 때 그의 문학이 좀더 보편적이고 포괄적으로 설명될 수 있다. 단순한 재현이나 모방의 리얼리즘이 아닌 ‘최소한도의 낭만과 최대한도의 리얼’을 지닐 때 좋은 문학이자 예술이라고 주장하는 그의 문학은 꿈과 리얼리티, 진실과 환희, 생활과 시의 조화를 추구하며 문명비판과 근대인 환멸을 통한 현실인식이 드러나고 있다. 이효석의 낭만적 특질은 아일랜드 출신의 작가와 영국낭만주의 시인의 작품들에 영향을 받은 독서편력과 경성제대 영문학과 교육과정에서 비롯된다. 체홉, 씽그, 쉘리, 예이츠, 루소, 하이네, 괴테, 휘트먼 문학의 탐닉과「에밀」, 「쿠오레」, 「레미제라블」의 독서체험은 식민지 조선의 현실을 알레고리화하면서 혁명성과 낭만성과 사실성을 지닌 문학으로 이끌었다. 주제면에서의 낭만성은 고향상실과 유토피아 지향으로 표상된다. 본래적 자아를 찾아 방황하고 여행했던 작가와 소설 속 주인공은 북국 해삼위, 자연(산들), 고향, ‘살구나무집’, ‘푸른 집’, 만주 합이빈(서양), 평양(조선) 공간을 지향하며 계급, 성, 자아, 몸, 서구를 갈망하고 추구하였다. 고향과 먼곳에 대한 그리움은 낭만주의자의 특징이며, 낙원-실낙원-복낙원으로 탈영토화와 재영토화하고 자기창조와 자기파괴를 거듭하는 낭만적 아이러니를 형상화한다. 형식미학적 측면에서 낭만적 기법은 단어 배열의 이미지화를 통해 도시, 거리, 자연, 산들, 방, 집 등을 예술적으로 형상화하며, ‘푸른 의식’, ‘산문적’과 같은 단어들을 자의적으로 개념화해서 활용한다. 또한 그리스신화, 성경, 유럽낭만주의 문학, 영화, 미술, 음악 소재를 차용하여 인물묘사와 주제를 표출하는데, 소설 속 남녀주인공은 희랍의 헬렌, 애란의 데아드라, 비너스, 아도니스, 아담과 이브, 아그네스 등으로 묘사된다. 특히 남자주인공은 귀족적 댄디이거나 패션, 외모, 전시와 장식의 중요성이 강조되는 여성화된 남성들이다. 이와 같이 이효석 문학은 초기부터 후기에 이르기까지 유토피아에 대한 그리움으로 가득하고 먼곳을 지향하며 시적 정신과 낭만적 기질을 지닌 인물들이 등장하고, 상징과 암시, 이미지와 기호로 그려짐으로써 리얼리즘을 바탕으로 한 낭만적 요소를 지니고 있다. Researchers have divided the literature of Lee Hyo-seok into the former and latter period around Money in 1933 and evaluated his works as companion literature, lyrical literature, eroticism literature, or urban novels. This study saw romanticity as a consistent feature throughout his literature characterized by a broad amplitude and variety. Previous studies mentioned aestheticism or the art-for-art principle to discuss his literature, and the present study set out to reinterpret his works according to romantic realism rather than aestheticism of overturning the values of art and life in an extreme fashion. The author stated that simple reproduction- or imitation-based realism literature was not good art or literature and insisted that art would be fulfilled when it held "minimum romanticism and maximum reality." In his novels that made literature in harmony of dreams and reality, truth and joy, and life and poetry, Lee revealed his perceptions of reality through the criticism of civilization and disillusionment of modern people. His romantic characteristics were attributed to his wanderings through the world of books influenced by works of Irish writers and British Romantic poets and to the curriculums of English Literature Department at Keijo Imperial University where he attended. Being indulged in the literature of Chekhov, Synge, Shelley, Yeats, Rousseau, Heine, Goethe, and Whitman and having reading experiences with such works as Emile, Cuore, and Les Miserables, he turned the reality of colonized Joseon into an allegory and led it toward realism literature of revolution and romanticity. Speaking of topics, his romanticity was represented by his loss of romantic hometown and orientation toward Utopia. Wandering and traveling around in search of their original egos throughout life, the writer and his protagonists were oriented toward Vladivostok in the northern country, nature(mountains and plains), hometowns, the "house with an apricot tree," the green house, Harbin in Manchuria(West), and Pyeongyang(Joseon) and longed for and followed the social classes, sex, ego, the body, and the West. The feeling of missing hometowns and some places far away is a characteristic of romanticists. The deterritorialization and reterritorialization of Paradise-Paradise Lost-Paradise Regained embody the romantic irony of repeating self-creation and self-destruction. Lee``s romantic techniques in his literature from the perspective of formal aesthetics embody artistically cities, streets, nature, mountains and plains, rooms, and houses by turning the word sequences into images and express arbitrarily such words as "green consciousness" and "prosaic" by turning them into concepts or images. In addition, he depicts his characters and expresses his topics through the materials of Greek myths, the Bible, European Romantic works, movies, art, and music. In his novels, male and female protagonists are described as Helen of Greece, Deirdre of the Sorrows, Venus, Adonis, Adam and Eve, and Agnes. His male protagonists are, in particular, noble dandies or feminized men that value fashion, appearance, and the right beginning. Those findings indicate that Lee``s literature from the early days to the later days was filled with his missing for Utopia and his orientation toward some places far away, showed characters of poetic spirit and romantic disposition, and was depicted in symbols, suggestions, images, and signs, thus holding romantic elements based on realism.

위정척사사상과 근대민족주의 ; 화서 이항로의 민족의식에 관한 연구

이미림 ( Mi Rim Lee ) 한국철학사연구회 2002 한국 철학논집 Vol.11 No.-

이순원 소설의 로컬리티와 향촌공동체 특성 연구

이미림(Lee, Mi-Rim) 우리문학회 2021 우리文學硏究 Vol.- No.70

400년 전통의 도배식을 계승하는 강릉 위촌리 출신의 이순원 소설은 혈연적 · 지역적 친연성이 강한 향촌공동체와 보수적 사유, 노스탤지어를 문학적 특징으로 한다. 작가의 고향은 구습과 민간신앙, 속설과 같은 전통적인 생활양식이 잔존한 성주 이씨 집성촌으로 처첩제도, 장자의식, 조상신 숭배, 효 이데올로기 및 여필종부, 삼종지도와 같은 여성억압적 · 남성중심적 분위기를 이룬다. <망배>, <매듭을 이은 자리>에서는 유교제례와 대잇기를 통해 가부장과 여성의 위계질서를 공고히 하며, 생계와 신체를 훼손하는 조상신에 대한 종교적 신념과 가족자아를 중시하는 운명 · 감정 공동체가 그려진다. <해파리에 관한 명상>, <먼 길>, <망배>, <말을 찾아서>의 선량하고 온순하지만 가난하고 부실해 친족과 이웃의 동정과 연민, 보호를 받아야 하는 ‘당숙’은 친족공동체를 표상하는 인물이다. 작중화자인 소년에게 강렬하게 기억되고 강퍅한 현실에서 경쟁력이 떨어지는 시혜와 온정의 대상인 당숙을 작가는 애착과 긍정의 시선으로 바라본다. <말을 찾아서>, <먼 길>, <멀리 있는 사람>의 외도와 처첩에 대해 관대하게 허용하는 가부장적 분위기 속에 여성과 아이는 고통과 슬픔 속에 놓인다. 남의 집 양자나 서자의 위치가 됨으로써 사춘기의 혼란과 방황을 겪는 소년의 상처는 적자(장자)의식을 중시하는 유교문화와 남아선호적인 한민족 순혈주의에 집착하는 지역사회에 기인한다. 따뜻하고 아름다운 분위기와 잃어버린 것에 대한 향수가 개인과 타자의 희생을 전제로 하는 급작스럽고 뜬금없는 화해, 용서, 상처치유로 귀결된다는 점에서 이순원 소설의 주제의식은 시대착오적이고 퇴행적이다. 여성의 한 많은 삶과 젊은이의 제도나 전통에 대한 저항이 묘사되지만 신분적 · 경제적 · 젠더적 타자를 복종의 대상으로 여기며 유교문화 질서를 지킴으로써 이를 묵인하고 수용하는 작가의식이 표출되고 있다. 과거회귀, 전통지향, 숙명론적 가치관, 노스탤지어는 후현대가 추구하는 가치와는 거리가 멀다는 점에서 이순원 문학이 지향하는 따뜻하고 아름다운 공동체는 권위와 편애, 마법과 주술의 반이성적 · 전근대적 사유가 지배하고 있다. The literature of Lee Sun-won, whose hometown is Wichon-ri of Gangnung with a traditional heritage of 400 years, is characterized by a rural community with strong blood-relations and local affinity, conservative thinking, and nostalgia. The writer"s hometown has a male-centric social atmosphere that suppresses women involving the wife and concubine system, focus on the eldest son, worship of ancestral gods, shamanistic faith, ideology of filial piety, the idea that a wife should follow her husband, and women"s three duties, manifested in premodern lifestyles such as old customs, traditions, folk beliefs, and common sayings. His works Mangbae and The Place of Knots describe the reinforcement of patriarchy and women"s hierarchy through Confucian ritual ceremonies, traditional memorial service, worship of ancestors, and carrying on the family line and practicing the religious faith of respecting the ancestors even when one"s livelihood and body are damaged. A group sharing a common destiny with a focus on the wellbeing of the family more than the individual will tends to be premodern and irrational. In his A Meditation about the Jellyfish, A Distant Road, Mangbae, and Finding a Horse, "male cousins of fathers" represent the virtues and demerits of a relative community. The uncle, who needs sympathy, compassion, and protection from his relatives and neighbors for his poor and feeble state despite his good and meek nature, lies outside the internal realm of the community with the otherness of sterility, disability, and poverty and becomes an object of dispensation and warm heart. The uncle, who left a strong impression in the memory of the boy as the speaker in the story, is depicted as a member of the socially weak who lack the competitiveness needed to succeed against the demands of reality an eye of attachment and positivity. In Finding a Horse, A Distant Road, and A Man Far Away, women and children suffer pain and sorrow and live in an unedurable patriarchal situation that is tolerant of and allows men"s extramarital affairs and concubines. The boy becomes a foster son or a child of a concubine in another family even though he grew up under his biological parents. The wounds of the boy as he goes through adolescent confusion and are attributed to the Confucian culture that places its focus on the eldest son and a community that solidifies the patriarchal order with a preference for sons and is obsessed with the pure blood of the Korean people. Lee"-s literature presents a warm and beautiful atmosphere and stirs nostalgia for what has been lost, but it is anachronic and regressive in that it ends with abrupt and random reconciliation, forgiveness, and the healing of wounds on the premise of the sacrifice of individuals and others. Even though his literature describes women"-s lives of resentment and young people"s resistance against the institutions and traditions, it reflects the writer"s consciousness that condones and cherishes the Confucian cultural order that demands obedience to the strictures of social class, economic statue, and gender. The warm and beautiful community to which his literature is oriented exhibits its limitations since a return to the past, orientation toward traditions, fatalist values, and nostalgia are distant from the values sought in the 21st century.

이기영의 '여성해방' 소설 연구

이미림 한국여성문학학회 2001 여성문학연구 Vol.6 No.-

농민문학, 프로문학뿐만 아니라 민족문학의 범주로서도 자리매김하고 있는 이기영은 사회주의 여성해방론을 지녔음에도 불구하고 가부장제 유교 이념의 봉건가정에서 성장하여 작품 속에 혼효되는 양상을 보이고 있다. 첫 번째 남성중심적 시각으로 묘사된 여성상에서는 11살의 모친 사별과 14살의 조혼경험의 결정적 인상에 기인하는 투사적 계급형 인물이 이상화되거나 관념적으로 묘사되고 있어 작가가 고통받는 여성의 현실을 제대로 이해하지 못하고 이데올로기만 주입하고 있음을 알 수 있다. 또한 아내들은 구여성이든 신여성이든 이기적이고 위선적인 속물주의자, 처세주의자, 성욕 물질욕이 강한 현실주의자로 관찰되며 여성의 용모는 아름답고 신비화된 성적 대상으로 그려진다. 각성의 계기로 본 남녀 성차에서는 여성의 주체획득 과정이 남성과 차이를 보이고 있음을 주시한 부분이다. 문제적 개인이 남성인 경우 자발적인 향상심이나 내적 고뇌가 계기가 되지만 여성들은 대부분 남성과의 실연 이후에 나타나며 의식화 과정에서도 남성 지식인이 개입되어 있고 남성이 귀농, 귀향 후의 활약이 돋보이는 비해 여성들은 고향으로 가지 않고 있어 공사이분법의 경계를 탈피하지 못하고 정절 이데올로기를 극복하지 못하고 있다. 마지막으로 젠더, 민족, 계급의 삼중 억압 속에 식민지 한국여성들의 열악한 위치가 매매혼, 심청 모티프에서 단적으로 드러난다. 그럼에도 불구하고 이기영의 ‘여성해방’ 소설에서 꾸준히 천착해온 여성문제는 유의미하며 이러한 난제들이 현재 남성작가에게서도 여전히 재현되고 있다는 점에서 오늘날의 문제로 남아있다. This article has analyzed literature of Giyeong I, one of the renowned writers in the colonial period in view of feminism. The writer who had literary view of Marxism and women's liberation revealed confused aspects due to his growth in a feudalistic family of patriarchal confucianism. First, seeing the idealized aspect of woman described in male oriented view, it is as a result of early separation by death of his mother and heart broken experience from early marriage in his childhood. The classified characters described such as warrior and fighter is the result that the writer has just infused ideology without proper understanding on the reality of women in agony. Also, all the wives in his works described as selfish or hypocritical and completely materialistic person, opportunist, and realist with strong sexual and material desire while the women in his novels are referred to as beautiful and mystified sexual objects. In the sexual difference of man and woman with the view of awakening, it is noticeable part that there is difference in the process of recovering subjectivity for a woman from that for a man. A woman became to undergo the world of man in order to achieve self-awakening and if a man's personal process of problem is to say as a result of aspiration for self-improvement or internal suffering, most of women appeared to have self-awakening after suffering from broken heart with a man and even a man intellectual is related in the process of self-consciousness. Also the hero became to run away from home to be an individual of trouble and return home and to the farm after a few years. Then he solve difficulties in his hometown. But on the other hand, most of heroines do not return to their home and break from the border of the dichotomy of public and private. Such factors indicate that still woman is the object dependent and to be trained and enlightened by man and it is because the writer sticks the man initiative view not getting out of fidelity ideology. Finally, the inferior position of Korean women in colonial period is frankly revealed in the motive of purchase marriage and Simcheong under the triple suppression of gender, people and class. It displays the reality that woman does not establish identity of herself due to failure to acquire decision making authority on sexuality, be under control by the head of family such as father or husband and shared as property of man. Though the writer had the literary view of Marxism and women's liberation with the attitude of anti-feudalism and anti-imperialism under the rule of Japanese imperialism, he left contradictory world of his works with the limit of Marxist feminism focused on liberation of the class without awareness on characteristics of gender. Because his growth process under the feudalistic patriarchal family contended tightly with his literary view and his works. However, the issue on woman continuously pursued in his literature has considerable meaning and it is left as the matter of today in the fact that his weak point still reappears in the works of male writers today.

목욕요법에 대한 고찰

이미림,옥치상 고신대학교 보건과학연구소 2006 보건과학연구소보 Vol.16 No.-

The purpose of this study is to discuss specifically about some kinds of bath therapy. The basics of bathes have many roles in washing skin's dirty, relaxing conglomerate muscles, lessening stresses, increasing blood circulation and metabolism etc. So many peoples take a bath with full-bath, half-bath and feet-bath etc. The full-bath means soaking totally to all of physical body excepting head in the hot water, the half bath soaking to half of physical body, and the feet-bath soaking to only feet. Although the important aspect of bath is to be returned parts of unhealth states, in aspects on convenience and easiness it is good to bathe feet-bath, half-bath and full-bath in order. But in aspects on making head cool, feet warm, that is, making lower body warm, relaxing lower body and dragging down heat of upper body (especially head), it is good to bathe half-bath, knee-bath and feet-bath in order.

1970년대 강석경 초기 소설 연구 : 場所愛와 同氣愛로서의 자아성찰

이미림 숙명여자대학교 2000 숙명語文論集 Vol.- No.3

The purpose of this thesis is to study Kang Seuk-kvoungs early novels and her novel is seeking the origin of life and self-identity since 1970's consistently. The first characteristic. leit-motive is topophilia. The young want a room of one's own and it results in their wandering. A room is the spatial symbol of seeking self-identity and a star, the happiness in one's chilidhood. 1970's novels have the meaning of initiation story. Second, a character has not a romantic but fraternal love. A heroine in 1970's novel refuses tradition and a desire of possession. She doesn't believe in eros. She doesn't think love is a relief. Third. 1970's novels show tragic outlook on the world by deformity and suicide. Furthermore they criticize cruel, selfish, uniform and formal modern society. A character with trauma has symptoms of a harelip, a fool, crookback, a cripple, a hypochondria and madness. Madness hidden in 1970's novels explodes in 1980's. Last, Kang Seuk-kyoung is a stylist. Formal aesthetics appears in the symbol of novel's title, colouring description and sensible style. A fault is frequent simile, commission in novel. The 1970's early novels of Kang Seuk-kyoung show desocialization and escape from reality but she excavates love and relief in living consistently.

'여성의 방'과 가내물품으로 본 성 정체성

이미림 한국여성문학학회 2000 여성문학연구 Vol.4 No.-

본고는 급변하는 사회에서 여성의 현대성과 자아정체성 탐색을 ‘여성의 방’과 가내물품의 상징을 통해 살핀 글이다. 주로 사적 영역 활동을 하는 여성들의 주택에 대한 아이덴티티감을 보면 자아의 반영이자 자기표현의 수단으로 정의하고 있다. 여성들은 의사소통 단절과 남편의 무관심과 무례함으로 인한 정신질환 및 대상화된 타자로서의 소외와 고독을 표출하고 있다. 실내장식과 방 꾸미기로서의 장소애적 집착은 사랑과 신뢰과 무너진 가정에서 무의미한 일상을 극복하려는 시도이지만 ‘무덤’으로 묘사되며 ‘촛불’ ‘말린꽃’ ‘연필’ ‘담배’ ‘그림액자’ ‘빨래 건조대’ ‘책상’ 등의 가내물품은 현대여성의 위기감과 불안정함을 상징한다. 특히 ‘책상’은 자아정체성 탐색의 주요 기제로 작용한다. 그리고 자기만의 방을 찾지 못한 여성들은 술 마시기, 담배 피우기, 글쓰기 , 다른 남자와의 낭만적 사랑 및 간음, 외도 등의 일탈에 이른다. 또한 산책, 가출, 외출, 여행을 시도하는데 이러한 장소애호와 일탈행위는 현대사회에서 안전함과 동일성을 향한 욕망과 다른 한편으로는 새로움을 향한 욕망 사이의 긴장이 성립되는 후기 자본주의 사회의 소비 형태와 맞닿고 있다. Since industrialization, urbanization and modernization, with formation of consumption society, the women have experienced spatial imaginations about a room of one's own and symbol of household commodities. Women tend to define a house or a room as a means of self-reflection and self-expression. Because of husbands' indifference and impoliteness, women in home life have no external communication and become psychoneurotic. Consequently they are conscious of a solitude, pain and alienation as an objective other. The women have topophilie of interior decoration in room, due to the lack of love and faith. But the home is described by 'a grave'. The household commodities, such as a candle, a dry flower, a pencil, a cigarette, washing drying stand, a picture case, a desk, symbolize her crisis and instability. Especially women search for self-identity through a desk. Women not having 'a room of one's own' deviate from a house. They are addicted to drinking, smoking, writing, traveling, a love affair, immorality. Topohilie and deviance are connected with consumption style in a post-capitalist society. In conclusion, the former satisfies stability and oneness' desire, the latter, newness' desire.