장덕조 소설 연구 = (A)study on Jang Dukjo's novels

다국어 초록 (Multilingual Abstract)

张德祚是位多产的女作家，就其小说而言，体裁遍及短篇中篇长篇，刊载形式有纸质与有声，题材涉及现实与历史，文体也可作身边小说、抒情小说、讽刺小说、从军宣传小说、大众小说等等区分。对于作家来说，知识女性与贤妻良母的双重身份意识始终左右着她的行动原则和处世方式。对于作品来说，家庭叙事则贯穿于她一生的小说创作。
本文先按时间顺序，用相关材料阐述了作家的身份变迁与认识世界的方式，梳理了作家的创作轨迹，然后分类讨论了其具体作品。分类标准是其小说中家庭叙事的样相。第一类可命名为“张德祚初期小说中的家庭原型”，主要论及篇目是她三十年代发表于各类杂志和报纸上的短篇小说。通过对这些小说的拼接与组合，勾勒出日据期一个家庭的生活样本。这个样本呈现了殖民地资本主义化的历史变迁中，一个核心家庭的构成、伦理道德意识和婚姻想象等。
第二类是家庭叙事受到国家话语影响后，变化而生成的作品。主要包括四十年代及以后的现实题材小说。这里的国家话语细分为殖民话语、解放话语和建国话语。这些话语先后参与进作者的小说创作，使其作品中的家庭叙事模式发生变形，从而不同于以往的文本效果。受殖民话语作用的小说作品，以宣扬“内鲜一体”，“灭私奉公”等统治政策为表面的主题，但经过对文本形式的重新分析与阐释，发现其中有抑制甚至颠覆的因素。这一发现说明研究界有必要对殖民地文学作品中被理解为“亲日文学”的那部分作品进行重新考察与评价。解放话语使张德祚创作出符合今天“经典”标准的文学，但通过文本批评依然能够发现，在妇女“抵抗”精神的亮色背后，留存着对解放神话的一丝怀疑，即解放没有能真正解除民众的经济穷困。建国话语使张德祚小说的情节模式和文化模式都有显著的变化，其文学创作也确立为大众小说类别。作者的价值观自觉地向市民大众靠拢，家庭叙事也改造为上层社会男女(或上层社会男性对贫穷女性)的悲恋模式。这一悲恋模式是大众综合了建国话语与社会现实后的一种理解方式。
第三类是家庭叙事在历史小说中的进一步变化。张德祚历史小说的家庭叙事中，突出了女性的等待与牺牲，将历史解释成女性的受难史。而女性本身也通过甘受与忍苦，诞生并抚育子女，延传“民族”香火，来获取自身在历史时间与民族空间中的存在意义。而智慧与色香也同样是女性进入历史并推动历史创造发展的能量。应该说，女性历史小说是张德祚对大众文学样式的一个发展创造，也是她写作所达到的最高境地。
张德祚的写作先后经过娱己、为公(国)、商业化的几个阶段，最后在民族志写作中找到了归依处。她用女性受难史来提醒民族创造的艰难，用女性历史叙事来参与民族记忆的建构。她本身也在沟通了女性、历史、大众、民族等意义后，实现了自己的文学价值。

다국어 초록 (Multilingual Abstract)

Jang Dukjo was a productive female writer. As far as her novels are concerned, there are mixtures of assortments: if by length - short, medium and long; if by means - paper and audio; if by contents - modern and history, or if by styles - neighborhood, sentimental, sarcastic, military promotion, popular, etc. As a writer, the dual identity of intellectual female and housewife had always been influencing her values and social behaviors. Family narrative had been a constant theme of her entire novel writing.
This thesis, chronologically, elucidates the writer’s change of identity and her way of knowing the world, combs out her writing trails, and then classifies and discusses her specific novels. Novels are classified by ways of family narratives. The first group is named Family prototype in Jang Dukjo’s beginning stage novels, mainly covering her short novels published in magazines and newspapers in 1930’s. By the means of re-organizing and re-combining Jang Dukjo’s novels, a family prototype during Japanese-occupied period is sketchedout, which illustrates a nuclear family’s formation, ethics implications and marriage imaginations in the period of historical change of colonial capitalization.
The second group includes those family narratives influenced and changed by national vocabulary, mainly those realistic novels in and after 1940’s. Here the national vocabulary can further be classified as colonial vocabulary, liberation vocabulary and nationalization vocabulary. These vocabularies melted into the writer’s writings, changing the family narratives and distinguishing her novels from previous ones. Those novels influenced by colonial vocabulary seemed to encourage that ‘Japan and Korea are one’, deny selfishness, and promote public interest. However, after analytical scrutiny, it is found that there are restraining and even subversive elements. This discovery makes it necessary for academia to re-investigate and re-evaluate those traditionally classified as Philo- Japanese among colonial literatures. Liberation vocabulary enabled Jang Dukjo to create literature that is considered ‘classical’ according to today’s standard. However, criticism of this thesis shows that behind the light of female ‘rebellion’, there is scepticism toward liberation myth, i.e. liberation didn’t absolutely get rid of poverty for the majority. Nationalization vocabulary changed the plot-mode and culture-mode in Jang Dukjo’s novels, which was then established as popular style type. The writer’s values were re-directed to get closer to city public. Family narratives were modified to be upper-class’s (or upper-class male to underprivileged female) sad love. This sad love mode is an expression of majority’s understanding of the nationalization vocabulary mixed withsocial reality.
The third group sees a further change of family narrative in historical novels. In Jang Dukjo’s historical novels, the family narratives emphasized females lingering and sacrificing, and interpreted the history into a female suffering history. Female themselves, by giving birth and raising offspring for their ‘nation’ through anxiety and misery, had proved their value of existence both for history and for the nation. Moreover, female intellect and beauty is also engine power for the development of history. Therefore, female historical novels of Jang Dukjo opened a new page for popular literature and became the highest point of her writings.
Jang Dukjo’s writing went through several stages fromself-entertaining to public-interest promoting to commercial purpose, and finally found itself home in nationalism. She reminded people how difficult a nation was formed by illustrating female suffering history. She involved female history narration into the construction of national memory. After streamlining the meaning of female, history, public and nationalism, the writer eventually achieved her indispensable literature value.

목차 (Table of Contents)

• Ⅰ. 서론 = 1
• 1. 문제의 제기 = 1
• 2. 연구사 검토 = 5
• 3. 연구의 근거 및 방법 = 13
• Ⅱ. 생애와 작품 활동 = 24
• 1. 성장배경과 문단진입: 신변기와 사회인식 = 24
• 2. 두 가지 효용: 심심풀이와 선전교화 = 39
• 3. 신문연재소설의 양산: 대중들의 민족지 = 55
• Ⅲ. 식민지 시대 가정의 제 양상 = 60
• 1. '모던'한 생활과 이념적 연애 = 61
• 2. 가정윤리의 형성 = 69
• 3. 혼인윤리의 일탈 = 81
• Ⅳ. 거대담론에 대한 서사적 길항 = 89
• 1. 개인정서의 간극 = 89
• 2. 구조의 착란과 가치관의 혼동 = 97
• 3. 국가재건과 비련 드라마 = 103
• Ⅴ. '멜로'적 역사탐색과 풍속적 민족지 = 113
• 1. 역사소설과 여성 애욕 표현 = 114
• 2. 가정과 역사의 길항 = 120
• 3. 풍속적 민족지의 가능성 = 126
• Ⅵ. 결론 = 133
• 부록 = 136
• 부록 = 139
• 참고자료 = 143
• 提要 = 149