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구재진 ( Koo Jae-jin ) 인하대학교 한국학연구소 2017 한국학연구 Vol.0 No.47
이 논문에서는 한국으로 밀항하던 조선족들이 어창에서 질식, 사망한 실제 사건을 다룬 세 편의 텍스트를 비교하여 조선족 밀항을 바라보는 서로 다른 시선들이 지닌 의미를 밝히고자 하였다. 텍스트는 소설 <누가 나비의 집을 보았을까>(2004), 희곡 <해무>(2007), 그리고 영화 <해무>(2014)이다. 두 편의 <해무>에서는 법과 폭력의 경계에 놓여 있는 예외상태의 밀항선에서 조선족들이 질식하여 죽게 되고 이 시신을 한국인 선원들이 수장하는 사건이 벌어지는데 이로써 텍스트의 선상 공간은 일종의 윤리적 실험실과 같은 의미를 띤다. 두 편의 <해무>에서 나타나는 윤리의 양상은 주권자로서의 선장 또는 도덕적 포즈를 취하는 인물과 스스로 모든 죄를 떠안고 죽는 인물의 대조를 통해서 나타난다. 특히 자신의 죄에 대해 책임지고자 하는 대속자적인 인물의 모습에서 이 작품의 윤리적 지점이 발견된다. 반면 <누가 나비의 집을 보았을까>의 인물들은 책임의 윤리를 실현하기에는 너무 취약한 주체들로 그려지고 있다. 반복된 트라우마의 책임을 부모에게 돌리는 인물들의 모습은 한 편으로는 밀항 조선족의 근본적인 상처와 피해의식을 드러내는 것이지만, 다른 한 편으로는 책임을 회피하는 모습에 다름 아니다. <나비의 집>과 희곡 및 영화 <해무>의 주인공들은 ‘준난민’ 혹은 ‘호모 사케르’로서 모두 ‘집’과 ‘가족’에 대한 갈망을 지니고 있다. 전통적으로 집-가족-고향과 대척점에 서 있는 ‘배’라는 환경에서 이들은 ‘배’ 자체를 집-공동체로 만들려는 시도를 하거나 ‘배’를 떠나 뭍에 안착하여 집-고향-국가의 품에 안기려는 열망을 품는다. 그러나 각 텍스트들에서 그러한 열망의 실현, 곧 구원은 (불)가능한 것으로 나타난다. 결론적으로 두 편의 <해무>와 <나비의 집>은 호모 사케르와 같은 이들에게 사랑 혹은 구원이란 현실 너머에 존재하는 (불)가능한 것임을 제시하고 있다고 하겠다. 본고는 이러한 고찰을 통하여 밀항선이라는 예외상태의 윤리와 그 귀결점이 지니는 의미를 구명하였다. This paper is aimed to clarify the meaning of the different views on Choseonjog(Korean-Chinese People in China) stowaway by comparing the three texts which deal with Choseonjog people who suffocated to death in the fish warehouse during stowaway to Korea. Such texts are Haemu(2007), a play by Kim Min-Jung, Haemu(2014), a film directed by Sim Seong-bo, and Who saw the butterfly's house(2004), a novel written by a Korean-Chinese writer Hoe Ryeon-Sun. This paper is based on three major issues. First, Choseonjog stowaways who are focused in Who saw the butterfly's house and Korean sailors who are focused in two texts of Haemu, share the shape of ‘Homo Sacer,’ However, the shape of ‘Homo Sacer’ is represented differently in all three texts. Second, the stowaway ship is at a state of exception at the borderline between law and violence. The space of ship seems as an ethical experiment as it is surrounded by danger and death of Choseonjog people. The patterns of ethics that appear in the two texts of Haemu appear by comparing the captain as a sovereign, the person who takes a moral pose, and the person who perpetuates all sins and death on their own. On the other hand, the characters of Who saw the butterfly's house are depicted as subjects that are too weak to realize the ethics of responsibility. Irresponsible figures who blame their parents for their repeated trauma, reveal the fundamental injuries and victim’s mentality of Choseonjog people on the one hand, but on the other hand, they are only avoiding responsibility. Third, as the refugee or quasi-refugee, the most representative form of Homo-Sacer, the main characters of Who saw the butterfly's house and the drama and the film Haemu all have a longing for home and family. While they are in ‘boat’, an environmental opposite of home and family, they try to make the 'boat' itself a home-community, or leave the boat and come safe to land, with the desire to be in the arms of the nation. But the realization of such aspiration, salvation, appears as impossible in each text. This paper compares and analyzes three texts and explains the ethics of the exceptional state in a stowaway boat and the implications of its consequences.
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국가의 외부와 호모 사케르로서의 디아스포라-현월의〈그늘의 집〉연구
구재진(Koo Jae-jin) 한국비평문학회 2009 批評文學 Vol.- No.32
Korean diaspora in Japan paradoxically proves the history of Japan, Korea, and their shared borders. This essay focuses on Hy?n--wol, who belongs to the third generation in the tradition of Korean-Japanese literature, and tries to show the portrait of Homo Sacer in his fiction “The House in Shadow.” “The House in Shadow” represents the life of Korean-Japanese in Osaka, and represents the residents of ‘Korean town’ as Homo Sacer, who is included in the nation-state by exclusion. Korean-Japaneses have formed their own community outside the nation, and have exerted the ritual violence to displace and supplement the power of law of nation. There appears a governing figure who signifies the masculine power and imprints the desire for sovereignty in himself, but he is still the existence outside the nation. Korean-Japanese is sentenced to the exceptional life outside Korea and Japan at the same time, and it is the fundamental condition which bond them together even in mutual conflicts and struggles.
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최인훈 소설에 나타난 '기억하기'와 탈식민성-<서유기>를 중심으로-
구재진(Koo Jae-jin) 한국현대문학회 2004 한국현대문학연구 Vol.0 No.15
This study analyzes Choi, In-Hoon's novel, especially Seo-Yu-Gy(<서유기>) focusing on 'remembering' from the viewpoint of post-colonialism. The memory of the subject has two kinds of aspect. First aspect is individual and existential. Second aspect is social and historical. So, in Seo-Yu-Gy, 'remembering' has two courses. 'Individual remembering' of Dok-Go, Jun, the main character in this novel via that he repeats traumatic experience of 'self-criticism' in W city raises a question about the individual identity. 'Historical remembering' the historical men, Non-Gae, Yi, Sun-sin, Yi, Gaung-Su whose meaning is related with Japan raises a question about the national identity.<br/> As a result of the analysis, this study makes clear several crucial points in Seo-Yu-Gy from the viewpoint of post-colonialism. First, this novel shows that the most important point in recognizing modern Korea is the speciality that Korea has experience of colony by Japan not by Western Europe. Second, this novel shows the veiwpoint in the base of not dominance but difference in understanding the relation with the empire and the colony. The historian in this novel proposes that the center of arguments of national identity should be changed from the biological fixity to the type of culture(문화형), a way of thinking. Third, this novel shows that the colonialism is not simply the social and economic issue but also mental and psychological issue.<br/> Even though this novel is not projected from the viewpoint of post-colonialism by Choi, In-Hoon, we shouldn't overlook that the discourse of the Korean national identity in Seo-Yu-Gy raises a question about the looking at the modernity centering on Western Europe and gropes for the post-colonial modernity. The reason why this novel is noteworthy is that raising an issue about the modem and the colonial presented in this novel could be a first step to overcoming historical trauma of Korean colonial experience.
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