‘모던 만주’, 이상과 파국의 임계지대-김남천의 『사랑의 수족관』을 가로질러-

최현식 ( Choi Hyun-sik ) 인하대학교 한국학연구소 2017 한국학연구 Vol.0 No.45

This paper deals with the train of romance and the issue of Manchuria focusing on Love Aquarium by Kim Nam-Cheon. Usually, this work is considered to be a narrative on the main characters’ desire about love and success, focusing on Kyungseong(an old name for Seoul). It also noted that the problems of occupation and life are observed and depicted with the appearance of company management, an engineer, charity business, a costume maker, and a bar waitress. Through this, this paper tries to review the reality of the colonial Joseon around 1940, the period often regarded as the ‘century of facts’, and the inside of novelist Kim Nam-Cheon who looks at it and his logic of conversion. This paper focuses on the narrative and imaginative approach of Manchuria, especially Gillim-Sagabang railroad, which is regarded as an indicator of the unknown and empty in this work. By doing so, it will examine the meaning and value of ‘Modern Manchuria’, the reality of the Korean people who migrated there and their bases of life. If Kyungseong is the space of Lee Shin-Kook of Daeheung Konzern, his daughter Kyung-Hee, and civil engineer Gwang-Ho, it is presumed that Manchuria is the space of Hyun-Soon and Yang-Ja, those who focus on occupation and life. Of course, in Love Aquarium, the scenery and inside of Manchuria are mainly presented through the train and trips of Gwang-Ho and Kyung-Hee, their visit to Gillim. However, the colonial cities of pioneering, Sinkyung, JGillim, and Sagabang is another recreation of Kyungseong and a space of extension. In order to examine this critically and to reveal the reality of Manchuria of the time, Hyun-Soon and Yang-Ja are set as narrators. Through this, this paper analyzes the problems of the farm pioneering group which had conflicts, fights, and unity among the people of Joseon, Japan, and Manchuria and the space of entertainment represented by ‘dancing women’ and ‘women who were sold’. In the end, this paper tries to reveal that Hyun-Soon and Yang-Ja, Korean immigrants who searched for life and occupation in Manchuria, and pioneer farmers were doubly alienated there.

이육사·예외상태·시

최현식(Choi, Hyun?sik) 한국시학회 2016 한국시학연구 Vol.- No.46

이 글은 이육사의 시를 ‘예외상태’에 처한 호모 사케르, 곧 ‘벌거벗은 생명’의 개념과 의미를 빌려 해석하고자 한다. ‘예외상태’는 파시즘과 나치즘이 구체적 실례로 거론되는 것에서 보듯이 문민적 영역 속에 군사적 전시 권한이 확장되는 사태, 나아가 헌법의 효력이 정지되어 시민들을 권력의 자의적 처분에 따라 말살시킬 수 있는 폭력적 상황을 뜻한다. ‘벌거벗은 생명’은 그런 상황에서 ‘살해는 할 수 있으나 희생물로는 가치화될 수 없는 생명’을 뜻한다. 일제 천황이 지배하는 식민지 조선은 ‘예외상태’가 상시화된 공간이었으며, 특히 일제에 대한 비판과 저항에 종사하는 식민지인은 ‘호모 사케르’로 간주되어 마땅한 위험 분자들이었다. 본고는 이를 중심으로, 첫째, ‘한 개의 별’, 곧 새로운 지구의 건설을 염원하는 방랑자의 ‘노정’, 둘째, 실향과 탈향의 ‘고향’ 담론을 통한 살해의 회피, 그리고 동아시아의 현실 인식과 문학에의 의지를 새롭게 배우는 또 다른 고향으로서 중국, 문학운동의 모범으로서 루쉰의 영향과 수렴의 의미, 셋째, 이육사의 타자 지향성을 대표하는 ‘손님’과 ‘초인’의 발견과 호명, 그를 통한 ‘벌거벗은 생명’의 본원적 고향으로의 귀환과 도래의 의미, 궁극적인 사태로서 ‘살해’의 회피와 미학적 구원의 가능성, 넷째, 1946년 육당의 사후 발간된 유고 시집 『육사시집』의 진정한 가치, 즉 ‘저항’을 넘어서는 ‘벌거벗은 생명’의 기록과 기억의 위대성과 같은 주제들을 살펴보았다. The purpose of this study is to analyze Lee, Yuk-sa’s poems in terms of Homo Sacer positioned in ‘State of Exception’, that is, the concept and meaning of ‘nuda vita’. As fascism and Nazism are discussed with concrete cases, ‘exception status’ implies the situation in which the military authority of war is extended within the civilian sector and even the status of violence in which the effect of the Constitution stops and citizens can be annihilated according to the arbitrary disposal of authority. ‘Nuda vita’ means ‘life that can be killed but never becomes devalued as a sacrifice’ in such situation. In Chosun, the colony ruled by the Japanese Emperor, was the space where ‘exception status’ was ordinarily found. Especially, the colonized people engaged in criticism or resistance to Japan were those regarded dangerous as ‘Homo Sacer’. Mainly about that, this study has examined, first, ‘The One Star’, the ‘journey’ of a wanderer wishing to build new Earth, second, the avoidance of killing based on the discourse of the ‘hometown’ related to displacement or deprivation, China as another hometown to recognize the reality of East Asia and learn will for literature newly, and also the influence of Lu, Hsun as a model of the literary movement and the meaning of convergence, third, the discovery and calling of ‘The Guest’ and ‘The Superhuman’ representing Lee, Yuk-sa’s orientation to others, the meaning of return and coming to the original hometown of ‘nuda vita’ through that, and also the avoidance of ‘killing’ as the event of ultimacy and the value of possibility of aesthetic salvation, and fourth, the authentic value of Yuk-sa’s poetry, the collection of his poems published after Yukdang’s death in 1946, that is, the records of ‘nuda vita’ beyond ‘resistance’ and themes such as the greatness of memory.

온도상승에 의한 H-형강 압축재의 내력과 파괴온도에 관한 실험적 연구

최현식,강성덕,김재억,Choi, Hyun Sik,Kang, Seong Deok,Kim, Jae Eok 한국강구조학회 2013 韓國鋼構造學會 論文集 Vol.25 No.2

The object of this paper is to perform the experiments to investigate the relationship of the resistance forces and the failure temperatures on the failure behaviors of H-shaped steel compressive members. H-shaped members(SS400) were used for the test models and the tests for the elevated temperatures were performed by ISO 834 in FILK(Fire Insurers Laboratories of Korea). The local, overall buckling stresses and a yielding stresses for the failure temperatures were compared with the compressive stresses for the loading forces of test models, the yielding strength and elastic modulus reduction factor of the steel at a high temperature were based on the criteria of the EC3(Eurocode 3) Part1.2(1993). The slenderness ratio was fixed by 45.4 and the compressive forces corresponded with 50%, 70% and 80% of the yielding forces at the normal temperatures were chosen for the loading forces of the test models. The failure temperatures of the test models were investigated under three kinds of loading conditions. It was known that the resistance forces have come close to the yielding forces, not the elastic buckling loads evaluated by EC3 at the failure temperatures obtained from the tests which are related to the failure temperatures and the loading stresses. 본 연구의 목적은 H-형강 압축재의 온도상승에 따른 파괴거동을 중심으로 압축력과 파괴온도의 상관관계를 파악하기 위한 실험을 수행하는 것이다. SS400 강재로 제작된 H-형강의 시험체를 선정하여, ISO 834의 재하가열 시험방법에 따라 온도 상승에 대한 실험을 한국방재시험연구원(FILK)에서 수행하였다. 고온상태의 강재에 대한 항복강도 및 탄성계수의 감소계수는 EC3 (Eurocode3) Part 1.2 (1993) 관계식을 근거로 하여 파괴온도시 국부 및 전체좌굴 응력도와 항복응력도를 실험결과와 비교 검토하였다. 실험조건은 세장비 45.4이고 상온에서의 항복내력에 대한 50%, 70%, 80%를 재하압축력으로 설정하여 파괴온도를 측정하였다. 파괴온도와 재하압축력에 대한 실험결과로 부터 온도상승에 따른 내력은 탄성 좌굴강도보다는 항복내력에 근접함을 파악할 수 있었다.

플레너 자기 소자를 이용한 포워드 컨버터의 특성 연구

최현식,이재학,박경수,Choi, Hyun-Sik,Lee, Jae-Hak,Park, Kyung-Su 대한전자공학회 2000 電子工學會論文誌 IE (Industry electronics) Vol.37 No.1

본 논문은 포워드 컨버터에 사용한 플레너 자기 소자의 설계 방법과 동작 특성에 관해 연구하였다. 플레너 자기 소자는 고주파 SMPS 설계시 발생할 수 있는 문제점에 대한 좋은 해결책이 될 수 있다. 이러한 플레너 자기 소자는 낮은 누설 리액터스, 낮은 구조, 경량 및 EMI 영향을 최소화 할 수 있는 등 여러 가지 좋은 장점들을 가지고 있어 최근 그 사용이 증대되고 있다. 본 논문에서는 플레너 자기소자를 이용한 포워드 컨버터를 제작한 후, 실험을 통하여 기존의 변압기를 사용한 경우와 비교하여 그 성능의 우수성을 입증하였다. This paper presented a design technique of planar magnetic components for forward converter. Planar magnetic components are a good solution for high frequency switching-mode power supplies(SMPS). Since these kind of magnetic components have some advantages(low leakage inductance, low profile, low weight, minimum EMI etc.) that improve the SMPS performance, their use is growing in the last years. In this paper, the performance of designed system is verified by simulation and experiment by comparing the system using conventional magnetic components and the system using planar magnetic components.

치과 임플랜트용 고정체 인상법과 지대원주 인상법간의 정확성 비교

최현식,임순호,조인호,Choi, Hyun-Sik,Yim, Soon-Ho,Cho, In-Ho 대한치과보철학회 1997 대한치과보철학회지 Vol.35 No.4

The purpose of this study was to compare the accuracy between future impression and abutment impression using strain gauges. The master model used in this study was a partially edentulous mandibular metal cast with two fixture analogs on both sides. On the left, two future analogs were parallel, whereas right side, posterior future analog exhibiting a 15-degree lingual inclination. From master cast, 10 impressions were made for each of the three impression methods. The master frameworks was fabricated on the master model, and two-element strain gauge was attached to a master framework. The master framework was seated on each cast, and gold screws were tightened to 10 Ncm using a torque controller AI-1600 strain measurement system was used for strain measuring. Impression methods studied were : Group 1:abutment impression Group 2:fixture impression Group 3:combined impression (anterior:fixture impression, posterior:abutment impression) The results were as followed. 1. The strain values on X-axis and Y-axis according to the three impression methods showed no significant difference. 2. The strain values on parallel and angulated groups according to the three impression methods showed no significant difference. 3. The parallel group exhibited significantly higher accuracy in adaptation than angulated group for all experimental groups (p<0.05). In conclusion, it is considered that accuracy of implant prostheses is more affected by implant angulation than impression methods.

유학생 문예잡지에서 비평 담론의 형성과 분화 -『창조』를 중심으로

최현식 ( Hyun Sik Choi ) 한국문학연구학회 2007 현대문학의 연구 Vol.0 No.33

도래하는 대조선(大朝鮮), 귀환하는 영지(靈地) - 최남선 『조선유람가』의 문화정치학 -

최현식 ( Hyun Sik Choi ) 한국시가학회 2014 韓國 詩歌硏究 Vol.37 No.-

This article is written to consider the value and meaning of Choi, Namsun`s Josun-Yuramga(1928) from the viewpoint of history of literature. Josun-Yuramga, a full-length changga, is known relatively less than the sijo collection, Baekpalbeonnoe, or travel literature, Baekdusan-Geunchamgi, Simchun- sunrye, or Pungakgiyu(Geumgangyechan) written in order to publicize the mid-1920`s ‘Josunjuui’ and ‘Bulham Culture’ widely. This researcher sees that Josun-Yuramga was a full-length changga, that is, ‘made tradition’ to admire the heroes, history, humanities, or nature of ‘Daejosun’ adopting the form of ‘Yeongsa’ that went into decline then. The calling of ‘Daejosun’ was the cultural politics of either postcolonialism or resistance to establish the identity of Josun and promote speculation for the future through the epic poem-based recalling of the past and realization of it in the present. As a matter of fact, unlike sijo collections or travel literature intended to write about and express real traveling or emotion towards it, Josun-Yuramga was imagined and expected to integrate and arrange the past (history) and geographical information freely and attain the wide-range extension and deepening of ‘Josunjuui’. To discuss and verify these points, the current study comparatively analyzed Donga-Ilbo-edition Josun-Yuramga and Hanseong Doseoedition Josun-Yuramga which edited and complemented the former. Especially centering around the part of Changgyeongwon in Gyeongseong contained in the former but deleted in the latter or the part about Cheukugi or Hwalja complemented in the latter, the study profoundly examined Japan`s colonialism pursuing the ruling of space around Gyeongseong and the palace and Yukdang`s postcolonialistic resistance against it. In addition, it complexly investigated Baekdu Mountain and heroic narratives regarded to be the core part of Josun- Yuramga and also Geumgang Mountain and Gyeongju, the major tourist sites in Josun at that time. First, the researcher noticed the aesthetic eye and attitude of Yukdang praising these as the sourceful places of ‘Josunjuui’ and ‘Bulham Culture’. Also, considering the colonialistic eye of Japan regarding these as the ruined relics of its colony or space with much less value than the divine nature of the owner country, the study intended to examine Yukdang`s postcolonialistic value of cultural politics multilaterally. Lastly, by looking into Josun-Yurambyeolgok along with it, the researcher tries to reconfirm that Yukdang attempted to help the people to acquire the excellence of Josun`s history, heroes, or nature more readily.

‘청년들의 운명’, ‘동방’(들)의 장소성-김조규의 만주국~해방기 북한시편 재론-

최현식 ( Choi Hyun-sik ) 인하대학교 한국학연구소 2019 한국학연구 Vol.0 No.54

이 논문은 일제시대 만주와 해방기 북한에서 작성된 김조규 시의 가치와 의미를 추적한다. 특히 두 시기 공통적으로 등장하는 ‘동방’이란 시어의 문화정치학적 변모와 그 원인을 규명하고자 한다. 김조규는 동인지 『단층』과 『맥』에서는 초현실주의적 시편을 통해 일제 식민지배에 따른 시대의 우울과 내면의 분열을 처연하게 드러낸다. 하지만 만주 시편(1938~1944)에서는 스산한 개척촌 풍경, 이별의 기차 선로, 유흥가의 젊은 여성 등을 소재로 조선 이주민의 비참한 현실을 사실적으로 그려낸다. 문제는 이 시편들이 미발표작들로 남겨졌다가 해방 후 북한에서 발표됨으로써 그 사실성 여부가 의심된다는 것이다. 더욱 심각한 것은 당시 시인이 만주국 정책에 부응하는 ‘체제 협력’ 시편을 다수 발표했다는 사실이다. 이때 등장하는 핵심적 시어가 ‘남양(南洋)’과 ‘동방(東方)’이다. 두 단어는 태평양전쟁 당시 제창된 일제의 ‘대동아공영’ 정책과 그것을 지도하는 근대 천황제의 궁극적 승리를 기원하는 침략주의적 ‘식민의 기호’로 읽힌다. 김조규는 해방 후 북한으로 귀환한 뒤, ‘민주조선’으로 대변되는 사회주의 국가 건설과 지도자 김일성에 대한 찬양에 열정적으로 나선다. 이때도 ‘동방’이 주요 시어로 등장한다. 북조선의 찬란한 전통과 역사, 혁명조국의 현재와 미래를 상징하는 ‘참된 장소’의 발견과 개척을 예찬하는 문화정치학적 기호인 것이다. 김조규는 1950년대 중후반 ‘반종파투쟁’ 수행 및 ‘김일성 유일체제’의 성립 과정에서 당문학의 지침과 요구에 철저히 부응하는 문학 활동을 전개한다. 그 가운데 하나가 『시집 동방』(1948) 소재 6편을 개작하여 김일성의 삶과 투쟁을 신화화하는 작업이었다. ‘조선적인 것’을 상징하던 ‘동방’은 ‘모란봉’으로 대체되면서 김일성의 영도하의 ‘사회주의 낙원’을 의미하는 장소성의 기호로 전환된다. 하지만 이 개작은 김일성 유일체제에 대한 맹목적 긍정 혹은 무비판적 투항을 의미한다. 위대한 영웅 창조의 ‘전통 만들기’가 과잉된 체제 협력에 나포되어 ‘장소 상실’로 빠져드는 퇴행적 삶과 타락한 미학적 행위가 김조규의 실존을 뒤덮는 순간과 장면은 이렇게 탄생했다. This thesis has sought for the value and implication of poetry of Kim Jo-Gyu that were undertaken in the Manchuris area during the Japanese Colonial Era and North Korea during the liberation period. In particular, it is intended to clarify the cultural and political changes and causes thereof for a poetric term commonly emerged in these two periods of time, ‘Dongbang(東方)’. In the literary coterie magazines of Dancheung(斷層) and Maek(貘), Kim Jo-Gyu sorrowfully manifested the depression of time and internal division under the time of colonial control by the Japanese Imperialists through the surrealistic poetry. However, in the Manchuria’s Poems (1938~1944), he realistically depicted the miserable reality of migrants from Joseon with the themes of the bleak scenery of reclamation settlements, railways of train for farewell, young women of debauchery district and so on. A problem is that these poems had been left out as unpresented works but were presented in North Korea after the liberation, resulting in suspicion for factual genuineness. Even more serious issue was the fact that the poet released a few poems on the ‘Collaboration on the political system’ in responding to the policies of Manchuria. The cores poetric terms emerged at this time were ‘Namyang(南洋)’ and ‘Dongbang’. These two words were read as the ‘Grand East Asia Prosperity’ policy of the Japanese Imperialists during the time of the Pacific War and the ‘Sign of Colony’ for Aggression that longed for the ultimate victory for the modern emperor that lead the policy. Kim Jo-Gyu returned to North Korea after the liberation and passionately acted on praises for the socialist state construction as represented for ‘Democratic Joseon’ and its leader Kim, Il-seong. At this time ‘Dongbang’ was emerged as a main poetric word as well. It would be a cultural and political sign to honor the discovery and advancement of ‘true place’ that symbolizes the brilliant tradition and history of North Joseon, as well as present and future of the home country in revolution. Kim Jo-Gyu deployed his literature activities thoroughly responding to the instruction and demand of political party lieterature in the process of performing the ‘Sectarian Strife’ and establishment of the ‘Unified System of Kim, Il-seong’ in the middle and later part of 1950s. One of them was the work of mythicization of life and struggle of Kim, Il-seong by revising 6 pieces of Poetry Collection of Dongbang (1948). ‘Dongbang’ that symbolized the ‘Things Joseon’ was replaced for ‘Moranbong(牡丹峯)’ to convert into the preference of location as it simplizes the ‘Socialist Paradise’ under the leadership of Kim, Il-seong. However, this revision work implies the unquestioned positivism or uncriticized surrender to the unified system of Kim, Il-seong. The ‘Tradition Making’ of creating a great hero was captivated to the exaggerated system cooperation to be captured to the moment and scene to cover the existence of Kim Jo-Gyu with the regressive life and corrupted aesthetic acts to fall into the ‘loss of location’.

이미지와 시가(詩歌)의 문화정치학(Ⅱ)-일제시대 사진엽서의 경우-

최현식 ( Choi Hyun-sik ) 인하대학교 한국학연구소 2016 한국학연구 Vol.0 No.42

이 글은 일제시대 생산·유통된 사진엽서의 의미와 가치 해석을 위해 작성된다. 특히 이미지(사진과 그림)와 시가가 결합된 엽서에 드러나는 ‘조선적인 것’의 식민화와 타자화를 향한 기호 구성과 담론 실천에 주목한다. 이를 위해 사진엽서를 시선, 대상, 지배, 동원의 영역으로 분류했다. 또한 각각의 영역에 ‘사실의 제시와 차이의 기입’ ‘하위주체의 포착과 열등성의 각인’, ‘공간의 식민화와 장소의 상실’, ‘광학의 기술과 파시즘의 심미화’를 주제로 할당했다. 특히 전쟁 담론을 다룰수록 사진엽서가 조선에 대한 정보지식의 제공이나 타자화의 기호 제시를 넘어, 조선(인)의 은폐와 삭제, 죽임과 죽음의 명령을 노골적으로 발화하고 있음을 밝혔다. ‘내선일체’와 ‘대동아공영’으로의 조선인 소집과 제국에의 일체화는 첫째, 천황에의 충성과 식민지인의 희생을 원리로 하며, 둘째, 이것은 천황의 목소리와 명령에 의해 수행되는 것이라는 사실을 특히 일제 말의 ‘총력전’ 사진엽서에서 세밀하게 읽어냈다. The purpose of this study is to analyze the meaning and value of postcards produced and distributed in the Japanese colonial period. Particularly, it focuses on constructing signs to pursue the colonization and otherization of ‘what is Joseon-style’ found in postcards combining images (photos and pictures) and poems and practicing the discourse. For it, this author classified the postcards by the areas of gaze, subjects, ruling, and mobilization. Also, to each of the areas, the topics of ‘presenting the fact and stating the difference’, ‘capturing the subordinate subject and recognizing inferiority’, ‘losing the place and colonizing the space’, and ‘describing optics and beautifying fascism’ are assigned. In particular, as dealing with the war discourse more, this researcher has revealed that the postcards not only provide the information and knowledge of Joseon or present the signs of otherization but also plainly utter the concealment and deletion of Joseon (people) and the order of killing and dying. The fact that mobilizing Joseon people and unifying Joseon with the empire through ‘Naeseon-Ilche(내선일체)’ and ‘the Greater East Asia Co-prosperity’ first takes loyalty about the Japanese Emperor and sacrifice of colonized people as its principle and second it is performed by the voice and order of the Japanese emperor has been revealed by reading the postcards of ‘all-out war’ at the end of the Japanese colonial period precisely.

백두산절ㆍ오족협화ㆍ대동아공영론 : 그림엽서 <백두산절>의 경우

최현식 ( Choi Hyun-sik ) 민족문학사학회·민족문학사연구소 2016 민족문학사연구 Vol.61 No.-

이 글은 ‘백두산’ 관련 일본민요 <백두산절>의 기원과 형성, 전파와 유행, 그것의 다양한 변이형 및 군국가요로의 전환, 조선의 대중가요에 대한 영향, 그에 대한 조선 가요의 은밀한 거부 등에 관심을 둔다. 우에다[植田]는 조선과 만주 국경 일대의 생활상과 풍물지를 담은 「국경이백리」에서 16편에 달하는 민요 <백두산절>과 그것을 주제로 한 5편의 표현화 <백두산절>을 선보이고 있다. <백두산절>은 여성의 목소리를 빌려, 백두산과 압록강 풍물에 대한 이국적 정서, 국경생활의 고단함과 연인과의 사랑, 비적의 침입과 토벌, 일본과 천황에 대한 충성을 노래한다. 이즈음까지는 조선인 및 만주인과의 협력이 강조되기는 하지만, 국경생활 및 노래의 주체 역시 일본인에 집중된다. 국경지대서 불리던 <백두산절>은 조선 내 일본인의 가창을 거쳐 일본에서 고통스럽고 위험한 타향 생활을 대표하는 노래로 크게 유행하게 된다. 결국 <백두산절>은 아시아ㆍ태평양전쟁 시기를 통과하면서, 총력전 참여와 천황에의 멸사봉공을 다짐하는 군국가요로 변형, 확장되기에 이르며, 무려 3종 이상의 그림엽서로 제작ㆍ판매되기에 이른다. 민요와 엽서로 대표되는 유희와 친밀성의 제도는 천황파시즘과 결탁하면서, 전쟁 참여와 옥쇄를 고무하고 찬양하는 ‘타나토스’의 기호로, 또 결전(決戰)생활의 모델로 타락되는 것이다. 이런 사실을 또 다른 그림엽서와 가요의 합작품인 <조선만몽 국경수비의 노래>와 <압록강절>에서도 재차 확인함으로써, 총력전을 지향하는 노래와 그림의 ‘애국기법’의 폭력성과 허구성을 간파할 수 있었다. 한편 식민지 조선의 대중가요도 압록강과 백두산을 여러 차례 노래하는데, 조선인의 생활과도 밀접히 관련된 ‘압록강’이 쉽게 다가서기 힘든 ‘백두산’보다는 인기가 높았다. 하지만 ‘압록강’ 노래는 대체로 이별과 상실의 정한(情恨)으로 얼룩진 반면, 특히 <백두산 바라보고>는 국토(향토)에 대한 기억과 호명을 통해 조선(인)의 민족적ㆍ개인적 정체성에 대한 각성과 ‘진정한 장소성’의 새로운 발견을 수행하는 효과를 발휘하고 있다. This article is to identify the origin, formation, dissemination and popularity of 「HAKUTOSANBUSHI(SONG OF BAEKDUSAN)」, a Japanese folk song related to ``Baekdusan (Mt.)`` as well as its various variants, conversion to a militant song, and its effect on the folk songs of Chosun and secretive rejection. Ueda(植田) introduces folk song 「HAKUTOSANBUSHI」 comprised of as many as 16 pieces in GUKGYEONG IBAEKRI(國境二百里) that contains the everyday life and institutions and customs in the border area between Chosun and Manchuria and five representative paintings 「HAKUTOSANBUSHI」 that has adopted it as its theme. 「HAKUTOSANBUSHI」 sings exotic sentiment of Amnokkang scenery and customs, fatigue of living in border area, romantic love, invasion and suppression of bandits, and loyalty to Japan and its emperor with the adoption of a female voice. Up to this period, there is an emphasis placed on the cooperation between the people of Chosun and Manchuria but the life in border area and the main agent of the song are concentrated on the Japanese. 「HAKUTOSANBUSHI」that was once sung by people in border areas has gained huge popularity in Japan as a song sung by a Japanese in Chosun that expresses a painful and jeopardous life away from home. Eventually, 「HAKUTOSANBUSHI」was converted to a militant song that pledges participation in allout war and self-annihilation for the sake of the Japanese emperor during the period Pacific War, and even three or more illustrated postcards were issued based on this song. The system of play and intimacy represented by the folk song and the postcard was degraded to the symbol of ``Thanatos`` that encourages and praises participation in war and honorable death and the model of decisive war as it was combined with the emperor fascism. This was further reaffirmed by 「Song of frontier guards of Chosun ManMong」 and 「Amnokkangjeol」 that were produced in another forms of postcard and folk song, which implies the violence and fabrication of ``distorted patriotism`` expressed in songs and illustrations encouraging a l-out war. Meanwhile, the folk songs of Chosun under the Japanese colonialism have sung Amnokkang and Baekdusan multiple times, and ``Amnokkang``, which was close to the life of Chosun people was more popular than hard-to-reach ``Baekdusan``. However, the song ``Amnokkang `` is all about bitter sentiments of farewell and loss while 「Looking at Baekdusan」 sought awakening of national and personal identify as (people of) Chosun through memories and calling for national territory (homeland) with the effect of making new discoveries of ``authenticity of place``.