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‘여작자(女作者)’라는 전략 혹은 함정-다무라 도시코(田村俊子)론
최은경 ( Choi Eunkyung ) 한림대학교 일본학연구소 2022 翰林日本學 Vol.- No.41
본고에서는 일본 근대초기 대표적 여성작가로 활약했던 다무라 도시코에 주목하여 당시의 작가 자신의 일면을 엿볼 수 있는 소설 「여작자」를 분석했다. 불안정하고 불투명한 존재로서의 ‘여작자’를 도시코는 어떤 전략으로 전경화(前景化)하였으며 또한 어떤 함정을 유발하는지, 그 역설적 이면까지 추적했다. 도시코는 스스로 여성작가를 ‘여작자’로 개칭함으로써 ‘(남성)작자’와 대칭되는 위치를 확보하려고 했다. 원제인 ‘유녀’가 여자의 직업을 지칭하는 고유명사로 여자의 영역이라는 것을 명시하고 있듯이 ‘여작자’는 성별을 명기함으로써 여자의 또 하나의 직업명과 범위를 표기하고 있는 것이다. 이렇듯 당당히 ‘여성’임을 강조하고 새로운 여성상을 제시하며 기존의 남성들과는 다른 묘사기법을 구사한 것은 (남성)작가와의 차별된 전략으로 해석된다. 그러나 동시에 그러한 생존 전략은 (남성)문단에서 기대하는 ‘여작자’의 역할을 연기하면서 결국에는 불완전하고 모순된 존재로서의 ‘여성’을 노정(露呈)하는 함정을 초래하고 있는 것이다. 그렇다고해도 여작자 도시코의 ‘여작자’로서의 선도적 시도는 일정 부분 평가받아 마땅할 것이다. In this paper, Tamura Toshiko's Female Writer is considered. Toshiko is one of Japan's leading female writers in the early modern period. And her novels provide a glimpse into the real life of her Toshiko. Toshiko described herself as a ‘woman’ and presented a new image of a woman. She used a description technique that was different from that of (male) writers. This is interpreted as a strategy differentiated from (male) writers. At the same time, such a survival strategy is to play the role of the expected ‘female writer’ in the (male) literary world. In conclusion, it brings the trap of representing ‘woman’ as an incomplete and contradictory existence.
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다무라 도시코의 『여작자(女作者)』론 : 주인공 여작자가 희구(希求)하는 삶
이상복(Lee Sang-Bok) 동북아시아문화학회 2011 동북아 문화연구 Vol.1 No.26
The heroine of this novel controlled herself by making up her face and obtained her creativity from the narcissism of looking at her own face into a mirror. One day, she was not able to write any more even though she did very thick makeup and confessed her husband this trouble. However, unexpectedly, he did not disgraced attitude towards her and told that he was doubtful about her talent as author. After this, the female author became very emotional to her husband. When a friend of the author visited to her home the friend told the author that she would marry a man but would not live together. This made the author reflecting over her married life. The author projected the women who were unable to abandon their married life even though wanting liberation of themselves to the author. She also projected the new women who sought the establishment of self and was not arrested by the old customs to her friend and presented the possibility of consistency between marriage and self-enlightenment with long-distance marriage. It shows that, as women, the author struggled to be creative among many factors such as the laziness of blanked life with her husband, the conflict caused by lack of understanding as well as her fixation and fantasy towards him and of course, the passion for creative activity and the consciousness for acquisition of self. This novel stated that women’s volition is needed in order to walking on her own ways in marriage. The form of marriage should be argued comprehensively.
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일본전전문학에 나타난 직업여성의 기원과 양상 -다무라 도시코(田村俊子)의 『단념』을 중심으로-
최은경(Choi, EunKyung) 중앙대학교 일본연구소 2021 日本 硏究 Vol.- No.55
This study examines the origins and aspects of the representative occupations of women in the 1910s, “Actress” and “Female Writer,” through Akirame by Toshiko. The occupations belonged to a particular minority class of “career women” at the time. There were fewer “career women” before the war, so this was unprecedented. Unlike for men, gender-discriminatory gender norms are seen in the inclusion of “woman” in the job name. Until now, theater companies and literary circles have been the stage for men. Being active as a woman in theater and literary groups can be said to reflect some of the changed aspects of modern Japan and its new women. Akirame portrayed women who gave up college education halfway and tried to make a living by being “female writers” and “actresses.” Writer Toshiko as well as women in general say that the women in Akirame want to live as themselves, while dreaming of “self-reliance” through having a job. It is an expression of their will to live as women, and it heralds a new era in which professional women will be active.
KCI
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