중국 고대 女性詞에 드러난 여성담론의 史的 고찰

윤혜지 중국학연구회 2018 중국학연구 Vol.- No.86

본 연구는 중국 고대문학에 존재하는 여성작가의 詞작품을 史的층위에서 연구함으로써 각 시대별 女性詞라는 범주적 맥락이 어떠한 관련성을 가지고 창작되었는지를 분석하고, 주변문학으로써 그녀들의 사 작품이 어떠한 가치를 지니는지 여성주의적 관점에서 살펴보았다. 우선 궁중 후비로부터 시작된 당·오대 여성사는 대체적으로 사를 한번 써 보는 단계에 있었다. 내용도 왕의 간택을 기다리거나 여성의 곡선미에 대한 묘사로 대상화된 여성형상을 그려내는 수준에 머물렀다. 그러다 당 말기 女道士의 출현으로 사는 가창을 위한 가사에서 정서를 토로하는 사의 창작으로 변모해 간다. 여성담론이 사를 통해 본격적으로 드러났던 시기는 송대이다. 유가적 家法의 발달로 억압받는 규수들이 자신의 심경을 토로하고, 기녀들이 남성과의 문화교류를 위해 사를 짓고, 북방세력의 침략으로 많은 여성들이 전란의 고통을 사로 읊었다. 이어 사회적 신분이 명확히 나뉘고 여성에 대한 억압이 극심했던 원대에 이르면 여성작가의 감정표현은 보다 극대화되고, 명 말기에 이르면 여성작가들은 연대하기 시작한다. 비록 가족 중심의 모일 수 있는 여성들만으로 한정되었지만 女性詞社의 출현은 여성사의 영역을 크게 확장시킨다. 작가로서 자신의 작품을 인식하게 되고 자신의 작품을 소비할 소비계층을 확보한 여성사는 양적으로 크게 성장했을 뿐 아니라 다른 작가들과 교류를 통해 질적으로도 발전해 나간다. 이시기 여성사에 담긴 담론은 실로 다양하다. 여성작가들은 슬픔이나 울분의 격앙된 감정 뿐 아니라 길거리의 풀 한 포기, 푸른 하늘과 호수, 역사와 가치관도 자유롭게 사로 담아낼 수 있게 되고, 사라는 문체를 교류의 매개로 사용해 문학적 즐거움을 얻기도 한다. 청대에 이르면 여성작가들은 더 이상 남성문인들의 평가나 인정에 기대지 않고 자신의 말로 서문을 쓰고 여성작가들끼리 序跋文을 써주기에 이른다. 작가의식을 지닌 여성작가의 출현은 사 작품의 담론 역시 여성의 삶에 대한 각성으로 바꾸어 놓는다. 이로써 사체는 자신의 주관적 정서나 감정, 개인적 체험, 세계인식을 표출하는 수단으로써 뿐만 아니라 여성들의 삶을 사회적 문제로 공론화시키는 도구로써 역할도 하게 된다. This research analyzed the correlation of the background of creation of categorical context of female Ci(女性詞) of each period in respect of the historical viewpoint(史的) by investigating female writers’ Ci works(詞), which exist in Chinese ancient literature, and investigated the value of their Ci works from the viewpoint of feminism, as the ambient literature. Firstly, feministic history of Tang· Wu, which began from court empress, was mostly in the stage of writing Ci as an attempt. Contents of them stopped at the image of women who waited for King’s selection or objectified women as the target for praise for their beautiful curves. Meanwhile, Ci, which were created as the lyrics for singing, changed to creation of Ci that expressed emotion during late Tang Dynasty, where female Taoists(女道士) appeared. During Song Dynasty, female discourse fully appeared through Ci genre. Women who were suppressed due to development of Confucian family rules(家法) expressed their feelings, gisaeng created Ci to exchange culture with men, and lots of women expressed pain of war due to the invasion of northern Jin(金)· Yuan(元) powers. Female discourse that stood out in Ci works of Yuan Dynasty was forced faithfulness culture and the spirit of the times, ‘retirement’. During the time when social status was clearly divided and suppression over women was severe, female writers faithfully showed internalization of such view of the time. This was expressed through singing of the objects of the value of fidelity like Sagunja (Four Gracious Plants), of the spirit of the time, ‘retirement’. Meanwhile, female writers who had created Ci to express their private emotion came to band together during late Ming Dynasty. Nevertheless they were the women who gathered mainly with families, appearance of female Ci writer group(女性詞社) greatly extended the area of female Ci. Female Ci writers, who perceived the value of their works as professional writers and obtained consumers of their works, not only greatly grew quantitatively, but also developed qualitatively through exchange with other writers. Discourse included in female Ci during this period was various. Female writers freely expressed a single plant along the street, blue sky and lake, history and values as well as their sorrow or inflamed anger through Ci works, also, they gained literary pleasure using the style, Ci, as a medium of exchange. During Qing Dynasty, female writers came to write preface in their own language and they wrote preface and postscript to each other’s work, without depending on male literary persons’ evaluation or acknowledgement any more. Appearance of female writers who had writer consciousness also changed discourse of Ci works to awareness on women’s life. Accordingly, Ci style not only performed as the means to express their subjective emotion or feelings, personal experience, and world recognition, but also a tool to pose women’s life as a social matter.

일본의 문학상과 여성작가 -전전(戰前)의 아쿠타가와 문학상, 나오키상 수상자를 중심으로-

이승신 ( Rhee Seung-shin ) 한국일어일문학회 2022 日語日文學硏究 Vol.121 No.-

本稿は'文学賞'という制度のなかで女性作家が創作の主体として作られる過程と様相を捉えようとした。日本で一番有名で、権威が認められる文学賞である芥川文学賞と、直木文学賞を対象とし、1945年以前受賞した中里恒子、芝木好子、堤千代という三人の女性作家と作品を考察した。二つの文学賞が'新人作家'の登竜門として設立された文学賞という点から女性作家の'誕生'のプロセスを捉えるために有効だと判断したからである。今まで芥川文学賞や直木文学賞を受賞した女性作家に関してほとんど研究がなされていない。それに、近代日本の女性文学史のなかでもこれらの女性作家に対してあまり記述されていないのが現状である。本稿の研究を通して個別作家研究や作品研究ではなかなか究明できなかった文学賞選定過程と関連様相をより構造的で'文学制度'の問題として可視化できると考えられる。このために、これらの女性作家たちの作品の特徴を分析し、芥川文学賞や直木文学賞の選考委員たちの選評を通して文学賞の選定過程を具体的に検討した。そのうえ、近代日本の文学賞と女性作家との相関関係について考えてみた。 This paper attempts to understand the process and patterns of the formation of female writers as creative subjects through the institutions of literary awards. I consider the works of three female writers, Nakazato Tsuneko, Shibaki Yoshiko, and Tsutsumi Chiyo, who won before 1945 one of the most recognized and authoritative literary awards in Japan, the Akutagawa Literature Award or the Naoki Literature Award. These literary awards were selected for this study because they were established as gateways for new writers and, as such, were suitable for considering the 'birth' process of female writers. Until now, little research has been conducted on female writers who have won the Akutagawa Literature Award or the Naoki Literature Award, and it seems that even the history of modern Japanese women's literature seldom discusses these female writers. In this paper, I made use of a panoramic view of these writers and their works in order to highlight a structural problem of the literary award selection process and related patterns, which may be difficult to see with research on individual artists or works. To this end, the characteristics of these female artists' works were analyzed, and the literature award selection process was specifically examined through the review of the selections committee members of the Akutagawa Literature Award and Naoki Literature Award. Based on this, we investigated the relationship between modern Japanese literature awards and female writers. his paper attempted to understand the process and patterns of female writers as creative subjects through a system called the Literature Award. The works of three female writers who won before 1945 were reviewed for the Akutagawa Literature Award and the Naoki Literature Award, the most recognized and authoritative literary awards in Japan. This is because in this study, it was judged that these literary awards were suitable for considering the 'birth' process of female writers in that they were established as the gateway to the appointment of 'new writers'. Until now, little research has been conducted on female writers who have won the Akutagawa Literature Award or the Naoki Literature Award, and it seems that modern Japanese women's literature history rarely describes these female writers. In this paper, I had a panoramic view of these writers and their works targeting Through this, it was judged that the literature award selection process and related patterns, which are difficult to identify with individual artist research or work research, could be visualized as more structural and 'literature system'. To this end, the characteristics of these female artists' works were analyzed, and the literature award selection process was specifically reviewed through the review of the sentencing committee members of the Akutagawa Literature Award and Naoki Literature Award. Based on this, we investigated the relationship between modern Japanese literature awards and female writers.

韩中当代女性作家笔下的女主人公“神经症”现象

안병삼 한국비교문학회 2008 比較文學 Vol.0 No.46

This paper comparative study on heroine's neuropathy in the works of Korean and Chinese female writers. As time and individual ideas changed, the female can not keep silent any more, they have to say “No”. They unconsciously felt uneasy while resisting the male chauvinism. This was considered as “neuropathy” by men. Female writers express about heroine's neuropathy in the their works. Many heroines have a Hypochondria、Hysteria、Anxiety、obsessive-compulsive neurosis、Phobia and so on. However, what we should pay attention to is that, in China, both unmarried and married females had mental problems while in Korea, most of the females who had mental problems were married women. Their relationship with their husbands deteriorated, so that they were either sent to a mental hospital or abandoned by their husbands. Some even tried to commit suicide. In Korea, most of those women would never live a normal life again in the real world. Put it this way:In a world where women are not understood by men, if they are judged to be having mental problems, women in Korea would live a much more cruel and miserable life than women in China. This thesis compares the stories written by female writers in Korea and China. There is not only comparable similarity but also differences in different culture backgrounds between the two kinds of love stories. Thus, the thesis should concentrate on both similarity and differences, especially the different culture background and national character. This paper comparative study on heroine's neuropathy in the works of Korean and Chinese female writers. As time and individual ideas changed, the female can not keep silent any more, they have to say “No”. They unconsciously felt uneasy while resisting the male chauvinism. This was considered as “neuropathy” by men. Female writers express about heroine's neuropathy in the their works. Many heroines have a Hypochondria、Hysteria、Anxiety、obsessive-compulsive neurosis、Phobia and so on. However, what we should pay attention to is that, in China, both unmarried and married females had mental problems while in Korea, most of the females who had mental problems were married women. Their relationship with their husbands deteriorated, so that they were either sent to a mental hospital or abandoned by their husbands. Some even tried to commit suicide. In Korea, most of those women would never live a normal life again in the real world. Put it this way:In a world where women are not understood by men, if they are judged to be having mental problems, women in Korea would live a much more cruel and miserable life than women in China. This thesis compares the stories written by female writers in Korea and China. There is not only comparable similarity but also differences in different culture backgrounds between the two kinds of love stories. Thus, the thesis should concentrate on both similarity and differences, especially the different culture background and national character.

해방기 여성 사회주의자 서사와 탈식민적 글쓰기

류진희(Ryu, Jinhee) 이화여자대학교 한국여성연구원 2021 여성학논집 Vol.38 No.2

이 글은 식민지 프로문학에서 여성작가가 꼽아지지 않았으며, 해방을 맞은 여성작가 역시 여성 사회주의자를 다루지 못했음을 지적했다. 물론 이는 식민지 매체 장의 형성과 그 탈식민의 효과 때문이다. 다시 말해 식민지 근대성의 핵심으로서 여성작가들을 비롯한 ‘여류’들이 부상했지만, 해방직후에는 그 체제와의 친연성을 이유로 활발히 나서지 못했던 것이다. 그리고 그 발언의 자리는 다시 돌아온, 스스로를 드러낸 몇몇 여성 사회주의자들에게 잠시나마 주어졌다. 그러나 신탁통치를 둘러싸고 좌우남북으로 급박하게 돌아가는 정세에서 여성 사회주의자들도 다시 몸을 숨기고, 그들을 중심으로 내세우는 서사들도 계속해서 조밀하게 짜여지지 못했다. 좌파 여성작가는 다시 몸을 숨기고, 우파 남성작가들은 재차 우파 여성작가들을 호명한다. 좌파 남성작가들은 여성대중의 군집적 힘을 강조했지만, 여성 스스로가 자신의 이념적 목소리를 드러내는 장면은 그리지 않았다. 사실 해방 당대에는 정치적으로 ‘좌우간(左右間)’의 서사들이 더 많았다. 이러한 한계에서도 자신의 주장을 사회주의에 근거해 써내려갔던 여성들이 있다. 바로 고명자(1904-?)와 최화성(1923-?)이 그랬다. 전자는 남북연석회의에 참여했지만, 다시 삼팔선 이남으로 돌아왔다. 반면 후자는 우파 여성운동에 투신했던 박승호의 딸이면서도 여성해방 이데올로그로서 여동생들과 월북을 감행한다. 결국 삼팔선을 사이에 둔 고명자와 최화성의 선택은 달랐다. 그러나 탈식민의 역설을 껴안고 이들이 짧게 제출했던 글들은 해방기 서사의 빈 곳을 메우며, 사회주의적 전망에서 여성해방이론을 전개한 여성작가의 존재를 증명한다. This article points out that female writers were not strongly represented in Korean proletarian literature and that during the liberation period they were also unable to write about socialist women because of the the colonization and subsequent decolonization of the media field. In other words, female writers emerged as symbols of colonial modernity. Therefore, immediately after liberation, their works were not as well-received due to their involvement with the imperial system. The voices of socialist women who had returned to the media during the liberation period were heard instead of those of female writers. However, when news of the trusteeship was reported, a political crisis emerged. Socialist women went into hiding so there were no longer as many narratives centered on them. Some left-wing female writers also went into hiding again and right-wing male writers called on right-wing female writers again. Left-wing male writers emphasized the power of women as a group, but they did not depict women themselves revealing their ideological positions. During the liberation period generally, there were more narratives of between left and right . Some female writers, including Ko Myung-ja (1904–?) and Choi Hwa-sung(1923–?), wrote down their arguments even given their political limitations and other difficulties. The former was a famous socialist during the colonial period who participated in the South-North Joint Conference as the party leader. However, she returned south of the 38th parallel. The latter was a representative of the new women’s liberation ideology and the daughter of Park Seung-ho, the leader of the right-wing women’s movement. However, she defected to North Korea with her younger sisters. Those who had the 38th parallel between made different choices. However, by embracing the paradox of decolonization, their writings and books filled the blanks left by the lack of representation of female socialists during the liberation period. These two women who wrote during the postcolonial period proved the existence of female writers who wrote about female liberation theory from a socialist perspective.

서양문학 전통 속의 여성상과 여성작가의 저자 의식-메리 셸리의『프랑켄슈타인』과 잉에보르크 바흐만의『말리나』를 중심으로

유현주 한국언어문학교육학회 2015 한어문교육 Vol.32 No.-

What appears to look incidental woman figures who has become the typical type and the others formed by male-centric perspective in the story of man from ancient Greece to modern literature in the tradition of literary history? And how can the female writer write her own story in writing against the patriarchal creator’s view which is the creator of text? Does female's writing indeed contain the possibility of writing to notice the transformation of the social and cultural structures? In this paper, we reflect on these issues through Mary Shelley's novel "Frankenstein or the Modern Prometheus" in the early 19th century and "Malina" by Ingeborg Bachmann, an Austrian writer in the mid-20th century. Mary Shelley's "Frankenstein or the Modern Prometheus" tells the story of the monster that was created by Dr. Frankenstein exploring the principles of life passed through three descriptors which are Frankenstein, the monster and Captain Walton conveying their stories to his sister. All three descriptors are males, and the anonymous writer published a novel. Each of these three descriptor with fundamental questions in mind has wandered the frontier zone of the ground and talks about off the existence of the creature in God which created Adam. In this regard, this novel is a story about a woman in a patriarchal world that has been ruled out as a heterogeneous presence and is confronted with the structured text alienation and anxiety as a female writer in the tradition of Western literature that has given the patriarchal authority to the writer as a creator of the text at the same time. The problem of female writer’s consciousness in the tradition of Western literature is treated as a main idea, a contemporary female writer of the mid-20th century, in Ingeborg Bachmann’s “Malina”. The author plans Malina as a person carrying the stories about the death of women and a female descriptor describes the process of handing over her stories to him in this novel. However, by the progresses of the novel, it becomes a process which is Malina the female descriptor 'I' is taking the male narrative perspective by coming out the rational and masculine female descriptor's other self. This work is the process itself of literature which is a female writer, as an author, makes her story a literary work, Being split into female descriptor and his male alter ego of the artist's narrative perspective can be understood as a division of losing their identity as women in a patriarchal and male-dominated patriarchal society and writer’s consciousness in western literary patriarchal tradition. In the final chapter, the female descriptor hands over her scattered memories, nightmare and writings to Malina, the reasonable superior masculine alter ego, and she defines this process as a violence and murder and disappeared. This novel criticizes and deconstructs western patriarchal society, patriarch of the western literary tradition and rationalism in the content and configuration.

여성소설에 나타난 변신 모티프와 환상성 연구 -한강, 오수연, 송경아 소설을 중심으로

송연주 한국문학이론과비평학회 2008 한국문학이론과 비평 Vol.41 No.-

By regarding the fantasy novel's essence as violation and subversion of control ideology, this article is based on Rosie Jackson's theory that focus on the society criticism. I tried to read a tendency to the fantasy in female novels by linking the woman to the fantasy neglected in the center of the literature. The main texts chosen for the research are Han-Gang's short story, The Fruit of My Woman(1997), Oh-Suyeon's short story, An Insect(1997), and Song-Kyounga's short story, The Story of My Bachelor in a Shell(2005). I chose the texts in the ground that three of the female writers are now active in the Korean literary world, the fantasy is presented in their works obviously, and they use the metamorphosis motif as main technique revealing the fantasy. And they attempt to overthrow the male-centered ideology through the fantasy. In this writing, I examined the way presented the fantasy in the female novels by identifying the meaning of the metamorphosis motif. The writers' intentions are varying through the transformation of the protagonist woman into the plant and the animal and the replacement of the metamorphosis subject using the parody technique. Three of the works can be regarded as the fantasy novel because they present the fantasy in that the characters transform their outward look and the supernatural events take place in the fiction. When depressing patriarchy representing Father and Husband weakens the women's flight desire, they try to disassemble their own body through the symbolic change and overthrow their home, the depressing space in the disguise of peace. Linking the woman novels to the fantasy novels will give another possibility to the female novels from now. By regarding the fantasy novel's essence as violation and subversion of control ideology, this article is based on Rosie Jackson's theory that focus on the society criticism. I tried to read a tendency to the fantasy in female novels by linking the woman to the fantasy neglected in the center of the literature. The main texts chosen for the research are Han-Gang's short story, The Fruit of My Woman(1997), Oh-Suyeon's short story, An Insect(1997), and Song-Kyounga's short story, The Story of My Bachelor in a Shell(2005). I chose the texts in the ground that three of the female writers are now active in the Korean literary world, the fantasy is presented in their works obviously, and they use the metamorphosis motif as main technique revealing the fantasy. And they attempt to overthrow the male-centered ideology through the fantasy. In this writing, I examined the way presented the fantasy in the female novels by identifying the meaning of the metamorphosis motif. The writers' intentions are varying through the transformation of the protagonist woman into the plant and the animal and the replacement of the metamorphosis subject using the parody technique. Three of the works can be regarded as the fantasy novel because theypresent the fantasy in that the characters transform their outward look and the supernatural events take place in the fiction. When depressing patriarchy representing Father and Husband weakens the women's flight desire, they try to disassemble their own body through the symbolic change and overthrow their home, the depressing space in the disguise of peace. Linking the woman novels to the fantasy novels will give another possibility to the female novels from now.

중국 고대 여성작가 詠史詩 試探

윤혜지 한국외국어대학교 중국연구소 2022 中國硏究 Vol.90 No.-

Ancient Chinese female writers revealed their opinions about historical facts, awakened politicians’ wrongdoing and criticized tyranny of past kings. They also projected suppressed masculinity, which is their other shadow, by enhancing values of loyalty and hermits. However, a unique point discovered in historical poems of female writers is that they focused on ancient events or historic figures related to female, their own gender. Female writers empathized female figures’ minds in history and contemplated their own lives through their records to reveal new opinions, which male writers couldn’t grasp. This is a different aspect that male writers embodied historic events in poems through historical poems, and eventually tried to convey moral to people. Comprehensively, historical poems of female writers had high literary value as they contained writers’ insight about past history and current lives, together with sentiment as writers. In a formal aspect, 5·7 word Jueju(絶句) and Lushi(律詩) were mostly used, and some of Pailushi(排律詩) was also used.

性别·自我·族裔 ― 臺灣原住民女性作家的敍述策略與书写主题

이숙연 한국중국어문학회 2015 中國文學 Vol.84 No.-

This paper focuses on the writings of Liglave A-wa and Rimui Aki. They are Taiwanese indigenous female writers. The writers of indigenous literature come forth in their age and the related research is also increasing, but the Gender perspectives in indigenous female writers' writings haven't aroused the scholar's concern. However, to research indigenous female literary works deeply, we should investigate female writers' identities, differences between male writers and the long female consciousness that they have experienced. I hope this paper discover common narrative strategy and thematic features among these women writers. 80년대 중반부터 시작된 당대 대만 원주민문학은 21세기 들어 본격적으로 조명을 받기 시작했다. 이들 텍스트는 문학 및 문화 연구 분야에서도 기초 자료로 활용되어 많은 담론 창출에 기여하였다. 하지만 주류작가인 남성작가의 텍스트 속에서 성별시각을 결여되어 있다는 문제는 연구자들로부터 주목받지 못했다. 본 연구는 이 점에 착안하여 Liglave A-wa와 Rimui Aki의 텍스트를 성별시각에서, 그리고 기존 대만 원주민문학 담론의 맥락과 대조하여 분석하였다. 이러한 분석을 통해 여성 원주민들의 여성으로서의 자아 상상과 문화적인 소외, 그리고 그들의 상실감을 파악하고 나아가 이 두 작가의 서사전략과 주제의식을 분석하였다.

17세기 영국여성, 펜을 들다

배혜정 부산대학교 여성연구소 2013 여성학연구 Vol.23 No.1

In 17th century England, women were in contradictory situations. Many women began to read and write books, though women were still barred from intellectual spheres such as publication and education under the patriarchal system which demarcated public and private roles of man and woman. How can we understand these situations? I tried to explain contradictory situations by examining the reality which female writers of 17th century had to deal with and by analyzing the methods which they used to solve these problems. Female writers of 17th century were facing two situations incompatible with being ‘a writer’. One was the prevalence of the view that silence is the most important virtue of women. Thus, the fact that a woman became a writer meant that she was in danger of staining her honor. The other one was the patriarchal system in which the belief was held that publishing was an area reserved for men. Thus, the fact that a woman became a writer meant that she was about to invade a domain of men. However, moral blame and social pressure couldn't silence female writers. Female writers solved these problems by various writing strategies. While some hid their identity anonymously to avoid criticism, some were recognized as author after disclosing their gender. Some women, for example, used the popular belief that women are weak and inferior as justification for their publication. Other writers wrote their books mainly targeting people of their own sex, or chose to translate books rather than to write original books. Furthermore, some were recognized as authors through the authority obtained through their motherhood. As these methods corresponded with the traditional view of women of the time, they appear as having been inevitable choices rather than writing strategies. But if we consider the social pressure which female writers of the 17th century were exposed to, we will understand their choice to write as a strategy. The fact that a woman published her book was not conventional, though her book was conventional. Thus the fact that a woman become a writer in 17th century should be considered a serious challenge to the patriarchal system. 17세기는 영국여성에게 모순적인 상황을 던져 준 시대였다. 출판과 교육을 비롯한 지적 영역에서 여성을 공식적으로 배제한 시기였음에도 불구하고, 두 번의 내전과 왕정복고 등 정치적 격동기를 겪으며 더 많은 여성이 글을 쓰기 시작했기 때문이다. 이런 모순은 어떻게 설명될 수 있을까?본고는 17세기 여성작가들이 처한 현실과 이를 타개하는 방식을 살펴봄으로써 이런 모순을 해명하고자 한다. 17세기에 글을 쓰는 여성은 ‘침묵을 여성의 가장 중요한 덕목으로 삼은 여성이데올로기’와 ‘출판이란 남성의 영역이라는 성별 분리에 근간한 가부장제 이데올로기’ 때문에 작가가 되는 것과는 상충되는 상황에 직면해 있었다. 하지만 여성작가에게 가해진 도덕적 비난과 사회적 압박이 여성을 침묵하게 만들지는 못했다. 오히려 여성작가는 다양한 글쓰기 전략을 통해 이런 문제를 해결해 갔다. 예를 들어 유약하다는 통념을 빌미로 삼거나 여성에게 어울리는 주제를 택하기도 했다. 또한 부담이 덜한 동성 독자를 대상으로 책을 펴거나 직접 자신의 책을 쓰기보다 번역을 통해 자기주장을 에둘러 표현하는 경우도 있었다. 나아가 어머니의 권위를 빌려 작가로서의 권위를 당당히 주장하기도 했다. 이런 방법은 흔히 기존의 여성관을 답습하는 듯 보이는 탓에 전략이라기보다는 어쩔 수 없는 선택이었고 그만큼 작가의 권위를 세우는 효과가 부족하다고 보았다. 하지만 글을 쓰는 여성에 대한 상당한 사회적 압력을 감안하면 관습적인 여성관을 그대로 수용하는 가장 소극적인 형태라도 전략으로 읽을 여지가 있다. 설령 책 내용이 관습적일지라도 여성이 책을 출판하는 일까지 관습적인 것은 결코 아니었기 때문이다. 따라서 17세기에는 여성이 작가가 된다는 사실만으로도 성별에 따른 공사영역 분리에 토대를 둔 당대 가부장제 문화에 하나의 도전일 수 있었다.

탈북 여성 작가의 글쓰기 연구

연남경(Yeon, Nam-kyung) 한국현대문학회 2017 한국현대문학연구 Vol.0 No.51

본고는 생존 회로를 따라 국경을 넘는 탈북 여성이야말로 서발턴의 현재적 형상이라 판단하고 그들의 목소리를 , 직접듣고자탈북여성작가들의 글쓰기를연구하였다. 최근 한국 소설에서 다수 이루어지는 ‘한국인-작가’의 ‘탈북-여성 인물’ 재현이 주체와 대상의 불일치에서 비롯하는 윤리적 난제에서 자유로울 수 없기에 서발턴의 목소리를 통해 글쓰기 의도와 행간을 살펴야 하는 것이다. 다수의 탈북 여성들이 탈출 과정에서 폭력과 학대, 성적 착취를 겪고 탈출에 성공한 경우에도 그 시기는 트라우마로 남는다. 외상사건은 시도 때도 없이 경험자에게 침투하며 사건을 경험한 당시의 정서적 강도를 동반하기에 탈북 여성 작가의 글쓰기는 트라우마에 고착되어 있는 인물의 현재적 고통을 증상으로써 쓰는 작업이 된다. 『청춘연가』에서 우울증은 딸을 내면에 합체해 버린 인물의 층위에서 발견되기도 하고, 세 작품 공통적으로 탈북자가 고향과 맺는 관계와 관련하여 작가층위에서 작동하기도 한다. 탈북 여성 작가에게 인정할 수도 부인할 수도 없는 양가적 대상이 고향 (북한)이라 할 때, 강력한 증언의 욕망과 더불어 한국 사회정착에 의지를 보이는 글의 내용에도 불구하고 그녀들은 애증의 대상을 내면화한 우울증적 주체에 다름 아니다. 한편 텍스트 소통 구조 안에서 탈북 여성 작가는 자신의정체성을 밝힘으로써 이사회에 자신이 누구인지 설명하고자 한다. 그러나 그녀는 자신의 고통과 죽음에의 접근, 슬픔과 같은 단수성의 경험을 전달하는 데 적합한 언어를 찾지 못하며, 자기 증명의 서사는 완성되지 않는다. 이때자기 서사의 불가능성을 보여주는 이들의 글쓰기야말로 인간의 근본적 취약성과 상호 의존성을 보여주는 집합기억에 해당한다. 그녀들의 글에서 독자들은 인간존재의 겸손과 무지를 배운다. 그렇기에 탈북여성 작가의 글을 읽는 과정에서 완전한 대답을 기대하지 않고 계속 누구인지 묻는 것만으로도 그녀들에게 자리를 마련해주려는 주체의 윤리가 발견될 것이다. This study regarded that female refugees from North Korea as most appropriate present figure for the idea of subaltern of Spivak, who cross the border along the survival circuit, and investigated the writings of three female North Korean refugees in the dimension that their voices needed to be heard. It is because the representation of ‘North Korean refuge-female-character’ by ‘Korean-male-writer’ has the possibility of epistemic violence for the discordance between the narrator and object of writing. Even after defecting from North Korea, multiple female refugees still feel traumatized about their defecting period during which they were victimized under violence, maltreatment and sexual abuse. Such traumatic memories are brought back to them regardless of the time and they are emotionally as strong as they were at the point of occurring. For this reason, female North Korean writers’ writings are the work of describing the symptoms of present pain of a traumatized character. melancholia is sometimes found in a character who incorporated her daughter into her inner ego or in a writer herself in her way of building relationships with her hometown. If the homeland(North Korea) is an ambivalent subject for North Korean refugee writers as they cannot accept or nor deny it, the narrator of fictions, that is, writers, are no more than a melancholic subject who internalized the object of both love and hatred, despite the stories showing excessive will to settle down in South Korea. Female North Korean refugee writers try to give an account of themselves by revealing their identity. But, by failing composition of self-proof narratives, their writings become to deliver human"s fundamental weakness and interdependence. Therefore, the readers can learn humility and ignorance from their writings.