탈식민주의 이론과 실제의 꼴라주

허창수 ( Chang Soo Hur ) 한국교육과정학회 2011 교육과정연구 Vol.29 No.3

끝나지 않은 식민주의를 해체할 수 있는 탈식민주의는 학문 분야에서 최근 부각되고 있는 담론이다. 국제적으로는 1960년 대 이후 서구의 선진국 뿐 아니라, 아시아, 아프리카와 인도 등에서 활발하고 점차적으로 발전해 왔던 반면, 한국의 경우는 그 논의가 크게 진행되어 오지 않았다. 그나마도 이론적인 담론을 소개하고 논의하는 수준에서 연구되어 온 것이 현실이다. 탈식민주의는 실제에 대한 논의이다. 인간의 일상생활에서 전해지고, 숨겨지며, 진행되는 다양한 실행과 보편성에 연구가 되어야 하는 데 그에 대해서 한국은 매우 초보적인 단계에 있다고 하겠다. 본 연구는 탈식민주의의 이론, 방법론, 교육, 그리고 실행(praxis)적 측면에서는 어떠한 노력들이 진행되고 있는지 논의하고자 하는 목적으로 가지고 있다. 특히 일상적 텍스트를 대상으로 탈식민주의 시각에 의해 어떻게 의미가 해석될 수 있는지에 대해서 초점을 두고자 하였다. 연구 질문은 다음과 같다. 첫째, 일상적 텍스트 내 탈식민주의는 어떻게 개념화 될 수 있는가? 둘째, 탈식민주의에 적합한 이론과 방법론적 배경은 무엇인가? 셋째, 교육적 맥락에서 탈식민주의의 적용은 어떻게 이루어져야 하는가? 이에 대한 답변을 하기 위해, 본 연구는 영화, 소설, 대중적 역사 서적, 선행 연구, 탈근대주의 관련 서구의 연구방법론 서적 등을 선택하여 그것들이 가진 의미를 탈근대주의, 질적 연구, 교육이라는 주제들로 개념화하였다. Post-colonialism is currently raising up in academic field as a big grounded-theory to be able to deconstruct unended colonialism in the world. It has been gradually developing very actively in the western as well as Asia, Africa, and so on since 1960. Whereas, Korean scholars have discussed very rarely in this field. Although they have studied, they mostly introduced theoretical frameworks and textbook analysis in post-colonialism. Post-colonialism is a discussion of the practical. Scholars should discuss on transferring, hiding, and processing practices and taken-for-granted in the life-world in terms of post-colonialism. In this aspect, Korean academic field, especially educational field posit on naive level. Thus, I purport to discuss how studies have effort to construct theoretical, methodological, educational, and practical frameworks in term of post-colonialism. Specially, I would like to focus on life-world texts. And, how are those texts interpreted in meaning of post-colonialism. The research questions are the following: 1) How are those life-world text conceptualized in terms of post-colonialism?, 2) what kind of methodology are appropriate? and 3) How are we applying post-colonialism for educational field? To answer these questions, I collect data from novels, films, historical assay, literature review, and so on and try to understand their meanings in terms of post-colonialism.

할렘르네상스 미술에 나타난 탈식민주의적 속성: 두 보이스의 ‘범아프리카주의’를 중심으로

김민아,박숙영 한국조형교육학회 2013 造形敎育 Vol.0 No.47

The history of post-colonialism started with a form of 'ethnic minority discourse', and the genealogical root of post-colonialism begins with the resistant discourse of 'Negro', the Other. Black diaspora occupies a prominent place in the historical context of post-colonialism. That's why Pan-Africanism, which African blacks as main agents of discourse attempted to overcome colonialism and racism and aimed to unify and uplift African descendants, could be a starting point of post-colonialism. This paper is, hence, based on an awareness of the problem that post-colonialism begun with the resistance of Negro and the theory of post-colonialism of the West-based scholars is rooted in Pan-Africanism by William Edward Burghardt Du Bois. Pan-Africanism, especially, served as a main impetus for Harlem Renaissance to popularize the culture of both Africa and American blacks to new world for the first time. With the advent of Harlem Renaissance, Negro rejected the past negative image of blacks represented by whites, recovered the pride of blacks as the subject, not the object, of representation, and encouraged new consciousness of race. Therefore, the quest for Pan-Africanism in the Harlem Renaissance is a work to restore the intrinsic self-reliance in post-colonialism as well. Black artists of Harlem Renaissance defined African art as their 'lost legacy' and tried to connect it with African-American culture. And they newly posited their identity as the progenitor of civilization, not the descendants of slaves, through Egyptian civilization. This is a deconstruction and resistance to the negative identity given by whites in the past and an attempt to establish the consciousness of race as the subject. Against this backdrop, this paper intends to reveal post-colonialist attributes - 64 -shown in Harlem Renaissance art by focusing on how Pan-Africanism was embodied in the Harlem Renaissance art works, clarifying that Pan-Africanism by Du Bois is the foundation of the theory of post-colonialism discussed after Said in the 80's.

탈식민주의인가, 후기식민주의인가: 김남주, 그리고 한국의 포스트콜로니얼리즘 연구 20년에 대한 단상

황호덕 상허학회 2017 상허학보 Vol.51 No.-

The research filed of postcolonialism in Korea spans about twenty years when considering the history of the translation of the related concepts and books. Limiting the history of postcolonialism within the studies of modern Korean literature, the period encompasses about fifteen years. This paper focuses on the various practices of translation related to postcolonialism over the past two decades and the achievements of scholarly research. Studies on postcolonialism in Europe and the United States are related to the translation of poststructuralism, the representation of subaltern in the Third World, and psychoanalysis on the colonizer and the colonized. In contrast, the practices of postcolonialism in Korea was adopted as one of several methodologies that criticize modernity, nationalism, and the rules of nation-state, and that finally have overcomethe centro-homogenous writing and cognition on Korean history. In the conceptual mapping, postcolonialism has been translated into post/colonialism(Tʻalsingminjuŭi), postcolonialism(P'osŭt'ŭk'olloniŏllijŭm or Pʻosŭtʻŭkujojuŭi), or post-colonialism(Hugishingminjuŭi) from the three perspectives of resistance, ambivalence, and continuity. Post/colonialism by emphasizing the process of decolonization is the translation that precisely includes the aim of overcoming(Tʻal) modernity, such as nation-states or colonialism. The translation of postcolonialism conveys ambivalence that includes historical practices and perspectives on the one hand, and the actual lives and complicated practices of the colonized country on the other. Postcolonialism was chosen as a neutral term in order to combine the poststructuralism theory with the radical ideas of tri-continental’s resistance and the subaltern studies. Lastly, Post-colonialism is based on the assumption that the order, experience and cultural mores of the colonized continues to be linked to the liberated country’s system and consciousness and culture. However, such practices of translation and writing could not overcome a kind of ‘memory regime’ that is strongly embedded in each East Asian states. As a result, the translingual, transnational and translational practices were conducted as either trans-macroscopic or trans-microscopic discourse, such as systematic analysis of the order of imperial history or the psychoanalysis of colonialism in Korea. In addition to the current flow of global modernity, the national memory regime belonging to mass-cultural representation tends to privatize or appropriate academic achievements likes the discovery of (post)colonial ambivalence. In this context, postcolonial studies are in a difficult position because scholars decipher their mission to re-articulate the criteria of the social sphere while carrying out their practical performance as critic, translators, and fighters. Hence, this paper describes the difficulties that postcolonial studies face, focusing on a new analysis called for in the study of Kim Nam-ju and post-Kim Nam-ju. 한국의 포스트콜로니얼리즘 연구는 해당 개념의 번역 및 관련 서적의 번역사로 보자면 약 20년, 한국근대문학연구사에 국한해 보자면 약 15년의 역사를 갖고 있다. 필자는 이 글에서 지난 20년 간의 포스트콜로니얼리즘의 번역과 학문적 성과를 ‘postcolonialism’ 개념의 번역적 산종을 중심으로 논하였다. 우선 이론 및 문제의식의 상속 관계와 관련해 유로 아메라칸적 맥락의 포스트콜로니얼리즘이 포스트구조주의의 번역과 제3세계 서벌턴의 재현 및 (후기) 식민지 지성 정신 분석과 연동되어 있음에 비해, 한국의 포스트콜로니얼리즘은 근대성 비판, 민족주의 및 국민국가 비판의 과정에서 일국문화사를 극복하는 방법론으로 채용되었음을 논하였다. 한국의 포스트콜로닌얼리즘은 각각 저항, 양가성, 지속이라는 세 맥락에서 각각 탈식민주의, 포스트식민주의 또는 포스트콜로니얼리즘, 후기식민주의 등으로 번역되었다. 탈식민주의라는 번역적 실천은 주로 “근대 (국민국가/식민주의) 극복”을 목적으로 했기에 ‘탈식민화(decolonization)’라는 과제를 뚜렷이 발산했다. ‘포스트식민주의’ 혹은 ‘포스트콜로니얼리즘’은 경우에는 역사적 경험과 전망을 아우르는 말로 사용되는 한편, 식민지의 삶과 실천이 지닌 양가성을 강조했다. 포스트구조주의라는 이론을 트리컨티넨탈의 저항 ‘경험’과 서벌턴 연구라는 급진적 ‘시각’ 속에 종합하려 할 경우 이 중립적 용어가 선택되곤 했다. ‘후기식민주의’는 식민지 경험이 제도와 의식 차원에서 장기지속되었다는 가정 아래, ‘해방’ 후 문화의 식민지적 기원을 함축하려 했다. 그러나 이런 실천들은 강고하게 자리자은 기억 체제(memory regime)를 극복하지 못한 채, 서발턴의 상황에 대한 유물론적 접근이나 제국사라는 큰 질서에 대한 제도 분석, 혹은 식민지성의 정신분석과 같은 초거대, 초미시 담론에 귀착되곤 했다. 국가 단위의 기억 체제가 학문적 성과를 사취/전유하는 작금의 상황과 글로벌 모더니티 속에서 이제 포스트콜로니얼리즘 연구는 비평가, 번역가, 투사라는 실천적 과제를 동시에 수행하는 한편, 사회적 장소 ‘내부’에 그어진 분할선들을 다시 그려나가야 하는 어려운 상황에 처해 있다. 필자는 이를 김남주와 포스트 김남주 다음에 놓인 새로운 요청으로 암시해 보았다.

탈식민주의 여성소설의 함의

안혜련(Ahn Hyeryun) 한국언어문학회 2006 한국언어문학 Vol.57 No.-

  Post-Colonial women"s novels are the result of the meeting of post-colonial and feminism. They point out the composition of exploitation and trace of conspiracy deeply rooted in the independent and liberal transcription of our novels. Post-colonial feminism introspects the relation of men and women as the rulers and the colonists. Since the most of women have been considered as “the third party”, metaphorically “colonized beings” or “inferior individuals”, post-colonial writing and women"s writing have close correlation.<BR>  Feminine writing refuses to be the women reflected by men-centered viewpoint as the deficient, and reveals the feminine nature of indigenous desire of women from the female-centered point of view. In this point, women"s writing and post-colonial writing are closely connected together.<BR>  By reading the post-colonial women novel prospect, I"ve researched whether the women"s novels have structured the substantial foundation as well as their remarkable external growth in this essay. While the early post-colonial women"s novels were interested in the direct interchange of women"s reality and social contradiction, recent ones try to disclose more complex critical mind through setting up various contradictions which are secretly hidden by our daily lives. By looking up the gradual transfiguration aspects, it"s not hard to realize that how dangerous it was to diagnose the condition of women"s novel just by putting it in to the frame of the conflict between Western imperialistic culture and colonial culture. Since the post-colonial situations of the day have a property of continuous complexity and fluid states, post-colonial women"s novels are positioned on the phase of various possibility. It"s asked to be able to describe the aspects of colonization, re-colonization, and post-colonization which are more complicatedly accelerated in the point of “the inferior beings”.<BR>  Therefore, in the reality where the post-colonial reality and contradictions are multi-layered, female authors are required to objectify their own experiences and try to write various styles of writing to establish the real identity by suggesting new alternatives. With the work of retrieving the women"s words, post-colonial women"s novels are asked to have insight to see the various points of feminine subject in this progressing global era and find their own language.

정양 시에 나타난 탈식민 양상과 그 의의

김혜원(Kim, Hye-won) 한국언어문학회 2015 한국언어문학 Vol.95 No.-

This research aims at analysing aspects of post-colonialism of Jeong Yang's poems and identifying his perception and intention of post-colonialism and investigating its value. So the research investigates aspects of post-modernism formed between colonist and the colonized in discourse of modern history, being divided into three steps of stratum focusing on the poems reveals zeitgeist and historic consciousness of Jeong Yang: external colonialism, domestic colonialism and internal colonialism of individuals. Therefore the research first identified that Jeong Yang marked America as a back of division of Korean Peninsula and dictatorship and resisted against American imperialism with rejection and independence spirit against foreign power. And then it identified that he explored identity of neo-colonialism of Korean society belonged to colonial reality even after Independence and tried to resist against domestic colonial power with anti-dictator democratic spirit. Finally it also identified the self-reflective view of Jeong Yang to overcome the colonization of mind, catching domestic colonialism and colonialism of petit bourgeois infiltrated into minds of intellectuals dexterously. Thus the research investigated significantly that post-colonial view of Jeong Yang made us prospect the world of unification, independent national defense and self-reliance economy and then discourse on post-colonialism, in that Jeong Yang showed us that source of powerful strength was forming our way of thinking and cultural style was related to the system of colony discourse.

"Chutnificating" National Allegory: Rushdie's Midnignt's Children

김경숙 한국영어영문학회 2008 영어 영문학 Vol.54 No.3

This essay examines Fredric Jameson’s argument of “Third-World literatures as national allegories” by investigating Salman Rushdie’s novel Midnight’s Children, which has often been interpreted as an allegory of national history of post-colonial India. As the Indian Subaltern Studies Group’s example indicates perfectly, in the era of post-colonialism, narrations of histories from the perspective of Third-World countries themselves often contest Eurocentric historiographies and call for a revision/reinterpretation of history/historicism itself. Salman Rushdie’s Midnight’s Children can be read as an attempt to write a history for post-colonial India from the perspective of post-colonial India. More importantly, however, Rushdie’s Midnight’s Children as an alternative historiography critiques Eurocentric concept of not only individual identity but also national identity/history, based on the mirage of monism, homogeneity, and authenticity. On the one hand, Rushdie provides an alternative historicism by endowing his writing with a trope of “pickling” or “chutnification” of history. This “chutnification of history” is a process of writing history from the perspective of the post-colonial Third World outside the Eurocentric historicism as an alternative historiography. One of the most outstanding tropes of Rushdie’s peculiar history-writing can be found in his entwining of personal story with national history. Throughout the novel, history is personalized or individualized; individual’s lives are historicized. On the other hand, Rushdie’s alternative historiography becomes more significant through its blatant questioning of essence, homogeneity, and authenticity. Transcending the myth of authenticity and homogeneity along with the binary oppositions of white/black, men/women, and authentic/ inauthentic, Rushdie presents “multiplicity” as the potential discourse for post-independence India. After all, Rushdie’s project in Midnight’s Children does not just provide a tidy historiography for India as a national allegory. Rather, it disrupts all forms of orthodoxy, authenticity, and homogeneity in historicism and identity politics beyond the question of First World or Third World. This essay examines Fredric Jameson’s argument of “Third-World literatures as national allegories” by investigating Salman Rushdie’s novel Midnight’s Children, which has often been interpreted as an allegory of national history of post-colonial India. As the Indian Subaltern Studies Group’s example indicates perfectly, in the era of post-colonialism, narrations of histories from the perspective of Third-World countries themselves often contest Eurocentric historiographies and call for a revision/reinterpretation of history/historicism itself. Salman Rushdie’s Midnight’s Children can be read as an attempt to write a history for post-colonial India from the perspective of post-colonial India. More importantly, however, Rushdie’s Midnight’s Children as an alternative historiography critiques Eurocentric concept of not only individual identity but also national identity/history, based on the mirage of monism, homogeneity, and authenticity. On the one hand, Rushdie provides an alternative historicism by endowing his writing with a trope of “pickling” or “chutnification” of history. This “chutnification of history” is a process of writing history from the perspective of the post-colonial Third World outside the Eurocentric historicism as an alternative historiography. One of the most outstanding tropes of Rushdie’s peculiar history-writing can be found in his entwining of personal story with national history. Throughout the novel, history is personalized or individualized; individual’s lives are historicized. On the other hand, Rushdie’s alternative historiography becomes more significant through its blatant questioning of essence, homogeneity, and authenticity. Transcending the myth of authenticity and homogeneity along with the binary oppositions of white/black, men/women, and authentic/ inauthentic, Rushdie presents “multiplicity” as the potential discourse for post-independence India. After all, Rushdie’s project in Midnight’s Children does not just provide a tidy historiography for India as a national allegory. Rather, it disrupts all forms of orthodoxy, authenticity, and homogeneity in historicism and identity politics beyond the question of First World or Third World.

<아리랑>의 탈식민성 연구

전영의 한중인문학회 2011 한중인문학연구 Vol.32 No.-

이 논문은 아리랑에 나타난 민중성과 시대적 특수성을 살펴봄으로써 아리랑의 탈식민 성을 연구하는 것을 목적으로 한다. 아리랑은 식민치하의 조선현실에서 생존권 투쟁을 위 한 민중의 삶과 저항을 생동감 있게 보여주는 소설이다. 하와이 강제 이주 노동자, 독립운동을 위한 자발적 이주자, 일제 강제이민정책과 소련공산당의 한인강제이주정책에 의한 이주자, 조 선인학병과 일본군 ‘위안부’ 문제 등 일제 강점기 조선인들이 겪은 삶과 시대적 특수성이 잘 드러난다. 피식민인들은 계급차별, 불평등한 토지소유․분배 문제로 인한 억압과 착취, 식민 인들이 상상계에서 만들어 낸 이항대립관계로 인해 상대적 열등감을 갖는다. 피식민인들은 이 를 극복하기 위해 식민인들에게 의존 혹은 협력을 하여 자기재현을 이룬다. 혹은 다양한 방법 을 통해 정체성을 회복하려 한다. 이것이 바로 ‘자기재현’과 ‘정체성 회복’이라는 탈식민의 양 가성이다. 첫째, 일부 식민지인들은 교육과 협력을 통해 서구화된 문명을 배우고 식민인의 의 식주를 흉내냄으로써 지배자의 순치된 식민지인들이 되어 자기재현을 이룬다. 혹은 협력을 통 해 자기재현을 이루지만 이를 다시 민족 주체성과 정체성을 지니는 도구로 사용하고 역으로 이용하여 식민현실을 깨부수려 하는 것으로 나타나기도 한다. 둘째, 또 다른 식민지인들은 방 어적 폭력, 교육 등 다양한 행위들을 통해 정체성을 회복하려 한다. 특히 식민치하에서 교육을 받고, 협력을 통해 자기재현을 이루는 인물군 중 일부는 교육을 통해 정체성 회복을 이루는 인물들이라는 점에서 두 인물군은 교집합적인 요소를 갖는다. 지주들의 착취와 폭력에 대항하 는 소작인들의 방어적 폭력, 일제강점이라는 식민현실에서 벗어나기 위한 독립운동, 가부장제 와 식민주의라는 이중적 억압에 대한 여성들의 적극적 저항 등 민중들의 탈식민성은 다양하 게 드러난다. 또한 자의 혹은 타의에 의해 형성된 디아스포라들의 탈식민성도 찾을 수 있다. 하와이 이주 노동자 경우를 보면 조선인의 정체성을 가지고 있는 1세대들처럼 2세대 역시 부 모에게서 민족정신을 이어받고 정체성을 유지하며 광복군에 지원하는 등 다양한 모습의 탈식민성을 보인다. 이들의 적극적 행위들은 피식민인의 심리적 보상과 상처의 극복, 디아스포라 의 단결 등으로 이어진다. 민중들의 이러한 행위는 타자의 위치를 전복시켜 의식의 주체가 된 다는 입장에서 탈식민적 의의를 갖는다. 결국 탈식민이란 정체성 회복과 자기재현이라는 두 가지 명제를 해결하는 과정 속에서 변증법적으로 나타나는 것이며 탈식민주의란 근대를 인식 하는 새로운 패러다임이자 국가권력과 자본주의 시장경제체제가 가지고 있는 폭력, 그 폭력에 의해 지배되는 오늘날에 대한 성찰이다. The essay was written with purpose that study about post-colonialism of Arirang with look into nature of the people and quality of period. Arirang is a novel that It show life of the people and there resistant for a fight the right to live and a feeling of live in the chosun of colonial period by Japan. It become known life of korean and quality of period by emigration labors by force, arbitrary emigrants for an independence movement, emigrants by a force emigrate policy, chosun's student soldiers and military sexual slaveries by Japan. It mean that resistant of the people is post-colonial, the resistant is the fact for solution of division, landholding, the abolition of class distinction. Post-colonial have two special quality that is ‘self-reappearance’ and ‘recovery identity’. First ‘self-reappearance’ have two means. They ape clothing, food, house of colonizer and learn western civilization. They become the taming people under colonial administration and the people under colonial administration achieve self-reappearance with education and cooperation. or they achieve self-reappearance with cooperation but they use cooperation like a tool for keep there national independence and identity on the contrary. Second post-colonial quality appear ‘recovery identity’. The people try to recover there identity through variety action. for example violence of defense, education. Soo-guk and Yang chi seong's relation ship is very active movement. It is active resistance and violence of defense about double pressure on system of absolutely power of father, or a male. also Diaspora show post-colonial quality. If we look a case about emigration labors by force, a first generation have identity of korean, and second generation who are there children have korean identity and inherit national spirit from parents. They show post-colonial quality through various case or support to independence army. This behavior is connect a psychological compensation of the people under colonial administration, overcome of injury, unity of Diaspora. It has a significance of post-colonial to the people become subject of spirit with exchange of a place of another person. Post-colonial is appeared dialectically in the process to solve two proposition ‘self-reappearance’ and ‘recovery identity’ after all and Post-colonialism is self-examination today about new paradigm to recognize the modern age, violence of capitalistic economy system and power of a nation, and was under the control of violence.

이원일의 큐레이팅에 있어서의 "제4세계"론 -탈식민주의를 중심으로

김성호 ( Sung Ho Kim ) 한국미학예술학회 2014 美學·藝術學硏究 Vol.40 No.-

본 연구는 연구자의 기발표 논문인 이원일의 큐레이팅 연구-창조적 역설(Creative Paradox) 을 잇는 후속편이다. 이 연구는 고 이원일 큐레이터(1960-2011)가 아시아인의 정체성으로서 해외의 국제전을 기획하는 가운데 필연적으로 맞닥뜨렸던 탈식민주의(Post-Colonialism) 담론에 대한 그의 ‘인식과 주제의식’ 그리고 ‘실천적 큐레이팅 방법론’이 무엇이었는지를 탐구한다. 연구자는 그의 탈식민주의적 큐레이팅의 실천이 도달한 지점을 ‘제4세계론’으로 파악한다. 이러한 결론에 도달하기 위해서 연구자는 ‘아시아 중심의 국제전’과 ‘국제전에서의 아시아적 주제’를 두루 아우르면서, 그가 기획한 국제전을 면밀히 살피는 한편, 그가 작성한 전시 카탈로그 서문, 인터뷰 내용들을 검토했다. 이원일의 초기 큐레이팅에 나타난 ‘아시안 네트워킹’이라는 ‘서구에 대한 단순한 저항의 논리와 실천’으로부터 시작된 그의 탈식민주의 관점은 이내 저항보다 화해, 균형이라는 관점으로 서구/비서구, 문화식민자/문화피식민자의 경계를 와해시키는데 집중된다. 즉 그의 탈식민주의적 큐레이팅은 ‘동질화를 도모하는 세계화’에 저항하는 방법으로 ‘혼성’을 실천하는 것이었다. 이것은 서구의 동질화의 전략이라는 것이 ‘다원주의의 용인’이라는 이름 아래 벌어지고 있는 후기식민주의, 신식민주의 양상임을 밝히는 것이자, 그것에 저항하는 방식으로서의 바바(Homi K. Bhabha)가 탈식민주의 실천으로 제시한 ‘혼성성(hybridity)’을 실천의 전략으로 삼는 것이었다. 특히 다문화성(Multiculturality), 탈지정학(Post Geopolitics), 혼성의 지형도(Mixed topo map), 문화혼성(Mixed culture), 접지(Ground Connection), 통합(Integration)과 같은 무수한 큐레이팅 개념들로 나타나고 있는 ‘혼성’에 관한 구체적인 큐레이팅의 실천적 전략으로 그는 빛의 생산적인 혼성인 ‘가산혼합(Additive mixture)’ 개념을 제시하는데, 이것을 연구자는 에쉬크로프트(Bill Ashcroft)와 동료들의 탈식민주의적 실천 개념인 ‘전유’를 통해 해설했다. 즉 연구자는 식민종주국의 언어를 사용하되 그것을 해체, 재구성하는 ‘전유’의 방식이 이원일에게서 식민종주국의 지배 이데올로기를 해체하는 탈식민주의적 실천 전략으로 사용되고 있는 것으로 파악했다. 덧붙여 연구자는 이러한 이원일의 글로벌 큐레이팅 전략이라는 것이 본질적으로 ‘비서구를 서구에게 서구의 언어로 소개’하는 탈식민주의적 실천으로서의 번역 행위에 다름 아님을 주장했다. 한편, 연구자는 서구/비서구, 문화식민자/문화피식민자의 대립의 경계 위, 혹은 경계 언저리에서 펼쳐지는 무수한 가능성의 시공간, 즉 다맥락성의 시공간을 통해서 그가 종국에는 ‘터무니없는 시공간’에 대한 관심으로 이동하고 있음을 주목한다. 나아가 연구자는 이원일의 이러한 실천적 전환점을 사회경제학적 관점의 개발도상국이라는 개념으로부터 탈주하면서 사회학적 ‘다맥락성’과 물리학적 ‘덧차원(extra dimension)’이 결합된 개념으로 ‘제4세계’를 작명하고 그것의 ‘유토피아적 융합의 시공간’으로서의 탈식민주의적 의미를 탐구한다. ‘제4세계’는 그의 큐레이팅 맥락이 외부의 문제로부터 내면의 문제로, 이상의 문제로부터 경험의 문제로 이동하는 차원에서 고안된 그의 소주제 ‘터무니없는 시공간’을 재해석하는 것이다. 제4세계론은 그의 큐레이팅에 있어서 ‘우주 공간에서의 전시’라는 상상기획으로 이어진다는 점에서 그에게 매우 주요한 주제의식이다. 그것은 탈식민주의에 대한 이상론이 이원일의 후기 큐레이팅 실제에서 변형되고 일부 신비화되는 방향성으로 전환되고 있는 한 지점을 형성한다. 이러한 방향 전환은 그를 저항과 극복이라는 논리로부터 화해와 평등을 주장하는 새로운 아시아적 주체의식을 견지한 탈식민주의 큐레이팅의 실천자로 정초시키면서도 ‘포스트모더니즘의 자유주의적 다원주의자’로, ‘근본적인 휴머니즘 옹호자’로 정초시키는 또 다른 계기가 된다. This study is the follow-up of my dissertation A Study on Wonil Rhee`s Curating: Focusing on Creative Paradox. This study is an investigation into his ‘perception and thematic consciousness’ of the discourse on post-colonialism and “practical curating methodology” the late curator Wonil Rhee inevitably faced when curating overseas international exhibitions as an Asian curator with an Asian identity. The researcher of this study sees the point his post-colonialist curating reached as the ‘fourth world theory’. Encompassing ‘Asia-centered international exhibitions’ and ‘Asian themes in international art shows’ to arrive at this conclusion, the researcher has closely examined international exhibitions Rhee curated, and looked through his exhibition catalog essays, interviews, and other documents. His post-colonialist perspective triggered by the ‘logic of resistance against the West and its practice’ that is represented as ‘Asian networking’ denoted in his early curating, concentrates on breaking down the line between the West and the non-West, cultural colonialists and non-colonialists, and the shift from resistance to conciliation and equilibrium. That is, his post-colonialist curating was to practice ‘hybridity’ as a way of resisting ‘globalization trying to accomplish homogeneity’. This is to elucidate that aspects of post-colonialism and neo-colonialism derived from the West`s strategy of homogeneity in the name of ‘tolerance of pluralism’, and to employ the ‘hybridity’ Homi K. Bhabha presented as a way of resisting this. The concept of ‘hybridity’ emerged among numerous concepts such as ‘multiculturality, Post Geopolitics, mixed topo map, mixed culture, ground connection and Integration’. As a practical strategy for concrete curating anchored to this notion of ‘hybridity’ he defined it with ‘addictive mixture’, a productive hybridity of light. The researcher comments on this with ‘appropriation’, the concept of a post-colonialist practice by Bill Ashcroft and his fellow scholars. That is to say, the researcher understands that Rhee adopted ‘appropriation’ that uses the language of colonial ruling countries but deconstructs and reconstructs this as a strategy for post-colonial practice to deconstruct colonial rulers` dominant ideologies. Moreover, the researcher asserts that Rhee`s global curating strategy is by nature nothing but an act of translation to ‘introduce the non-West to the West in the language of the West’. The researcher also takes note of a shift in Rhee`s concern for ‘nonsensical time and space’ through the numerous possibilities of space-time or multi-contextual space-time on the border of the confrontation between the West and the non-West, cultural colonialists and non-cultural colonialists. The researcher coins the term ‘the fourth world’ as a wedding of sociological ‘poly-contextuality’ and physical ‘extra dimension’, departing from the notion of ‘the developing country’ from a socio-economical perspective, and explores its post-colonialist meaning as the ‘space-time of utopian conflation’. ‘The fourth world theory’ is to reinterpret Rhee`s ‘absurd space-time’ conceived in the context of his curating shifting from the matter of the exterior to the matter of the interior, from the matter of the ideal to the matter of the experience. This theory is of great significance in that this may continue to his imaginary curating of ‘an exhibition in cosmic space’. This refers to a point where an ideal theory on post-colonialism was deformed and mysticized in Rhee`s late curating. This change of direction serves as momentum to define him as a practitioner of post-colonialist curating who championed conciliation and equality with a new Asian thematic consciousness beyond the logic of resistance and subjugation, and simultaneously as a liberal pluralist of postmodernism and an upholder of elemental humanism.

스포츠 사회학의 학제적 주제로서 포스트/식민주의 이론: 문학연구/비평 및 역사 사회학 관점의 탐색과 전유

서재철 한국스포츠사회학회 2022 한국스포츠사회학회지 Vol.35 No.3

This study is to suggest the study of sport & post/colonialism as a newly emergent and promising toolkit through which to understand and explore so-called the Korean sporting social within the global context. To be more specific I firstly introduce the concept of post/colonialism, focusing on its three components: 1) colonialism, 2) a prefix of the ‘post-’, and 3) the slash or solidus of ‘/’ along with its background of the Humanities. Second, I introduce Gurminder Bhambra’s works as a useful way of understanding how post/colonialism has been embraced into the field of sociology. Third, I detail how sport scholars have incorporated it into the field of Sport Studies, mostly focusing on Ben Carrington’s works and Bale & Cronin(2022). Finally, I suggest the study of sport & post/colonialism as a critical paradigm and perspective for studying Koreans sporting reality within the global context. 이 연구는 포스트/식민주의 이론의 학제적 가치와 유의미성에 주목하고, 그것을 스포츠사회학의 학제적 비전을 확장하는 이론적 주제/틀/관점으로 포섭, 수용, 전유하는 가능성을 탐색하고, 나아가 포스트/식민주의를 이론적 구심점으로 하는 체육·스포츠 인문/사회과학의 학제적 연구로서 ‘스포츠 & 포스트/식민주의 연구’를 제안하는 작업이다. 구체적으로, 포스트/식민주의가 무엇인지의 쟁점을 ‘식민주의’, ‘포스트’, ‘사선(/)’의 요소로 분리하여 검토, 논의하였고, 포스트/식민주의와 사회학의 접점을 파악하는 경로이자 렌즈로서, Gurminder Bhambra의 연구들을 분석, 해석하여소개하였다. 이어서, 포스트/식민주의를 체육·스포츠 인문사회과학 클러스터 속으로 유입, 수용, 전유하는 것을 주장하고 또 촉구한 체육·스포츠 학자들의 작업을 파악하는 일환으로, Ben Carrington의 연구들과 Bale & Cronin(2002)이 자신들이 편저한 단행본에 수록한 서문에 초점을 두고 요약, 정리하였다. 끝으로, 향후 스포츠사회학의 분과학문이 주도하고 선도해나갈 필요와 가치가 있는 체육·스포츠 인문/사회과학의 학제적 연구로서, ‘스포츠 & 포스트/식민주의 연구’의 기본 윤곽, 방향성 및 지향성 등을 결론으로 삼아 제언하였다.

탈식민주의 문학교육과 이병주의 『관부연락선』

최현주 ( Choi Hyun-joo ) 한국문학이론과 비평학회 2011 한국문학이론과 비평 Vol.53 No.-

Lee Byung-Ju's 『The Gwan-Bu Ferry Boat』 is a proper text for literary education of post-colonialism. It realistically shows Yoo Tae-Rim's experience as a mobilized soldier, the education he got under the Japanese colonial domination, and the efforts of establishing a nation state after the liberation. So with 『The Gwan-Bu Ferry Boat』, as a meaningful text for post-colonial literary education, our study will come up with discussion about the post-colonialism in the book and search for the teaching method of post-colonial literary education. Lee Byung-Ju's 『The Gwan-Bu Ferry Boat』well shows this post-colonial education. It realistically represents the field of a liberated education from the Japanese colonial rule. This puzzling social-political field formed the field of current education and this aspect is well shown in 『The Gwan-Bu Ferry Boat』. This work reveals multi-layered contradictions and conflicts of a social commentary and also triggers the motivation to expand the closed field of education toward the social-political field. This work enables us to infer the meaning of dissolution and reconstitution of canon. In other words, 『The Gwan-Bu Ferry Boat』 is the work in which the focalized teller Lee wrote-back Yoo Tae-Rim‘s life and thoughts internalized in the autobiography <the gwan-bu ferry boat>. Also, we can infer the writer Lee Byung-Ju's will to write-back distorted modern history by Japan and to reject and dismantle the existing history. 『The Gwan-Bu Ferry Boat』 is the internalized work asking for the current field of education to overcome the closed space of controller and controlled one and to expand the educational prospect toward the field of social and history. In this sense, the field of the post-colonial education is not value-free and ideologically neutral. It has to function to overcome inner colonial identity and establish the ideology of resistance in order to get over ideology of colonial rule.