황순원 소설에 나타난 희생양 메커니즘 연구

신아현 ( Shin Ah-hyeon ) 현대문학이론학회 2017 現代文學理論硏究 Vol.0 No.69

이 논문은 르네 지라르의 이론을 바탕으로 황순원 문학에 나타난 희생양 메커니즘을 검토한다. 지라르는 집단적 폭력을 다룬 텍스트들에서 공통적으로 나타나는 몇 가지 전형에 대해 이야기한다. 그에 따르면 위기에 처한 사회는 그 책임을 하나의 희생양에게 덮어씌움으로써 위기와 혼란에서 벗어나고자 한다. 이때 특정한 개인이 박해의 대상으로 지목되는 이유는 그가 가진 희생양의 징후들 때문이다. 저자는 더 나아가 이러한 메커니즘이 실제 사회와 역사에서 발견되는 현상임을 지적한다. 황순원 문학에서 희생양으로 지목되는 이들은 금기를 위반한 인물들, 내부의 소외계층들, 혹은 이방인들이다. 위기에 처한 집단의 다수는 희생양에 대한 박해의 명분을 만들어낸다. 박해자들은 희생양들에게 부과된 책임에 대해 진지한 믿음을 가지고 있기 때문에 집단적 폭력을 행하면서도 스스로를 자연스럽게 정당화할 수 있다. 이러한 과정 속에서 사회는 위기에서 비롯된 욕구 불만과 불안을 희생양에게 쏟음으로써 대리만족을 얻는다. 작가는 희생양 메커니즘이 발동되는 방식을 다양한 소재를 다룬 단편들을 통해 알레고리적으로 제시한다. 『카인의 후예』는 해방 직후 북한의 토지 개혁을 다룬 작품으로, 작가가 견지해온 희생양 메커니즘에 관한 문제의식을 실제 역사적 배경 속에서 형상화한다. 작품 속 인물들은 군 인민위원회가 주도하는 인민재판의 과정에 참여하는데, 이때 이들은 서로를 모방하며 만장일치적 합의에 도달한다. 인물들의 이러한 모방 욕망은 새롭게 등장한 권력층의 도구로 활용된다. 공작 대원들의 선동과 강요 아래 지주들이 숙청되어가는 과정 속에서 대부분의 소작인들은 권력층의 욕망을 자신의 것으로 재생산해나간다. 군인민위원회는 반동의 죄목을 들어 박해의 명분을 만들어내고 집단 구성원들의 모방욕망과 폭력성을 부추긴다. 질서와 안정의 이데올로기라는 거대한 명분 아래 왜소한 개인의 삶은 파괴된다. 이 작품에서 무엇보다 비판적으로 제시되고 있는 것은 지배 질서를 견고히 세우기 위해 집단적 메커니즘을 계획적으로 활용하는 권력의 형태이다. This study reviews Hwang Sun-won`s Novel in terms of the scapegoat mechanism of Rene Girard`s theory. Girard mentions several common archetypes in different texts that deal with communal violence. He says a society in crisis tends to escape from it by `scapegoating`. The reason that a certain individual is pointed out as the object of persecution is because that individual shows symptoms of a scapegoat. Girard mentions that this mechanism is also found in the real society and history. Those who get pointed out as scapegoats in Hwang Sun-won`s Novel are underprivileged people, strangers, or someone who break taboo. The majority of a group in crisis make up reasons to justify the persecution. Persecutors can justify their organized violence by believing that the scapegoats are responsible. In this process, the society gets vicarious satisfaction by pouring out its frustration and anxiety to the scapegoat. The writer allegorically embodies how the Scapegoat mechanism is operated with various material. A Descendant of Cain(카인의 후예) is a novel about the land reform of North Korea right after the Korean liberation. It shows the critical mind on the scapegoat mechanism, that have already been tried in Hwang`s previous works, on the basis of real history. The people participate in a kangaroo court trial that is hosted by the People`s Committee, and they reach unanimous agreement by mimicking each other. Their desire to imitate become the tool for the new power. While the landlords are being purged under the instigation and pressure of the agents, most tenants reproduce the desire of the power into their own desire. People`s Committee keeps slandering them as a reactionary, and instigate people`s desire of imitation and violence. Individual lives are destroyed under the great cause of order and stability. This novel especially criticize the shape of power that efficiently use the group mechanism to make the order solid.

김은국의 『순교자』에 나타난 희생양 메커니즘 의 작동과 해체

조회경 ( Hoei Kyung Cho ) 한국문학과종교학회 2013 문학과종교 Vol.18 No.3

김은국의 『순교자』는 희생양 메커니즘의 특징인 박해자의 ‘무지’와 폭력의‘맹목성’을 폭로한다. 1950년 한국전쟁이 발발하기 전 평양에서 목사들이 실종된 사건을 정치적으로 이용하려는 ‘장 대령’의 거짓말은, 지라르가 언급한 ‘첫사람의 돌 던지기’와 유사하다. 희생양 메커니즘의 작동을 유도하는 박해자 ‘장대령’을 통해 김은국은 희생양 메커니즘의 본질인 폭력성을 선명하게 보여준다. 작품의 중반부에서부터 서사는 “박해자에게서 희생양에게로, 그 사건을 만든 자에게서 그것을 참고 견딘 자에게로” 초점을 옮겨, 이 작품을 희생양의 텍스트로 만든다. 김은국의 영적 통찰력은 희생양 신 목사의 고뇌하는 내면, ‘신의 침묵에 절망할 수밖에 없는’ 희생양의 목소리를 생생하게 전달하였다. 신을 믿지 않는다는 처절한 절망 가운데서 ‘신 목사’는 끊임없이 기도함으로써 ‘가장 보잘 것 없는 사람들’에게 돌아가라는 예수의 명령을 실천하게 된다. 이 과정에서 궁극적으로 드러나는 것은 ‘신의 개입’이다. 무력하고 병든 모습으로, ‘희생양 메커니즘’의 작동을 중단시키려는 ‘신 목사’라는 캐릭터는 김은국의 종교적 투시력을 높이 평가할 근거가 된다. KIM Eun-Kook`s The Martyred exposes the persecutor`s ignorance and the blindness of violence, which mirrors Rene Girard`s ‘scapegoat mechanism.’ The lies of Colonel Chang can be regarded as similar to people who throw stones and lead to the operation of the scapegoat mechanism. KIM pinpoints the nature of violence as the essence of the scapegoat mechanism and converts his novel by setting up a first-person narrative. In the middle of the novel, the narration shifts its focus from the persecutor towards the scapegoat and from the person having the affair to the person enduring it. KIM`s spiritual insight clearly conveys the turmoil inside the mind of the scapegoat, Reverend Shin. However, the helpless Reverend Shin, who puts into practice Jesus` commands of helping “the least of these” people and attempts to thwart the operation of the ‘scapegoat mechanism,’ would be remembered for a long time along with the truth that the novel attempts to convey.

서정인 소설의 ‘희생양’과 상대주의적 세계관

박희현(Park, Hee-Hyun) 한국현대소설학회 2019 현대소설연구 Vol.- No.74

In Seo, Jeong-ins novel, the scapegoat is mentioned and described. Seo, Jeon-in argues that the history of mankind is the history of the scapegoat, talking about the death of Jesus as a humanistic event that showed the innocence of scapegoat and the unanimous violence of crowd by revelation. As a reason for this, he holds that the exclusive attitudes of human beings are inherent behind all the disputes. He points out that the excessive faith in his right is to make others as enemies and evils, and therefore the exclusive attitude has produced many scapegoats. He also shows Girolamo Savonarola in his novels ‘Yong Byeong Dae Jang’ and ‘Malttug’ to illustrate the epitome of the religious sacrifice. However, the essence of the scapegoat mechanism is the majoritys violence toward the minority. Seo, Jeong-in indicates that the scapegoat was created even in the peak period of religion through the use of Girolamo Savonarola, and the mechanism is still valid. Seo, Jeong-in clearly states that the scapegoat is an arbitrarily designated person to take it out on and shift blame. It is based on the human psychology that wants to create person to take it out on anyhow. He recognizes that Korean society has been busy to spend time to create the scapegoat. He deplores that the scapegoat mechanism has been used as a way to solidify the political power of certain people, including 4.19 revolution, the pro-democracy movement in Busan and Masan, and the Gwangju democracy movement on May 18, and these have been repeated. The scapegoat created by the corrupt regime has no sin and has little power to protect itself. The corrupt regime knew it well and actively induced their complaints toward the outside of the system. Societies that do not respect various opinions and ideas are oppressive and violent. Seo, Jeong-in regards the society in which various voices coexist as an ideal society, which ultimately leads to social desire for democracy. His pursuit of diversity is associated with relativism and forms the mainstreams of his literary world.

르네 지라르(René Girard)의 성서적 종교와 비폭력

박종균(Jong Kyunn Park) 한국기독교학회 2004 한국기독교신학논총 Vol.34 No.-

The French literary critic and anthropologist Rene Girard has claimed to discover the mechanism that links violence and religion. The extent of his claim is even more audacious he believes that in the mechanism linking violence and religion lie the origins of culture. Our purpose is to present this thesis symphathetically, then point out what has been made of it by critics, and draw conclusions concerning its relevance to interpretation especially in the world in which we live today. According to Girard. human culture has been founded on two principles, which he calls "mimetic rivalry" and the "surrogate victim mechanism." Mimesis refers to the propensity of humans to imitate other people both consciously and unconsciously. Girard observes that the desire to appropriate another person`s possessions. lovers and very being may seem innocent at first, but it poses a fundamental threat to community life. In imitating one`s models. one may come to approach others` power and threaten others` own position? in which case others quickly become rivals who tell one not to imitate them. When one imitates the model`s thoughts. there is hamronry; when one imitates the model`s desires, the model becomes one`s obstacle and rival. Mimesis thus inexorably leads to rivalry, and rivalry leads sooner or later to violence. From his study of mimetic desire in the modem novel, Girard named to the relation of violence and the sacred in early cultures, especially in primal religions and Greek tragedy. Girard believes, a long series of primal murders, repeated endlessly over possibly a million years. taught early humans that the death of one or more members of the group would bring a mysterious peace and discharge of tension. This pattern is the foundation of what Girard calls the "surrogate victim mechanism" . Often the dead person was hailed as a bearer of peace. a sacred figure. even god. Fearful that unrestrained violence would return, early humans sought ritual ways to re-enact and resolve the sacrificial crisis of distinctions in order to contain violence. This is why rituals from around the world call for the sacrifice of humans and animals. For Girard, the sacred first appears as violence directed at a sacrificial victim, a scapegoat. Every culture achieves stability by discharging the tensions of mimetic rivalry and violence onto scapegoats. Scapegoating channels and expels tensions recur, a new crisis threatens, and sacred violence is once again necessary. According to Girard, every culture arises from the incessantly repeated patterns of mimetic rivalry and scapegoating. Some authors, like the Greek tragedians, caught a glimpse of the underlying dynamics of the cycle and the arbitrariness of the choice of victim. But only the Bible, Girard contends, offers a full unveiling of the pattern of violence and a rejection of it. Girard began his career as a secular thinker unaffiliated with any religious tradition led him to conclude that the Christian revelation unveils the patterns of violence and provides the divine response. Having become convinced that the gospel alone reveals the full truth of the human condition, Girard became a Christian. According to Girard`s interpretation of the Bible. the people of Israel were. like all other people, steeped in the surrogate victim mechanism. But the biblical authors, especially the psalmist, the prophets, and the sages of Isreal, recognized the primordial pattern and denounced it. Many psalms express the perspective of the victims, and the author of the Book of Job sides with the maligned Job rather than his friends. The Suffering Servant poems present the age-old mythological drama: a crowd surrounds and innocent victim and heaps abuse upon him. The point of view, however, has changed. The biblical author does not accept the charges: the victim is innocent and is vindicated by God. Such is also the message of the New Testament. In Jesus. God appears in history as the innocent victim, who goes to

최인호 장편소설 『지구인』에 나타나는 폭력 연구

원승종 한국현대문예비평학회 2017 한국문예비평연구 Vol.- No.56

This study analyzed aspects of violence appeared in『the Earthman』written by Choi, In-ho. Korean society in the 1970s was an ambivalent place that embraced economic development and political confusion simultaneously. The writers faced the dark reality hidden under the slogan of economic development in the era of industrialization and urbanization, and the political situation of military dictatorship. In the 1970s, the Korean novel had more sociological imagination than ever before, and actively formed it. Through the characters who live in the industrial age, Choi, In-ho sought the alienation and solitude of human beings under oppression of the state. Choi In-ho explores the aspects of violence in society through the character who threatens society as well as who takes advantage of a repressive state. In『the Earthman』, Lee Jong-Dae is a person who wants to destroy the social order in a time when strong social order is demanded. He reveals the violence within the social system, and also emphasizes the nature of absurdity and violence. The author, by Lee Jong-Dae, attributes the cause of violence appeared in the era of industrialization to the Korean War that occurred before the repressive society of the 1970s. In『the Earthman』, based on the Carbine rifle burglar affair, in 1970s, Lee Jong-dae and Lee Jong-se who were exposed to massive violence of war justified their acts by imitating violence for their own desires. In the case of Lee Jong-dae, he became 'an Evildoer' who had plunged into mimesis mechanism that justified violence and had no difference with the violence, and so threatened society. In the period when a new social order is required with recovering the scars of war, a person exposing violence and spreading indiscriminate violence is a threat. When violence and conflict persist within the social system, cracks inevitably occur. Instead of ending the violence by incorporating the person who causes the violence into the social system, the society aims to a person in ‘double’ relationship with violence, resolving it by ‘scapegoat mechanism.’ In here, the scapegoat is a social concept, the result of group violence. The scapegoat is not only essential for maintaining the order of social system, but also resolves the violence in the society. Lee Jong-dae refused to be incorporated into the new history and to make a difference with violence and society determined him as a victim for social stability and purification instead of regulation and oppression. However, he refused to be a scapegoat for society and destroyed himself to remain an evildoer. In the 'Double' relationship with Lee Jong-dae, Lee Jong-se was freed from the mimesis mechanism by the death of Lee Jong-dae whom he had tried to imitate and at the same time had hated. However, after resolving the hatred, Lee Jong-se ironically felt compassion to him. Through that ambivalent feeling of hatred and compassion, Lee Jong-se, who realized that the mimetic desire that dominated his childhood was actually a fiction, tried to rescue Lee Jong-dae, the evildoer, by purification. Choi In-ho determined the "Veracity of Novel" by capturing the fabrication of violence and desire that had arisen since the Korean War. The gigantic violence of the Korean War was inherited to the repressive political situation of the 1970s, and was a ghost that erodes both individuals and groups. A group that has imitated violence advances to a new history by removing a person who is not free from violence, instead of reforming him. Therefore, it is literarily meaningful that 『the Earthman』 explored how the scars of the Korean War that remained until the 1970s were transformed into violence. 본 논문은 최인호의『지구인』에 나타나는 폭력을 연구하고자 한다. 1970년대의 한국 사회는 급속한 경제발전과 군사독재라는 정치적 혼란을 동시에 보여주는 시대였다. 1970년대 한국소설계는 그 어느 때보다 사회학적 상상력을 더 많이 요구받았으며 이를 적극적으로 소설에 형성화하였다. 최인호는 산업화시대를 살아가는 인물들을 통해 인간의 소외와 고독을 탐구하는 한편, 사회를 위협하는 인물을 통해 국민을 억압하는 국가의 폭력과 부조리를 역설하는『지구인』을 발표하였다.『지구인』의 이종대는 강력한 사회질서가 요구되는 시대에서 사회질서를 파괴하려는 인물로 최인호는 그를 통해 사회 전반에 형성된 억압과 폭력의 기원을 한국전쟁에서 찾는다. 『지구인』은 1974년에 발생한 칼빈소총 강도사건을 모티브로 삼은 소설로, 전쟁이라는 폭력에 노출된 이종대․이종세 형제는 자신의 욕망을 획득하기 위해 전쟁의 폭력을 모방한다. 특히 이종대는 폭력을 정당화하는 모방 메커니즘에 함몰되어 폭력과 차이를 잃고 사회를 위협하는 악인(惡人)으로 거듭난다. 사회를 지배하는 권력은 전쟁의 폭력을 그대로 유전 받아 폭력을 정당화하고 국민을 억압한다. 획일적인 개인화가 이루어지는 사회에서 이종대는 갈등과 폭력을 퍼뜨려 집단을 흔드는 위협적인 존재이며 새로운 역사의 흐름을 방해하는 이방인이다. 사회는 폭력을 야기하는 인물을 사회체제 내에 편입시켜 폭력을 억압하는 대신 희생양 메커니즘을 통해 제거한다. 여기서 희생양은 사회적 개념으로 집단 폭력의 결과물이다. 희생양은 사회체제의 질서유지를 위해 필수적인 존재이며 집단 내부에 존재하는 폭력을 해소하는 존재이다. 새로운 역사의 흐름에 편입하여 폭력과 차이를 두는 걸 거부한 이종대는 사회의 희생양으로 파멸한다. 폭력성을 포기한 이종세는 이종대가 세상을 떠남으로써 모방 메커니즘에 대한 허구성을 직시한다. 유년시절부터 자신을 지배했던 모방 욕망이 실은 허구라는 것을 알게 된 이종세는 악인으로 세상을 떠난 이종대를 구원하기 위해 정화행위를 행한다. 여기서 이종세의 정화행위는 모방 욕망의 허구를 인정하고 소설적 진실로 나아가는 모습이다. 최인호는 한국전쟁부터 이어진 폭력의 허구성을 포착하여 소설적 진실을 밝힌다. 한국전쟁이라는 폭력은 1970년대까지 유전되고 있으며 개인이나 집단 모두를 잠식시키는 유령과도 같다. 폭력을 답습한 집단은 전쟁의 상흔에서 자유롭지 못한 인물을 교화하는 대신 제거하여 사회 내부의 질서를 확립한다. 최인호는『지구인』을 통해 1970년대까지 남아있는 전쟁의 상흔이 폭력으로 변질되는 과정을 포착하였고, 이를 통해 사회 내부에 존재하는 부조리를 탐구하였다는 점에서 문학적 의의가 크다.

희생양 메커니즘과 폭력의 윤리적 문제

이종원(Lee, Jong-Won) 중앙대학교 중앙철학연구소 2015 철학탐구 Vol.40 No.-

르네 지라르의 모방 이론과 희생양 메커니즘을 중심으로 희생양이 만들어지는 과정을 심층적으로 분석하면서 폭력의 문제점을 비판적으로 성찰하고자 한다. 이러한 과정을 통하여 개인과 사회를 위협에 빠뜨리는 폭력의 근원을 추적하고 폭력 극복의 길을 찾고자 한다. 희생양 메커니즘이란 폭력적 성향의 집단적 전이현상으로서, 공동체가 갈등으로 인하여 와해될 위기에 처하게 될 때, 이를 해소하기 위한 방안으로 서로에 대한 증오심을 힘없는 개인이나 소수 집단에게 쏟아 부어 공동체 내부의 긴장과 불만을 해결하는 방식이다. 공동체는 희생양에게 모든 갈등의 책임을 전가시켜 희생제의를 치름으로 다시 안정을 찾게 된다. 희생양 메커니즘은 위기에 처한 공동체를 구원하고, 폭력의 악순환을 중단시키는 효과적인 도구로 인식되었다. 희생양은 공동체 내부의 폭력을 진정시키고 분쟁의 폭발을 막기 위하여 선택되는데, 그들은 폭력을 당하더라도 보복이나 복수할 능력이 없는 자들이었다. 희생양에 대한 폭력에 공동체의 구성원 전체가 참여한다는 점에서 폭력은 만장일치적 성격을 지닌다. 하지만 희생양 메커니즘은 피억압자의 희생을 정당화하면서 억압자의 권력구조를 더욱 공고히 하는 기능으로 작용하기에 문제시된다. 희생양의 입장에서 본다면, 아무리 목적이 정당하고 좋은 결과를 가져온다고 하더라도 결국은 또 다른 하나의 폭력일 뿐이다. 희생양 메커니즘은 일시적 미봉책으로서 공동체가 어려움에 직면할 때마다 언제라도 반복될 악순환의 가능성을 가지고 있기에 문제시 된다. 또한 희생제의 속에는 집단적 죄악이 들어 있다. 따라서 우리가 사는 세상이 더욱 정의롭고 평화로운 곳이 되기 위해서는 희생양 메커니즘을 넘어서야 한다. 예수는 자발적인 자기희생을 통하여 폭력의 악순환을 끊었다. 예수는 비폭력 정신을 실천함으로써 평화와 화해의 길을 보여주었다. 그러므로 우리는 예수가 몸소 실천한 평화의 정신을 되새기고 실천할 필요가 있다. I want to analyze critically the problems of violence focusing on the Mimesis theory and Scapegoat mechanism of René Girard. I surveyed the origins of violence that endanger the individual and the society and want to suggest the solutions to it. According to Girard, victim mechanism is the phenomenon that the tendency toward violence transfers collectively. When the community runs into danger because of reciprocal conflict, it tends to remove the violence through pouring the reciprocal hatred into the weak or minorities. Imposing the scapegoat with all responsibility for their conflict, the community sacrifice him. As a result, the community begin to recover stability and peace. The victim mechanism is a useful instrument to save the community from crisis and to stop a vicious circle of violence. The function of the victim is to stabilize the community and prevent an explosion from the conflict. The victims are so weak that they aren’t able to retaliate or seek revenge. The violence toward the scapegoat is related to all of the community because all of them participate in this violence. Thus this violence is based on unanimity. The victim mechanism has problems straightening the power structure of the victimizer and justifying the sacrifice of the depressor. But from the viewpoint of victims, it is just another act of violence even if it brought about a good goal and an efficient result. The victim has double faces of the sacred and the evil. The sacred victim comes out of these double functions. This has become the cause of violence and also brought communities peace. But victim mechanism is a temporary band-aid. When the community faces a crisis, it causes a vicious circle. Sacrificial ritual contains the collective crime. To make our world more just and peaceful, first of all, we must overcome victim mechanism. For this purpose, we must meditate on the spirit of peace that Jesus revealed to us.

윌리엄 포크너 작품에 나타난 폭력의 양상: 희생양 메커니즘

정현숙(Jeong, Hyun-Sook) 신영어영문학회 2013 신영어영문학 Vol.54 No.-

René Girard, a French anthropologist and literary critic has explored the meaning of communal violence toward an individual for a long time. He goes into the theory of mechanism of scapegoat from King Oedipus story through Jesus Christ and to the present. I suppose the basic mechanism of life and literature has the same structure and in that sense I try to show that in William Faulkner’s Sanctuary and Light in August, the communal violence drives protagonists, respectively Lee Goodwin and Joe Christmas, into being lynched cruelly and inhumanely. Being different from established communal values or a stranger might be a victim of utter violence, which I believe is Faulkner’s life-long theme. (Keimyung University)

기독교적 관점에서 토니 모리슨의 『가장 푸른 눈』에 나타난 희생양 메커니즘에 대한 비판 연구

이현경 현대영미어문학회 2021 현대영미어문학 Vol.39 No.4

Viewed from a Christian perspective, this paper draws on Girardian theory to examine the issue of scapegoating as the most prevalent form of social violence in Toni Morrison’s The Bluest Eye. The novel details the tragic life of a poor black girl named Pecola in a black town. She is marginalized and ostracized by the townspeople, who generally emulate the white middle-class model of an established nuclear family. They fear that they may be “contaminated” through contact with this poor and “ugly” black girl who, in their eyes, embodies the worst kind of socially codified blackness. As the most vulnerable member of this society, she is held responsible for the crime of her own rape, made worse by the fact that it was committed by her father Cholly—a marker of shame on the whole town—thereby making her the ultimate scapegoat. This cruel victimization is revealed through the Christian concept of the transference of human guilt onto an innocent lamb, whose archetype is Christ. Although Morrison is unlikely to have had Girard in mind while creating her fiction, a hermeneut’s critical reading from a Girardian perspective can be helpful toward illuminating Morrison’s religious and moral vision, which enabled her to develop a character like Claudia, who debunks the scapegoating mechanism in a manner reminiscent of Girard himself. .

영화 『다우트(Doubt)』의 서사구조 연구— 의심과 확신의 갈등 요소를 중심으로

이은하 한국문예창작학회 2017 한국문예창작 Vol.16 No.3

The movie Doubt tells the story of a nun and a priest in the 1960s. Mother Teresa often disagrees with the difference between the bride and her personality, education, and values. Classical narratives and anti-war points are heightened, sparking an inner conflict. The author creates a meticulous narrative structure and presents a fresh narrative of the human mind. The rivalry between a nun and a bride takes place in rivalry. This is a scapegoat mechanism. She says she cares about school and students but is a hypocrite who practices violence on students and colleagues. He is especially competitive with the bride and bullies her to chase her out. The nun looks for authority by suspicious of the bride and making her a scapegoat. A nun is a man full of violence and desire to remove a rival bride. She also shows her desire for desire and the downfall of faith. The ending of the film satirizes the images of self-destruction due to suspicion. What is unique is the repeated insertion of preachments, wind, seasons, places, and dolls. This configuration shows the flow of consciousness. The wind continues to indicate the process of doubt and changes in psychology. It also lists similar images along with a variety of episodes to show time continuity and change. The film internates an interesting development of the incident and introduces an insight into self-demotion. The author thought seriously about doubts and described the nature of desire in a narrative form. 영화 『다우트』는 1960년대 천주교 교구 학교를 배경으로 가치관이 다른교장 수녀와 신부의 갈등을 다룬 이야기다. 목적지향적인 원장 수녀가 신부를 마주하며 끊임없이 목표를 향해 나아가다 결정적 순간에 해결로 넘어가는 궤도는 드라마틱한 곡선을 이룬다. 고전적 내러티브에 반전 포인트를 배치하여 흥미를 고조시키고, 비선형적인 대안적 내러티브를 병합하여 인물의 내면세계를 낯설게 제시하면서 균형적인 서사층위를 구축하였다. 원장 수녀와 신부의 대결 구도는 경쟁관계에서 벌어지는 희생양 메커니즘으로 해명된다. 그녀는 학교를 위한다는 성스러움을 내세워 플린 신부에게 폭력을 가하는데 이는 자신의 권위를 위해 경쟁자인 신부를 희생양으로만들어 차이 소멸을 이루려는 가짜 욕망으로 폭력과 성스러움의 이중성을내포한다. 또한 욕망과 신념의 몰락이라는 역설적 결말로써 플린 신부와 짝패가 된 자기 행위의 희생양, 자멸의 모습을 풍자적으로 그렸다. 특기할 점은 문학적 장치인 삽화와 객관적 상관물, 소도구를 반복적으로끼워 넣는 삽화식 구성으로 관념적인 의식의 흐름을 구체화한 것이다. ‘바람’은 의심의 과정과 심리 변화를 지속적으로 나타내며 유사 이미지와 다양한 에피소드를 배치(配置), 환치(換置), 복치(復置)하여 ‘시간의 연속성과 변화’ 라는 의미심장함을 정교하게 엮었다. 이는 사건의 흥미로운 진전(인물 외부)과 자기 환멸의 반성적 성찰(인물 내부)을 유도하려는 작가(감독) 의도가 내포된 것으로 ‘의심’에 대한 물음을 통해 인간의 욕망 충족과 실체를 입체적으로 보여주었다.

희생양 메커니즘 적용을 통한 케이팝 걸그룹의 졸업제도 연구 - 〈9 Muses of Star Empire〉를 중심으로 -

이학준(Hark-Joon Lee),김정환(Jeong-Hwan Kim) 한국엔터테인먼트산업학회 2020 한국엔터테인먼트산업학회논문지 Vol.14 No.2

케이팝의 힘은 대단하다. 변방의 대중문화가 전 세계에 영향을 미치고 있음은 놀라운 일이다. 국내외 미디어들이 케이팝 성장의 비밀을 밝히려고 애쓰는 까닭이다. 하지만 케이팝의 괄목할 성장 이면에 감춰진, 아이돌 그룹(보이그룹, 걸그룹) 내부의 치열한 경쟁과 강제적인 멤버교체는 비판의 대상이 되고 있다. 대표적인 현상 가운데 하나가‘졸업제도’이다. 르네지라르는 욕망의 모방성과 폭력성, 그리고 이를 무마하기 위한 희생양 메커니즘을 주장했다. 본고는 걸그룹 〈나인뮤지스〉의 데뷔과정에서 벌어진 졸업제도를 기록한 다큐멘터리, 온라인 인터렉티브 사이트, 단행본 등 일련의 결과물을 바탕으로, 졸업제도에 희생양 메커니즘을 적용한 뒤 케이팝에서의 졸업제도를 정의하고자 하였다. K-Pop is powerful. Once considered to be at the periphery of global music scene, it is now reaching the whole world. Not surprisingly, the media, domestic and foreign, have scrambled to unlock the secrets of K-Pop’s phenomenal growth. In doing so, they have not failed to highlight the underside of its success, such as cut-throat competition among idol-group members and the programmed member replacement by their agencies. One of the most notable characteristics in this process is called, in their business jargon, ‘the graduation system’. This paper attempts to explicate this management practice unique to K-pop industry. To do so, this paper draws on Rene Girard’s work on desires, particularly his notion of mimesis, violence and the scapegoat mechanism. Based on a documentary film, interactive online sites and a monograph that have chronicled how the K-pop girl group 〈9 Muses〉 have ‘graduated’ during their debut process, this paper applies, as its main analytical tool, the scapegoat mechanism and attempts to explore on its basis what ‘the system’ entails for the K-pop industry in general and the actors working within it in particular.