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RISS 인기검색어
- 검색키워드
- 저자 : 강유정 ( Kang Yu-jung ) (검색결과 42 건)
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강유정 ( Kang Yu-jung ) 배달말학회 2018 배달말 Vol.62 No.-
The novels by Oh, Jung-Hee have been recognized as the excellent literary imagery showing the dichotomy of an abyss of beings and conflict/contradiction, and desire and stability. One thing we should pay attention to is that almost every work by Oh, Jung-Hee repetitively shows 'walking women' besides 'family'. The motif of 'walking' repetitively shown in the novels by Oh, Jung-Hee is not a simple repetitive act, but an act revealing the gender difference and an ontological act showing all the meaning, limitation, and restriction of lives as women. Making them come back home after going out is not important. It would be necessary to have questions such as what makes them go out, what makes them come back, and why the act of 'walking' for women should be named 'taking a walk' or 'going out' that always has destinations. The repetitive motif means that it contains the narrative symbolism. When walking on the street which is not allowed to women instead of house allowed to women, the reality of female characters in the novels by Oh, Jung-Hee could be more solidly viewed. Therefore, this paper aims to analyze/understand the meanings of 'walking' for women shown in the novels by Oh, Jung-Hee, by analyzing the walking always shown in the novels by Oh, Jung-Hee to examine the parts that have not been revealed in the novels by Oh, Jung-Hee, and also recomposing the imagery process of gender differentiation as women.
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강유정(Yu Jung Kang) 한국현대소설학회 2015 현대소설연구 Vol.- No.59
Oh Jung-hee (1947~) has proven herself as a representative Korean female writer after making her debut with A Woman of the Toy Store from winning the annual literary spring contest of Joongang Daily Newspaper Co. in 1968. Her novels are profound. The reason can be found out in a thematic aspect above all. The esotericism of her novels is connected with embarrassment and evaluated as a kind of aesthetic achievement. The paradoxical relations of embarrassment and aesthetics are originated from metonymy and conflict of unfamiliar heterogeneous things. In her novels, opposing elements such as life and death and carnal desire and hatred coexist inconveniently and stand against each other. So to speak, embarrassment which is given by her novels can be said as strange aesthetic transposition. The endings of Oh`s novels emphasize the reality full of contradiction and conflict and collision and chaos. They do not fill illusion and desire for the ordered world that traditional narration has secured but show the impossibility thoroughly. This is resistance to illusionism which realism of traditional fiction pursues and also reflection of the attitude of Oh who looks at the world. Satisfaction of desire or resolution of conflict that traditional novels pursue is redefined as perversion of reversed desires. So, the endings of her novels come as unfamiliar senses of difference and incomprehensible inconsequence to readers. She says the incomprehensibility as not characteristics of her novels but the intention of the world. Abstruseness is not staying at the individuality of her writing style in her novels and aesthetic properties but the attribute of life which she stares at. The end of Old Well as her sole work presenting hopeful affirmation shows panoramic views of worldliness of life by overturning and un-familiarizing sequential time order. Looking at the automatized world unfamiliarly is the aesthetic purpose and ethical subject of the novels of Oh Jung-hee. In this point, the finish of her novels intactly shows ugliness and pendency of life which she stares at. It is a narrative device to un-familiarize the illusion of the conclusion. An important thing is the fact that the device is to be made like scenes into delicate description through so keen observation. All ends of her novels finish with description, not narration. She finds out the ethicality of fiction in specific suggestion of conflict and discord, not in suggestion of false reconciliation. And, the foundation which reveals the artistic ethicality is just the ends of Oh`s novels.
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강유정(Yu-Jung Kang) 한국동양정치사상사학회 2006 한국동양정치사상사연구 Vol.5 No.2
영화사에 있어서 “전쟁”은 낯선 소재가 아니다. 한국영화사에서 전쟁은 남과 북이라는 분단 상황을 불러일으킨 한국 전쟁을 의미하는 경우가 대부분이다. 한국 전쟁은 한국 역사에 있어 부인할 수 없는 공통의 정신적 외상(trauma)이라고 할 수 있다. 중요한 것은 한국 전쟁과의 시간적 거리만큼 전쟁을 다루는 방식이 다양해졌다는 사실이다. 1960년대 전쟁 영화에서 한국 전쟁은 강박증에 가까우리만치 심각한 주제 의식으로 전경화되었다. 이에 비해 1990년대 이 후 전쟁을 다룬 영화는 전쟁영화라는 장르보다 오히려 멜로 영화의 면모를 띄는 경우가 더 많다. ‘영화의 주제였던 “전쟁”이 점차 소재화되어가고 있는 셈이다. 주제가 아닌 소재로서의 “전쟁”은 1990년대 이후 제작된 영화에서 분명히 드러난다. 1998년 제작된 강제규 감독의 『쉬리』는 한국 전쟁과 분단이라는 특수한 역사적 상황을 블록 버스터 상업 영화의 문법에 전유함으로써 새로운 한국 영화의 가능성을 제안했다. 1990년대 이후 한국 영화는 분명 전쟁에 대한 강박적 죄의식이나 윤리적 의무감에서 벗어나 있는듯 보인다. 적극적으로 읽자면 이러한 변화는 “한국 전쟁”이라는 집단적 상처를 개인사로 구체화하겠다는 선언으로 받아들여진다. 선언은 한편 전쟁이라는 불변의 현실을 환상과 상상력을 통해 재구성해보고자 하는 노력으로 연계된다. 문제는 그 재구성이 역사의 상처에 대한 반성적 치유인가 아니면 대중 영합적 자기 합리화인가이다. 본 고에서 『쉬리』 이후 한국 전쟁과 분단을 소재로 한 영화 작품에서 분석하고자 하는 바는 바로 주제가 아닌 소재적 차원에서 원용되고 있는 한국 전쟁의 면모와 그것의 의의 및 한계에 대한 재고라고 할 수 있다. War is so familiar theme in film history. In Korean film history, most of what is called war is The Korean War. The Korean War must be frightful tranma to Korean. What is more important is that most korean war films are highly diversified. In the 1960's korean war film were dedicated to ideological means to end. But after 1990s, korean war films get toward not ideological but melo dramatic form. Spectacle of the Korean War is used by not theme or subject only but materials. Director Kang's {Swiri, 1998} is the first block-buster which used the division of Korean peninsula as melodramatic obstacles. After 1990s, korean war films are seemed to be free from obsessive guilt trip about terrible sight of war. This change can be comprehended as declaration to concrete the pain of war in specific private history. The declaration must be connected the trial to change and overcome immutable trauma of war. The problem is the reconstuction of war image can be used popular fashion or commercial items. So this paper would verify the meaning and problem of current Korean War Film.
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