<토지>에 재현된 ‘동학’의 서술전략과 지리적 상상력

문재원(Mun Jae Won) 한국문학회 2016 韓國文學論叢 Vol.73 No.-

본 논문에서는 동학이 <토지>의 서사를 추동시켜 나가는 주요한 서사적 사건으로 개입되어 있음을 주목하여, 동학에 대한 서술전략과 이를 통해 변형되는 동학의 공간성을 고찰하고자 한다. 먼저, 작품 내에서 동학의 생멸(生滅)을 큰 축으로 동학이 민중들에게 재현되는 방식을 ‘소문과 상상’, ‘토론과 담화’, ‘후일담’의 세 양상으로 구분하였다. 둘째, 머슴, 곰보 목수, 화전민, 백정 등 가장 최하층계급에 속해 있었던 이들이 세상으로 나와 말하기 시작하는 데는 동학이 개입되어 있음을 확인할 수 있다. 다시 말해 주체화의 계기로 동학(운동)이 작동하고 있음을 알 수 있다. 셋째, 작품 안에서 동학군의 거점이 지리산으로 설정되어 있다. 기존의 지리산에 표상된 저항의 이미지에 동학당이 모여듦으로써 저항과 위반의 이미지는 더욱 강화된다. 이러한 저항과 위반은 동학당 해체 이후 근원적인 생명사상을 적극 포괄한다. 넷째, 동학의 ‘싸움’ 전략이 김개주-김환의 세대를 지나면서 구심력에서 원심력이 작동함을 알 수 있다. 이러한 양상을 관통하고 있는 근본은 ‘이 땅의 변혁’을 열망하는 모든 이들의 ‘생명의 존엄성’이라는 공통된 기반에 있으며, 이는 <토지>의 주제의식이자 작가의식과 연결된다. Taking note that the Donghak Peasant Revolution is weaved into Toji as an important event that drives the narrative of the novel, this paper examines how Donhak is arranged in the novel and what strategies and effects are involved in such arrangement. The author conveys Donghak through an indirect utterance of a rumor and a direct utterance of an on-the-scene discussion. In addition, the author sets up Jirisan mountain as the main background of Donghak and concurrently expands the narrative stage by promoting a communication between the upper and lower mountain. The narrative of Donghak is arranged as a narrative of resistance connected to anti-Japanese struggle starting from the Gobu Uprising, which is introduced in the first part of the novel. As the words by Unbong from Donghakdang emphasizes that “the blood of treason is the truth and hope of the oppressed subalterns,” the power of the people was at the very bottom of this revolt. Therefore, Kim Hwan's Donghakdang, which serves as the central axis of the narrative of Toji, is closely connected to a new placemaking. Here, Donghak can be viewed as a praxis that reveals the resentment and longing of the innumerable nameless, speechless, and voiceless people, and enables them speak for themselves. This process certainly demands a sensory order different from the previous order for character subjectification. Moreover, this narrative of resistance requires a different way of reading besides the existing readings that converge on the three generations of the Choi family.

로컬서사 구성과 미학적 실천 - 광주 대인시장을 중심으로

문재원 ( Mun Jae-won ) 경북대학교 영남문화연구원 2017 嶺南學 Vol.0 No.60

주체화의 과정이 탈주체화-재주체화의 운동적 과정을 수반하듯이, 로컬은 글로벌화 기제를 수반하는 수동적인 위치에만 고정되지 않으며, 복합적이고 다중적인 스케일에 접속되면서 끊임없이 재구성된다는 점에 주목하면서, 본 논문에서는 광주 대인시장의 공간적 실천을 주목하였다. 특히 2000년 이후 대인시장의 변화에 적극적으로 개입한 예술가들의 미학적 실천을 중심으로 고찰하고자 한다. 이후 예술시장, 문화시장, `대인夜시장`, `별장` 등으로 네이밍이 변화되는데, 이는 명명전략이 수행하는 공간적 실천을 함의하고 있다. 이러한 호명의 변화과정 안에서 대인시장-상인, 대인예술시장-예술가 집단, 대인예술夜시장-청년셀러 등의 수행적 주체들의 변화도 발견된다. 물론 이러한 전환이 직선적인 단계로 진행된다기보다 여러 겹들이 중첩되어 있다. 그러므로 대인시장에는 현재 상인-소비자뿐만 아니라, 예술가, 관람객, 지자체 정부, 관광객 등 다양한 층위의 주체들의 공간적 실천이 겹쳐지고, 다양한 주체들의 협상과 대화의 장을 통해 장소의 서사는 끊임없이 재구성된다. 이러한 대인예술시장의 사례는 일상/미학의 경계 해체 위에서 생성된 미학적 성취가 장소를 재맥락화하고, 재맥락화된 장소는 다시 로컬리티의 재구성에 깊게 관여하고 있음을 보여준다. In this paper, attention is paid to the spatial practice of the art market-night market in Gwangju Daein Market, paying attention to the fact that local is not fixed only in a passive position accompanied by a globalization and is constantly reconstructed while connected to complex and multi-scales. Especially, I will focus on the aesthetic practice of the artists who actively engaged in the change of the Daein market since 2000. The emergence of artists and aesthetic practice lead to a change in the spatiality of the marketplace as the Daein market is re-contextualized as `art`. And then, naming changes such as `Daein Night Market` and `Byeoljang(star market)` occur again. In the course of this change of name, changes in subjects such as Daein market-merchant, Daein art market-artist group, Daein art night market-youth seller are also found. Of course, there are multiple overlapping layers in this transformation. Therefore, the spatial practice of various subjects such as artists, spectators, local governments and tourists overlap not only the merchant - consumer but also the narrative of the place is constantly reconstructed through negotiation and dialogue of various subjects. However, this process should be endlessly put to the critical question if the locality was instrumentalized again as another global product emphasizing `difference` or it really functions as a `driving force` of becoming.

부산 신발 여공의 정체화와 로컬리티 - 여성노동자의 기억과 자기발화는 로컬리티에 어떻게 개입하는가?

문재원(Mun, Jae won) 동북아시아문화학회 2023 동북아 문화연구 Vol.1 No.77

For people living in Busan, the identity of shoes and Busan is strongly established. The connection between Busan and shoes is always strongly mediated by ‘female workers.’ There has been little qualitative research on female workers in the Busan area. At the same time, the position of women in Busans economic history/industrial history has been minimal or invisible. In this paper, I will name shoes female workers in the Busan as subjects of space and restore the various womens labor and their desires. Through this study, we aim to reveal the lives and memories of female workers who have been invisible in the region and actively intervene in local history. To achieve this purpose, I reconstructed the experiences and memories of female workers at a shoe factory in Busan from a life history perspective. The strong power of ‘gendering’ was primarily at work in the advancement of female workers into society. If the ‘leading role’ that connected gold and shoes was women, these women were the ones who produced Busan’s industrialized space (H. Lefebvre) and the ones who created the new landscape of the city. Also, this space and time is connected to the present. However, it was confirmed that they reconstructed their identity as workers by using practical strategies to become female workers. The work of engaging ‘female workers’ in the time and space that connects Shoes and Busan will be the work of constructing a local narrative that goes beyond the gender geography of distorted memories.

다문화주의 담론의 재구성에 대한 고찰

문재원(Mun, Jae-Won) 순천향대학교 인문학연구소 2014 순천향 인문과학논총 Vol.33 No.3

본 논문에서는 현재 우리나라에서 진행되는 다문화주의 지형에 대한 비판적 성찰을 바탕으로, 다문화 담론의 문제틀을 어떻게 재구성할 것인가에 대한 논의를 전개해 나가고자 한다. 이때 다문화적 실천이 일어나는 장소를 랑시에르의 '정치적 장소'로 재의미화하여 급진화된 다문화주의로의 전환을 요청해 보고자 한다. '급진화된 다문화주의'를 사유하고자 하는 이유는 현실적으로 한국의 다문화주의 담론이 주류사회의 담론 기능을 하는 과정에서 봉합되었던 갈등의 국면들을 오히려 드러내고 거기에서 새롭게 다문화주의 담론을 구성해 보고자 하는 까닭이다. 이 과정에서 다문화실천이 일어나는 로컬을 주목하면서 위로부터 기입된 다문화주의가 아닌 아래로부터 실천되는 다문화주의를 전망해 본다. This study, on the basis of critical reflection of geography of multiculturalism, tries to discuss how to reconstruct the frame of multiculturalism discourse. And by translating the place where practice of multiculturalism takes place into Jacques Rancière's 'political arena', this study asks for a conversion into a radical multiculturalism. The reason to consider 'radical multiculturalism' is to reveal the aspects of conflicts sutured in the process in which multiculturalism discourse in Korea performs the function of discourse of mainstream society and, on that, to construct multiculturalism discourse anew. In this process, perceptive conversion is required which converts difference represented on the multicultural subjects into puissance of in-between space. In addition, paying attention to locality where the practice of multiculturalism takes place, this study predicts a multiculturalism practiced from the bottom, not the one forced from above.

1930년대 문학의 향토재현과 로컬리티

문재원 ( Jae Won Mun ) 우리어문학회 2009 우리어문연구 Vol.35 No.-

경계넘기의 서사적 재현 -국경을 가로지르는 여성의 서사: 『바리데기』, 『리나』, 『찔레꽃』

문재원 ( Jae Won Mun ) 현대문학이론학회 2010 現代文學理論硏究 Vol.0 No.41

오늘날 문화적 공간에서 재현되는 월경(越境)에 대한 서사는 전지구화의 반영이면서도 전지구화에 대한 문화적 대응양식으로 볼 수 있다. 전지구적인 문화의 헤게모니는 결코 단일한 힘으로 존재하는 것이 아니라, 그 자체로 로컬, 계급, 젠더나 인종 등 다양한 사회적 차이와 결부되어 불균등하게 편재되어 있다. 그러므로 이러한 문화적 대응은 결코 단일한 아이덴티티로 환원되는 방식으로 이루어지는 것이 아니라, 서로 다른 다양한 힘들이 충돌해 가는 과정 속에서 복합적으로 생성된다. 그렇다면 월경에 대한 서사는 유행처럼 넘어가는 이주의 행렬에 주목할 것이 아니라, 이곳과 저곳의 경계들이 충돌하는 지점이 어디인가를 주시하는 일이 중요하다. 이 충돌지점이야말로 경계의 문턱(한계)을 드러내는 일이며, 이를 직면하는 일이야말로 월경(trans-)에 대한 진지한 모색으로 이루어질 것이기 때문이다. 본 논문에서는 황석영, 『바리데기』(창비, 2007), 강영숙, 『리나』(랜덤하우스, 2006), 정도상, 『찔레꽃』(2008, 창비)을 중심으로 월경의 재현양상을 살펴보았다. 공통적으로 월경의 주체를 여성으로 내세운 이 작품들은 지역, 젠더, 계급 등의 요소들이 복합적으로 작용하여 경계넘기라는 보편적 사건 안에 다시 개별적이고 특이한 사건을 만들어 내고 있다. 또한 이들이 경계 밖으로 추방당한 타자의 얼굴로 재현되면서도 한편으로 기존의 경계가 강제하는 배치에 포획되지 않으려는 탈주의 선을 잠재하고 있다는 점도 주목된다. Narrations about transboundary represented in cultural space in these days are the reflection of globalization, and the aspects of cultural respondence about it. Hegemony of the globalized culture doesn`t exist in a single power, but is distributed inequally, combined with social differences such as locals, classes, genders or races in itself. Therefore, this cultural respondence is never returned to a single identity, but produced in combination in the process that different powers crash with each other. Then, it is important that narrations about transboundary focus on the spots where the boundaries crash rather than the parade of migration like an epidemic. That`s because these spots reveals the limitation of boundaries and facing them makes us earnestly seek transboundary. In this study, the aspects of the representation of transboundary are investigated, focused on Baridegi(Hwang Seok-yeoug, Changbi, 2007), Lina(Kang Yeong-suk, Random House, 2006), Jjile-ggot(Jeong Do-sang, Changbi, 2006). Those works which set females as the subject of transboundary produce individual specific events in the general events of transboundary. Also, it is remarkable that they are represented as the face of other who was deported to the outside of boundary, and they make the line of escape not to be captured by the arrangement which was forced by the existing boundaries.

마산의 지역성을 둘러싼 정체성의 정치 -가고파 이미지의 전유와 기획을 중심으로

문재원 ( Jae Won Mun ),이상봉 ( Sang Bong Lee ) 동아대학교 석당학술원 2010 석당논총 Vol.0 No.47

Local identity is not simply given and fixed, but is made by someone and can be changed following specific periods and phases. In this point of view, this study investigates appropriation and plan of identity. Especially, Masan is focused, which actively evokes and distributes the image of ``Gagopa`` after introduction of local government system, publishing a slogan, ``The city of Gagopa, Masan``. Although ``Gagopa`` starts from an individual`s poem, now it is appropriated as a representative symbol of Masan, transcending time and space. Local identity is established, based on the landscape of the locals or common experience of local residences. However, the ways of memorizing and appropriating landscape or common experience are various, and past experience is always reproduced in the current point of view. Thus, this study considers the place which ``Gagopa`` evokes. The geographical condition that Masan is a port city and the ideal image of hometown sung in <Gagopa> are combined naturally, and this delivers the spatial image of emotional and ideal utopia aimed by the city of Masan well. This local identity that ``Gagopa`` projects secures internal homogeneity with the original lyricism evoked by Gagopa. Furthermore, it seems to attempt outward differentiation with the new images of future-oriented port city and emotional cultural city.

고착되는 경계, 트랜스로컬리티의 불가능성 : 한국 영화에 재현된 조선족을 중심으로

문재원(Mun, Jae- Won) 한일민족문제학회 2015 한일민족문제연구 Vol.28 No.-

This paper was to examine how the movie text accommodated and represented the transnational migration of ethnic Koreans living in China facing at multiple impossibility. First, as recently the migration of ethnic Koreans living in China being connected from remote regions to other remote regions presented in violent gangster movie practice, the knock-on imaginary structure connecting China-Yanbian- poverty-violence contributes to the production of negative images about ethnic Koreans living in China and their space. Second, the discourse on issues of ethnic Koreans living in China, who are the familiar and also unfamiliar others to us coming in our society, has spread the discourse of exclusion and deportation rather than revealing hospitality for others, in which the device of rumor worked very effectively. The production and circulation of this kind of rumor present that today our country takes a stand of post nation-state superficially, but internally still solidifies the boundary inside a nation-state. Third and finally, nevertheless, these circumstances in the risk of deportation of ethnic Koreans living in China lead to their own imagination, by which the planning of the solidarity with unfamiliar others and the competence being able to generate new communities are possible. However, as this imagination zone is possible only in the world of innocent pure love or the space of death, paradoxically it emphasizes how difficult those solidarity is. Likewise, the representation of ethnic Koreans living in China being reproduced expansively in Korean movies doesn’t suggest post-modern nomadic imagination, but discloses its fabrication.

산복도로(山腹道路)에 대한 동상이몽- 부산 산복도로 재현의 시선들에 대한 고찰

문재원 ( Jae Won Mun ) 한국사회역사학회 2014 담론 201 Vol.17 No.3

Busan mountain villages around the original downtown, which were formed in a multi-layered way as stevedore in the Japanese colonial period, refugees of the Korean War, and workers of the industrialization period flocked to the city, became a major place for realizing Busan’s locality today. Recently, relocation projects for memory, scenery, and culture around hillside road are proceeding actively. Mass media otherizes the space of hillside road as the space of “primitive passions,” as it still continues the birth of modern space. The local governmentis progressing a project to design it with a blueprint, “Hillside Road Renaissance,” by borrowing a global scale. On the other hand, a movement has been observed to restore private voices based on the daily life of hillside road and specific space. Based on the aspect of these representations, this study has studied critically the displacement of desire and structure of misconception that occurs in the process of re-placing hillside road. Through this, it emphasized that the reflection on today’s region can be brought up from self-examination based on now-here place that becomes the foundation of one’s life, not based on aknowledge system that is disengaged and abstract from the place.

『토지』에 나타난 소문의 구성과 배치

문재원(Jae Won Mun) 한국현대소설학회 2006 현대소설연구 Vol.- No.32

Rumors are not the language of the center but that of the surroundings. They seem to be based on contingency but are actually the space where the subconscious desires that the characters have long suppressed are projected. Thus reading rumors is to read the desire systems of the people directly and indirectly related to them. In addition, considering that the events composed in rumors are formulated in the space of probability beyond the dichotomy of truth and falsehood, rumors have another kind of reality space behind the reality that composes them. We can have access to the suppressed taboo system in the real space through that space. The composition and arrangement of rumors in 『Toji』 were reviewed as follows: First, there are rare cases that the world of rumors is formed and delivered in the metaphoric communication system of certain characters. Especially, the predictions and interpretations secretly spread around regarding the death of Choi Chisu and Byeoldang Lady are the examples. Second, the forbidden love between men and women makes an axis of the narratives of 『Toji』 The forbidden love between Byeoldang Lady and Gucheon, her daughter Seohee and Park Uisa, and Yong and Wolseon is the strong power to drive the narratives forward. Their love gets the space of beautification and rationalization in rumors. Third, the history of accumulating wealth by the Choi Champan family, which is the symbol of abundance in Pyeongsari, provides the elements of doubt and anxiety about the family, which is also the ultimate representation of the good. The related rumors form a discourse in respect to the zone of boundaries and cracks. Fourth, the narrative plot required when reading 『Toji』 as a complex metaphor for the tragic destiny of Korean people in the modern times is a public task. Donghak, loyal troops and independence soldiers are combined together in the name of the Korean people. Inside the rumor system creating them, they always encounter the taboo system called `Japan` that`s a single contrasting place and thus expand the public world. In short, the rumors in 『Toji』 are placed in many locations between narrative events, expanding the wavelength of their meanings. Placing the rumors of the Choi Champan family, which is the central axis of the narratives, in the center allows for the experience of fear and playfulness at the same time. With the opposite images and interpretations being communicated freely, rumors give a permission to the circulation of diverse imaginations in addition to anonymity and work to alter the subjects of the rumors in free manners. Thus rumors are the important media for the narratives of Toji to create diverse and mixed spaces.