잃어버린 장소에 대한 애도는 가능한가 - <스즈메의 문단속> 재난 서사의 변화

배관문 동아시아일본학회 2023 일본문화연구 Vol.- No.87

The purpose of this paper is to reconsider the “Japan” theory surrounding director Makoto Shinkai by analyzing the disaster narrative in Suzume. His works often use motifs from Japanese mythology, Shinto beliefs, and classical performing arts. This movie even the emperor joins them. However, it would be too simplistic a criticism to point out returning to Japan. Are there any “Japanese” elements involved in the “global” success of the disaster movie trilogy? The points emphasized in the movie poster are the unrivaled drawings and music, the emotional fantasy adventure, and the rapid development and reversal of the drama. Based on these three viewing points, this paper points out the changes in the relationship between the landscape and the inner world, between Tokyo and the countryside, between the gods and humans, and between the community and the individual. This shows that the artist's interest in post-disaster collective memory and new ways of linking it as a problem is clearly different from the so-called “return to Japan” theory.

근대 전환기 일본의 실학 - 야마가타 반토와 후쿠자와 유키치 -

배관문 한국일본사상사학회 2015 일본사상 Vol.0 No.29

‘Practical science’ in today’s Japan refers to something equivalent to learning or science that can be verified in positivist and rational terms and is useful for actual life. As well known, the protype of this concept of practical science is found in the idea of ‘Science of practicality’ championed by Yukichi Fukuzawa. It was Masao Maruyama who rediscovered Fukuzawa’s idea of practical science, calling it ‘revolutionary turn’. ‘Practical science’ can also provide an important clue to the present study that tries to pay attention to the juncture of time from pre-modern to modern era, when the nature of ‘science’ was about to change fundamentally. This study discusses Bantō Yamagata, a Confucian scholar in the late pre-modern period. Yume no shiro (“Instead of Dreams”), a book that compiled the knowledge collected in the Kaitokudō in Ōsaka, is regarded as an enlightening publication based upon the idea of practical science. Particularly, enthusiastic support of the heliocentric theory, discussion of atheism and no-ghost theory, and distinction between myth and history are examples that show the perspective of rationalism and positivism. Due to this, Bantō’s idea of practical science is appraised as very close to that of Fukuzawa in the early Meiji Era, and as almost modern in thought. But this study starts its discussion from having a doubt over the positivist nature and rationality of the practical science of Bantō and that of Fukuzawa, which are taken for granted as guaranteeing the ‘pioneering modernity’ of pre-modern learning. 오늘날 일본에서 ‘실학(實學)’이라고 말할 경우, 그것은 실증적·합리적으로 증명할 수 있으며 실생활에 도움이 되는 유용한 학문 정도의 뜻이다. 이러한 실학 개념의 원형을 제공한 것은 잘 알려진 대로 후쿠자와 유키치가 주창한 ‘실업지학(實業之學)’이다. 그리고 후쿠자와의 실학 개념을 ‘혁명적 전회’라고 높이 평가하며 현대에 재발견한 것은 마루야마 마사오였다. 전근대에서 근대로 ‘학문’ 자체가 본질적으로 전환되는 지점에 주목하고자 하는 본고에서도 ‘실학’은 중요한 실마리가 될 수 있다고 본다. ‘실학’이라는 개념이 전근대뿐만 아니라 근대, 아니 현대까지도 끊임없이 의미를 재구성하며 사용되고 있는 상황은 동아시아 삼국이 마찬가지인 듯하다. 그렇다고 동아시아 공통의 ‘실학’ 개념을 추출한다거나 일본 실학사의 계보를 구축하는 것이 본고의 목적은 아니다. 본고는 일본의 근세에서 근대로의 이행기에 학문의 방법론이 어떤 면에서 연속되고 혹은 단절되는가 하는 물음을 배경으로 한다. 구체적으로 다룰 대상은 근세 후기의 유학자 야마가타 반토이다. 당시 오사카 회덕당의 지식을 집대성한 그의 저술 『꿈 대신에』는 실학적 사고에 기초한 계몽서로 손꼽힌다. 특히 지동설에 대한 적극적 지지, 무신론·무귀론, 신화와 역사의 구별 등의 내용이 합리주의·실증주의의 관철을 보여주는 예에 해당한다. 이로 인해 반토의 실학관은 메이지 초기 후쿠자와의 실학관에 매우 근접한, 사실상 근대적 사상에 거의 닿아있다는 평가를 받는다. 다만 반토의 경우는 주자학이 서양의 자연과학과 접하면서 해체되기는커녕 유학의 본질을 더욱 공고히 하는 방향으로 나아갔고, 결국 그의 실학은 막번 체제 내에서 현실을 긍정하는 ‘왕도론적 경제론’의 한계로 규정되는 것이 보통이다. 그렇지만 본고의 문제의식은 오히려 반토의 실학과 후쿠자와의 실학을 연장선상에 두고 논할 때 근세 학문의 ‘선진적인 근대성’을 담보하는 것으로 당연하게 전제되는 실증성·합리성에 대한 의문에서 출발한다.

근세 일본 국학에서의 사후세계 담론의 시작*- 모토오리 노리나가의 유언장 -

배관문 한국일본사상사학회 2013 일본사상 Vol.0 No.25

This paper aims to examine the discourse of death and the world after death in modern Japan through analysis of The Will of Motoori Norinaga. Norinaga has chosen two places for his grave: a temple called Jyukyoji and a place near a temple called Myorakuji in the mountain of Yamamuroyama. This study critically examined the earlier studies which had explained the doubt about the two graves of Norinaga by associating it with Ryobo-sei, double-grave system, which was a grave system at that time. His instructions do not accord with the concept of Ryobo-sei, and if this grave system were a form generally practiced at that time, then it cannot be explained satisfactorily that his family and disciples after his death did not follow his will. It is evident that the grave and the form of funeral he had in mind were unconventional for the common sense of the time. In short, it can be regarded as an expedient for him, who greatly guarded against actions conflicting with the social convention, to keep up his appearances and at the same time to adhere to his principle as a scholar, concerned about the public eye. The will which seems weird at first glance is not self-contradictory at all within his thought, rather, it can be regarded as another expression of his consistent idea condensed. But Norinaga’s will in which divergent positions are entangled with each other has caused confusion later because it was difficult to comprehend his real intention. He used to teach that it is not advisable to think about something invisible. And he said that everyone only goes to Yomi(otherworld) after death, and in front of death, there is nothing for man to do but to mourn. Despite that, does the fact that he chose his grave himself before his death and made thorough preparations for his will tell a change in his idea of life after death in his last years? He never denied his own standpoint to the end. There was an example, however, of Hirata Atsutane who tackled this matter head-on to develope it into a unique theory of afterlife and a doctrine of the immortality of soul. From a different horizon from Norinaga’s, and from the viewpoint that the arena of the intellectual discourse initiated by Norinaga was expanded and reproduced in the later period of modern times of Japan, the will of Norinaga served as a decisive momentum to trigger discourse on afterlife for scholars of Japanese studies.

후쿠시마에서 생각하는 도쿄올림픽 ― 부흥문화론의 관점에서 ―

배관문 한국일본학회 2022 한국일본학회 학술대회 Vol.2022 No.02

국학의 메이지 유신: 복고의 착종으로부터 신도를 창출하기까지

배관문 서울대학교 일본연구소 2018 일본비평 Vol.- No.19

In the transformative era spanning both the late Edo period and the beginning of the Meiji period, the Kokugaku school led by Hirata Atsutane envisioned a revival of Shintō and the imperial rule. Nonetheless, this group of scholars lost dominance in the political stage due to the revolutionary outbreak of new government system right after they declared a “restoration.” Instead, scholars from Tsuwano area took the leading role in the modern administration for Shintō and court rituals. This fact demonstrates the frustration that the Hirata group went through. The narrative from Yoakemae[Before the Dawn] written by Shimazaki Tōson illustrates the same story. It seems clear that the restoration envisioned by Kokugaku scholars was a complicated entanglement of opposing ideas including the Declaration of Great Teaching and the controversy over rituals. Although it may be true that the influence of Hirata group was limited and short-lasted, the fact that they established the foundation of national Shintō cannot be denied as their various ideas amalgamated into the modern Kokugaku studies.

서평_여행자의 시선과 구도자의 마음이 교차하는 순례길에서: 『일본 재발견: 일본인의 성지를 걷다』(박규태, 2020)를 읽고서

배관문 서울대학교 일본연구소 2022 일본비평 Vol.- No.26

일본 부흥 내셔널리즘을 넘어서: 포스트 3·11 재난문학의 행방

배관문 서울대학교 일본연구소 2022 일본비평 Vol.- No.27

This paper reviews Japanese ideas and aesthetics related to “reconstruction” while verifying the analysis of Fukushima Ryota’s Reconstruction Culture Theory: Genealogy of Japanese Creation. His Reconstruction Culture Theory is clearly fresh in that it reverses the conventional concepts of traditional literature and thought history. However, a closer look brings up a question whether his argument is eventually very similar to the ‘reconstruction’ logic of the 2020 Tokyo Olympics. This does not mean that the significance of Japanese culture theory, which can be read consistently to some extent as “reconstruction,” should be completely denied. I think highly of the fact that such a view began to be actively discussed in terms of “disaster literature” after the Tohoku Earthquake, and I stand with it. However, I consider it necessary to carefully examine what the Reconstruction Culture Theory of “Japan” means from the perspectives of “local” and“region,” which is missing in the reconstruction discourses on both sides. In this light, I would like to ask whether Fukushima Ryota’s reconstruction discourse- despite his own denial - neglects “local” and “region” by being preoccupied with national traditions, history and nationalism. In addition, I examined what position the classical works cited by Fukushima Ryota took on the “local” and “regional” reconstruction rather than national reconstruction. This is because I expected that classical literature, which had emerged before the appearance of the modern state, would explain ‘disaster’ and ‘reconstruction’ from a different perspective from today. I think this will open a new perspective on “local” and “region,” which are easy to forget in the name of “reconstruction of Japan.”

재난 이후의 일본문화론 - 『신고질라』의 새로운 상상력에 관하여 -

배관문 동국대학교 일본학연구소 2022 일본학 Vol.56 No.-

이 글에서는 2016년 『신고질라』가 보여준 ‘새로움’에 주목해 보고자 한다. 왜냐하면, 1954년에 제작된 최초의 『고질라』와 비교할 때, 『신고질라』는 <고질라> 를 ‘피폭의 역사적 기억’과 연결시키는 것을 의도적으로 거부하고 있기 때문이다. 달리 말하면 『신고질라』는 ‘전후’ 일본을 지탱하는 역사적 기억에 대해 의식적으 로 거리를 둔다. 그리고 ‘원자력’을 에너지원으로 하고 방사성물질을 내뿜는다는 점에서 2011년의 후쿠시마 원전사고를 영향을 직접적으로 드러낸다. 그렇다면 괴 수영화라는 일본 특유의 SF 계보에 위치하면서도 3.11 동일본대지진이라는 재난 에 의해 촉발되어 다시 태어난 『신고질라』에 투사되고 있는 새로운 상상력이란 어떤 것일까? 이 영화에서는 <고질라>의 위협에 대응하기 위한 최후의 방법으로 도입된 ‘야 시오리 작전’에 의해 <고질라>를 냉동시키는 데 성공한다. 그런데 이 작전은 오 타쿠 같은 전문가들이 제안하고 그것을 야구치라는 관료가 받아들이고 최종적으 로 자위대가 실행에 옮기는 형태로 전개된다. 즉, 작전의 성공은 오타쿠와 관료와 자위대의 역할 분담에 따른 결과다. 이렇게 보면 『신고질라』는 <고질라>라는 방 사능 괴수에 대해 ‘관료 『오타쿠』자위대’라는 요소로 이루어진 거대한 조직이 대응하는 구도를 취하고 있음을 알 수 있다. 『신고질라』의 초점은 <고질라> 그 자 체라기보다 <고질라>가 초래한 파국적 위기에 대해 일본이라는 국가가 무형의 ‘유기체’와 같은 모습으로 대응한다는 상상력을 보여주는 데 있다. This paper focuses on the ‘novelty’ shown in “Shin Godzilla,” produced in 2016. It is because “Shin Godzilla” intentionally rejects associating Godzilla with the historical memory of atomic bombings in Japan, compared to the original “Godzilla” produced in 1954. In other words, “Shin Godzilla” keeps a conscious distance from the historical memory that holds up post-war Japan. Instead, it depicts the impact of the ‘Fukushima nuclear disaster’ in 2011 by having Godzilla breath atomic rays, fueled by ‘atomic power’. Then, what is the novel imagination reflected in “Shin Godzilla”, which is still located in Japan's SF genealogy and yet remade inspired by the Great East Japan Earthquake that broke out on March 11, 2011? In the movie, the ‘Yashiori Strategy’, the last resort attempted in response to the threat of Godzilla, succeeded in deep freezing Godzilla. The interesting point about the strategy is that it was proposed by experts like otaku, accepted by Yaguchi, a government official, and finally executed by the Japan Self-Defense Forces. Put differently, the success of the strategy can be attributed to the effective division of labor among otaku, bureaucracy, and Self-Defense Forces. In a sense, “Shin Godzilla” describes how the large institution consisting of ‘bureaucracy, otaku, Self-Defense Forces' of Japan responds to the atomic monster, Godzilla. The focus of “Shin Godzilla” is not Godzilla itself. Instead, it is focused on expressing the imagination that the destructive crisis caused by Godzilla is addressed by Japan as a nation as if it were an intangible organic body in cooperation with the three entities, bureaucracy, otaku, and Self-Defense Forces.

빈곤과 차별의 상징이 된 후쿠시마 – 현대일본 표상문화론에서 서발턴 연구의 가능성 –

배관문 한국외국어대학교 일본연구소 2022 日本硏究 Vol.- No.91

The purpose of this article is to reveal specific aspects of how the discriminatory structure toward a disaster area is reproduced in modern Japan by analyzing cases in which the ‘voice’ of Fukushima, the site of the nuclear accident, is suppressed by the media discourse of “revival and reconstruction.” Residents of the affected areas of the nuclear accident and decontamination workers can be said to represent Subaltern abandoned by the Japanese government. Meanwhile, the 2020 Tokyo Olympics were extensively promoted by the Japanese government under the banner of the Fukushima Revival Olympics. However, residents of Fukushima were not happy or opposed to using Fukushima as a political show for the revival Olympics until just before the Olympics were held. The testimony of the victims confirmed the structure of oppression and discrimination that remained deeply rooted in the disaster area after the nuclear accident. As described above, this article examines how cultural power operating through the media suppresses Subaltern’s voice and further justifies the “sacrifice system” imposed on them by comparing and analyzing remarks related to evaporators and nuclear power plant workers from the perspective of research on Subaltern.

『태평기』의 전란 후 일본 - 모노가타리가 유통시키는 허구의 역사 -

배관문 동북아시아문화학회 2023 동북아시아문화학회 국제학술대회 발표자료집 Vol.2023 No.10