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현월(玄月)의 이물(異物)론 - 다문화사회 속의 재일조선인의 자화상 -
소명선 대한일어일문학회 2019 일어일문학 Vol.83 No.-
This paper is a study of “Foreign Objects(IBUTSU)” by Zainichi writer Gen getsu, and examines the self-images of Zainichi in a multicultural society. The space of the novel which can be presumed to be around Ikuno-ku in Osaka City, is a region where different cultures have coexisted since the 1920s when he group place of residence of Zainichi was formed. Foreign workers have flowed into this region under the influence of globalization. The novel is structured as if the antagonism between old comers and new comers appeared as a series of incidents. However, what is highlighted throughout the incident is the local space in which the incident occurred and the local entity living within it. The writer depicts the region as a ‘cursed land’ and the local entity as a as a human group who is cursed the earth's power of the ‘cursed land’. The reason why the self-images of old comers Zainichi are depicted as ‘foreign objects’ is because they have become invisible existence in Japanese society that has multicultural society. Old comers Zainichi have lived as invisible minorities due to the assimilation pressure from the ruling society. On the other hand, new comers have a solid national identity and exude their ethnicity. The anger and hatred to the new comers of Ikeyama are the one that the cultural crisis consideration of old comers was shown. Although Japan has entered into a multicultural society, the host society does not consider the historical specificity of former colonial people, but equates old comers and new comers, and the consciousness of exclusion to the ethnic group is still not disappearing. Under these circumstances, the old comers Zainichi have become increasingly invisible. By writing the old comers like Ikeyama as ‘foreign objects’ in “Foreign Objects(IBUTSU)”, the writer tries to evoke the history of the colonial rule which is forgotten and the existence of Zainichi. It can be said that “Foreign Objects(IBUTSU)” is a work which sharply depicts the he real situation of the Japanese society which faced the multicultural society in the standpoint of old comers. However, it is obvious that it only exposes the problems that multicultural society has, and can not deny the limitation that it has not presented a solution.
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오에 겐자부로(大江健三郎)의 『만년양식집(晩年様式集)』론 ─자기언급을 통해 본 카타스트로피와 ‘만년의 스타일’─
소명선 대한일어일문학회 2018 일어일문학 Vol.77 No.-
Ōe Kenzaburō's “In Late Style”(2013) is the 6th work which makes Chōkō Kogito a main character. It describes the daily life of the old writer who experienced the Great East Japan Earthquake of March 11, 2011. In "In Late Style," in addition to Kogito of central narrator, there are many narrators called 'I', and they criticize Kogito and his novels intensely. In this paper, I put a focus for the catastrophe that Kogito experienced in such a process. Through the analysis mainly on the catastrophe that Kogito is covered with, I examine that multiple first-person narrators and criticism to Kogito and self-reference are devices for what. As a result, I could confirm that these literary devices originated from self-criticism, which had adhered to the novel of the type described by first-person narrative ‘I’. The daily life of the old writer that the reality world and a border with the fiction collapsed by first-person narrative was located in the center of the self-criticism. The novel seems to have a self-contradiction of the writer who has adhered to the novel of the type described by the first-person narrative called ‘I’, but this is the strategy of the metafiction for building a ‘late style'. And “In Late Style” is depriving the authority of ’I’ as a nattator through various literary devices while sticking to the first-person narrative such as the I-novel. In this point, it may be said that this novel is the work which tried the deconstruction for the narration of the traditional I-novel.
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「私」에 대한 태도 혹은 자기평전 : 『憂い顔の童子』를 중심으로
소명선 대한일어일문학회 2004 일어일문학 Vol.24 No.-
私は大江健三郞の87年作『懷かしい年への手紙』をそれ以降の大江文學を特徵づける自己言及性を顯著に示している作品と見る。自己言及は大江文學に限らず私小說作家のテクストにおいてもすでにその例は見られるが、大江の自己言及は次の2點において「私」を書く旣存の作家とは異なる(本稿では葛西善藏と宇野浩二2人の私小說作家を取り上げてその相違点を具體的に考察した)。その一つは一人稱の語り手によるモノロ-グ的自己言及ではなく、樣樣な他者の聲が行き來するポリフォニ-の樣相を帶びている點であり、今一つは「私」と對立する作中人物が批判者であれ理解者であれ書物からの引用に卓越な人物であり、彼らによって引用される書物の內容が「私」と「私」の作品に對する解釋と批判となっている點である。私は80年代後半以降大江がつくり出すこのようなメタフィクションの世界を新しい文學の可能性、つまり〈自己言及文學〉の可能性として捉えている。一般に自己言及システムはその環境世界とは循環的に閉じられているシステムであるように、他者へ向かって自己を差異化·異化しようとしても結局のところ自己へ還元してしまう閉鎖性を示す。しかし大江の自己言及はこのようなパラドックスの円輪を描いてはいない。本稿近年作『憂い顔の童子』を中心に大江の自己言及がいかに行われているのか、その實態と特?を確認し、80年代後半以降の大江文學を〈自己言及文學〉として讀む理由を「古義人」(デカルトのコギトを想起させる)という名前と大江の「私」に對する態度を通して說明し、大江の「私」探求の文學という新しいメタフィクションの可能性を示したものである。
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현월의 『말 많은 개(おしゃべりな犬)』론 - 재일제주인 사가(Saga) -
소명선 동북아시아문화학회 2009 동북아 문화연구 Vol.1 No.19
This article took up “Talkative dog” of Gen Getsu and considered it about topos in the novel of Gen Getsu. He is the second-generation residents of the Jeju island-born parents. There is it at the position of the border in both generations at the same time as the pipe which can tie 1 generation and 3 generations plays a role because he is almost him in terms of age. It is the point where a similar place is repeated as space of the novels that I want to pay attention to in the literature of Gen Getsu. The place reminds of Ikaino located in the Osaka-shi eastern part. As Ikaino is space representing the historic reality that a Korean living in Japan lives for in a colony suzerain, there is the novel work which assumes Ikaino the stage as well as Gen Getsu a lot. However, as for Chingoro village in “Talkative dog”, it is it with strong space of the symbolism which is different from the real life space even if it will become clear through consideration. I analyzed discrimination structure of the multilayer in the village. And I analyzed the thing which a myth of a village and a well in an open space meant. It becomes clear that “Talkative dog” can read as a Saga of Jeju people living in Japan by this.
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