현대작가와 문화영웅담 재독해

안숙원 서강어문학회 1990 西江語文 Vol.7 No.1

지하련 작품론

안숙원 한국문학이론과비평학회 2002 한국문학이론과 비평 Vol.14 No.-

소설의 크로노토프와 여성서사시학 (2)― 미망을 대상으로 ―

안숙원 한국여성문학학회 2005 여성문학연구 Vol.13 No.-

North Korea. Also, Mimang has a woman heir (granddaughter) who took over her grandfather's heritage focusing to ginseng and commercial morality of Gaesung. Then Mimang showed us an exclusive regionalism. That's why Mimang has the closed narrative space of the chronotope like an island on the level of its plot. The chronotope of an island is composed of two types. One is a real island, the other's semiotic island. The former is Ganghwado which is a copy of Gaesung as the place of growing ginseng, and the latter is Gaesung's locality. In a sense, Mimang is a ginseng narrative. Ginseng is similar to woman's body and especially ‘Koryo Insam (Korean ginseng)’means national identity. It's homology to woman's sufferings and Korean's national identity-crisis in the enlighten period one hundred years ago. The heroine of Mimang tried to keep ginseng as a symbol of woman and nationality, and she absolutely finished her task in the text. Furthermore, the novel presented a model of modern capitalism through the handover of a family business by a woman heir in Korea, as well. 박완서의 미망은 19C말에서 한국전쟁까지 공적 역사와의 상호관련 속에 여성에 의한 가업계승을 중심서사로 하는 여성가족사소설이다. 이 작품도 토지, 혼불처럼 가족을 통해 민족을 서사화하는 만큼 가계 연속성에 대한 욕망이 민족주체성 욕망과 동일시, 자궁-집-나라의 크로노토프가 아이-가족-민족에 등가관계를 이루고 있다.미망은 실향민작가 박완서의 고향 개성에 대한 토포필리아로서 기억의 재현이기도 한데, 고려인삼과 개성상도가 스토리의 두 축이다. 플롯층위에서 개성에 중요한 사건이 집중되어 지역주의와 서사공간의 폐쇄성으로 인해 ‘섬’의 크로노토프를 형성한다. ‘섬’의 크로노토프는 섬에서만 일어날 수 있는 일이라면 섬의 시간대란 뜻으로, 이는 구체적 실체인 ‘섬’과 기호학적 범주의 ‘섬’으로 나눌 수 있고 전자인 강화도는 인삼 재배지 개성의 복사판이며 후자의 ‘섬’은 개성의 로컬리티를 가리킨다.또한 미망은 인삼 생태주의 비평의 대상이다. 이 소설에서 인삼은 여성신체와의 도상적 호몰로지(homology) 때문에 여성을 은유하기도 하고 ‘고려인삼’이 지칭하듯 민족정체성을 상징하기도 한다. 곧 ‘인삼장’에서의 소련군 장교를 접대하는 기생향응이나 ‘기생삼’따위 인삼수난은 여성신체의 훼손과 맞물려 인삼=여성=민족의 유추관계에 있다. 인삼과 더불어 다른 하나의 스토리축인 개성 상도는 조부→손녀로 이어지는 동해랑 전처만가의 손녀 태임에 의해 수행된다. 가문이 혈통에 의해서가 아니라 가업에 의해 계승된다는 점에서 미망은 다른 여성가족사소설과 변별성을 갖는다.

현대작가와 역마살의 재독해-김동리의 『역마』와 박경리의 『토지』를 대상으로

안숙원 한국문학이론과비평학회 2004 한국문학이론과 비평 Vol.24 No.-

I have examined how Korean modern writers have re-read about folk-belief of unhappy destiny of a vagabond in Stoffgeschichte. Both Kim Dong-Rhee's Yokma (A post horse, mobility, but its really used by Korean as a vagabond who must lead a wandering life.) and Park Kyong-Rhee's Toji (The Land) focus on hodology in which the Chronotope of the road repeating to encounter and separate is foregrounding, on the basis of the Korean's fatalistic vision of the world; they are the products of the authors who try to reconfirm the narrative tradition of bearing regret and solution of it to cooperate with the crisis of national identity - since Korean Liberation, Industrialization period in the context. When we consider Kim Dong-Rhee's short story Yokma, the characters who were plagued with the devil performed their destinies of mobility as narrative structure of folk-belief obsessed in anxiety of prophecy and realized, for Park Kyong-Rhee's novel Toji represented the motif of mobility as an allusion of human-beings ontology or physiological phenomena of culture. In other words, Toji attempted more positive interpretation than Yokma about the vagabond on the individual and national viewpoint especally to compare with Korean and Japanese, while Yokma presented a sublimation of spite on the individual standpoint. Toji rewrote metaphorically the motif of the vagabond through a vigorous motion of wings of migratory birds such a dynamism as one doesn't like stablity and pursuits freedom from being tamed and awareness of being possessed purifies culture of a nation by itself.

신여성과 에로스의 역전극 : 나혜석의 「현숙」 과 김동인의 「김연실전」 을 대상으로

안숙원 한국여성문학학회 2000 여성문학연구 Vol.3 No.-

본고는 신여성의 섹슈얼리티를 성 역할 전환의 소재 전통 속에서 검토한 것이다. 텍스트가 한 시대와의 컨텍스트를 이루기도 하지만 초시대적 상호텍스트성을 갖는다는 것이 문학 소재사 내지 주제론의 방법론적 근거가 된다. 이렇게 볼 때 나혜석과 김동인이 그들 시대의 가장 뜨거운 이슈였던 신여성의 섹슈얼리티에 각각 「현숙」과 「김연실전」으로 대응한 것은 현실상관성도 갖지만 서사를 주도하는 여성들이 파격적이고 공격적인 에로스를 보여준다는 점에서 성 해방의 소재사에 접맥되어 있다고 하겠다. 에로스의 역전극은 실상 여성 억압의 역사만큼이나 길고도 오랜 양성공존의 문화적 본능에 다름 아니다. 이를 개화기의 여성작가와 남성작가가 재독해한 「현숙」과 「김연실전」은 그러므로 성 역할 전환의 개화기식 변이라고 할 것이다. 이 텍스트들은 가정을 박차고 카페나 학교 같은 공적 영역으로 나온 가출여성 주인공이 서사를 주도하며 속물적 신남성을 길들이는 점에서 공통성을 갖지만 차이점도 있다. 예컨대 「현숙」에서 주인공 현숙의 섹슈얼리티는 자의식에 바탕을 둔 계산된 것이라면, 「김연실전」의 경우 욕망과 일탈을 혼동한 신여성의 허위의식이란 것이다. 곧 「현숙」에서 타산적이고 영악스러운 카페여급 현숙이 금전등록기로 자처하며 그녀 주위의 신남성들과 계약결혼을 제의하는 위악적인 여성인데 비해 「김연실전」의 동경유학생 김연실은 통속소설을 탐독하다 문학=연애라는 생각에 이르고, 연애는 여성해방인 즉 연애를 경험해야 선각자가 된다고 믿으며 남성편력에 나서는 위선적 여성이다. 이 같은 낙차는 전자가 여성에게 호의적인 여성 텍스트이고, 후자는 여성에게 적대적인 남성 텍스트인 것에 기인하는 것일 수도 있다. I examined the New Woman's sexuality and the perversion of eros based on literary thematics (Stoffgeschichte). I especially pointed out Rha, Hye-Suk's Hyun-Sook(1936) and Kim, Dong-In's Kim, Ryun-Sil jun(1939) in this article. That's why they had very exceptional and aggressive sexuality in their period, the so called, Korean Enlightened Times, in the early part of the 20th C. Actually, the eros of upside-down is a cultural causality and psychic drama referring to the sexual hegemonic conflict in the patriarchy. Many writers have continually represented this androgynous, bisexual utopians in their texts. Also, Rha, Hye-Suk and Kim, Dong-In presented their way of re-reading this theme. This is what Hyun-Sook and Kim, Ryun-Sil jun I tried to discuss here. The two texts have something a common with the New Woman taming man. The female protagonists of them attacked the traditional moral, patriarchy. On the other hand, they have many differences as follows. Fist, Hyun-Sook written by Rha, Hye-Suk presents a new type of marriage according to contract. Hyun-Sook, the main character of the text is a very clever and highly self-conscious cafe waitress. She regards herself as a register, neglecting passion. That's why she's obsessed by her past love-affairs. She only has her name, Hyun-Sook in the text and others are anonymous men referred to by their initial Y, K, L…… She leads the narrative and wants to contract a marriage with her spouse every 6 months. She's going to raise money to pay for a sexual service in exchange for an account. I guess she's snobbish, even though it's a kind of strategy reversing her eros and allows for the contemporary Korean econimic poor situation colonized by Japan in the 1930s. It's too difficult to differentiate between her desire and sexual deviation. Second, Kim, Ryun-Sil jun written by Kim, Dong-In coufused us, too. The heroine Kim, Ryun-Sil stole her step-mother's money and ran away from home. She went to Tokyo without any idea of what she wanted to do. She entered a school and soon decided to be the New Woman leader which was affected and mediated by her friends. She began to read a few popular English novels translated into Japanese. She tries to have a boy friend the same as the novel's lover. She believes the sexuality of erotic feeling is real love and that's the way of practicing a woman's liberation. She's not so much a woman leader, as she is a frivolous, hypocritical girl enjoying free sex. In the semiotic viewpoint, the former written by the female writer who was a New Woman, intentionally upsets the new intellectual men and the traditional morals. The latter, the male writer's ironical discourse, laughs at the New Woman and her love. In conclusion, both of them criticized the New Woman's sexuality which was morally ruined in the 1930s, but the texts may probably show us a type of a 'newly Born Woman'(called by Helene Cixous) against the phallic power in the transition period of Korean modernization.

「萬歲前」硏究

안숙원 서울保健大學 1988 論文集 Vol.8 No.1

죽음의 精神史와 韓國 現代詩 : 1920년대 시를 중심으로

안숙원 서울保健大學 1984 論文集 Vol.4 No.1

소설의 크로노토프와 여성서사 시학(3)

안숙원 한국여성문학학회 2006 여성문학연구 Vol.15 No.-

Chronotope in the Novel and Poetics of Female Discourse ― Focusing on Honbul of Choi, Myoung-Hee ― * This work was supported by the Korea Research Foundation Grant. (KRF-2002-050-A00015) Ahn, Sook-Won* I have examined a novel of womans' family history Honbul and the chronotope of death. The chronotope of death is divided into reality and semiotic death ; the former is tombs of Mrs. Chungam while the latter is many kinds of rites relating to the death of characters and folk customs. This includes the following : performance of a soul marriage of a dead boy and girl, funeral, the rite of making evenly tomb, the rite of the finishing cry, a blue fire from the dying person's body, losing flesh from the dead body, destroying Mrs. Chungam's grave and burying Hongsool's bones there by Mandong, a letter of the sacrificial rite, and a tombstone of a virtuous woman, etc. Thus death is the kernel narrative of Honbul, and the characters in the novel are possessed by thanatos. Also, the death becomes a seed of life, so it's considered as a progress of a shift in generations. That is an ambivalence. Therefore, Honbul is a festival of flesh and bone based on the eternal, circulating ontology of Korean people. It has been said that human-beings have affection together with flesh and works with bones. As Mrs. Chungam decided to rebuild a declining head family of Maean Lee, she gives her word, ‘I will rebuild my bones by myself’ without her husband to share affection with. The main subject of Honbul is the suffering history of women as a ruined nation's people, without a father in a patricentric society where father is country and mother is nation. Moreover, when making a new family name was enforced by colonizers of Japanese imperialism, a conflict between the family name of Maean Lee trying to keep seed(=blood), and Gumanggul, Goribaemi (the lowest class in contemporary society) to take revenge on Maean Lee's family and the upper class by changing family name became conspicuous. Honbul is an open text without plot, closure. Then it brings about talkative, extended rhetoric, parade of episodes, zero of narrative speed, achronicle, it maintains coherence of the text by individuality, similarity of motives, and association instead. It's like a part of Pansori. Even though, in Honbul the woman narrative enhances feminity with discourse on female's body and evaluation of domestic-affairs, it's an antifeminism text that characterizes a patriarchal wife of the head family. None the less, the great figuration and vivid descriptions by accomplishing poetic style as an absorption of magic power in Honbul makes us identify the life of the antifeministic head family's wife with male's point of view 본고는 여성가족사소설 『혼불』과 죽음의 크로노토프를 검토한 것이다. 죽음의 크로노토프는 실제 장소와 기호학적 죽음으로 나눌 수 있는데 전자는 청암부인의 무덤, 후자는 인물들의 죽음과 죽음에 관련된 각종 의례, 민속소재들-망혼제, 평토제, 혼불, 투장, 제문, 열녀비, 액막이연…… 따위로 제시된다. 이처럼 죽음은 『혼불』의 서사소(narrativity)로서 작중인물들은 타나토스에 깊이 강박돼 있다. 하지만 그 죽음은 생명의 씨앗이 되어 조상과 자손의 세대가 교체, 지속하는 자연의 로고스로 간주된다. 죽음의 크로노토프에서 보자면, 『혼불』은 영생, 순환하는 한국인의 존재론을 서사화한 살(肉)과 뼈(骨)의 축제다. ‘살로는 情을 나누고, 뼈로는 일을 한다’고 했다. 청암부인이 몰락한 종가를 ‘내 홀로 내 뼈를 일으키리라.’고 다짐하듯 일제 치하 망국민으로 무기력한 남성을 대신해 종가를 지켜낸 여성 3대(청암부인-율촌댁-효원)를 비롯, 민족의 보존을 떠맡은 여성들의 수난사가 『혼불』의 기둥줄거리다. 하지만 플롯층위에서 『혼불』은 플롯없는 열린 텍스트이다. 장황한 수사, 에피소드들의 나열, 시간모순 등으로 시점의 혼란이 많고 결말다운 결말이 없다. 이를 판소리와 같은 부분의 독자성으로 볼 수도 있지만 소설담화의 적정성을 고려하면 서사단위들의 파편화를 응집하는 데도 크로노토프는 유용한 개념이라고 생각된다. 한편 『혼불』은 일제 치하 창씨개명과 더불어, 냇물을 사이에 두고 원뜸/아랫몰의 지지적 공간분할에 따른 예각화되는 것을 통해 가계연속성 욕망과 민족주체성을 동일시한 여성가족사소설의 특성을 보여준다. 동시에 『혼불』은 여성신체의 풍요원리, 집안살림의 내공쌓기로 여성성을 고양시키고 자력으로 가문의 혼불이 된 종부를 통해 타자의 디스코스를 재현했다. 무엇보다 언술층위에서 『혼불』은 전통사회 여성들의 구연담화와 내간체의 기록담화를 혼합하고, 흡인력을 발휘하는 풍부한 비유와 생기있는 묘사로 소설언어의 영역을 최대한 확장했다는 점을 강조하고자 한다.

아리랑과 現代作家의 再讀解

안숙원 서울保健大學 1987 論文集 Vol.7 No.1

對話理論과 朴泰遠의 小說 : 「川邊風景」을 對象으로

안숙원 서울保健大學 1992 論文集 Vol.12 No.1

This is a study on Taewon Park's novels based on the dialogical imagination. Taewon Park was born at Sujung Pakkol(Seoul), on January 1, 1909, His first novel "Beard"(수염), which was a short story, appeared in the October issue of Shinsang in 1930. While working with Taejoon Lee, Jiyong Chung, Kirim Kim, Sang Lee, and Hyoseok Lee as a member of The group of nine people, he wrote experimental novels such as "A day of novelist Kubo" and "The Scenery of Riverside"(천변풍경). In spite of such a contribution to Korean Literature, he was rarely mentioned because he went to North Korea. The aim of the present paper is to analyze Taewon Park's "The scenery of Riverside" based on the dialogical imagination of M. Bakhtin. The present study, I hope, will not only supplement the already established study of this novel but also provide a motivation for further study of the writer, Taewon Park. 1. 'riverside' literally means Chungge river in Seoul; however, 'riverside', the signifiant, represents the negative value of human condition, which is the signifie. In other words, The Scenery of Riverside criticizes the wordly city life of Korean society in 1930 through the joys and sorrows of the people who were alienated and neglected in the midst of civilization and modernization. Moreover, this novel shows us the mind of middle-class people through. 2. Riverside' has the spatial function of passage ritual that the people inflowing from the country to the city have to go through. 3. Riverside' has another function of a public agora where information is exchanged centering around a barbershop and a laundry place, It also can be a space for carnival, considering laundry and haircut are the act of carnival of self-renewal(dirty/clean). 4. The ambivalence of carnival is revealed through the contrast between hiding and revealing of the chacters in the novel, between being deceived and deceiving, between reality and appearance, between friendship and hostility. 5. As for the style, a) stylization, b) parody, c) reported speech, d) the middle-class voicedness of Seoul, using the pharaseology of the parallel that the Pansori has, are seen(so called, polyphony). 6. There is no main character in this novel; no hero or heroine. Rather, this novel largly depends on the view of Jaebong, a boy at the barbershop. Jaebong, however, has a two side value-the viewer and the character. 7. This novel juxtaposes the episodes, like the collage of the visual art.