1930년대 전반기 이효석 소설의 마르크시즘 차용 양상

이미림 ( Lee Mi-rim ) 한민족어문학회 2020 韓民族語文學 Vol.0 No.87

본고는 이효석 문학의 마르크시즘과 콜론타이즘 전유 및 차용 양상과 소설에 투영된 1930년대 전반기 사회적 분위기를 고찰하였다. 동반자문학으로 출발한 이효석은 전세계를 휩쓸었던 마르크시즘을 경성제대 영문과 재학시 일본인교수의 교육과 유진오와의 친분을 통해 공유하며 사상적 영향을 받았다. 192,30년대 식민지 지식청년에게 마르크스 사상은 독립운동의 수단이 될뿐만 아니라 제국과 식민지를 해체하는 탈식민주의적 관점에서 수용되었다. 카프에 가입하지는 않았지만 동반자작가로 호칭되는 그의 초기문학은 식민지조선의 비참함과 비루함을 그렸으며, 정치적 망명지 해삼위를 환희와 감격, 행복의 마르크시즘이 실현된 유토피아로 재현했다. 1920년대 중반부터 조선공산당을 탄압하기 시작했고 1931년 카프 제1차 검거 사건으로 가혹하고 살벌한 무단정치가 자행된 시점에서 사상과 이념에서 탈피하여 성과 자연, 세태로 함몰되는 전향과정이 형성되었다. 주의자와 맑스 레이디, 엥겔스 걸 등의 작중인물이 지속적으로 등장하는 1931년부터 1934년까지 발표된 이효석 소설은 이 시기가 삐라 뿌리는 시대, 파업의 시대, 붉은 혁명의 시대일 뿐만 아니라 황금광시대, 연애시대, 붉은 사랑의 시대임을 밝히고 있다. 유사단어의 나열, 대조적인 공간감각, 의식의 흐름, 색채미학과 같은 실험적인 기법을 차용하는 낭만적 심리적 리얼리즘 기법은 불온하고 감시당하는 사회의 어두운 주제의식을 검열을 피해가며 카프문학이 지닌 사상의 경직성과 이분법적 사유에서 벗어나는 이효석 문학의 특징이다. 작가는 사상과 본능, 이성과 감각, 의무와 쾌락 사이에서 번민하고 사유하는 근대인의 노정을 특유의 감성과 색채, 이미지로 표현했다. 본고는 1920년대 동반자문학과 1933년 <돈> 사이에 발표된 이효석 문학에 주목한바 일제압박과 공포가 극심했지만 마르크스, 콜론타이, 프롤레타리아, 투사,「자본론」등의 용어가 구체적으로 명시되며 주의자남성과 맑스 레이디의 붉은 혁명과 붉은 사랑이라는 양가적 요소가 가장 열정적이고 치열했던 시대에 마르크스 사상이 작품 속에 어떻게 구현되었는지를 분석하였다. 이 시기의 이효석은 주의자의 성과 사랑, 동거를 통해 인간본성과 생명력유지로서의 생존전략을 예리하게 해부했다. 이효석 소설에서 마르크시즘은 사상 자체에 주목하기보다는 실존과 인간본성을 파헤치는 소재로 차용되었다. The purpose of this study was to investigate the social atmosphere of the former half of the 1930s through the appreciation patterns of Marxism and Kollontaism and the extinction process of ideas in Lee Hyo-seok's literature. Starting with the companion literature, Lee graduated from Gyeongseong Imperial University in English Literature. He shared Marxism that swept over the globe with a Japanese professor and his close friend Yu Jin-o and was under the ideological influence of the professor's education and his friendship with Yu. In the 1920s and 1930s, intellectual youth in colonized Joseon found a means for their independent movement in Marxist ideas and accepted it from a post-colonial perspective to deconstruct the empire and colony. Even though he did not join the KAPF, he was called a companion writer. His early works captured the miserable and low state of colonized Joseon and depicted Vladivostok, a political place of exile, as a utopia where Marxism of joy, deep impression, and happiness was realized. An event occurred which suppressed the Joseon Communist Party in the middle 1920s. In 1931, the first round of arrests occurred for the KAPF. As the brutal and bloody military government was in place, a process of conversion was formed of escaping from ideas and ideologies and burying oneself in sex, nature, and social conditions. Lee's novels of 1931-1934 present a constant stream of ideologists, Marxist ladies, and Engels girls, showing that the period embodied the coexistence of the Gold Rush era and the dating era as well as the era of leaflets, strikes, and red revolutions. Lee adopted romantic and psychological realism techniques including the enumeration of similar words, depiction of contrasting spaces and senses, flow of consciousness, color aesthetics, and other experimental techniques. They are parts of the characteristics of his literature, which discussed the dark thematic consciousness of the rebellious society under observation by escaping censorship and emerged from the KAPF literature's ideological strictness and dichotomous thinking. During the period, Lee expressed the journey of modern people, with anxiety and thoughts between ideas and instincts, between reason and sense, and between duty and pleasure, in his unique sentiment, colors, and images represented by depression, darkness, splendor, and radiance. Focusing on Lee's literature between his companion literature in the middle 1920s and his The Pig in 1933, this study examined how Marxist ideas were embodied in his works in the era characterized by the greatest suppression and terror of the ruling Japanese, the specific presentation of such terms as Marx, Kollontai, proletariat, fighter, and capitalism, and the most passionate and fierce appearance of ambivalent elements including the red revolution and the red love between ideologist men and Marxist women. During the period, Lee dissected sharply the survival strategies of ideologists to preserve their human nature and life force through their sex, love, and cohabitation.

위정척사사상과 근대민족주의 ; 화서 이항로의 민족의식에 관한 연구

이미림 ( Mi Rim Lee ) 한국철학사연구회 2002 한국 철학논집 Vol.11 No.-

이효석 문학의 유토피아 지향과 낭만적 요소

이미림 ( Mi-rim Lee ) 한국현대문예비평학회 2016 한국문예비평연구 Vol.- No.50

이효석 문학 연구는 1933년「돈」을 기준으로 전기와 후기로 나뉘며, 동반자문학, 서정문학, 에로티시즘 문학, 도시소설 등으로 평가되었다. 본고는 진폭이 크고 다채로운 이효석 문학에서 일관되게 흐르는 특징을 낭만성으로 보았다. 기존의 이효석 문학은 심미주의나 예술지상주의로 언급되는데 예술과 인생의 가치를 극단적으로 전도시키는 심미주의보다는 낭만적 리얼리즘으로 해석될 때 그의 문학이 좀더 보편적이고 포괄적으로 설명될 수 있다. 단순한 재현이나 모방의 리얼리즘이 아닌 ‘최소한도의 낭만과 최대한도의 리얼’을 지닐 때 좋은 문학이자 예술이라고 주장하는 그의 문학은 꿈과 리얼리티, 진실과 환희, 생활과 시의 조화를 추구하며 문명비판과 근대인 환멸을 통한 현실인식이 드러나고 있다. 이효석의 낭만적 특질은 아일랜드 출신의 작가와 영국낭만주의 시인의 작품들에 영향을 받은 독서편력과 경성제대 영문학과 교육과정에서 비롯된다. 체홉, 씽그, 쉘리, 예이츠, 루소, 하이네, 괴테, 휘트먼 문학의 탐닉과「에밀」, 「쿠오레」, 「레미제라블」의 독서체험은 식민지 조선의 현실을 알레고리화하면서 혁명성과 낭만성과 사실성을 지닌 문학으로 이끌었다. 주제면에서의 낭만성은 고향상실과 유토피아 지향으로 표상된다. 본래적 자아를 찾아 방황하고 여행했던 작가와 소설 속 주인공은 북국 해삼위, 자연(산들), 고향, ‘살구나무집’, ‘푸른 집’, 만주 합이빈(서양), 평양(조선) 공간을 지향하며 계급, 성, 자아, 몸, 서구를 갈망하고 추구하였다. 고향과 먼곳에 대한 그리움은 낭만주의자의 특징이며, 낙원-실낙원-복낙원으로 탈영토화와 재영토화하고 자기창조와 자기파괴를 거듭하는 낭만적 아이러니를 형상화한다. 형식미학적 측면에서 낭만적 기법은 단어 배열의 이미지화를 통해 도시, 거리, 자연, 산들, 방, 집 등을 예술적으로 형상화하며, ‘푸른 의식’, ‘산문적’과 같은 단어들을 자의적으로 개념화해서 활용한다. 또한 그리스신화, 성경, 유럽낭만주의 문학, 영화, 미술, 음악 소재를 차용하여 인물묘사와 주제를 표출하는데, 소설 속 남녀주인공은 희랍의 헬렌, 애란의 데아드라, 비너스, 아도니스, 아담과 이브, 아그네스 등으로 묘사된다. 특히 남자주인공은 귀족적 댄디이거나 패션, 외모, 전시와 장식의 중요성이 강조되는 여성화된 남성들이다. 이와 같이 이효석 문학은 초기부터 후기에 이르기까지 유토피아에 대한 그리움으로 가득하고 먼곳을 지향하며 시적 정신과 낭만적 기질을 지닌 인물들이 등장하고, 상징과 암시, 이미지와 기호로 그려짐으로써 리얼리즘을 바탕으로 한 낭만적 요소를 지니고 있다. Researchers have divided the literature of Lee Hyo-seok into the former and latter period around Money in 1933 and evaluated his works as companion literature, lyrical literature, eroticism literature, or urban novels. This study saw romanticity as a consistent feature throughout his literature characterized by a broad amplitude and variety. Previous studies mentioned aestheticism or the art-for-art principle to discuss his literature, and the present study set out to reinterpret his works according to romantic realism rather than aestheticism of overturning the values of art and life in an extreme fashion. The author stated that simple reproduction- or imitation-based realism literature was not good art or literature and insisted that art would be fulfilled when it held "minimum romanticism and maximum reality." In his novels that made literature in harmony of dreams and reality, truth and joy, and life and poetry, Lee revealed his perceptions of reality through the criticism of civilization and disillusionment of modern people. His romantic characteristics were attributed to his wanderings through the world of books influenced by works of Irish writers and British Romantic poets and to the curriculums of English Literature Department at Keijo Imperial University where he attended. Being indulged in the literature of Chekhov, Synge, Shelley, Yeats, Rousseau, Heine, Goethe, and Whitman and having reading experiences with such works as Emile, Cuore, and Les Miserables, he turned the reality of colonized Joseon into an allegory and led it toward realism literature of revolution and romanticity. Speaking of topics, his romanticity was represented by his loss of romantic hometown and orientation toward Utopia. Wandering and traveling around in search of their original egos throughout life, the writer and his protagonists were oriented toward Vladivostok in the northern country, nature(mountains and plains), hometowns, the "house with an apricot tree," the green house, Harbin in Manchuria(West), and Pyeongyang(Joseon) and longed for and followed the social classes, sex, ego, the body, and the West. The feeling of missing hometowns and some places far away is a characteristic of romanticists. The deterritorialization and reterritorialization of Paradise-Paradise Lost-Paradise Regained embody the romantic irony of repeating self-creation and self-destruction. Lee``s romantic techniques in his literature from the perspective of formal aesthetics embody artistically cities, streets, nature, mountains and plains, rooms, and houses by turning the word sequences into images and express arbitrarily such words as "green consciousness" and "prosaic" by turning them into concepts or images. In addition, he depicts his characters and expresses his topics through the materials of Greek myths, the Bible, European Romantic works, movies, art, and music. In his novels, male and female protagonists are described as Helen of Greece, Deirdre of the Sorrows, Venus, Adonis, Adam and Eve, and Agnes. His male protagonists are, in particular, noble dandies or feminized men that value fashion, appearance, and the right beginning. Those findings indicate that Lee``s literature from the early days to the later days was filled with his missing for Utopia and his orientation toward some places far away, showed characters of poetic spirit and romantic disposition, and was depicted in symbols, suggestions, images, and signs, thus holding romantic elements based on realism.

니체 관점으로 본 이효석 문학

이미림 ( Lee Mi-rim ) 한국문명학회 2016 문명연지 Vol.17 No.1

There is a huge accumulation of previous researches on Lee Hyo-seok, whose literary amplitude is known to be wide, according to various perspectives including the social class, gender, nature, orientation toward the West, aesthetics, lyricism, and travel motifs. Criticizing the premodern and modern times and having an anti-time and perspective-based viewpoint, Lee shared the same spirit with Nietzscheanism in that he placed the utmost value on civilization criticism, celebration of nature, elitism, criticism of philistine culture, superiority of nature/body, questions about morality and metaphysics, and Greek art and music in his literature and sought after salvation in literature. The writer was not able to accept the modern society based on colonial capitalism and the identity of colonial intellectuals, denying the old order and generation and trying to break down the common sense and usual conventions. Turning his back on the old order represented by the father, colony, nation, and grownup(father), challenging himself against suppression and taboos, and advocating the positions of animals, women, the poor, and foreigners as others, Lee was in pursuit of the true nature of human beings and led a nomadic life of never settling down in reality and going on an ongoing journey to find his ego and nature. In his When Buckwheat Flower Blooms, Wild Apricots, and The Gorge whose background was his hometown, he laughed at the hypocrisy and pretense of the father generation and resisted the adultery and immorality motifs. In his Juriya, Hwabun, and Byeokgongmuhan, he overturned the marriage institution based on patriarchy, heterosexuality, and monogamy through the issues of sex, body and love and did experiments with and investigations into the human nature. Revealing his doubts about the criticism of reality, restoration of humanity, and truth, he felt it was unfair that he and his literature were evaluated as an erotic writer and escapist literature, respectively. Nietzsche was also bombarded with criticisms in the pool of misunderstanding and prejudice in his days. His literature denied both the premodern(tradition) and modern times and displayed his disillusionment with people, thus criticizing civilization, cities, and modern days and taking a nature-friendly and ecological position. Just like Nietzsche that broke down metaphysics, Christianity, tradition, and convention, Lee had such longing for human liberation and freedom and exhibited his orientation toward others including animals, women, foreigners, the colonized, the elderly, migrants, and the lower class in his poems, novels, critiques and essays. Just like Nietzschean thinking is summoned and re-illuminated today, Lee`s literature is summoned and re-recognized in the 21st century. Having reflections on and raising questions about the old order and truth and seeking after diversity and pluralism, his literature has valid and problematic contemporary values in this post-modern time. Research on his literature, which has been at a standstill, will be able to receive new meanings in its relations with Nietzscheanism.

이효석의 성적 판타지 삼부작 연구

이미림 ( Lee Mi-rim ) 한국문명학회 2020 문명연지 Vol.21 No.1

This paper presents an investigation into the erotic trilogy of Lee Hyo-seok, who reflected on the love and lust issues most actively of the writers in the 1930s. The trilogy includes three novels titled Juriya, Pollen, and The Boundless Blue Sky. Lee depicted unity with nature, primitive instincts, and force of life in his early short stories. Starting with Juriya, the writer dealt with women's sex and love in an experimental and progressive manner. The novel depicts a country's girl entry into Seoul, where she becomes a modern person, ideologist, and adult and changes her name from Kim Yeong-ae to Juriya. She imitates the heroine of Kollontai's Red Love and turns herself from an awkward Marxist to a romanticist. She has conflicts between the object of her respect and that of her carnal desire, and her sexual contemplation reflects the conflict of modern people. Based on infinite sexual imagination, myths, and the Bible, his Pollen depicts violent and unconventional sexual aberrations. Making an inquiry into modernity through power and capital issues along with the complex and ambivalent sexuality of modern people, the author dissects human sexual desire in full scale including appearances, physical attraction, and social classes working between man and woman. Compared with Salome created by Oscar Wilde, Mi-ran goes through three men, Hyeonma, Danju and Yeonghun until returning back to art. This setting is based on Oscarism oriented toward aestheticism and the art-for-art principle. Written in his later years, The Boundless Blue Sky reflects multicultural and cosmopolitan ideas. The protagonist obtains love from a Russian lady called 나아자 and contributes to the foundation of the Nokseong Music Academy led by a group of women, thus showing his aesthetics leading to sexuality, good looks, and art and art-for-art principle putting an emphasis on 심미역. The erotic trilogy of Lee, who expressed the psychology and desire of modern people actively based on the topics of sex and romantic love as part of modern thinking, describes how capital, sexuality, and power work in a modern society and thus holds contemporary significance. In Lee's sex and love, nationality, gender, and age are the objects of transcendence or disregard. The sexuality of a capitalist modern society is found money, appearances, and social classes in the end. In the middle of the trend to assess the value of a literary work based on the awareness of reality and social consciousness, Lee's novels maintained the art-for-art principle and kept their literary value.

이순원 소설의 로컬리티와 향촌공동체 특성 연구

이미림(Lee, Mi-Rim) 우리문학회 2021 우리文學硏究 Vol.- No.70

400년 전통의 도배식을 계승하는 강릉 위촌리 출신의 이순원 소설은 혈연적 · 지역적 친연성이 강한 향촌공동체와 보수적 사유, 노스탤지어를 문학적 특징으로 한다. 작가의 고향은 구습과 민간신앙, 속설과 같은 전통적인 생활양식이 잔존한 성주 이씨 집성촌으로 처첩제도, 장자의식, 조상신 숭배, 효 이데올로기 및 여필종부, 삼종지도와 같은 여성억압적 · 남성중심적 분위기를 이룬다. <망배>, <매듭을 이은 자리>에서는 유교제례와 대잇기를 통해 가부장과 여성의 위계질서를 공고히 하며, 생계와 신체를 훼손하는 조상신에 대한 종교적 신념과 가족자아를 중시하는 운명 · 감정 공동체가 그려진다. <해파리에 관한 명상>, <먼 길>, <망배>, <말을 찾아서>의 선량하고 온순하지만 가난하고 부실해 친족과 이웃의 동정과 연민, 보호를 받아야 하는 ‘당숙’은 친족공동체를 표상하는 인물이다. 작중화자인 소년에게 강렬하게 기억되고 강퍅한 현실에서 경쟁력이 떨어지는 시혜와 온정의 대상인 당숙을 작가는 애착과 긍정의 시선으로 바라본다. <말을 찾아서>, <먼 길>, <멀리 있는 사람>의 외도와 처첩에 대해 관대하게 허용하는 가부장적 분위기 속에 여성과 아이는 고통과 슬픔 속에 놓인다. 남의 집 양자나 서자의 위치가 됨으로써 사춘기의 혼란과 방황을 겪는 소년의 상처는 적자(장자)의식을 중시하는 유교문화와 남아선호적인 한민족 순혈주의에 집착하는 지역사회에 기인한다. 따뜻하고 아름다운 분위기와 잃어버린 것에 대한 향수가 개인과 타자의 희생을 전제로 하는 급작스럽고 뜬금없는 화해, 용서, 상처치유로 귀결된다는 점에서 이순원 소설의 주제의식은 시대착오적이고 퇴행적이다. 여성의 한 많은 삶과 젊은이의 제도나 전통에 대한 저항이 묘사되지만 신분적 · 경제적 · 젠더적 타자를 복종의 대상으로 여기며 유교문화 질서를 지킴으로써 이를 묵인하고 수용하는 작가의식이 표출되고 있다. 과거회귀, 전통지향, 숙명론적 가치관, 노스탤지어는 후현대가 추구하는 가치와는 거리가 멀다는 점에서 이순원 문학이 지향하는 따뜻하고 아름다운 공동체는 권위와 편애, 마법과 주술의 반이성적 · 전근대적 사유가 지배하고 있다. The literature of Lee Sun-won, whose hometown is Wichon-ri of Gangnung with a traditional heritage of 400 years, is characterized by a rural community with strong blood-relations and local affinity, conservative thinking, and nostalgia. The writer"s hometown has a male-centric social atmosphere that suppresses women involving the wife and concubine system, focus on the eldest son, worship of ancestral gods, shamanistic faith, ideology of filial piety, the idea that a wife should follow her husband, and women"s three duties, manifested in premodern lifestyles such as old customs, traditions, folk beliefs, and common sayings. His works Mangbae and The Place of Knots describe the reinforcement of patriarchy and women"s hierarchy through Confucian ritual ceremonies, traditional memorial service, worship of ancestors, and carrying on the family line and practicing the religious faith of respecting the ancestors even when one"s livelihood and body are damaged. A group sharing a common destiny with a focus on the wellbeing of the family more than the individual will tends to be premodern and irrational. In his A Meditation about the Jellyfish, A Distant Road, Mangbae, and Finding a Horse, "male cousins of fathers" represent the virtues and demerits of a relative community. The uncle, who needs sympathy, compassion, and protection from his relatives and neighbors for his poor and feeble state despite his good and meek nature, lies outside the internal realm of the community with the otherness of sterility, disability, and poverty and becomes an object of dispensation and warm heart. The uncle, who left a strong impression in the memory of the boy as the speaker in the story, is depicted as a member of the socially weak who lack the competitiveness needed to succeed against the demands of reality an eye of attachment and positivity. In Finding a Horse, A Distant Road, and A Man Far Away, women and children suffer pain and sorrow and live in an unedurable patriarchal situation that is tolerant of and allows men"s extramarital affairs and concubines. The boy becomes a foster son or a child of a concubine in another family even though he grew up under his biological parents. The wounds of the boy as he goes through adolescent confusion and are attributed to the Confucian culture that places its focus on the eldest son and a community that solidifies the patriarchal order with a preference for sons and is obsessed with the pure blood of the Korean people. Lee"-s literature presents a warm and beautiful atmosphere and stirs nostalgia for what has been lost, but it is anachronic and regressive in that it ends with abrupt and random reconciliation, forgiveness, and the healing of wounds on the premise of the sacrifice of individuals and others. Even though his literature describes women"-s lives of resentment and young people"s resistance against the institutions and traditions, it reflects the writer"s consciousness that condones and cherishes the Confucian cultural order that demands obedience to the strictures of social class, economic statue, and gender. The warm and beautiful community to which his literature is oriented exhibits its limitations since a return to the past, orientation toward traditions, fatalist values, and nostalgia are distant from the values sought in the 21st century.

여행과 디아스포라 관점에서 본 의 인물 양상

이미림(Lee Mi rim) 한국문학회 2014 韓國文學論叢 Vol.67 No.-

The Land one of the most loved novels by Korean people. Depicting the deep resentment of Korean people, the masterpiece of Park Kyung-ri is a historical epic novel and family novel that will leave its everlasting marks in the history of Korean literature. Consisting of five parts and 16 volumes, the work is characterized by others'identity and orientation toward others through the wandering and drifting of youths of a colonized country, who are others in the empire, and also by traveling, drifting, and migrating for cultural thinking and ego search. The work contains contemporary meanings that are still reinterpreted today beyond the years before Liberation. Which is its background, because it has the Korean diaspora issue and beyond-border migration motif that have recently captured limelight. This study set out to focus on Jugap, Ogada Jiro, Song Yeong- gwang, and Lee Sang-hyeon that have failed to attract attention among approximately 600 attractive and original characters in the work and investigate their traveling, wandering, and drifting, the yoke of the times at the center of discrete life, and the substance of futility and pessimism. Both Song Yeong-gwang and Lee Sang-hyeon are decadent nihilists in that they fail to overcome the limitations with their social classes and their fathers and build a true family and escape to decadence, corruption, traveling, and artistic acts. One might blame the youths of the colonized country for their lives involving no accomplishment in terms of nation, love, and art and wandering around, being desperate and enraged, but the author understands and accepts them from an affectionate standpoint and depicts them as attractive and beautiful beings. Ogada Jiro is the only Japanese person positively described by the author that had a negative view of Japan and Japanese people. He is a cosmopolitan armed with multicultural global citizenship and an anarchistic tendency. Loving Joseon woman and Joseon itself and criticizing his fellow Japanese men and Japan, he rejects family, residence, and settlement and orients himself toward daily life based on traveling. Involving ongoing doubt, reflection, and self-examination as an imperial intellectual, his traveling is based on the yoke of the times. In the novel, he is depicted as an others-oriented, descent, and beautiful young man. A superhuman form of human as child and drifter, Jugap is a possessor of free spirit with cheerfulness, disinterestedness, laughter, transcendence, and naiveness. Transcending and overcoming poverty, social class, and reginal limitations, he evolves into a natural singer that can move the emotions of people and make his surroundings happy and enviable. Moving around and making adaptations as life dictates with no nation, family. and gaol, he is Ubermensch defined by Nietzsche and a being beyond the human level. Previous studies on The Land analyzed characters by dividing them into male vs. female and positive vs. negative figures, but the present study analyzed Song Yeong-gwang, Ogada Jiro and Lee Sang-hyeon and found that those characters that failed to form a family or settle down were the ones that the author oriented herself toward and understood. They are attractive and original characters that demonstrate that she was a great author. their lives are re-perceived as the aspects of the 21st century-nomads that have returned to nomadism again and contain more contemporary meanings and values than pre-modern and modern character groups that have taken root in history, motherland, or family. Represented by such images as drifters, orphans, boys, children, and rainbows, they are travelers and wanderers that fail to adapt to the contradicted colonial modern times and wander around like winds, clouds, and duckweed. 한국인이 가장 좋아하는 작품 중의 하나인 는 다양하게 연구되어 왔다. 본고는 의 문학적 가치를 탈국경, 디아스포라, 외부지향성, 다문화 등의 동시대적 의미로 보면서 방황 혹은 방랑하는 남성인물을 중심으로 고찰하고자 한다. 최근 부각되는 조선족, 고려인, 재일조선인 등 코리안 디아스포라의 출현은 강제이산을 할 수밖에 없던 일제강점기 삶의 고달픈 여정에서 비롯된다. 나라를 잃은 우리 민족은 여행, 방랑, 이주하는 일상 속에서 가족과 집에 안주하거나 정착이 불가능했다. 방황하는 청춘의 입사와 시대적 질곡으로 인해 부유하는 시대를 상징하는 인물이 송영광, 주갑, 오가다 지로, 이상현이다. 전근대와 근대가 혼효된 이 시기에 근대교육, 승경관람, 독립운동, 강제이산, 생계이주, 근대여행 등의 이유로 많은 사람들이 조선을 떠났다. 독립운동가 아버지와 백정출신인 어머니의 굴레에서 벗어나지 못하고 방랑하는 송영광은 무책임과 방탕함에도 불구하고 작가에 의해 아름답고 영성적인 청년으로 탄생된다. 일본, 일본인, 일본문화를 증오했던 작가에게 오가다 지로는 긍정적이고 바람직한 일본인으로 묘사된다. 제국청년인 그는 식민지 조선여인을 사랑하는 세계주의자이자 다문화주의자이다. 동일자로서의 삶을 거부하고 사랑하는 여인 그리고 다문화가정 2세인 자신의 아들과 가정을 꾸밀 수 없는 상황 속에서 그는 여행가방을 들고 기차, 여관공간에 머무는 여행자이자 아웃사이더로 살아간다. 어린아이, 나그네로서의 초인적 인간형인 주갑은 무욕, 웃음, 순진무구한 명랑성을 지닌 자유로운 영혼의 소유자이다. 그는 목적과 정처없이 주어진 대로 삶을 변형하는 소리꾼으로 주변을 행복하게 하는'위버멘슈'이자 인간을 뛰어넘는 인간 이상의 존재이다. 상현은 식민지 지식인의 전형으로 국가, 사랑, 예술, 가정 그 어느 것도 성취하지 못한 채 스스로를 자학하고 방랑하는 시대의 데카당스이다. 이들은 작품 속에서 많은 비중을 차지하지 않지만 출생에 대한 상처, 남편과 아들의 죽음, 생계담당, 암선고, 창작에의 고통 등을 감내하면서 여성억압적 현실과 인습의 폐해, 인간불신으로 아프고 괴로웠던 작가가 추구하고자 했던 자유로운 존재이자 노마드 시대의 21세기적 인간형으로 구현되고 있다.

유동하는 시대의 이방인들, 이주자와 여행자

이미림(Lee, Mi-Rim) 한국문학회 2013 韓國文學論叢 Vol.65 No.-

탈국경 이동이 일상화된 유동성의 시대에 이방인으로서의 흔적과 타자의 표상으로 주목받는 이주자와 여행자가 유령처럼 지구촌에 출몰하고 있다. 이러한 사회적 현상을 반영한 여행소설, 다문화소설, 디아스포라소설이 발표되고 있으며, 이방인 정체성을 지닌 주인공이 등장하였다. 조해진의 ≪로기완을 만났다≫는 전직방송작가인 '내'가 탈북청년 '로'의 행적을 쫓아 벨기에와 런던을 여행하는 과정에서 국제적 미아이자 사회적인 좀비인 '증'없는 비존재 로에 공감하고 동일시되면서 자신의 상처를 치유하고 작가라는 입사의례를 통과하는 여정을 그린다. 21세기의 가장 미천하고 비루한 타자로 은유되는 탈북이주자인 로와 한민족 디아스포라 박, 끔찍한 얼굴 때문에 차별받는 17세 고아소녀 윤주와 내가 연대함으로써 난민, 고아, 불법체류자, 디아스포라, 소설가는 이방인 정체성을 공유한다. 어머니와 조국을 잃어버린 로의 아픔와 아내의 안락사에 조력한 박의 고통, 어린 나이에 커다란 불행을 감당한 윤주의 절망이라는 타자의 얼굴에 응답하고 환대하는 타자지향적 자세와 소수자적 입장에서 글을 써야한다는 문학적 자세를 작가는 주창하고 있다. 가족을 잃고 자신을 증명할 어떤 관계도 형성되지 못한 채 지구 밖을 떠도는 로는 로기완이라는 풀네임과 사랑하는 여성과의 관계맺음을 통해 존엄성과 존재감을 되찾고자 하며, 그러한 로의 고통과 아픔, 슬픔을 역추적하고 추체험하는 과정에서 창작의 어려움과 한계를 느끼지만 21세기의 비극적 인간상인 주인공에게 빙의되고 투사한 작가는 한 편의 장편소설을 완성해 나간다. 살아남아야하는 최악의 인간조건을 지닌 탈북디아스포라의 해맑은 웃음과 대면하고 접촉한 작가이자 소설 속의 화자는 타자의 권리와 상처치유, 자기수련이라는 여행과 이주를 통한 입사의례적 방랑을 마친다. 이주자인 탈북청년과 여행자인 소설가의 지향점과 목표의식은 다르지만 소수적 연대 속에서 우리 자신의 문제로 받아들여야 한다는 것과 이방인의 타자적 정체성 그리고 인권에 대해 이 소설은 말하고 있다. In the age of mobility when trans-border movement has become part of daily life, migrants and travelers that attract attention as the traces of minority group and the representations of others are appearing around the global village as if they were specters. Reflecting such a social phenomenon, travel, multicultural, and diaspora novels have been published. Protagonists with the identity of alien or marginal person have also made their way to such works, reflecting the phenomenon. In I Met Ro Gi-wan by Jo Hae-jin, "I," a former scripter, follow the track of "Ro," a young male North Korean defector, throughout Belgium and London. In the process of travel, I empathize and identify with Ro, an international missing person, social zombie, and non-being with no "certificates," healing my own wounds and passing the rite of passage as a writer. I join together with Ro, a North Korean defector metaphorically considered as the lowest and basest others in the 21st century, Park of Korean diaspora, and Yun-ju, a 17-year-old girl that is an orphan discriminated for her horrible face, thus finally realizing that I am the very minority group of refugee, orphan, illegal alien, diaspora, and novelist. The author presents the others-oriented attitude to respond to and welcome the faces of others, which include the suffering of Ro, a migrant that has lost his mother and motherland, the pain of diaspora Park that assisted the euthanasia of his wife, and the despair of Yun-ju that has to endure incredible misery at a young age. The author also presents a literary view to write in the shoes of minority groups. Not forming any relationship to prove himself after losing his family and wandering outside the earth, Ro tries to take back his dignity and present as a human being through his full name Ro Gi-wan and his connections with a lady he loves. The author feels the difficulty of creation and the limitations as writer in the process of reverse tracing and indirectly experiencing his suffering, pain, and sadness but manages to complete a novel by transferring his soul to Ro, the protagonist of his story, and projecting himself onto him. The author and speaker of the story faces and personally contacts the innocent smile of diaspora of North Korean defectors that should survive even in spite of the worst human conditions and completes his wandering as a rite of passage through the rights of minority groups, the journey of human identity, wound healing, and self-training, and the mobility of migration. The novel talks about human rights, arguing that even though there are differences in the points of orientation and consciousness of goals between the migrant North Korean defector and the travelling novelist, we should eventually take the issues of minority groups as ours in otherness and minority solidarity.

어학 : 부정사구문의 주어해석가능성에 관한 연구

이미림(Mi Rim Lee) 한국독일어문학회 1998 독일어문학 Vol.8 No.-

우리가 문법적으로 올바른 문장들을 만들어 낼 수 있다고 해서 한 언어의 모든 것을 다 배웠다고 말할 수는 없다. 우리 인간이 한 언어를 가지고 의사소통을 잘 할 수 있기 위해서는 사용한 문장들이 어떤 상황에서 어떤 의미로 사용 하 는지도 함께 배워야 한다. 다시 말해, 우리가 사용한 각 문장들은 일정한 상황에서 정확히 표현되어야 하고, 그리고 이런 문장들이 올바르게 이해되기 위해서는 각 주어진 상황들이 중요한 역할을 한다고 할 수 있다. Fanselow / Felix (1990a)는 어린이들이 모국어를 습득할 때 통사적인 지식이 고립 된 채 습득되는 것은 무의미하다고 제시하면서 오히려 문법을 배우는데 있어서는 의소소통의 기능이라는 배경 하에 이해될 수 있다고 했다. 그리고 계속해서 강조하기를, 어린이들이 직접적으로 경험하는 언어관계가 화용론적으로 그리고 의사 전달 구조 속에 있을 때만 단지 주어진 통사적 규칙들이 귀납적으로 습득될 수 있다고 했다. 음성적으로 나타나 있지 않은 범주인 부정사구문의 주어를 어떻게 추론하고 해석하는지의 문제는 통제이론의 연구영역으로 다루어지고 있다. 이 통제이론의 문제는 음성적으로 또는 어휘적으로 나타나 있지 않은 부정사구문의 주어를 어떤 규칙으로 해석 할 수 있는지 그리고 어떤 원리에 따라서 청자가 올바른 통제자 즉, 부정사구문의 주어를 찾아내는지를 고찰하는 것이다. 본 논문은 부정사구문의 주어를 이해할 때 올바른 해석 가능성에 결정적인 영향을 주는 요소들이 무엇인지 여러 각도로 시도해 보았다.

태교, 여성이 만드는 독립적 주체의 시작 - 『태교신기(胎敎新記)』 -

이미림(Mi Rim Lee) 한국여신학자협의회 2019 한국여성신학 Vol.- No.90