1970년대 소설의 ‘생체정치’와 ‘재생산된’ 신체 연구

이평전(Lee, Pyeong-Jeon) 한국어문학회 2018 語文學 Vol.0 No.140

This paper examines the meaning of the ‘biopolitics’ element of the ‘body’ reproduced in the novels of the 1970s. During this period, modern capitalism deepened and the whole government body mobilized for economic development, thoroughly regulated and controlled by capital and political power. Throughout this process, organized bodies that can not adapt to the current order are mass produced. These bodies are driven to so-called death politics, where even sex, labor, and life are mortgaged in the invisible realm of those excluded from normal life. The current political power uses the body as an instrument of ideological domination through active intervention and oppression. This control through the body dominates the reason of the individual subject in political, economic, social, cultural integration. Novels such as Choi In-ho’s ‘The Hometown of Stars’ and The Undiscovered, Hwang Seok-young’s ‘The Moment of the Moon’, and Jo Hai-il’s Winter Woman are the stories of the desire of the subject in capitalist urban space. They represent the symbolic phases of biopolitics created by the body of the subject that has fallen within an economic project that promotes developmental dictatorship, marketing businesses that use them as a means of foreign currency creation, and an authoritarian regime policy. In addition, Joe Hae Il’s ‘America’ is another form of biopolitics that evokes colonial reality and conceals the internal sexual inequality structured throughout the intermediary device of ‘Yanggongju’. These various forms of biopolitics in the 1970s are, as Foucault points out, to the contemporary power, an indispensable element for capitalist development. By means of biometrics and power, man becomes an entity that exists in politics “as a living being as a matter of life itself”. This body is reproduced by adapting to the main economic production systems and methods of capitalism. Of course, the political and capital powers of the present day act in the process of social paradigm structural transformation. Through the biopolitical genealogy of novels in the 1970s, we can investigate the different ways in which bodies are used and manipulated within biopolitical spheres.

전국 학술대회 주제발표논문 : 주체의 장소 만들기와 소시민적 정체성 연구 -이호철의 「소시민」을 중심으로-

이평전 ( Pyeong Jeon Lee ) 배달말학회 2008 배달말 Vol.43 No.-

"이데올로기"와 "폭력"의 관계성 연구 -1970년대 황석영, 이문열의 소설을 중심으로-

이평전 ( Pyeong Jeon Lee ) 충남대학교 인문과학연구소 2012 인문학연구 Vol.40 No.2

본 논문은 황석영과 이문열의 폭력에 대한 인식 비교를 통해 두 작가의 이데올로기적 간극이 실제로 폭력을 선취하는 방식에서 비롯되었음을 밝히고 있다. 잠정적 결론을 포함한 1장에서는 정당한 수단이 정당화한 목적을 통해 달성된다는 황석영의 관점과 그 목적의 정당성은 정당한 수단에 의해서만 허용될 수 있다는 이문열의 폭력 사용에 대한 상반된 인식이 이데올로기를 둘러싼 담론의 차이를 만들어낸다는 점을 설명하고 있다. 2장은 이데올로기와 폭력에 대한 인식의 상관성을 구체적으로 규명하고 있는 부분이다. 폭력 사용의 정당성을 부여하는 과정에서 황석영은 산업사회 노동자, 민중에게 가해지는 부당한 착취에 저항하는 ``수단으로의 폭력``을 긍정적 가치로 인식하는 반면, 이문열은 문학의 가장 중요한 관심이 ``자유에 대한 억압을 폭로``하는 것으로 규정하고 일체의 억압을 폭력으로 간주한다. 황석영의 변혁에 관한 근본주의적 입장이 취하는 폭력의 옹호와 폭력 자체에 대한 이문열의 자유주의적 혐오는 이데올로기적 간극의 주요 원인이다. 3장에서는 민중(대중)으로 상징되는 집단과 개인, 그리고 폭력의 상관성에 주목했다. 황석영은 근대적 권력이 배분한 질서를 지배와 예속, 억압과 해방이라는 이분법적 체계로 인식하고 자본주의 이데올로기의 폭력에 저항하는 비판적 주체와 민중에 기대를 갖는 반면, 이문열은 지식인과 민중들의 무지와 나약함이 폭력의 원인이라고 비판한다. 4장은 구조적 억압에 대한 저항 이데올로기로서의 폭력 사용의 정당성을 주장한 황석영과 이데올로기적 순응 논리에 은폐된 폭력의 문제를 지적한 이문열의 관점을 분석한다. 황석영은 가시적이고 객관적인, 즉 현실공간에 즉물적으로 작동하는 폭력에서 비가시적이고 객관적인 폭력, 즉 상징적이고 구조적인 폭력에 대해 본격적으로 사유할 것을 제안한다. 반대로 이문열은 폭력과 불의로 상징되는 우리의 삶을 구속하고 억압하는 순응의 윤리를 또 다른 폭력으로 인식한다. 황석영이 자본주의의 대안적 체제의 가능성을 폭력을 통해 탐문하는 동안 이문열은 인간의 잠재된 폭력을 추동하는 순응의 윤리에 대한 비판하고 있는 것이다. This paper reveals through the comparative study on violence discussion of Hwang Sok-yong and Lee moon-yeol that the ideological gap of two writers has been defined roughly, actually stemmed from the way how they preoccupied violence. Chapter 1 including provisional conclusion describes that two writers` conflicting perceptions of violence make a difference the acceptance and criticism of ideology. It is noteworthy that Hwang Sok-yong takes the position legitimate means can be achieved through justified objectives, on the other hand, Lee moon-yeol takes the view that the legitimacy of purpose can be tolerated only by means. Chapter 2 looks over how resistance and liberty are implemented to violence. In the process of granting the legitimacy of violence use, Hwang Sok-yong recognized violence as a positive value because it was a means of resistance of industrial society labor and the people suffering from undue exploitation. In contrast, Lee moon-yeol regulates the most important interest in literature reveals the suppression on liberty, and regards all suppression as violence. Actually, the violence advocacy taken by Hwang Sok-yong and the liberal aversion in violence itself taken by Lee moon-yeol are two sides of a coin. Chapter 3 is focused on the correlation between the people and violence. Hwang Sok-yong recognizes the order distributed by modern authority as a dichotomous system such as the domination and subordination, oppression and liberation, and takes expectations to the people and the critical subject resisting the violence of capitalism and ideology. While, Lee moon-yeol takes a critical position that the violence of the intellectuals and the people stems from ignorance and weakness. Chapter 4 looks into the difference in perception between Hwang Sok-yong digging into the structural problem with violence and Lee moon-yeol claiming the ethical exclusion of violence. Hwang Sok-yong reflects the visible and objective violence, practically working on the real space as the symbolic and structural violence. In contrast, Lee moon-yeol recognizes the ethics of exclusion symbolizing injustice, and restricting and oppressing our lives as the other violence. While Hwang Sok-yong pursues the possibility of an alternative system of capitalism through violence, Lee moon-yeol attempts the criticism on the ethics of exclusion driving the human potential violence.

윤흥길 소설에 나타난 자본주의 공간의 병리성 연구 -1970년대 중단편을 중심으로

이평전 ( Pyeong Jeon Lee ) 충남대학교 인문과학연구소 2010 인문학연구 Vol.37 No.2

This study is intended to look into writer Heung-gil, Yun`s conscious world who has explored historical contradiction of division of Korea, class conflicts caused by industrialization, ideological problems of individual and group, and propensity of petit bourgeois. He puts out a young narrator of childhood to overcome the rigidity of ideology and reveals the pathology of capitalist metropolis by reviving the tragical lives of petit bourgeois. After all, anxiety and horror which characters in novel feel, and sadomasochistic personality which exists in individual are the realistic reappearance of the pathological times. The helpless marginal men who have pathology of such society are subjects who accuse the violence of the ideology of economical growth which is coerced in the reality where materialistic desire expands and mental values are abandoned. Runaway from home, wandering, and personal records which show the spirit of rejection for community are the elements which show Heung-gil, Yun`s aspect of marginal man. They are expressed repeatedly by young narrator. Novelettes of 1970s in the two story collections such as 『House of twilight』 and 『A man who has had just nine pairs of shoes』 include historical contradiction of division of Korea and tragic experience of petit bourgeois caused by rapid industrialization. Loss of `House` in the reconstructed metropolis means the alienation of individual who can`t adjust to capitalist order, and the inexistence of authority symbolized as father also shows the limit of petit bourgeois symbolically. Helpless marginal men who have social pathology in the novels by Heung-gil, Yun accuse the reality where spiritual values like liberty and conscience are abolished as materialistic desire expands and the violence of capitalist ideology coerced in the name of abundance, efficiency, and rationality.

김승옥의 "도시" 인식과 "공간"의 정치학

이평전 ( Pyeong Jeon Lee ) 한국비교문학회 2007 比較文學 Vol.42 No.-

박완서 소설에 나타난 일상성과 심성의 상관성 연구

이평전 ( Lee Pyeong Jeon ) 아시아문화학술원 2017 인문사회 21 Vol.8 No.4

이 논문은 1970년대 박완서 소설에 나타난 일상(성)의 의미와 상류층을 향한 계급적 욕망이 어떻게 당대의 심성체계로 구축되는가를 사회학적 분석틀에 맞춰 논의하고 있다. 그녀의 소설은 단순히 일상의 사실적 재현이 아니라, 산업화와 서구화로 대표되는 자본주의 사회질서가 구축되는 과정에서 균질화한 주체의 심성체계를 보여준다. 박완서는 1970년대 중·후반 일련의 작품을 통해 당대 사회 구조와 여기에 제약받고 변형된 일상적 삶과 심성과의 역동적 관계를 인식하고 재해석한다. 특히 중산층 여성으로 대표되는 계층을 통해 이들의 심성이 일상의 것으로 받아들여지는 과정을 면밀히 탐사하고 있다. 그런 점에서 그녀의 소설 속 상류층을 무비판적으로 추종하고 왜곡된 삶의 방식을 추구하는 것처럼 비춰지는 작중 인물들의 모습은 단지 작가의 대중소설적 취향이 아니라, 자본주의적 심성체계로 구축된 일상의 욕망을 재현하기 위한 것으로 해석된다. 작가는 도시적 일상에 각인되어 있는 자본주의 생산양식의 구조적 모순을 일상의 영역에서 밀착한 형태로 제시하고, 그 과정에서 새롭게 구축되는 중산층 여성의 심성체계 속에서 모순과 병리성을 읽어낸다. 이를 통해 당대의 역사적 상황을 재인식하고, 변혁적 실천의 실마리를 부각시킴으로써 일상성과 심성과의 상관성을 밝혀내고 있는 것이다. This paper discusses the meaning of daily life in the novels of Park Wan-seo in the 1970s. It explores how the class desire toward the middle class is built into the mental-system of the capitalism. Park Wan-seo`s novels are not merely a realistic representation of daily life of the contemporary times. They focus on the homogeneity of the subject in the process of building the capitalist social order represented by the industrialization and Westernization. The writer recognizes and reinterprets the social structure of the contemporary times and the dynamic relationship between people who are constrained and transformed and who make a living there. Especially, middle class women representative of the image of their daily life through the process are closely examined. They desperately follow the upper class and criticize distorted ways of life. This is not just the taste of popular novels. It is meaningful from the point of view of reproducing the desire of daily life constructed by contemporary mind. Park Wan-seo presents the structural contradiction of the capitalist mode of production marked in the urban life in a close-up form in the daily life. She traces the socio-cultural meaning of the newly constructed middle-class women`s mentality. Through this, we are reexamining the historical situation of the times, and foregrounding the clues of transformational practice found in the works. Therefore, we are looking into the process of interpenetration of work and daily life.

김원일 소설의 ‘기억’과 ‘회상’ 연구

이평전(Lee, Pyeong-jeon) 우리문학회 2013 우리文學硏究 Vol.0 No.39

이 논문은 김원일 소설에 나타난 기억의 양상을 살피고 있다. 김원일은 한국전쟁과 관련한 기억을 소환해 시간의 연속성을 확보하면서 당대 집단 기억의 억압으로부터 벗어나고자 한다. 집단적 기억은 기억과 문화 및 사회 집단의 관계를 체계화하고 개념적으로 세분화한다는 점에서 회상과 집단 정체성 형성 그리고 정치적 합리화 과정의 다양한 국면에 작용한다. 여전히 한국 사회의 정신사적, 문화사적 영향력을 행사하고 있는 한국전쟁에 대한 기억은 김원일 소설에서 일종의 문화론적 의미를 갖는다. 문화는 지나간 것을 보존하고 기억하는 행위(또는 그러한 행위의 산물)로 단순 기억의 재생이 아닌 변형과 창조의 산물이다. 결국 김원일 소설에 나타난 기억과 회상의 특징적 국면에 대한 검토를 통해 확인할 수 있는 것은 작가가 당대의 집단적 기억 혹은 공식적 기억에 의해 억압된 기억의 정체성을 회복시키려 한다는 점이다. 이때 정체성을 형성하는 공동체의 문화적 기억이 집단적 기억과 사적 기억 사이의 대립과 합의의 결과라는 점은 중요한 의미를 갖는다. 그것은 작가가 한국전쟁의 비극적 상황을 어떻게 재현할 것인가 하는 일반적 시도에서 벗어나, 어떻게 과거를 기억하고 회상하는가라는 본질적 질문에 응답하고 있음을 확인하는 일이다. The study was to examine the aspects of memories related with the Korean War in the novel of Kim, won-il. And it also looks into the relationship with recall, memory and oblivion, and investigates how that time in 1960s and 1970s works on the consciousness of people. The distinct feature of his novel is that cultural memory and political identity are closely crossed. In particular, it is noticeable that the cultural memory of community forming the identity could have consequence for the opposition and agreement between collective and personal memories. This makes sure that the writer tries to get out of general attempts at how to reproduce the tragic situation of the Korean War, however, he tries to show how to memory of the past and recall from fundamental questions. He also secures the continuity of time recalling the memory of the Korean War and wants to rid of oppression of collective memory He is conscious of a collective memory is memory and cultural and social groups to organize relationships, and conceptually recalls and collective identity formation in that it is broken down and explained the process of political rationalization and forming of the community’s identity as subdividing the concept. The memory of the Korean War which affects on the psychosocial and cultural history in his novel has kinds of cultural meaning. At this point, culture is simply the outcome of creations and variations not replaying of the memory in the way that culture preserve and memory the past. In his novel, recalling for the Korean War is forced to resistant to the oppression of the official memory of that time. Raising the objection to the social legitimacy, recalling officially the destructed memory has a sort of dynamic force against distortion or tooling of the memory. In this sense, his novel would be specific evidence by materializing the time as if the place of the memory and also had the role to prove the existence to the group or individual. Finally, the memory and the recall in his novel show that the writer tries to recover the repressed identity through the collective and official memory at that time.

현대소설에 나타난 윤리적 실천과 생태윤리학 연구

이평전(Lee, Pyeong-jeon) 문학과환경학회 2015 문학과 환경 Vol.14 No.3

In this writing, while limits of advanced researches are examined, eco-ethical aspects which are shown in novels in the 1970s are explained based on the theory of Hans Jonas. To assert responsibility for life, he keenly looked into bioethical weak points of traditional ethics. To propose the measures, he searches for grounds of eco-ethical ontology of “responsibility for the present and future of life”. In works of main authors in the 1970s such as Yoon Heung-gil, Jo Se-hee, Han Seung-won, and Kim Won-il, eco-ethical responses can be found out. In these works, diverse variations of ethical introspection centered on relationship between humans and nature generally appear. First, Yoon Heung-gil repeats ethical introspection in order to solve the reality of Korean division as the best solution task of Korean people which is still effective, a lot of contradictions derived from the division, overall problems caused from the course of industrialization in the 1970s, and problems of power existing in our daily life. Kim Won-il concretely agonizes over things like “problems of reality are just problems of me and all of us,” and “how should I live?” while he expresses the past of his childhood and the future society simultaneously without burying his head in the sand or being indulged in the transcendental world. So, in these points, eco-ethical aspects can be seen. Along with them, A Small Ball Shot up by a Dwarf of Jo Se-hee sends a warning message against ills of industrial cities and damage to life values and is varied through diverse styles and metaphors. It is noticeable in that these works show ethical recognition not only targeting just humans or relations between humans but also the whole dimension of existence including ecosystems. The fact that the eco-ethical viewpoint of Jonas is important is that meanings of life phenomena are deeply understood through metaphysical philosophical exploration without simply stopping in biological exploration into the life phenomena. It provides philosophical routes which are important in discussing problems of literature, environment, and ecosystem sin the 1970s when ill sand discrepancies which were taken by excessive growth ideology came to the foreasrealcrisisafterdrastically processed industrialization and urbanization planning passed.

1970년대 소설에 재현된 법적 정의와 유토피아적 주체

이평전 ( Lee Pyeong-jeon ) 제주대학교 탐라문화연구원 2021 탐라문화 Vol.- No.66

이 논문은 1970년대 조세희, 윤흥길, 황석영의 일련의 작품을 검토하면서 이들의 법적 정의에 대한 의식의 저류에 있는 유토피아적 주체의 욕망과 디스토피아적 현실 세계의 사유과정을 살피고 있다. 법을 통한 유토피아의 실현을 욕망했던 계급적 주체의 서사는 보편적·추상적 수준에서 제시되는 법적 정의를 낯설게 만들고 독자들 자신의 주관과 가치로서 그것을 재해석할 수 있게 한다. 조세희의 「난장이가 쏘아올린 작은 공」, 윤흥길의 「아홉 켤레의 구두로 남은 사내」, 황석영의 「객지」는 노동계급의 정체성을 확인하고 반공 이데올로기로 무장한 법적 권위에 저항한다. 그것은 미시적이면서 구체적인 어떤 법적 권력에 대한 직접적인 저항이라기보다는 법 그 자체에 대한 총체적 신뢰를 허물어뜨리면서 법체계 전반에 대한 불신을 보이거나 혹은 법과 불법의 경계 자체를 부정하면서 새로운 법의 존재를 예상하는 등 다양한 양태를 띤다. 이러한 차이에도 불구하고 1970년대 소설에서 법은 대체로 어떤 이상 세계의 유토피아적 비전을 실천할 수 있는 도구처럼 인식되지만 한편 주체의 법적 무지로도 볼 수 있다. 이 과정에서 소설 속 주체는 계급적 순응에 머물지 않고 법적 정의에 대한 확장된 인식을 요구하고 이러한 법적 정의의 실현을 위한 유토피아를 상상하기에 이르게 된다. 그런 점에서 조세희, 윤흥길, 황석영의 작품 전반을 지배하는 이른바 법적 정의에 기초한 도덕주의적 강박은 닫힌 프레임 속에서 자신의 문제의식을 지키려는 유토피아를 향한 주체의 사유에서 비롯한 것이라고 할 수 있다. This thesis examines a series of works by Sehee Cho, Heunggil Yoon, and Seokyoung Hwang in the 1970s, examining the desires of the utopian subject and the process of thinking in the dystopian real world, which are undermined consciousness of their legal justice. The narrative of a class subject who desires to realize a utopia through law makes the legal definition presented at the universal and abstract level unfamiliar and allows readers to reinterpret it as their own subjectivity and values. Cho Se-hee's “Small Balls Launched by a Dwarf”, Yun Heung-gil’s “A Man Who Remains with Nine Pairs of Shoes”, and Hwang Seok-young's “Destination” confirm the identity of the working class and resist legal authority armed with anti-communist ideology. It is not a direct resistance to certain legal powers that are microscopic and specific, but in various aspects, such as showing distrust in the entire legal system while destroying overall trust in the law itself, or anticipating the existence of a new law while denying the boundary between law and illegality itself. Takes. Despite these differences, in 1970s novels, law is generally perceived as a tool that can implement a certain ideal world or utopian vision, but in reality it reveals the legal ignorance of the subject. In the process, the subject in the novel does not remain in class conformity, but demands an expanded awareness of legal justice and leads to imagining a utopia for the realization of such legal justice. In that sense, it can be said that the moralistic obsession based on the so-called legal justice that governs the overall work of Sehee Cho, Heunggil Yoon, and Seokyoung Hwang stems from the subject's thinking toward a utopia to protect his problem consciousness in a closed frame.

박태순 소설에 나타난 군중 인식의 중층성 연구-1960∼70년대를 중심으로-

이평전 ( Pyeong Jeon Lee ) 대구가톨릭대학교 인문과학연구소 2014 인문과학연구 Vol.0 No.23

This research is investigating how Park Tae-sun`s novels in the 1960s and 70s are imagined. The aspects of the crowd awareness appeared in Park Tae-sun`s novels were analyzed in the genealogical flow, in the light of the fact that the writer`s awareness of the crowd in his novels was the result of putting collective awareness into practice, which was caused in the structural historical situation of the day. The crowd newly called in his novels reflects various psychological meanings of politics, economy and society of the time amid specifically historic situation of the so-called April 19th Revolution and social change. Meanwhile, attention to the Park Tae-sun`s novels has been discussed in the dimension of explaining his works and state of the period focused on ‘a series of Oechondong Village’. Actually, his novels are positively reenacting reality of the time. What is particularly paid attention to in this process is the writer`s view of crowd of the age. He pegs crowd as the power of driving themselves from immature crowd to citizen or of driving transition into democracy, and tries minute exploration of its multi-layered attributes. In this process, the crowd is defined as the foolish group carried along by the atmosphere where reasonal judgement declined, and at the same time, as the group having possibility of growth as the main agent of social reform that has more heroic and righteous appearance than the individual. In other words, Park Tae-sun discovers from crowd the characteristic as the violent group or the mob, obstructing the transition into the independent citizen resisting a national state, and reads its collective attribute that has class awakening and resistance as the alternative to overcome contradiction of the time. This multi-layered awareness of Park Tae-sun can be easily identified through historical process that the crowd makes damage to themselves and is degraded to the lethargic agent in the order of capitalism, as they emerges as the insurgent group against the ruling power.