스페인 국민국가 기획에 대한 우나무노의 사상: 이데올로기적 혼동성과 파시즘적 함의

임호준 ( Ho Joon Yim ) 한국스페인어문학회 2011 스페인어문학 Vol.0 No.60

En el ardiente debate intelectual liderado por los escritores de la Generacion 98 a finales del siglo XX y principios del siglo XX, periodo en el que Espana sufrio la profunda crisis socio-politica, el problema del la configuracion incompleta del estado-nacion espanol ocupo el foco del debate. Asi pues Unamuno y sus colegas se obsesionaron por el origen y la esencia de la nacion espanola, una concepcion basicamente mitica. Esta postura del filosofo salmantino sirve como una fuente inspiradora de la falange espanola. El pensamiento unamuniano de Intrahistoria que divide el mar de la historia en ``el cambio de ondas superficiales`` y ``tradicion eterna`` inspiro la nocion fascista que explica la historia nacional fue una deviacion falsa del origen. Ademas, la teoria de panhispanismo de Unamuno tambien sirve de la ideologia imperialista del fascismo espanol. A pesar de que es cierto que el pensamiento de Unamuno es bastante ambiguo desde la perspectiva politica, la posicion ideologica del filosofo no se puede decir definitivamente fascista. Seria mas correto decir que su filosofia fue aprovechada por los fascistas.

노벨라 네그라 출현의 사회적 배경과 리얼리즘적 함의 -바스케스 몬탈반의 작품을 중심으로-

임호준 ( Ho Joon Yim ) 한국스페인어문학회 2005 스페인어문학 Vol.0 No.36

소설과 영화의 상이한 페미니즘 장치들 : 갈도스의 『 뜨리스따나 』 와 부뉴엘의 < 뜨리스따나 >

임호준(Ho Joon Yim) 한국스페인어문학회 2001 스페인어문학 Vol.20 No.1

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최근 한국과 스페인의 영화에 나타난전쟁의 기억과 재현: 신화화에 대한 고찰

임호준 ( Ho Joon Yim ) 한국스페인어문학회 2014 스페인어문학 Vol.0 No.72

Curiosamente, en el cine de Corea y Espana de las ultimas decadas el tema de la guerra civil reaviva y provoca debates entre crlticos y espectadores. Desde luego, estos filmes son producidos por los cineastas de la nueva generacion que no han presenciado la contienda fratricida. Como una de las caracterlsticas mas destacadas, nuestro estudio se enfoca en la tendencia de la mitificacion en las pellculas de la guerra de ambos palses. En el cine coreano, se repite la mitificacion de los espacios imaginarios en los que los soldados del sur y del norte se reconcilian como hermanos de la misma nacion. En el cine espanol, a su vez, el perlodo de la Segunda Republica aparece mitificado como un espacio edenico. Para configurar un lugar utopico, los filmes de la guerra civil espanola suelen recurrir a la infancia y a la naturaleza, elementos topicos del romanticismo del siglo XViii. Sin embargo, es problematico que los espacios mitificados de los filmes de ambos palses se basen en el nacionalismo intolerante y el heroismo machista que terminan por excluir los valores universales. Ademas, tanto la nostalgia por el pasado impregnada entre los cineastas espanoles, como la obsesion irracional por el nacionalismo reunificado observada entre los coreanos pueden interpretarse una actitud superficial que carece de sinceridad historica.

최근 한국과 스페인의 소설에 나타난 내전의 기억: 서사적 특징과 사회적 함의에 대한 비교연구

임호준 ( Ho Joon Yim ) 세계문학비교학회 ( 구 한국세계문학비교학회 ) 2015 世界文學比較硏究 Vol.51 No.-

한국과 스페인은 20세기 초중반 내전 성격의 전쟁을 겪은 공통적 경험이 있다. 이 연구는 내전을 겪은 지 60-70년이 지난 시점에서 현재의 세대가 선조대의 전쟁을 어떻게 기억하고 받아들이고 있는지 1990년대 말부터 출판된 각국의 소설을 통해 살펴본다. 이를 위해서 이전 시기의 소설에 대해서도 비교 검토해 보았는데, 종전 후 양국 모두 철저한 반공주의가 지배함으로써 작가들은 자신이 겪은 바, 느낀 바를 마음대로 쓸 수 없었던 시기를 거쳐야 했다. 상당한 시간이 지나서야 작가들은 이데올로기적 제약에서 벗어나 각자의 주관대로 전쟁을 서술할 수 있었다. 전쟁을 온전하게 체험한 1세대의 작가들에 비해, 전쟁 시기에 유아나 소년에 불과했던 2세대의 작가들은 전쟁에 대해 간접적이고 불완전한 지식을 갖고 있을 뿐이었다. 그러다보니 이들의 작품 역시 이데올로기적으로 왜곡되는 측면이 있었다. 이 연구가 살펴보는 1990년대 후반부터의 작품은 종전으로부터 상당한 시간이 지난 후태어난 3세대 작가들의 것으로서 탈냉전 시대 상황을 반영하듯 이전시기와는 다른 양상을 보인다. 우선은 이데올로기적으로 자유롭다는 것인데, 전쟁의 당사자들이 품었던 이데올로기적 열정에 지극히 냉소적이다. 한국의 3세대 작가들은 전쟁은 물론 분단의 상황을 넌센스로보고 있으며 스페인 젊은 작가들 역시 스페인 내전을 객관적인 시선으로 바라보고 있다. 그렇기 때문에 이들의 작품에서 같은 국민 사이의 화해는 일반적인 경향이다. 다만 한국소설에서의 화해가 다소 추상적이고 이상화된 양상을 보인다면 스페인 소설에서의 화해는 더욱 구체적이고 상징적인 모양으로 등장한다. 이것은 분단이 지속되고 있는 한반도의 현실과 2000년대에 들어 역사기억법 제정을 둘러싸고 사회적 논란을 빚은 스페인의 현실을 반영하는 것이다. 장차 남북한이 통일되면 6.25 동란에 대해 여러 면에서 사회적 논의가 벌어질 것이고 문학도 이를 반영하게 될 것인바, 이때 스페인의 문학은 한국에 중요한 참조가 될 것이다. South Korea and Spain share common experiences in terms of suffering from civil war in the early and mid-20th century. This study delves into each nation``s novels that have been published since the end of the 90s to have an in-depth understanding about the way in which the present generation remembers and embraces older generations`` wars that took place 60-70 years ago. Keeping pace with the decline of ideological prevalence, the late 90``s novels by the new generation on which this study focuses reveal distinctive aspects that differ from literary works of the previous generations. Specifically, their aloofness from ideological engagement made them cynical toward the political passions with which their previous generations were deeply engulfed. Comparing Korean and Spanish Civil War novels, young Korean novelists perceive historical realities such as the Korean War and the following division of the Korean peninsula as something nonsensical, unintelligible and irrelevant to them while Spanish counterparts unhesitatingly argue for revisionist interpretations of the Civil war by claiming an objective, neutral, disinterested perspective. Therefore, instead of touching on scars, their novels prevailingly deal with the reconciliation among the citizens. The reconciliation in Korean novels is portrayed as more abstract and ideal than that of Spanish novels. The latter is represented in a more concrete and symbolic way. These different fictional portrayals respectively reflect the Korean peninsula``s division that lasts for more than 60 years, and the discordant controversy in Spanish society that has revolved around the "Ley de la Memoria historica" since the last decade. Because of the temporal pertinence and proximity to the contemporary issue of reconciliation, Spanish novels can serve as an important, albeit limited, reference for Koreans. Spanish novels can hint at the consequent literary exploration after the possible unification of Korea in the future. Indeed, they will provide a suggestive clue to the issue of reunification in our next generation through the literary world.

전환기 사회의 영화에서 동성애 재현의 세 가지 양상 - < 하원의원 > , < 딸기와 초컬릿 > , < 내일로 흐르는 강 > -

임호준(Ho Joon Yim) 문학과영상학회 2000 문학과영상 Vol.1 No.2

This article examines and compares three homosexual movies that were produced in Spain, Cuba and Korean. It was the transition period in each country when the movies were produced, i.e., the time when each country transformed from a totalitarian society to a modern pluralistic society. Totalitarian societies like Spain under the rule of Franco, Cuba under the rule of Castro and Korea under the military regime all maintained rigid censorship that forbade public presentation of anything homosexual and the representation of homosexuality was only possible during the transition period when the censorship became more relaxed. As such, the three movies are deeply to related to each country`s political and social issues. The Spanish movie The Deputy, directed by Eloy de la iglesia in 1977, talks about a politician who is a Marxist and homosexual. The hero, who could not resist his deep-rooted sexual drives, goes on a homosexual relationship with a young teenager. Despite his peculiar sexual tastes however, the hero is presented as an upright family man as well as an honorable politician who demonstrates personal integrity and sincerity. By blessing him with such kind of moral virtues, the director demands tolerance from its heterosexual spectators. Strawberry and Chocolate, directed by Cuban master Cuban master Gutie′rrez Alen in 1994, shows the process of how a homophobic Marxist college student comes to understand and embrace his homosexual artist friend. The director depicts the artist-want-to-be student to be a vulgar and narrow-minded person whereas the gay artist is presented as a more polished and generous person. By contrasting these two characters, the director asserts that the Cuban Revolution must light upon and embrace the new otherness represented by homosexuals. On the other hand, Broken Branches which was directed by Park Myung-Jae in 1995 directly links homosexuality with Korean society by presenting a gay`s growth process in parallel with the modernization process of Korea. Homosexuality in this movie is reproduced through family conflicts and it presents a space for an open an discuss of homosexual shock, which was once believed to be an issue for Western hemisphere only, in the setting of a traditional Korea. All there movies do not advocate homosexuality nor do they aim to break the taboo of homosexuality itself. Rather, by reproduciong homosexual`s lives, they accuse pre-modern rigidity, absurdity, repression and control and at the same time, they bring forward the more comprehensive question of surpassing the existing society`s suffocationg paradigm.

실화와 허구의 경계에서: 최근 스페인 내전 소설의 한 경향과 역사성찰의 한계

임호준 ( Ho Joon Yim ) 한국스페인어문학회 2008 스페인어문학 Vol.0 No.48

카니발의 부르주아들: <황금새대>, <절멸의 천사>, <부르주아의 은밀한 매력>의 모더니즘 그로테스크

임호준 ( Ho Joon Yim ) 한국스페인어문학회 2008 스페인어문학 Vol.0 No.47

스크린에 투사된 슬픈 용모의 기사: 『돈키호테』의 영화화

임호준 ( Ho Joon Yim ) 한국스페인어문학회 2007 스페인어문학 Vol.0 No.43

' 포스트모던 로칼리즘 ' ( postmodern localism ) - 뻬드로 알모도바르 영화의 역사적 사회적 배경 -

임호준(Ho Joon Yim) 문학과영상학회 2001 문학과영상 Vol.2 No.1

This article reviews historic contexts behind the postmodernism in Almodovar`s films and positions his films as cultural representation of all the bitter conflicts and discords in comtemporary Spanish society. Both his personal life and his films take deep root in the Spanish context and can thus be considered as social documentaries which record tensions and conflicts arising out of abrupt evolution into the post-modern Spain. The abrupt Spanish post-modern project was driven simultaneously with social modernization projects similar to the cases of other marginalized countries and it is true that the post-modern project contained much of the illuministic elitism in itself. Those premodernistic elements hidden behind post-modernity speak for the very chaos in Spanish society in 1980`s and Almodovar`s films reflect these conflicts straightforwardly. In other words, his films are considered as keys to understanding post-Franco Spain where the elements such as gender, sexuality and technology are carved together in the territory of post-modernism. Thus, it is ironic when the director himself requests not to associate any of the political or social interpretation with his films. Perhaps Almodovar wanted to emphasize the point that his films transcend local inclination and are located in cosmopolitan cultural context but despite his wish, Spanish post-modernism, like any other nation`s post-modernism worldwide, can not be understood without considering the local contexts. Just as Spain passed through the dark tunnel of military dictatorship and is rising high along with other European advanced countries, Almodovar who once was only an unknown underground Madrid artist now grew up to be a world-renowned film director. People worldwide watching his films are moved by his classical humanism and laugh at his cosmopolitan sense of humor, but they must also capture the local characteristics hidden behind his global university. That should be the desirable way to meet and accept the global-local culture in this post-modern time.