일반논문 : 개인과 국가의 길항과 주체의 위기 -1970년대 희곡『파수꾼』과 『우리들끼리만의 한번』을 중심으로-

정현경 ( Hyeon Gyeong Jeong ) 현대문학이론학회 2015 現代文學理論硏究 Vol.0 No.60

본고는 이강백의 희곡 『파수꾼』(1973)과 이현화의 희곡 『우리들끼리만의 한번』(1978)을 통해 1970년대 국가와 개인 주체의 길항 관계를 추적하였다. 1970년대 텍스트에 나타난 개인의 주체화와 주체의 위기에 대한 탐색은 1970년대 한국 사회의 특수성을 넘어 감시와 통제의 권력과 대립하는 개인 주체와의 길항관계에 대한 보편성에의 탐구라는 의미를 지닌다. 두 편의 희곡 텍스트에는 공통적으로 체제 유지를 위하여 개인을 억압하고 통제하는 절대 권력이 등장한다. 기만적인 공포신화를 생산 . 유포하는 절대군주적인 ‘촌장’과 주체화된 개인의 사적 공간까지 침투하는 ‘소리’로서의 이들 절대 권력은 독점적인 감시 권력이라는 특징을 지니고 있다. 전체주의 절대 권력에게 인식 주체로서의 개인은 위해(危害) 세력이자 ‘내부의 적’이라고 할 수 있다. 따라서 전체에 위배되는 ‘개인’과 주체로서의 개인을 억압하는 ‘전체’는 서로를 존폐 위기에 빠뜨릴 수밖에 없다. 그러나 1970년대라는 시대 상황 속에서 창작된 두 편의 희곡에서 결국 위기에 봉착하는 존재는 주체화된 개인이다. 『파수꾼』에서 ‘파수꾼 소년 다’는 절대 권력의 모순과 기만성에 대한 인식에 이르나 결국 그것을 공표할 수 있는 언술 주체에 이르지 못하면서 축출경외되고 만다. 한편 『우리들끼리만의 한번』은 개인 주체의 죽음이 희생제의가 되면서 다른 인식 주체의 등장에대한 가능성을 제시한다. 1970년대에 창작된 두 편의 텍스트를 통해 주체의 진정한 위기는 개인 주체가 절대 권력과 대립할 때 직면하는 것이라기보다 개인 주체가 주체되기를 포기할 때 발생한다는 것을 확인할 수 있었다. 따라서 이들 텍스트는 실천적인 주체의 복원 필요성을 시사하고 있다고 할 수 있다. The justice of systematic censorship requires an individual’s self-censorship. In the Republic of Korea, ‘Public Performance Act’ was signed into law in December, 1961, when the military coup broke out. The control and censorship of art and culture was institutionalized under the Japanese Colonial Rule. By the way, the establishment of Public Performance Act meant they resumed the censorship like the Japanese Colonial Rule. Public Performance Act under Yushin regime compelled self-censorship of authorities as well as artists and creators. Therefore, in reading cultural and artistic texts of the day with strict censorship, we should consider the creator’s political unconscious. In this paper, based on the facts, we retraced the antagonistic relation (or conflict) between the state and the individual in the 1970s through Lee Gang-baek’s play, Pasukkun, and Lee Hyeon-hwa’s play, Urideulkkirimanui Hanbeon. The study on the subjectification of the individual and the crisis of subject in the texts from the 1970’s is the way to understand the specificity of Korean society in the 1970s. In addition, it is the way to comprehend the universality of the standoff between the power of control and surveillance and the individual. In these two plays there is absolute power in common that controls and suppresses the individual for regime maintenance. The despotic ‘Village Headman’ who creates and scaremongers horror myths and ‘the Sound’ thatpermeates the subjectificated individual’s private space appear in the plays. Both of them have a trait of exclusive surveillance authority. The individual is a dangerous power and ‘the internal opponent’ to totalitarian absolute power. Thus ‘the individual’ rejecting totalitarianism and ‘the whole’ suppressing the individual cannot but drive each other into the crisis of maintenance or abolition. However, in the two plays written in the social situation of the 1970s, the one eventually in danger of crisis is the subjectificated individual. ‘The Watcher Boy Da’ in Pasukkun comes to realize the contradiction of absolute power and its deceitfulness, however, he does not attain the position of the subject of discourse that can announce it and he ends up to be banished. On the other hand, Urideulkkirimanui Hanbeon suggests the possibility of emergence of another subject, the death of an individual subject becoming the commemorative rites for the victim. The view on the text limited to a time in the past, the crisis of the individual subject before power or totalitarian ideology cannot be easily explained. Besides, the reason that the individual subject should be restored cannot be explained, either. The matter of the subject is deeply involved with the specific social situation of the day, however, it is the concept to be comprehended universally beyond time and space. The real crisis of a subject occurs when he or she gives up to be a subject. Thus the above texts can be said to propose the necessity of restoring the practicing subject.

선전과 동원 정치로서의 새마을연극

정현경(Jeong Hyeon-gyeong) 어문연구학회 2017 어문연구 Vol.91 No.-

본고는 1970년대 새마을연극(희곡)이 유신정권의 주도 아래 육성된 양상을 고찰하였 다. 새마을연극은 유신정권의 이념을 선전하고 국민을 동원하기 위한 정치적 목적극이다. 새마을연극의 체계적인 지원과 육성책은 문화공보부를 주축으로 진행되었다. 1972년에 시작된 ‘새마을연극운동’은 유신의 대표적인 이데올로기인 새마을운동의 정신을 유포하기 위한 국가 주도의 대표적인 연극 진흥책이다. 새마을연극운동은 새마을 극본의 보급, 학교 및 직장에 새마을연극을 공연하기 위한 극단 조직, 전국 새마을연극 경연대회 개최, 새마을 소재 연극의 지방 순회공연 등을 핵심 내용으로 하고 있다. 더불어 유신정부는 새마 을희곡의 창작을 활성화하기 위해 문예창작공모 및 구입ㆍ출판ㆍ배포 그리고 문학상 제정 및 시상, 문인들의 새마을운동 현장 답사, 새마을희곡집 발행 등에도 만전을 기했다. 새마을연극운동은 문화와 예술을 진흥한다는 거대 명분 아래에서 진행되었는데, 특히 연극 분야에 있어서는 창작극 지원이라는 취지가 새마을연극운동에 의미를 더했다. 그러나 실질적으로 새마을연극은 전 국민을 대상으로 유신정권의 이데올로기를 학습시켜, 당대의 국민을 유신정권이 상상한 이상적인 국민으로 결집시키기 위한 도구로 활용되었다. 결국 예술의 자율성을 심각하게 훼손당한 채 일종의 정치적 구호로 전락한 새마을연극 (희곡)은 유신정권의 말로와 더불어 가치와 유효성을 상실하였다. This article examines the aspect of Saemaeul-theatre(play) fostered under the Yushin Regime in the 1970s and the value of history of (Korean) drama. Saemaeul-theatre is the political purpose theatre to propagate the ideology of the Yushin Regime and mobilize people. Saemaeul-theatre was nurtured, headed by the Ministry of Culture and Public Information. ‘Saemaeul-theatre Undong’ that began in 1972 is the measure for the promotion of theater in order to disseminate Saemaeul Undong spirit, which is the representative ideology of the Yushin Regime. The key points of ‘Saemaeul-theatre Undong’ are spread of Saemaeul-play scripts, organization of theater for the performance at schools and workplaces, hosting national Saemaeul-theater competitions, road tours of plays about Saemaeul Undong and so on. They implemented the policy to invigorate composition of Saemaeul-plays as well as ‘Saemaeul-theatre Undong.’ They held ‘Creative Playwriting Competition’ and presented awards to the winners. Then they purchased, published and distributed the plays. Furthermore, they also ensured establishment and presentation of literary awards, organization of field trips for writers to the site of Saemaeul Undong and publication of collection of Saemaeul-plays. ‘Saemaeul-theatre Undong’ proceeded in the name of promoting culture and arts. In particular, in the field of theater they promoted the importance of Saemaeul-theatre Undong to the effect of supporting creative plays. However, Saemaeul-theatre(Saemaeul-play) was used as a tool of educating people to be obedient to Yushin ideology.

영화로 재현된 디아스포라 연구

정현경(Hyeon-gyeong Jeong) 어문연구학회 2011 어문연구 Vol.67 No.-

This study is on the diaspora shown in movies. Diaspora, crossing the border with different reasons, is becoming a stereotype of nomad in the 21st century. The attention to them is getting stronger with the terms of globalization and multiculturalism. Thus, in this study I analyzed the perspective towards a diaspora and the matter of difference focused on Where Is Ronny and Bandhobi. Where Is Ronny and Bandhobi are the movies dealing with conflict and communication between Koreans and the diaspora from Bangladesh. The hostility from the prejudice towards the colored diaspora leads to discovery that they are the same 'human beings' like Koreans and turns into the possibility of communication in the end. The following is the changing process of the perception of the diaspora in order to search the possibility of true confluent relationship. The diaspora in the two movies are described as strange and dangerous intruders. The diaspora of Koreans' perception was expressed as the following four types. It is the reason why Koreans recognize them as strange and dangerous intruders. First, a diaspora is an unwelcome visitor and alien who threatens Koreans' peace and order. Second, the diaspora is the one who is likely to be a criminal or the one who could commit a crime. Third, the diaspora is symbolized as a subaltern. Lastly, the diaspora is symbolized as the existence that operates Orientalism. Viewing the diaspora as unfamiliar dangerous intruders could result in exclusion and separation by forcing the difference. Not an open difference unclosed to diversity and pluralism but the difference of autism, forcing a dichotomous way of thinking on the pretext of difference and fostering homogenization on the plea of structure, should be overcome. In the two movies people overcome the conflict of discriminatory perspectives, find 'human beings' in the diaspora and finally succeed in making confluent relationship of friendship. In this point of view, those two movies suggested a new prospect towards the diaspora. At last, Where Is Ronny and Bandhobi are the movies that warn the discriminatory difference by overcoming orientalism and discussion of the other based on race, color and nationality and searches mutualism.

새마을연극과 정치적 메커니즘 ― 차범석의 <활화산>을 중심으로 ―

정현경 ( Jeong Hyeon-gyeong ) 현대문학이론학회 2018 現代文學理論硏究 Vol.0 No.73

이 논문의 목적은 1970년대 국가 주도로 이루어진 새마을연극운동의 정치적 목적을 극작가 차범석의 활동을 중심으로 구명하는 것이다. 1970년대 새마을운동은 국민의 신체에 노동의 의무를 부과하고 이를 정당화한 국민 동원운동이다. 1972년에 시작된 새마을연극운동은 새마을운동을 선전하기 위한 연극 부흥운동이다. 새마을연극은 체제순응적이면서도 유용한 신체를 전시했다. 그리고 누구나 풍요로운 삶을 성취할 수 있다는 극적환상을 창조했다. 새마을연극운동의 선봉에 선 극작가는 차범석이다. 그의 작품 활동을 통해 그가 당대 정권과 친연성을 띄고 있었다는 것을 확인할 수 있다. 그는 정부의 시책을 형상화한 새마을희곡을 창작하여 문화예술을 도구화한 정권에 순응했다. 정부는 그의 희곡을 지속적으로 상연할 수 있는 환경을 제공하는 방식으로 그에게 경제적 지원을 했다. 차범석은 박정희의 지시에 따라 새마을운동의 모범이 되었던 실존 인물을 모델로 희곡 <활화산>은 창작했다. 새마을운동을 성공으로 이끈 영웅의 극화는 중요한 의미를 지닌다. ‘잘살 수 있다’는 환상을 유포하고, 국민을 자발적으로 노동에 동원할 수 있기 때문이다. <활화산>에서 형상화하고 있는 노동하는 영웅상은 박정희 정권이 상상한 새로운 국민의 모습을 대표한다. 1970년대 새마을연극운동은 연극의 대중화와 창작극 활성화를 모토로 한 문화예술 진흥책이다. 그러나 실제로는 정치적 목적극을 양산하기 위한 정책이다. 새마을운동을 선전하고, 국민의 노동력을 동원하는 것, 나아가 인간 개조를 통해 새로운 국민을 형성하는 것이 새마을연극운동의 실질적인 목적이라고 할 수 있다. ‘Saemaeul Undong'(The New Village Movement) in 1970’s is a campaign that imposed the duty of labor upon bodies of citizens and even justified itself. 'Saemaeul-play Undong', begun in 1972, is a play revival campaign to promote 'Saemaeul Undong'. Saemaeul-play displayed not only the system-acclimated but also the useful body. Also, it created a dramatic fantasy that anybody is able to accomplish an affluent life. The play writer who was in the vanguard of ‘Saemaeul-play Undong' was Cha Bumseok. His work activities showed that he had an affinity with the government of the time. He acclimated to the government that used culture art as an instrument by creating Saemaeul-play which embodied the policies of the government. The government gave economic supports to Cha Bumseok in a way to provide the environment that enables plays of his works to be performed constantly. According to the order of Park Chunghee, Cha Bumseok created < Hwalhwasan > based on the real models who were role models of ‘Saemaeul Undong'. The dramatization of the hero who led ‘Saemaeul Undong' to success has a crucial meaning. Because this spread the fantasy that anybody can have a great life and mobilized citizens to labor on their own free will. The hero described in < Hwalhwasan > represents the aspects of the new citizens that the Park Chunghee government imagined. ‘Saemaeul-play Undong' in 1970’s is a culture art promotion policy based on the popularization of play and the revitalization of creative play. However, in real, it is a policy to mass-produce drama for political purpose. The actual purposes of ‘Saemaeul-play Undong' is to promote ‘Saemaeul Undong’, to mobilize manpower of citizens, and to form new citizens through human reorganization.

평등의 몰락에 대한 영화적 대응과 의미 - 영화 <설국열차>와 <기생충>을 중심으로 -

정현경(Jeong Hyeon-gyeong) 한국비평문학회 2020 批評文學 Vol.- No.75

봉준호는 그의 영화들을 통해 양극화된 세계상을 이미지화하거나 체제 전복을 꿈꾸는 집단 혹은 불평등 속에서 탈주하는 개인을 그려내며 불평등한 사회에서 평등 내지는 상생의 의미를 묻고 있다. 6년이라는 시간차를 두고 만들어진 영화 <설국열차>와 <기생충>도 바로 그러한 영화라고 할 수 있다. 그런데 이들 영화는 서로 다른 방식으로 불평등에 대응하는 인간을 다룬다. 불온하게 떠오른 인물들이 불평등에 대응하는 양상의 근본적인 차이를 유발한 세계상과 이들의 대응이 지니는 정치ㆍ사회적 의미는 과연 무엇인가를 구명하는 것이 본고의 목적이다. 영화의 제목이기도 한 ‘설국열차’는 열차 밖이라는 빙하 공간으로의 이동 제한뿐만 아니라 칸으로 구획된 다른 공간으로의 이동을 제한ㆍ금지하는 폐쇄적 정치공간이다. 이곳에서의 ‘공간의 단절성’과 ‘전진 불가능성’은 시스템의 질서와 균형 유지를 위한 대의명분일 뿐만 아니라 이를 위해서는 폭력과 학살마저 정당화한다. 열차의 꼬리칸 탑승객은 노동에서조차 배제된 잉여적 존재이자 열차라는 세계의 안녕을 위한 필요재와 폐기물 사이를 표류하는 존재이다. 인간성 자체를 부인당한 꼬리칸 탑승객은 폭력적인 시스템에 지속적으로 폭력으로 대응한다. 따라서 거대시스템의 전복이라는 이들의 폭력은 폭동이나 혁명이라는 정치적 함의를 지닌다. 영화 <기생충>은 거대 시스템의 이미지를 지우고 대신 영화적 세계를 탈주하는 개인으로 채운다. 때문에 이 영화에서 불평등은 사회나 국가가 아닌 개인의 문제로 치환된다. 이 세계에도 <설국열차>와 마찬가지로 잉여적인 인물들이 존재하는데, 그들에게는 계층 이동이 차단되어 있다. <기생충>은 ‘계단’과 ‘비’라는 수직적 이미지 및 페디스털 다운 쇼트(pedestal down shot)를 통해 상승 불가능성을 보여준다. 무한 경쟁과 능력주의에 내던져진 이들은 결국 생존을 위한 동류 간의 폭력과 상위 계층에 대한 적대적 폭력으로 대응하며, 그들의 대응은 범죄가 되고 만다. 이처럼 두 편의 영화를 통해 양극화된 세계에서 불온한 존재로 부상할 수밖에 없는 잉여적인 존재의 폭력이라는 대응이 갖는 의미를 살펴보았다. 더불어 그들을 불온한 존재로 전락시키고 폭력으로 대응하도록 한 세계상에 대해서도 살펴보았다. 이를 통해 봉준호가 질문하는 것은 평등 유토피아의 건설이나 신봉의 가능성이 아니라는 사실을 확인할 수 있었다. 그러나 이들 영화를 통해 상생의 방법으로서 인간의 존엄성과 충분성에 대해 재고할 필요성을 발견할 수 있다. Director Joon Ho Bong describes the picture of the polarized world through his films. To present this world he stars groups or individuals targeting subversion of the established order. <SNOWPIERCER> and <PARASITE>, produced by director Bong, are the films that express such characteristics as they are. However, the characters in these two films respond to inequality in different ways. The difference in the ways of responding to the world between the characters is due to a difference of the picture of the world shown in the films. Violence responding to inequality, used by the characters in each film, has different meanings for that reason. This article aims at clarifying the facts. Space in the film <Snowpiercer> is where people are banned to get out of the train or move into other compartments. This space is the place where violence and genocide are even justified to preserve order. The passengers boarding the trail compartments, who are redundant, are not considered as humans. Thus they dream to overthrow the system through violence. Violence of the redundant earns the value of revolution in that sense. Space in the film <PARASITE> is where the gigantic system disappears and individuals who cause violence and crimes exist instead. The characters of this film are the redundant as those in the film <Snowpiercer>. The redundant in the world of <PARASITE> are not only able to move up in the world but also have to fiercely compete to survive with other redundant people. Eventually these redundant people cannot but respond with violence for their own survival. Therefore, their violence leads them to crimes and they finally have no choice but to violate the law. As can be seen from the above, director Joon Ho Bong made a picture of the polarized world through his films <SNOWPIERCER> and <PARASITE>. Through these two films the fact was found that violence is the way the redundant respond to the world. Thus we should reconsider human dignity and sufficientness now.

열확산처리 공정에 의한 순수 타이타늄의 표면특성 향상 연구

정현경 ( Hyeon Gyeong Jeong ),이동근 ( Dong Geun Lee ),( O. Yaskiv ),이용태 ( Yong Tai Lee ),허보영 ( Bo Young Hur ) 대한금속재료학회(구 대한금속학회) 2011 대한금속·재료학회지 Vol.49 No.9

The thermo-chemical treatment (TCT) process was applied to achieve surface hardening of CP titanium. The following three different surface modification conditions were tested so that the best surface hardening process could be selected:(a) PVD, (b) TCT+PVD, and (c) TCT+Aging+PVD. These specimens were tested and analyzed in terms of surface roughness, wear, friction coefficient, and the gradient of hardening from the surface of the matrix. The three test conditions were all beneficial to improve the surface hardness of CP titanium. Moreover, the TCT treated specimens, that is, (b) and (c), showed significantly improved surface hardness and low friction coefficients through the thickness up to 100㎛. This is due to the functionally gradient hardened surface improvement by the diffused interstitial elements. The hardened surface also showed improvement in bonding between the PVD and TCT surface, and this leads to improvement in wear resistance. However, TCT after aging treatment did not show much improvement in surface properties compared to TCT only. For the best surface hardening on CP titanium, TCT+PVD has advantages in surface durability and economics.

텔레비전드라마의 “막장” 논란에 대한 고찰

윤석진 ( Suk Jin Yun ),정현경 ( Hyeon Gyeong Jeong ),박상완 ( Sang Wan Park ) 한국언어문화학회 2016 한국언어문화 Vol.0 No.59

The study found out the controversy of Television drama``s ``Makjang`` centering on deliberation cases of the Korea Communications Standards Commission. The Television drama``s ``Makjang`` originated from with works which garnered high viewing rate by showing provocative elements such as affairs, secret of birth, betrayer and revenge, incurable illness, etc. As the term ``Makjang drama`` made by negatively borrowing ``Makjang`` meaning a blind end in a mine gallery has been positioned as a general characteristic of Television drama, the recognition that negative effects on society are serious has been spread out. That is why the deliberation of the Korea Communications Standards Commission on ``Makjang`` starts to be strengthen. However, most of controversies on ``Makjang`` have been put on standards of ``morality`` and ``acceptance level`` that characteristics of Television drama as dramatic art were excluded and caused problems. In order to verify such problems more objectively, the study arranged standards and status of deliberation by the Korea Communications Standards Commission and analysed the controversy of ``Makjang`` occurred in the deliberation process centering on the minutes of a subcommittee. Based on the results, deliberation cases labeled as ``Makjang`` were analysed from the view of dramatic art. As a result, it was verified that works going beyond the standards of morality and acceptance level regardless of its dramatic art characteristic were labeled as ``Makjang``. In addition, it could be inferred that the results of ``deliberation`` on the past episode have a high possibility of functioning as an actual censor mechanism for next episodes. In conclusion, even if public interest can``t be excluded in consideration of characteristics of Television drama to unspecified majority, it was found out that deliberation standards considering characteristic of Television drama as dramatic art should be separately arranged. The study is expected to play the role of better understanding and communication of Television drama as dramatic art.

한국 제주도에서 채집된 곰치과(Muraenidae) 어류 1 미기록종, Gymnothorax pseudothyrsoideus

강충배 ( Chung-bae Kang ),송영선 ( Young Sun Song ),박진우 ( Jin Woo Park ),김진구 ( Jin-koo Kim ),정현경 ( Hyeon Gyeong Jeong ) 한국수산과학회(구 한국수산학회) 2018 한국수산과학회지 Vol.51 No.3

A single specimen of Gymnothorax pseudothyrsoideus (424.0 mm TL) belonging to the family Muraenidae, order Anguilliformes, was collected from Jeju Island, Korea, for the first time. The specimen is characterized by jaws closing completely, canine teeth on jaws, teeth not exposed when mouth is closed, ovoid posterior nostril, and body color ranging from yellowish brown to brownish with small dark spots aggregating to form larger spots that from approximately four irregular rows along the body. A comparison of mitochondrial DNA 16S rRNA sequences indicated that this specimen corresponds well with G. pseudothyrsoideus (K2P distance, d=0.002) but differs from other Gymnothorax species (11.9-13.7%). Therefore, the new Korean name “Geu-mul-nun-gom-chi” is proposed for the species G. pseudothyrsoideus.