미디어에서의 퀴어 섹슈얼리티 재현 불가능성과 탈규범의 가능성

허주영(Haw, Juyoung) 도서출판여이연 2019 여성이론 Vol. No.

1910∼20년대의 상징주의 수용 양상과 실패 요소 분석 - 황석우 초기 상징시에 나타난 상징을 중심으로 -

허주영 ( Juyoung Haw ) 국제어문학회 ( 구 국제어문학연구회 ) 2017 국제어문 Vol.0 No.73

황석우는 백대진, 주요한, 김억과 함께 1910∼20년대 한국 근대시 논의를 주도한 대표적 시인 중 하나이다. 20세기 초 과도기에 접어든 근대 한국 문단에서는 새로운 시에 대한 담론이 강하게 나타났다. 계몽적인 목적의식에서 벗어난 새로운 시에 대한 필요성은 많은 시인과 비평가들에 의해 주장되었지만 구체적인 방식과 방법을 누구도 제시하지 못했다. `새로움`에 대한 갈증이 계속 담론화되면서도 무엇이 새로워야하며, 어떻게 새로워야 하는지에 대한 답을 제시하지 못했던 것이다. 한국근대문단에서 `새로움`에 대한 해답의 열쇠는 바로 자유시였다. 자유로운 정서표현과 자유로운 형식의 추구는 자유시를 근대적 문예양식으로 받아들이게 했다. 자유시에 대한 모색을 주도한 주요한, 김억, 황석우는 모두 1910년 중반에 등장한 신인들이자 일본 유학파 출신으로 상징주의 이론의 도입에 앞장섰다. 그러나 상징주의는 한국문단에 1910년대 말부터 1920년대 초까지 짧은 기간동안 논의되었다가 사라졌으며, 결과적으로 실패하였다. 이 글에서는 자유시=상징시 등식이 가능할 정도로 영향력을 보였던 상징주의의 실패 요소를 세 가지로 정리한다. 첫 번째로 상징주의를 받아들일 수 없었던 시대적 상황, 두 번째로 상징주의에 대한 이해 부족, 마지막으로 아나키즘과 상징주의의 상반된 성격의 충돌이다. 상징주의 수용 양상을 살펴보면 상징주의는 백대진을 시작으로 김억, 주요한, 황석우를 통해 한국문단에 소개된다. 백대진은 상징주의를 가장 먼저 언급했지만 프랑스 상징파 시인들을 짤막하게 소개한 수준으로 본질적 내용과 방향을 제시하지 못했다. 김억은 백대진에 비해 비교적 깊이 있는 소개를 시도했지만 김억의 베를렌느적 취향은 시가와 시의 경계가 애매모호했던 당시 문단의 과도기적 성격을 반영하고 있어 상징주의에 대한 폭넓은 수용을 방해하였다. 상징주의가 추구하는 감각의 결합, 인간의 내면세계 확장은 국가를 잃은 조선에서 환영받지 못했고 외래성과 전통성, 세계성과 민족성, 자율성과 타율성 등 서로 다른 경향들과의 대립과 충돌을 겪게 되었다. 일본을 통해 한국문단에 수용된 상징주의는 이론에 대한 충분한 이해가 부족했다는 것도 또 다른 실패 원인이다. 프랑스 상징주의에서 나타내는 감각이나 상상력에 대한 개념이 상당한 차이를 가지며 상징주의의 개념 설명에서도 일본 상징주의 시인인 미키로후의 관점을 그대로 따른 것으로 보인다. 황석우는 「일본시단의 2대 경향」에서 예의츠의 상징론을 바탕으로 상징주의를 구분하려는 노력을 보였지만 시단에 큰 의미를 주지 못했고, 상징의 이해를 본능에 전적으로 의지하는 경향을 보이며 본질을 제대로 설명하지 못했다. 더불어 황석우의 초기시에서 나타나는 상징은 이상세계에 대한 희망을 명백하게 드러낸다. 상징주의에서 추구하는 감각의 확장, 내면에서의 새로운 발견보다 자유의 억압에서 드러나는 해방의 욕구는 황석우의 아나키즘적 면모와 상징주의의 충돌로 해석할 수 있다. 아나키스트로서의 활동은 민족 분단과 국가의 주권을 잃은 시대적 상황과 연관되어 있으며 이러한 아나키즘적 면모는 이론에 대한 이해부족과 상호 복합적으로 작용하여 상징주의를 실패로 이끌었다. Hwang Suk Woo is one of the pioneer poets leading the discussions of modern Korean poetry in the 1910s and 1920s. In the early 20th century, the discourse for the need of `new poetry` was prevalent. The need for a `new poem` deviating from the enlightened purposeful consciousness had been asserted by many poets and critics, but no one proposed a specific method. The key to the answer to `new poetry` in the modern Korean poetry was free verse. The free expression of emotions and the pursuit of free form led free verse to be accepted as the modern literary form. The forerunners of the search of free verse Joo Yo Han, Kim Euk and Hwang Suk Woo were all newcomers to the literary scene, appearing in the mid 1910s. They had studied overseas in Japan and led the introduction of symbolism. Symbolism, however, was only discussed briefly in the literary circles from the late 1910s, since its introduction, to the early 1920s and subsequently failed. This article summarizes the three factors leading to the failure of symbolism which could have been the`new poetry` with a focus on Hwang`s works. First, the conditions of that period would not allow symbolism to be accepted. Second, was the lack of understanding about symbolism. And lastly, the contrasting characters of anarchism and symbolism both studied by Hwang, were incompatible. Symbolism was introduced into the Korean literary world starting with Baek Dae-Jin, followed by Kim Euk, Ju Yo-Han, and Hwang Suk-Woo. Although Baek Dae-jin mentioned symbolism first, he did it at the cursory level of only introducing French symbolists and not presenting essential contents and direction. Although Kim Uk tried a more complex introduction compared to Baek Dae-Jin, he was unsuccessful. The writings of Kim, which were greatly influenced by Paul Verlaine, reflected the transitional nature of the Korean literary world at the time when the boundary between Classical Poetry and Modern Poetry was ambiguous. This hindered the broad acceptance of symbolism. The ideas of Symbolism of mixing senses and expanding the human inner self were not welcomed by Koreans who had just lost their country and freedom to imperialism. They were facing confrontation with opposing ideas such as untraditional and traditional, globalization and nationalism, subjugation and autonomy. Symbolism being introduced into the Korean literary world through Japan and it`s pupils was another cause of failure as there was a distorted understanding of the original theory. The concept of sense or imagination expressed in French symbolism had a considerable difference from Japan`s symbolism, which was mainly Japanese leading symbolist poet Mickirohu`s point of view and understanding. Hwang tried to categorize symbolism based on the ideas of William Butler Yeats in the "major trends of Japanese poetry", but failed to explain the essence of symbolism thereby had no impact on the Korean literary world. In addition, the symbols of Hwang`s early poetry revealed his hope for utopia. Hwang`s desire of liberation revealed in the suppression of freedom rather than the expansion of the sense and discovery of inner self pursued in symbolism, can be interpreted as a clash between anarchy and symbolism. The activity as an anarchist is related to the situation of the national division and imperialism. This anarchistic aspect led to failure of symbolism by acting in combination with lack of understanding of theory.

남성 동성사회의 가장자리와 불완전한 남성성

허주영(Haw, Ju-young) 한국여성학회 2018 한국여성학 Vol.34 No.3

이 글은 영화 〈버닝〉과 1960년대 김승옥 단편소설을 중심으로 다른 시대, 다른 매체가 재현하는 남성 동성사회의 불완전한 남성성을 분석한다. 두 작품은 다른 매체적 형식과 장치를 가지지만 각 시대를 대표하는 매체라는 점, 시대의 ‘청춘’을 이야기하고 있다는 점을 공유한다. ‘청춘’을 전유하는 과정에서 필연적으로 모든 ‘문제적 개인’은 남성으로 재현되고 여성의 타자화를 통해 주체성을 획득한 남성인물은 시대를 대표하는 ‘청춘’의 서사를 이어나가는 조건을 갖춘다. 남성인물은 주체성 획득 과정에서 복잡하고 다양한 층위의 불완전한 남성성을 통해 시대적 조건들을 반영하고 있지만, 여성인물은 초역사적으로 재현되는 동시에 자신을 타자화 하는 방식으로 객체 자리를 유지한다. 즉 시대를 대표하는 두 매체가 재현하는 남성성은 시대를 반영하고 있지만 초역사적으로 재현되는 여성성은 어떠한 저항의 자리도 마련하지 못한다. This study focuses on the ways in which different times and media represent women, focusing on the otherness from male homosociality, using the film 〈Burning〉 2018 and the short stories published in 1960 "s by Kim Seung-ok. Lee Chang-dong"s 2018 movie 〈Burning〉 and the short stories published by Kim Seung-ok in the 1960s are the main subjects of research because both show how the subject called "the individual" is still being represented as a male. It is without question that the lack of change in which women are represented in the media in the 1960s to 2018 is a sociological problem. Despite having more channels in which various agendas and women’s voices are exposed to the audience, there is no big difference in the way women are represented in the literature of the 60"s and the current mainstream media. In the 1960s, through the April 19 revolution, modern individuality and subject(?) emerged. But at the beginning of this revolutionary change, new values and lifestyles were repressed. It was during this time, the dominant discourse of Korean society produced a new modern masculinity. At the intersection of democracy and modernization, society at the time simultaneously planted the illusion of individuality and projected ideology as the signifier of individuality. However, the subject that can have self - consciousness as the signifier of "individual" was the identity as a modern man. There is no symbolic language of women, and women are not included as a signifier of individuality. Thus, identification among individuals in society is manifested through a bond in between men who practice ideological masculinity. Thus, men who are not masculine in this homosocial society are eliminated. The loss of homosocialism is deprivation of masculinity, and deprivation of masculinity is equivalent to castration hence becoming feminized. In this paper, we pay attention to the self - hatred of women in the process of isolating themselves to avoid dismissal from society. In addition, we examine the representation of female characters who are not "individuals" in this process. Those who are not involved in the norm constitute a life of excessive suppression and self-control. This life is stricter for women than for men. This analysis exposes the divisions that appear between those following the social norms and the ones who can not escape or desire to escape. It also captures the process of otherizing by women who punish themselves by fitting to the norms in homosociality.

1990년대 페미니즘의 대중화, 그 직전의 풍경 : 양귀자의 『나는 소망한다 내게 금지된 것을』(1992)을 중심으로

허주영 ( Haw Ju-young ) 민족문학사학회·민족문학사연구소 2022 민족문학사연구 Vol.78 No.-

The 1990s, when Yang Gui-Ja’s Novel I Wish For Whar Is Forbidden was published, was a period known as the popularization of feminism in South Korea. If the indicator of popular feminism is collectivity, the early 1990s, when Yang Gui-ja’s novels were published and distributed, reveals the landscape ahead of popular feminism. There is no solidarity or unity in the practice of feminism by Kang Min-ju, the main character of the novel. Kang Min-ju Feminism, which lacks the collectivity that is the basis of all social movements as well as the feminist movement, reveals how social values in the early 1990s were arranged in the feminist literature and the public. The novel is a crime narrative in which Kang Min-ju, an elite female protagonist with financial resources, abducts a popular male actor. The novel has a tragic ending by answering the question, “Is it possible that a woman with financial resources and knowledge is not a woman?” The ending of a woman who planned to kill a man, being killed by a man has sparked harsh criticism that it is anti-feminism, and in Korean literary criticism and research, criticism of the work was omitted or withheld. Although it was a work that gained public attention, the public reader did not receive attention as a major analysis subject, and rather, it was devalued as a popular work that lacked literary value. This article examines the major critical discussions of Korean literature in the early 1990s and analyzes how criticism of Korean literature in the 90s meant the relationship between feminist literature and the public.