현월(玄月) 문학의 토포스에 관한 연구―‘이카이노’ 서사의 특징과 서사 전략에 관해―

소명선(蘇明仙) 한국일본문화학회 2021 日本文化學報 Vol.- No.90

This paper examines the topos in all of Gen Getsu’s novels. Specifically, it focuses on the process of constructing the “Ikaino” as a topos and analyzes the characteristics and strategies employed in Gen Getsu’s “Ikaino”. The narrative in Gen Getsu’s “Ikaino” is characterized by the repetition of the same space, the resemblance of the dominant structure inside the space, and the similarities that appear in the character modeling. In addition to the narrative about the incidents and its subject, which are the driving force of the novel, the narrative about the place where the incident unfolds also significant. As a result, the place, which should remain in the spatial background, becomes the dynamic foreground of he plot, as if the place itself is the main character while the incidents unfold. Set in “Ikaino”, the novel depicts a cursed land where the forces of evil are in play and the violent incidents caused by the cursed people born there. These narratives are becoming a strategy for recalling the memories of “Zainichi”, who came to be non-visible in the Japanese society. The narrative used in Gen Getsu’s “Ikaino” is a literary method of resisting reorganization of space and oblivion, and at the same time, new narrative strategy talking about “Zainichi”.

1950년대의 일본열도가 본 ‘한국전쟁’ ―1950년대에 발행된 일본 문예지를 중심으로―

소명선(蘇明仙) 한국일본문화학회 2023 日本文化學報 Vol.- No.96

This paper examined how ‘the Korean War’ was dicussed through novels published in Japanese literary magazines of the 1950s. The magazines examined include six central literary magazines (Shincho, Gunzo, Bungei, Bungakukai, Sekai, ChūōKōron), Shinnihonbungaku which was launched during the postwar democratic literary movement, and Jinminbungaku, the central newspaper of the Circle Movement. In Shinnihonbungaku and Jinminbungaku, ‘the Korean War’ was regarded as the trigger for World War III. In the case of the central literary magazines, the gaze of ‘the Korean War’ was shown in six forms:crisis and fear of the spread of the war; ‘the Korean War’ in anti-American, anti-war, and anti-base struggles; Zainichi Koreans as a prism; literary testimony about participation and cooperation; accusations against the reality of Japan on the U.S. military base island; the occasion to evoke Japan’s war. The most remarkable feature found in the Japanese view of ‘the Korean War’ was the fear of it spreading to Japan. Moreover, they endeavored to understand ‘the Korean War’ in an international context, but did not attempt to grasp the cause and background of the war from a historical perspective. This is also the difference from the perspective of Zainichi Koreans regarding ‘the Korean War’. In most of the works, the motif of ‘the Korean War’ functions as a device to summon memories of Japans war and to discuss social problems caused by the presence of th U.S. military base.

오에 겐자부로의 『안녕, 나의 책이여!』론

소명선(蘇明仙) 동북아시아문화학회 2018 동북아 문화연구 Vol.1 No.56

In this paper, Ōe Kenzaburō’s “Sayōnara, watashi no hon yo!(Farewell, My Book!)”(2005) is subject to the study. The preceding research dealt with “Sayōnara, watashi no hon yo!” on the common horizon of ‘Pseudo-Couples’, and there were a lot of things to consider the effect and the function or the meaning of ‘Pseudo-Couples’. But I focus on the ‘Sign’, which is also the title of the final chapter of the novel, considering the literary imagination of Ōe through the world of typography and the aspiring to human recovery. “Sayōnara, watashi no hon yo!” is the basis of the novel by the experience of the printed world of Ōe, including Elliot"s poetry. Such a “Sayōnara, watashi no hon yo!”, the reason that it does not become ‘fictitious in the fictitious’ is to present the possibility of violence and terrorism which are omnipresent in various forms with the sense of crisis to the real world. After failing in the last big game, Kogito is absorbed in the task of reading and recording ‘signs’. It is because he expects the emergence of ‘New Men’ from among their generations to assume a child of about fourteen years old as a ‘signs’ record reader. The ‘New Men’ means a person who fights against those who oppress human intelligence and imagination in the age of nuclear, recovery people who bring peace and peace, and people who are broken by violence, eliminating hostility and confrontation. It was a ‘signs’ of violence and terrorism in various forms ubiquitous in the world that Ōe is drawing through his novel. And the figure of Kogito who spared the effort to record ‘signs’ for future generations to become the leading role of society after a quarter century, it can be read in the form of Ōe who aspires to manifestation of ‘New Men’ and human recovery.

玄月文学のト影スについて

蘇明仙(소명선) 동북아시아문화학회 2009 동북아시아문화학회 국제학술대회 발표자료집 Vol.2009 No.10월

사키야마 다미(崎山多美)論

소명선(蘇明仙) 동북아시아문화학회 2014 동북아 문화연구 Vol.1 No.38

This paper considered a characteristic of the other world and the meaning to see in Sakiyama"s fictions mainly on a short story announced intermittently from 2006 to 2013. “SUIZYOŌUKAN” with the opportunity when the name of Sakiyama is known to the central literary world. She published the anthology of total four to date afterwards. Sakiyama"s theme was ‘island’ and ‘darkness’ from the first anthology. However, Sakiyama"s fictions shows a new change after the third anthology. I consider the change to be a thing by imagination of the other world and consider a concrete aspect and characteristic of the other world through the series of Kuja. In addition, I thought about how a crossing the border and interchange to the other world intersected a problem of the present of Okinawa. The other world in the Sakiyama"s fictions shows an aspect different from fear or the yearning to the world where the human ingenuity and the experience are exceeded. A voice invades the space of the narrator suddenly. He is invited to the voice, and he goes over the everyday border without a physical shock naturally when he moves to another space. In the fiction, it may be said that the other world is distributed unevenly in daily life. The series of Kuja irradiates contemporary history of Okinawa through interchange with the other world again. As for the series of Kuja, a focus is put to women who lived in Kuja in particular. The other world is a literal method to shape of the "island" and "darkness" for Sakiyama. And it was a viewpoint of the gender of Sakiyama to have been able to confirm in the process. It can be said that the other world is Sakiyama depict be a criticism of the violent representations to Okinawa as well as a criticism of the Domination of male power structure, which is symbolized as violent system of military base and the state and violence of war.

해방 이후의 재일제주인 잡지 미디어 연구 -재일제주인의 지역정체성과 로컬리티-

소명선(蘇明仙) 한국일본문화학회 2019 日本文化學報 Vol.0 No.81

This paper studies magazine media published by the Jeju Islanders in Japan after World War II, and considers the significance of their media activities along with a bibliography of the publications in Japan. The Jeju Provincial People’s Association, which is based in the Kanto and Kansai regions, has led the media activities of the Jeju Islanders in Japan. From the various types of the journal published by the Jeju Provincial People’s Association, I confirmed that they sought to maintain their identity as Jeju Islanders, deepen the unity and friendship among their members, and seek a path that would lead to the economic development of Jeju Island. On the other hand, in the group of Jeju Islanders in Japan, ther is a Tamra Study Group that was formed to pursue the history and culture of Jeju Island. "Tamra Communication Study" and "Jeju Island" published by Tamra Study Group are the magazines which transmit it toward the outside world unlike the Journal of the friendship organization. Especially in the case of "Jeju Island", the island’s locality was transmitted to Japanese society, and it functioned as translocal network through cooperation with Jeju Island. Their media activities have played a significant role in the process of preserving regional identity and forming locality in the Japan Society of Jeju Islanders. The media activity of the Jeju Islanders in Japan who are creating a unique locality against the historical tide of globalization is a special phenomenon unprecedented in the magazine media history of Zainichi Koreans.

현월(玄月)의『권속(眷族)』論

소명선(蘇明仙) 동아시아일본학회 2010 일본문화연구 Vol.34 No.-

재일조선인 에스닉 잡지 연구

소명선(蘇明仙) 한국일본문화학회 2017 日本文化學報 Vol.0 No.74

Historically, the study of ethnic magazine of Zainichi Koreans was mainly conducted by the magazine which represented each period. But, in the case of the 1950s, there was a gap due to data restrictions. This blip was fortunately resolved as interest in post-war cultural movements which was developed in the form of a Life-Record Movement and a Circle Movement in the 2000s(the circle poetry magazine "Jindalle" and "Garion" by Osaka Korean poet group were issued as a reprint version). This was the epoch-making development that elucidated the cultural activities of Zainichi Koreans of the 1950s. With this new availability of data, in this paper, I am able to present the overall image of the cultural movement of Zainichi Koreans in the 1950s, as opposed to research focusing on specific magazines like the previous research. In the 1950s, organizations or associations representing Zainichi Koreans ranged from Choryŏn to Minjŏn and later to Chongryŏn. The character of the magazine changed somewhat according to the above-mentioned organizations and these changes can be observed by the following periodicals. The first is a magazine that inherits the genealogy of "Minjuchosŏn", the second is "Jindalle" and its affiliate magazines, and the third is a journal related to the Zainichi Chosŏn Bungaku-kai. Analysis of these three trends shows not only the current situation of the magazines published by Zainichi Koreans but also the negotiations between the magazines and the aspect of the solidarity and exchange with the post-war cultural movement of Japanese society. It also highlights the struggle of Zainichi Koreans who fought against the GHQ and the Japanese government, which threatens their right to live as an ethnic minority, further demonstrating that ideological war is on the rise in the homeland.

『체인지링』(取り替え子)론 -문학적 장치로서의 죽은 자-

소명선 동아시아일본학회 2005 일본문화연구 Vol.14 No.-

메도루마 슌의 『눈 깊숙한 곳의 숲』론 ‒ 식민지주의적 폭력의 현재 ‒

소명선 한국일본근대학회 2016 일본근대학연구 Vol.0 No.54

메도루마 슌의 『눈 깊숙한 곳의 숲』(2009)은 태평양전쟁 말기 오키나와본도 북부의 낙도에서 발생한 사건에 관해 사건 발생 당시와 60년 후인 현재를 횡단하며 서술하고 있는 작품이다. 그런데 소설의 주요한 모티브가 미군에 의한 성폭행사건과 이에 대한 대항폭력이라는 점에서 전작인 「희망」과 『무지개 새』와 동일한 지평에서 논의되어지는 경향이 있다. 본고에서는 8명의 시점인물을 통해 다양한 각도에서 사건의 진상과 사건 후의 삶을 이야기하는 독특한 서술구조와 ‘목소리’로 환기되는 폭력의 기억과 그 양상에 주목하여 대항폭력이라는 표층적인 의미와는 다른 관점에서의 고찰을 시도한다. 이들 시점인물에 의해 서술되는 각 시점인물이 서술하는 폭력적인 사건의 경험과 기억은 계속되는 식민지주의적 폭력에 노출된 오키나와의 현실이었다. 시점인물에게 있어 폭력의 기억이 일상 속에서 새로운 폭력으로 작동하는 양태와 그들의 언어활동에 미치는 영향을 확인하고, 『눈 깊숙한 곳의 숲』은 이러한 비가시화된 폭력에 대항하는 방법으로서 어떠한 방향성을 제시하고 있는지에 관해 고찰했다. Medoruma Shun’s “ME NO OKU NO MORI”(2009) is the work which talk about while crossing the present 60 years later at the time of a incident about the incident that took place in a remote island in northern Okinawa Island in last years of Pacific War. The main motif of this novel is the rape by US soldiers and a combat violence against this. For this reason, there is a tendency to be discussed in the same horizon as the “KIBŌ” and “NIJI NO TORI” of previous work. I try the consideration at the point of view unlike the against violence. This paper is focused on the memory of the violence roused by ‘voice’ and narrative structure that talk about the truth of the incident and the life after the incident from a variety of angles by eight viewpoint people. At first I analyze appearance of the violence talked about by these viewpoint people and confirm reality of Okinawa exposed to violence of the colonialism to continue. Through experience and the memory of the violent incident that each viewpoint person talks about, I confirm the aspect to come as new violence and the influence that memory of the violence gives to language again. And I consider it what kind of directionality “ME NO OKU NO MORI” shows as a method against the violence that was non-visualized.