Earticle

<Haerangkanga Malhara(해란강아 말하라)>(1954)by Kim Hakcheol is the first successful novel of Chosun race living in China since China begins a socialist state. Two things should be considered in order to understand wholly this work. One thing is the time this work is written and another is a period situation which a writer depicted in work. These two things are closely related each other. Therefore he seized his acute political sense which literature of ethnic Korean living in China should take a close role in establishing the foundation of China of a socialist state. As a Chosun race writer living in China of Yanbian branch under a Chinese writer’s association, he felt the necessity that the revolutionary origin of Yanbian autonomous region which was a political and social center of northeast area in China should be reconstituted. In the <Haerangkanga Malhara>, he emphasized the aspect of semi-feudalism and anti-imperialism struggle of Chosun people living in China who banded together Chinese Communist with Haerangu Yanji in China in the early 1930s. By replaying actively a historical event happened in Yanbian region through ‘narration of memory’, he discovered newly a socialistic people whom socialistic China eagerly wanted and developed. In this process he naturally made enlightening introspection about an anti-socialistic people. Also he guaranteed literaily that Chosun people living in China played an important role as a historical subject of semi-feudalism and anti-imperialism struggle banding together Chinese Communist.

중국 조선족 시문학은 광복 이후에 다양한 모습으로 변화해 왔다. 이 글은 조선족 문학의 그러한 흐름에 대하여 시문학 작품에서 민족의 정체성을 드러내고자 한 작품을 시기별로, 서정시에서 시조, 여성 시에 이르기까지 집중적으로 살펴보았다. 그 결과, 대체로 광복 전의 작품들은 식민지화 된 고국을 등지고 살아야 했던 유이민의 애환을 주된 내용으로 시인 개개인의 다양한 개성적 표현으로 특징적이었다면 광복 이후의 30년 남짓한 시기에는 대부분 사회주의 혁명과 건설이라는 정치적문화의 풍토에 종속되어 같은 목소리, 같은 내용을 노래하고 있었다. 그리고 지난 세기 80년대 이후부터는 고민과 모색, 탐구를 거쳐 민족의 정체성에 대해 다시금 인식하게 되었고 보다 개성적이면서도 새로운 관념과 방식로 새로운 현실을 작품에 담아보려는 노력들을 하고 있었다. 이주민으로부터 국민으로 된 자긍심을 안고 살아가다가 민족의 정체성에 대한 고민을 거쳐 오늘날 조선족의 문학인들은 보다 열려 있으면서도 자기의 뿌리를 잊지 않은 특수한 시각으로 창작에 임하고 있다. 따라서 이들에게 있어서 민족의 정체성은 이들이 가장 소중히 다루어지고 있는 고향의식이 결국 민족의식에로 이어지고 민족의식을 통해 고향에 대한 근원적인 감각이 더욱 고조되는 문학적 사고의 방식에서 그 본질적인 양상을 알아볼 수 있을 것이다.

Chinese-Korean poetry has changed in different aspects after liberation. The thesis focuses on the works which try to express national identity in Chinese-Korean poetry after Korean Liberation, according to the periods, including lyrics, shijo (a kind of short lyric Korean poem), and poems by female poets. The works before Korean Liberation, the main contents of which are the joys and sorrows of immigrants who had to leave their native country, are characteristic of various expression of individual poet. The works after Korean Liberation, however, depending so much on the cultural climate of politics—socialist revolution and construction, sing highly of the same contents and make the same voice. Since 1980s Korean poets have got to be newly aware of national identity after many years of inquiry and research, and have made efforts to incorporate new reality in works in a more personal and original method. The Koreans in China were proud of becoming Chinese from immigrants, became troubled about their national identity, and now Korean writers and poets have devoted themselves to the writing with the special and open vision and with deep root of their nationality. For them, the essential aspects of their national identity can be found in the thinking way of literature that home consciousness is connected with national consciousness and in turn the root of hometown is emphasized through national consciousness.

The study discovered that Lee Chan’s poetry received a simple evaluation from literary persons from 1950 after independence of Korea from Japan to 1960s when was the period of restoration after Korean War in North Korea and its position in the history of literature was raised in the inside of North Korea after 1970 from the middle of 1960s. Therefore, the purpose of the study was to arrange its position and changes of the position in the side of the history of literature through the original copies of North Korean literature published in a book form and a periodical form and to follow up why his poetry was raised in North Korea. The study closely examined his poetry embodying diverse aspects and symptoms by changing their form by each time as a KAPF writer, a pro-Japanese poet and an anti-Japanese revolutionary poet and discovered one world view through them-namely what the poet aimed. Consequently the study could see that his private utopian world view agreed to the political ideology of North Korea and his position in the history of literature was suddenly raised. However, North Korea has duplicity with regard to evaluation on Lee Chan’s poetry. Especially, writers at that time such as Im Hwa and Han Sul-Ya were purged and disappered permanently in the history of literature or restored after being purged as time went on. Differing from them, by only one emerging, Lee Chan’s poetry was secured its position in the history of literature to the end. For, Lee Chan’s poetry was appreciated as a work with a room in which strong political message to be delivered by North Korea cut. Although we should examine matters related to the above more closely in the future, the study could see that it was a kind of emblem that the position in the history of literature secured by Lee Chan’s poetry in North Korea could be placed in a symbolic position which was a tradition of revoluationary literature, and Lee Chan’s poetry in North Korea was appreciated by putting a focus on a funcntion as a poet and poetry to mythify Kim, Il-Sung by the political leaders of North Korea. Therefore, the study checked that the political leaders of North Korea supported Lee Chan and his poetry in order to secure the highest position in the history of literature in North Korea.

본고는 이병주의 작품 세계에 대한 연구가 역사관련 소설에 치우쳐 있음을 검토하고 이병주 문학을 연구하는 하나의 새로운 시각으로서 대중문학적 특질에 관한 고찰을 제기하였다. 이병주 소설에서 발견되는 대중문학적 특질의 대표적인 요소로 인물의 비범성과 소시민적인 현실성이 공존하는 인물 형상화를 들 수 있다. 더불어 이러한 인물이 지배 이데올로기에 순응하는 현실 순응적 모습을 보인다는 점에서 대중적인 유형을 띤다. 대중이 원하고 친숙한 인물을 통하여 발화되는 시대적 세밀화를 통해 당대 대중의 욕망과 세계관, 대중들의 생활의 감각을 발견할 수 있다. 『행복어사전』의 대중문학적 특질의 두 번째 요소는 로맨스 서사이다. 로맨스 서사의 특성은 오해와 장애물, 섹슈얼리티의 표출이다. 이러한 요소들은 독자의 흥미를 지속적으로 유지시키며, 섹슈얼리티의 반복적 표출은 쾌감불안을 해소하고 성담론을 대중화하는 효과를 가져온다. 더불어 1970년대 남성중심의 이데올로기가 여성의 몸을 타자화하는 이분법적 시각또한 고찰해 볼 수 있다. 이병주 작품의 대중적 특질의 특이점은 작가의 딜레탕트적 취향이 소설에 강하게 표현되어 있다는 것이다. 지적으로 준비된 70년대의 독자대중의 입장에서 작품의 교양적 서술과 지식인적 사변성은 교양욕망을 충족시켜 주는 의미가 있다. 이러한 지식인적 딜레탕트 취향은 대중적 흥미요소와 더불어 이병주 문학의 대중성을 더욱 강화하는 요소이다. 이와 같은 대중적 특질을 형상화하는 서사전략은 서사의 연쇄와 교차에 있다. 『행복어사전』에는 서사의 구성은 흥미의 부분에 초점을 맞추어야 한다는 작가의 소설론이 드러나 있다. 더불어 ‘타협적 균형’이라는 서사전략이 딜레탕트적인 요소와 통속성, 서사구성, 인물의 형상화 등에 있어서 폭넓게 적용되고 있다. 이러한 고찰을 통하여 이병주가 역사와 사회, 인간적 진실이라는 소설적 주제를 이야기함에 있어서 그가 다루는 대상의 무게와 엄숙함을 ‘유희’로서의 소설을 통하여 전하려 하였음을 알 수 있었다.

This study reviewed that the literature world of Byung Ju Lee is oriented to the history related novel and brought up the consideration on the characteristics of the public literature as a new viewpoint of studying the literature of Byung Ju Lee. The character formation in coexistence of remarkability of the figure and the reality of petit bourgeois can be taken as a representative factor of the public literature characteristics which is found in the novels of Byung Ju Lee. It imbues the public pattern in the point that such character shows the shape of the adaptation to the reality which surrenders to the dominant ideology. The desire, world view and the sense of the public life bloomed through the timely specification via a friendly figure who are wanted by the public. The second factor of the public literature characters of the 『The Dictionary of Language for Happiness』is the description on the romance. The characteristics of the romance description are the misunderstanding, obstacle and expression of the sexuality. Such factors maintains the interest of the reader consistently and the repetitive expression of the sexuality resolves the pleasure discomfort and bring forth the effect of publication of the sexual discourse. In addition, the dichotomy of view that the male oriented ideology in 1970s makes the body of the woman into other person can be considered also. The peculiarity of the public characteristics of the novels of Byung Ju Lee is that the dilettante taste of the author is expressed strongly in the novel. The culture natured description and intelligent speculation of the work in the position of the public readers who were ready intelligently in 1970s have a meaning to satisfy the cultural desire. Such intelligentsia like dilettante taste jointly with the public interest factor is a factor which strengthens the publicity of the Byung Ju Lee’s literature. Such description strategy which formulate the public characteristics are left in the succession and crossing of the description. The author’s theory on the novel that the constitution of the description shall be focused on the part of interest are shown in 『The Dictionary of Language for Happiness』. At the same time, the description strategy of ‘compromise equilibrium’ has been widely applied in the dilettante factor, publicity, description composition and character formation. Such consideration has a meaning as a trial to light that the public characteristics of Byung Ju Lee’s literature is an effective viewpoint to study the literature world of Byung Ju Lee.

The literature of Chosun poets in Manchuria was created in the tragic periodic situation through 'the history of Manchurian immigration'. Also, it maintains its own literary form in the history of Korean literature, in the external aspect, but its close association with Korean literature distinguishes that from other immigrant literature. Hyeon,Gyeong-Jun understood the special situation of Manchurian-Korean literature and reflected that into his works. His works, created through his deep understanding of the trend of the history of Manchurian immigration, has contributed to the development of Manchurian-Korean literature. Hyeon,Gyeong-Jun has not distinctively established the reality under colonial ruling, in the space of his work, but he kept calling our attention to the circumstances of the times. This can be seen in the fact that 'spatial circumstances and the life of characters' were identified as if they were assimilated to each other. Through this, we can see the Diaspora consciousness in the works of Hyeon,Gyeong-Jun. Hyeon,Gyeong-Jun presented the life in the gloomy and contradictory colonial reality in front. He tried to shed a new light on the life of Manchurian-Korean, through the history of immigrants. This became the very important requirements for the works and the sources to seek the independent identity. Also, he seemed to recognize the contemporary circumstances from multilateral views, not the biased view. The literature of Hyeon,Gyeong-Jun raises the questions about tradition and identify, through the tragic reality of an ethnic group. Through this, the pain and tragic life of immigrants were shaped and the Manchuria could be understood. When looking into the consciousness in the work of Hyeon,Gyeong-Jun, it can be said that the independent Diaspora consciousness for the consciousness of reality was sought through the conflict of colonial discourse. He level-headedly saw the identity in Manchuria and the problems arising from hierarchy, and his consciousness of reality was expressed through the pain from loss of humanity and oppressed consciousness. Hyeon,Gyeong-Jun tries to express the conquering the conflicts arising in the periodic situation and the confusion in the values. This brings forth the empathy in drawing the figure of substantial existence and the reality of society. It can be understood that such consciousness understands the contradictions and absurdities in the reality. The acceptance of worries about the reality is telling the value of human existence. Hyeon,Gyeong-Jun have the new understanding of people's life in his works. This shapes the life of colonial modernity independently.

What we call the Manchuria Immigrant Literature has left an indelible mark on the history of Korean modern literature. The literary production that came from that area between 1940and 1945, especially the Essay. 『Manchu Josun Munyaesun』(1941) is the only one anthology of Essay in Manchuria during the Japanese colonial period. What we have so far discussed in chapters Ⅱ,Ⅲ may be outlined as fallows: First, the consciousness of essayist, encountered after a motifs such as journey is one kind of exile llterature which is national consciousness. Next, I focused on the concepts of as immigrant literature collection of Manchurian essay. We saw work of Chi nam sun, Yeoum sang sup, Sin yeoung chul, An su gil, Heoun kaeng jun, Park pal yang, Ham suk chang that is premised upon the recovery of Korean national sovereign쇼. In this respect 『Manchu Josun Munyaesun』is a kind of exile literature. Third, Chi nam sun especially succeeded in formalizing the problems of the Korean immigrants literature by calling out of myth.

본고는 재일조선인 작가 유미리의 <8월의 저편>(2004)에 나타난 ‘일본군 성노예’의 재현 양상과 그 의미망을 추출하는 것을 목적으로 한다. ‘일본군 성노예’의 육성을 증언하고 그들의 기억과 경험을 현재에 재현하는 유미리의 문학 작업은 해방 이후 암묵적으로 배제되고 은폐되어 온 ‘일본군 성노예’의 문제를 세계적으로 보편적인 문맥 아래 위치 짓고, 세계대전이나 홀로코스트라는 20세기의 미증유의 정치폭력을 극복하는 인류사적인 과제의 일환으로 상정하려는 ‘기억의 투쟁’에 대한 적극적 참여 의지와 맞물리는 것으로서 실천적 의미를 지닌다. 먼저 작가는 소녀 ‘김영희’의 철도 여행 체험을 통해 근대 문물의 전시와 문화적 충격이라는 표면적 언술 뒤에 숨어있는 제국주의적 식민 정책의 의도를 간파해낸다. 조선과 중국, 러시아로 이어지는 대륙 침략과 식민화 과정의 정책적 사업 기지로서의 철도의 부설, 그러한 철도의 경로를 따라 조성된 일본의 복제품이자 근대적 문물의 전시장으로서의 만주 도시의 풍경, 그리고 각 나라의 고유한 언어를 배제하고 일본어를 하나의 ‘국어’로 사용하도록 강제함으로써 정신적 ㆍ 문화적 통합과 동질화를 꾀하는 언어제국주의적인 면모는 이후 전개될 ‘일본군 성노예’ 제도의 식민주의적 속성과 긴밀한 연관관계를 주조한다. 이처럼 ‘소녀’의 철도 여행은 일본의 근대적 식민주의가 배태한 파멸과 고난의 여정을 예비하는바, 이후 무한의 군위안소 ‘낙원’을 중심으로 이루어지는 ‘일본군 성노예’의 실상은 문학적 상상력을 압도하는 극한의 생존 상황과 처절한 성적 착취 과정을 근간으로 재현된다. ‘조센삐’, ‘대일본제국’의 ‘공중화장실’로 불리며 정신적, 육체적 배설구로서 능욕당한 식민지 여성들은 인종주의적 차별과 억압에 시달렸으며, 여성의 신체를 사물화하는 폭력적 시선은 ‘일본 군부의 부속품’이자 정욕처리의 대상으로서 이들 여성의 신체를 강압적으로 수탈하고 훼손했다. 또한 ‘일본군 성노예’ 제도는 인권 유린의 일상적 편재라는 중층적 억압구조를 내장함으로써 야만과 폭압에 기초한 일제 식민 정책의 강고한 본질을 드러낸다. 이와 같이 유미리의 <8월의 저편>에 나타난 ‘일본군 성노예’의 문학적 재현은 제국주의적 식민 정책의 폭력적 기원을 폭로하고 그로 말미암은 참혹한 유린의 경험을 공유하고 ‘증언’함으로써 식민의 역사를 극복할 실천적 도정을 마련한다는 점에서 윤리적 전유의 가능성을 시사한다.

This article aims to extract the meaning and the reproduction patterns of ‘Sex slavery in Japanese military’ which appeares in ‘The other side of August’(2004) by Korean Japanese author Yu, Miri. The literary work of Yu, Miri which testifies the voices of ‘Sex slavery in Japanese military’ and reproduces their memories and experiences in the present time has the practical meaning in positioning the problem of ‘Sex slavery in Japanese military’ which has been excluded and concealed tacitly since the Korean Independence, within the worldly universal context, and in connecting to the active will to participate in the ‘Struggles of memoir’ which bring in the issue as a part of the challenge of the human history to overcome the 20th century’s unprecedented political violence such as World Wars or Holocaust. The writer first penetrates the intention of the imperialist colonial policy hidden behind the superficial description of the exhibition of the modern civilization and of the cultural shock through the experience of rail travel of ‘Kim, Young-Hee’. The construction of the railroad as a political business station of the process of the continental invasion and colonization from Korea to China and to Russia, the urban landscape of Manju formed along the path of the railroad as a modern replica of Japan and as an exhibition hall of the modern civilization, and the aspect of the linguistic imperialism which aims the mental and cultural integration and homogenization by forcing to use Japanese as ‘the national language’ and excluding each country’s unique language form and establish a close association with the colonialist properties of the ‘Sex slavery in Japanese Military’ system which would develop afterwards. Thus the rail travel of the ‘young girl’ prepares for the journey of the destruction and suffering originated from Japan’s modern colonialism, and the reality of the ‘Sex slavery in Japanese military’ which is passed off centering around the ‘paradise’, the infinite military brothels, is reproduced later on based on the extreme survival conditions and brutal sexual exploitation which overwhelme the literary imagination. Women of the colony who were called ‘Korean prostitutes’, ‘Public bathrooms of the Japanese Empire’ and insulted as mental and physical cytopyge suffered from racist discrimination, and the violent eyes to preempt women’s bodies forcefully exploited and damaged the women’s bodies as the objects of satisfying their lust as well as the ‘accessories of Japanese military’. In addition, the system of the ‘Sex Slavery in Japanese military’ reveals the strong nature of the Japanese Empire’s colonization policy based on barbarism and oppression by having the multi-layered suppression structure inside which is the ordinary wide-spread of an infringement upon personal rights. Thus, the literary reproduction of the ‘Sex slavery in Japanese military’ which appeares in ‘The other side of August’ by Yu, Miri suggests a possibility of the ethical exclusive possession in terms of preparing a path to overcome the history of being colonized, by exposing the violent origin of the imperialistic colonization policy and by sharing and ‘testifying’ the experiences of the cruel violation derived from it.

Inherent in the space created by an artist is the emotion or onsciousness of the artist. The meaning of an art, which is manifested by the way the artist recognizes the space, makes it possible for us to glimpse into the artist’s world view or his values. When we consider the association between the space recognition and the work of art, a comparative study on an identical space in different enres of art has all the more significance. The connection between literature and painting, apart from the fact that they have a common origin in art, is inter-textual, and a mutual exchange from literature to paintings, and vice versa, is becoming more and more active. Lee Joong Sub was an artist who led a tragic life. Although he didn’t leave a large volume of work, he was an artist who showed a unique style of art during a period of war. Although they were painted duringa wartime, his paintings while he was in Seogwipo are expressed as a place where he feels calm and comfortable while spends joyous time with his family after a long time of life’s troubles and hardship. Subject matters such as children, birds, ocean, or crabs display his soft touch and sketch a fantastic, colorful imaginative world. Such a world of imagination is the writer’s fantastic utopian paradise. Seogwipo is to Lee Joong Sub a happy place of peace that is shared together with his family and a place that is manifested as a world of paradise in his dreams. Kim Choon Soo chose Lee Joong Sub as the subject of his poems because he regarded him as a true artist of innocence and sadness, and he agreed with Kim Choon Soo’s poetic world view, which regarded playful esthetics as the essence of poetry. The space called Seogwipo painted by Lee Joong Sub is embodied in different ways in Kim Choon Soo’s poems. Seogwipo that appears in a series of poems by Kim Choon Soo is not a space that displays peace shared with family and a positive world that is warm and peaceful. Seogwipo in Kim Choon Soo’s poems is not a space shared with his family, but a space where he is separated from his wife, and in his poems, his longing toward his wife is expressed as sadness and loneliness. Among Kim Choon Soo’s poems, a series of poems with Lee Joong Sub as the subject matter express his love and longing toward his wife and is embodied as a space that expresses his loneliness and lonesomeness.

I have now seen the poetry of ethnic Koreans living in China, focusing on how their national consciousness and country view are presented in the works. Lee Sang Gak, who is from Yang-gu, Gangwon Province, taking Korean traditional costume and the sound of fulling cloth as his poetic subject matter, is the one who makes clear his own thoughts and feelings of hometown. His works such as ‘Swan’s People’ or ‘Flower Smell of the Rose of Sharon’ are the products of his national consciousness to the bone, showing the dream of the unification between two Koreas. Kim Hak-Cheon published his collection of poetry first in Chinese and then in Korean. He is often proud of his Chinese nationality and truly takes part in praising Roebong. Looking down at the mountains and streams of China and its historic sites from the airplane, he feels proud of it. However, he sometimes reveals his national consciousness, calling ethnic Koreans living in China ‘the white-clad folk.’ The poet is rather confused about his national identity. But this confusion is what he has to go through as far as he lives in China as a member of ethnic minority. I see that confusion might be the truest inner image of ethnic Koreans living in China. Seok-Hwa, among ethnic Korean poets living in China, suffers from the fact that she is living in China. She is proud of Hangeul and ‘we’, but she comes into conflict with difficulties in confirming and acquiring her own identity. It is not an apple nor a pear but ‘Yeonbyun appple-pear’ that symbolically shows her conflicts. Besides, Kim Young-Ae feels sorry for the fact that ethnic Koreans living in China are getting assimilated into the Chinese culture and customs. Mo Dong-Phil expresses love of his mother country Chosun and his mother tongue Hangeul. In contrast, Kang Hyo-Sam regards his mother country as China and he is happy with his hometown, Manchuria. Looking at the national consciousness and country view in the works of these poets, I see that each of them firmly stands on their own and seems to be rather skeptical as well. Some think of their country as Chosun or say China, though their blood originates from ethnic Koreans living in China. I would say that these conflicts and confusion are most honestly telling us about the identity of ethnic Koreans living in China.

Recently, North Korea lies in the overall crisis. The evidence can be found from the Kim Il-sung’s death. Before and after this period for North Korea crisis system has established a number of ways. This association was formed in discourse in the literature. North Korea literature since the death of Kim Il Sung can be divided into three discourses. First, This study will examine the literary discourse of creation of a leading figure and creation of a leading’ successor figure of ruling with dying instruction. This will be a wider range of forming the Leader in literature. This is the intention of the Kim Il Sung and Kim Jong Il is identified. This comes from the desire to system stability based on the leadership system. Second, This paper is to analyze of overcome the hardships of the march. North Korea in the 1990s, has suffered natural disasters and crises on and off. As a result, has entered into marching of hardship. In the literature there was a discussion on the ‘ideas of red flag’, ‘construction of a great power’, ‘ethnic Literature of the sun’, ‘ethnic literature of the sun’. Third, This paper is to analyze military-first revolutionary literature in songun era. Kim Jong-il regime in North Korea have been formulated. And North Korea literature has been shaped about army-first idea based on army-first politic. Army-first revolutionary literature can be referred to it as. Army-first revolutionary literature is the shape of the ‘Spirit of the Chong-Dae’, ‘Match the military and the people’ ‘The spirit of desperate defense for leaders’, ‘Revolutionary anti-imperialist ideology’ etc.

이 논문은 78년 이후 조선족 소설의 변모 양상에 대해 소개한 논문이다. 문화대혁명 시기 소설은 시대 정치적인 간섭을 심하게 받았고 그 영향으로부터 탈피하기 위한 몸부림의 과정을 경과해야 했다. 몸부림이 끝나기도 전에 다시 중한수교의 영향으로 인해 많은 새로운 사회적인 현상과 민족해체의 위기에 직면했다. 중한수교를 하나의 기점으로 조선족 소설은 그 전후가 서로 다른 양상을 나타내고 있다. 처음에는 몸과 마음의 상처를 치유하는 한 과정이라고도 볼 수 있는 상처소설과 반성소설, 시대고발 소설이 주를 이루다가 점차 다시 찾은 인격적인 존중과 민족적 자긍심을 바탕으로 한 역사제재를 다룬 소설들이 등장했다. 흘러간 역사를 돌이켜 뿌리 즉 민족정체성을 찾고자 하는 노력이라고 볼 수 있다. 문화대혁명시기 시대 정치적인 영향으로 영웅 찬가, 전형인물 창조를 주로 하던 데로부터 그 탈피를 위해 몸부림치면서 점차 인간 본연의 모습에 눈길을 돌리기 시작, 영웅인물이 아닌 백치나 부정인물도 생동한 형상으로 부각이 되었다. 시장경제의 도입과 더불어 대도시로 진출하던 조선족 대오는 중한수교가의 영향으로 한국으로 나가는 대오까지 합쳐 제2이민이라고 불릴 정도로 많은 인구이동이 이루어졌다. 조선족 농촌은 처녀 구하기가 ‘고양이 뿔’ 구하기만큼 힘들어지고 마을이 피폐해 지고 학교가 문을 닫게 되며　조선족 마을의 쓸쓸한 빈터를 한족들이 들어와 헐값으로 차지하게 되면서 민족해체 위기에 직면해서 민족정체성과 민족문화 고수에 대한 문제가 대두되어 조선족 소설의 한 양상을 보였다. 한국에 나가 있는 대오가 불어나고 시장경제체제가 자리를 잡아갈수록 금전만능 사유와 권력지상주의 현상은 더욱 심해졌으며 이런 현상에 대해 조선족 작가들은 비판적인 시각으로 신랄하게 폭로하고 소설화했다. 또 사물이나 인간 자체가 소중하게 생각하던 가치를 잃어가고 있는 사회현상에 대해서도 비판적인 시각을 나타냈다. 코리안 드림으로 아내를 한국에 내보낸 사람들이 하나의 단체를 이루는 일이 별로 신기하지 않은 조선족 사회는 양심과 도덕의 한계가 바닥에 떨어지고 술과 여자, 소비로 시간을 허비하는 사람들의 실존과 자의식 역시 조선족 문학의 한 개 양상으로 나타났다. 동시에 남성에 의지해야만 생활할 수 있던 생활방식이 점차 여성 스스로 독립적인 생활을 할 수 있는 능력을 갖추게 되면서 여성의 지위와 역할이 커지게 됨은 당연한 일이다. 부지런하고 고생을 두려워하지 않는 조선족 여성들도 점차 가부장적인 제도에서 탈피해 자아를 찾아 나서게 되었고 조선족 문단에도 페미니즘 소설이 대거 등장해 여성작가들의 역량을 과시했다. 이밖에 일부 추리소설, 판타지소설, 모더니티소설 등이 나타나고 있으나 아직 주류를 이루지 못하고 있다.

本篇论文拟介绍的内容是1978年以后的中国朝鲜族小说。1978年以后的朝鲜族小说，始终贯穿着为摆脱文化大革命的时代创伤而挣扎的身影。当还没有完全摆脱挣扎期的泥潭时，又迎来了新的历史变革。中韩建交这一历史现象不仅给朝鲜族社会带来不少收益，也中国朝鲜族社会带来了不少冲击。大部分劳动力尤其20岁至55岁的朝鲜族女性到韩国打工挣钱、留学成了一种风气既时尚。这一段堪称第二次移民的民族移动，给朝鲜族女社会带来了不少动荡和危机。以中韩建交为转折点，朝鲜族小说开始出现多元化发展的相异模式。作为治愈历史创伤的过程，首先出现的是创伤小说和反省小说以及揭发时代弊病的小说，接着是蕴含人格尊严和民族自尊心的历史题材小说。正视历史的过程，亦即是寻觅民族正统性的进程。文化大革命时期的文学受政治干涉的影响多有赞美英雄、创造典型人物的倾向性。1978年第11届三中全会以后，随着拨乱反正局面和纠正历史偏颇的社会进程，朝鲜族社会开始出现重视人的本能和本性的小说。小人物、白痴或负面形象的人物也开始在小说里登场。随着市场经济的大潮，大量朝鲜族流入大城市开拓属于他们自己的人生舞台。而中韩建交以后出国热形成的大批人口流动，更被称之为第二次移民。在朝鲜族群居的农村出现了男女比例失调、村落荒废、学校关门。于是有些汉族瞅准机会顺其自然的以低廉的价格大量购买了朝鲜族的房屋地产。面对民族社会出现的动荡和危机，开始出现反思民族正统性和民族文化为题材的小说。去韩国打工的朝鲜族队伍逐年增多的同时，市场经济也不断完善，从而出现的一系列拜金主义和尊崇权利的思想普遍蔓延。很多朝鲜族小说揭露、批判了这一社会现象，同时批判了一些事物或人性本身该关注的价值缺失。为了追求≪韩国梦≫，朝鲜族妇女们争先恐后的远赴韩国打工，留下来的单亲家庭作为新的社会现象引发了诸多不良的社会风气，良心、道德的界限得以冲垮。这个时期，对存在感和自我意识的忧患也成为朝鲜族小说的又一个主题。同时，历来被男尊女卑思想所困扰的女性觉醒过来、具备自我独立的生活能力，女性的地位和作用得到提升。勤劳善良的朝鲜族女性逐渐摆脱陈旧的社会认识和偏见，大胆地寻找自我、展现自我。朝鲜族文学界便逐渐出现女性小说，女性作家群的崛起十分引人注目。随后出现的推理小说、魔幻小说、超现实主义小说等，均未能成为朝鲜族文坛的主流。

이 논문에서 우리는 문학 교육의 장에서 널리 받아들여지고 있는 <장마>에 대한 해석 내용(통설)의 대부분이 작품의 실제에서 벗어난 것으로 타당성을 인정하기 어렵다는 사실을 확인하였다. 이 같은 비판적 검토를 딛고 우리는 <장마>에 대한 새로운 해석으로 나아가고자 하였다. 여기서 문제 삼고자 한 것은 다음 두 가지이다. 1)두 노인의 아들이 각각 국군과 빨치산으로 설정되어 있는 것이 어떤 역할을 수행하는가? 2)샤머니즘은 이 작품에서 어떤 의미를 지니는가? 질문 1)에 대한 우리의 답은 두 가지이다. 하나는 이 같은 설정은 먼저, 어느 한면의 이념이나 체제에 치우치지 않고 객관적으로 죽음의 기운으로 가득 차 있는 상황 속에 들어 있는 작중 인물들의 현실을 드러내는 데 효과적으로 기능한다는 것이다. 다른 하나는 이 같은 설정은 ‘상호 의지-갈등-화해’의 과정을 밟는 두 안노인의 관계 변화를 극적으로 부각함으로써 배려와 연민이란 이 작품의 주제 가운데 두 개를 효과적으로 드러내는 역할을 수행한다는 것이다. 질문 2)에 대한 우리의 답은 두 가지이다. 하나는 <장마>의 샤머니즘은 작가의 특정한 의도를 실현하기 위한 설정이 아니라 현실의 반영인 것이고, 이 작품이 확보한 현실성의 핵심 근거라는 것이다. 다른 하나는 샤머니즘은 이 배려와 연민의 마음, 전쟁의 비극성, 절대의 모성, 견딤의 자세 등 이 작품의 주제들을 효과적으로 드러내는 매개물로 기능한다는 것이다. 문학 교육의 장에서 널리 받아들여지고 있는 문학 작품에 대한 해석은 작품의 실제에서 멀리 벗어난 경우가 많다. 이런 위험을 줄이기 위해서는 대상 작품을 꼼꼼하게 읽고 그것을 바탕으로 작품 해석에 나아가고자 하는 태도가 무엇보다 중요하다.

From above discussion, we have reached to the conclusion that interpretations of the work <장마 Rainy season> which are widely accepted in the field of korean literary education are mostly inappropriate because they are different from the reality of the work. Stepping on these critical analysis we tried to deduct some new interpretations of <장마 Rainy season>. There are two main focuses. 1)What role does it do setting sons of two old women one as a Ideological confrontation between two Koreas? 2)What meanings does Shamanism have in this work? For question 1) we have two answers. First, this kind of setting is effective in expressing circumstances of characters. Second, by dramatically bringing out changes of two old women’s relationship, this setting effectively tell us two true topics of this work, consideration and sympathy. There are also two answers for question 2). First, the author used shamanism in <장마 Rainy season> just for reflecting the reality not for special perposes. Second, shamanism effectively delivers true topics of this work, consideration, sympathy, tragidy of war, implicit maternal instinct, and enduring attitude. In many times, widely accepted interpretations of a literary work are off the reality of the work. To lessen the danger of mis-interpretation, precise comprehension and an analysis based on that comprehension is required.