Earticle

Chinese‐Korean poetry has changed and developed in various aspects described the joys and sorrows of emigrants who had to leave their colonialized native country, and are characterized by poets’ personality respectively as past‐oriented character, self‐consciousness and self‐sacrifice. The works after liberation and until the early 1980’s, however sang repeatedly of socialist revolution and construction which were subject to the political culture in the same voice and way. But since 1990’s, Chinese‐ Korean poets have tried to show brand‐new ideas and forms with strong personality appropriate to new century, have devoted themselves to the creation of poems in national and broad prospective, and thus have made efforts to contribute to the development of Korean literature centred on the Korean Peninsula.

The purpose of this study is to discuss the causes and substitutes of economical alienation of post-war society in 1950s novels. In the Preferment(榮轉) written by Lee, Moo-yeong, the alienation from ‘human nature’ and ‘others’ is disclosed, showing the distorted vocational ethics of post-war Korean society and power structure in an electric power company through the power struggle. In the Jang’s Family(張氏一家) written by Ryu, Joo-hyeon, the alienation from ‘organization’ and ‘family’ is disclosed, showing concealed truth of military and political organization and ethical corruption of high society through the characters. Kim, Kwang-sik disclosed the alienation in the everyday life through the ‘labor’ and ‘alienated consumption’ based on the certain spatial background, a bank and a printing office, in his works A Landscape of Chair(椅子 風景) and House 213(二一三號 住宅). However, they are more developmental than the works uttered previously, because the heros in the works objectively recognizes the situations surrounded them and prepares some plans to overcome the situations, even though they are reckless. Kim, Dong-nip shows characters who could not escape from the influence of war in his work Public Officials(大衆管理). They alienate themselves and stick to a desire for material gain to overcome their anxiety. And the writer presents that a way to overcome one’s anxiety is ‘recovery of selfidentity’ through self-expression. It is meaningful that the heros began to understand an aspect of the capitalistic alienation and to recognize human nature recovery as a method to overcome the alienation. The novels uttered above should be systematically studied more. It means that the discussion about the post-war novels has not yet to deal with the economical alienation because it has focused on just war itself. Therefore, this study can make the objects for the discussion of the post-war novels various, and can be a chance to establish a balanced viewpoint about the post-war novels.

This study examined Yu Miri’s works to examine deviation as the expression of her dual perceptions of “family”, movement to “nation” through name searching, and the progress of writing for the maintenance of “self” exploration. In her <Family Cinema>, <Full House>, and <Gold Rush>, the writer describes the family issues, which make the most sensitive responses in the rapidly changing times, and the solitary individuals in society and interpersonal relationships with “deviant” actions. In <The End of August>, she conveys her re-perception of “nation” through “name searching” and thus obtains universality as the literature of Korean residents in Japan. Undergoing changes to her creative world, she makes diverse attempts at writing and continues her “self” explorations. Lying in all those is her consciousness as a writer to expand her field to include “nation” based on her affection of “family” and search for her identity endlessly. In her literature, she encompasses both “family” and “nation” and deals with individuals issues more deeply. Groping of identity through a movement from “family” to “nation” makes one think over the issue of “identity” inherent in the literature of Korean residents in Japan once again.

이양지는 재일조선인의 경계적 위치, 혹은 이중적 타자의 위치를 문학작품을 통해 가장 적나라하게 묘파하고 있는 작가이다. 한국 유학이라는 작가의 조국 체험을 기반으로 일본뿐 아니라 한국 안에서 재일조선인이 겪는 정체성의 혼란과 긴장관계를 가감 없이 작품 안에 드러내고 있는 이양지는, 이분법적이고 단일적인 민족 정체성 논리를 넘어 중층적이고 모순적이며, 경계에 직면한 자아의 복합적 내면을 폭로하는 예리한 관찰자 이자 경험자로서의 시선을 보여준다. 본고에서 고찰한 이양지의 <해녀>(1983)는 그 결말의 비극성으로 인해 재일조선인의 ‘불우성’을 극단적으로 표현한 작품으로 평가되어 왔다. 그러나 작품에 나타난 주인공의 병적인 심리 상태와 표출 행위들은 역사적 추체험에 기인한 희생양 의식 의 강제된 내면화에서 비롯된 것이며, 다양한 비체적 이미지로 발현되는 부정적 세계와 자아의 첨예한 갈등 구조는 재일조선인 여성으로서의 그녀의 억압적 상황을 상징적으로 드러낸 것이라 할 수 있다. 이러한 주인공의 고통과 좌절의 경험은 ‘물속’으로의 회귀를 통해 비로소 멈추게 된다. ‘상상의 아버지’와 대면하고 그 목소리에 응답함으로써 그녀는 비체적 자기 존재를 극복하고 ‘상상의 아버지’의 공간으로 이동하게 되며 이를 통해 부정적 여성성을 회복하고 재일조선인이라는 비체적 이미지로 부터 벗어나게 된다. ‘제주도의 바다’로 형상화되는 ‘물속’은 재생과 정화의 공간이면서 동시에 존재의 기원을 드러내는 원초적 고향이자 ‘아버지’의 공간이다. 작가는 죽음이라는 절박한 행위를 통해, 그녀가 재일조 선인, 여성이라는 비체적 자기 존재를 극복하고 정체성 모색의 순간으로 나아가는 한 지점을 완성한다. 더불어 그녀와 그녀의 일본인 의붓여동생 게이꼬가 번갈아 화자로 등장하며 전개되는 <해녀>의 서술방식은 이중, 삼중의 시선에 노출되면서 중층 결정된 재일조선인의 복합적이고 모순된 정체성의 단면을 보여준다.

Yangji Lee is an author who describes most vividly through literary works the status of being a boundary line or dual outsider as a Korean-Japanese. Yangji Lee, who reveals in his work, without addition or subtraction, based on the author’s experience of his fatherland by studying abroad in Korea, the identity confusion or strained relationship that a Korean-Japanese experiences not only in Japan but also in Korea, shows the view of an observer and experienced one to expose a complex inner being that is multi-layered, contradictory, and facing the limit, beyond the logic of national identity which is divisionary and unified. A Female Diver by Yangji Lee (1983) which is studied in this thesis has been evaluated as a work that expressed, to the extreme degree, ‘he ill-fate’of a Korean-Japanese, due to the tragic conclusion. However, the main character’s ill mental state and actions in this work come from the Scapegoat Ideology through historic reflection being forced to be the inner-self and the acute structure of conflicts between the self and the negative world that is manifested as various abject images is considered as a symbolic expression of her restrained circumstances as a female Korean-Japanese. The main character’s such experiences of suffering and dispair finally stop through recurrence to inside water. She overcomes her abject existence by meeting her ‘maginary Father’and answering his voice, moves to her Imaginary Father’s space, retrieves from her negative femininity through this, and escapes from the abject image of a Korean-Japanese. ‘nside water’, appeared as ‘Sea of Jeju Island’ is a space of rebirth and purification, and at the same time, it is her primitive home that reveals origin of existence and a space of ‘Father’. Through a desperate action - death, the author completes a position of going toward a moment in search for identity overcoming her abject self as a Korean-Japanese and female. And the method of description in A Female Diver which she and her Japanese step-sister Geiko appear taking turns as a narrator, being exposed to double, triple views, shows a slice of complex and contradicted identity of a complicated/multi-layered Korean-Japanese.

The theory about Rene Girard’s triangle desire is the effective frame that can solve the structure of the distorted desire of colonists. As he can’t help having the bastard-consciousness originally as colonists, the subject who wants to be Imperial Citizen Forming but not to rouses others pain. The expression of the public desire and the frustration ‘Hyeon-Ryong’ who wanted to go into the Japanese literary had is well shown through Gim Sa-Ryang’s Cheon Ma. Also hiding himself as a Korean person in In the Light, ‘Mr. Nam’, ‘Haruo’ denied the fact that the Korean blood itself flew in his body. It we analyze the theory through Girard’s triangle desire, it is proves that just telling the ruth is hypocrisy. The inside indirection is shown by In the Light while the outside indirection is shown by Cheon Ma. Consequently, the theory of Girard’s triangle desire has the effective method that proves that colonists as foreigners have the bastard-consciousness.

The face of the other in latest Korean literature is overlapped with a past memory of Korean diaspora who suffered in foreign country as the other. The novel of Manchu immigrants projects colonial unconsciousness by representing the other nation as an anti-ethical figure, but the latest Korean novel expresses secret and unconscious desire of pseudo-imperialism while presenting the other nation as an ethical figure. Chinese-Korean literature has its meaning even today since it represents the existence of the other. In other words, ‘we’ continue to identify ‘nature of myself’ of the other and the desire of pseudo-imperialism within ‘ourselves’ since the presence of the same national but the other at the same time exists in front of ‘us’. Also, this literature can be an example to demonstrate that a diaspora narration can advance to narration of ethical subject formation as it contains the establishment of ‘nature of myself’ and the ethics of self-examination. We can get a chance to look at the recent trend of Chinese-Korean literature by reviewing work in 『Yeonbyun Munhak』, a paper of Yeonbyun chapter in Chinese Writers’ Association.

Out of the Korean residents‘s literary works that have been being interested recently, Yang won sic’s posthumous works : <A shower of the July> include 11 works. It is to be classified into many items according to subject, an autobiographical propensity works, a novel of love story of the youth, a novel of the Koryo food Culture, and a novel of the interpopulational problem. We can see in these works how can be described the trouble of each generation by accept the market economy that focus on the old age’s consciousness with the works: <When the leaf fall>, <A crookㆍed old women > : from among the text. The old age who are living not their geopolitical country but central Asia, Their all mates are being out. They are being in the objective actuality that of excluded and cutting because of the fact. However, we can find something that he tris to overcome the old age problem look negative by a great life’s experience and wisdom. By the <A crookㆍed old women>, <When the leaf fall>, A hero and a heroine of the old age odds with the young age who alive to changed society and by accept the market economy, By the <When the leaf fall>, a hero died a dog’s death. But we can find Confucian tradition still alive that we should be dutiful to ours parentsduring a grandson Colrya witness and recognize it. In addition, we find something that the old age are concerned about the tradition culture and they try to keep that through 3 works which discussed. as from we found vestiges of the he tradition culture, we can recognize that involved in the old age’s life Through this study we can see that an Koryo old age have a clear consciousness of actuality adaptation and a positive point of view of actuality although they are in poor surroundings.