Earticle

조남주의 소설 『82년생, 김지영』(2016)은 주인공인 김지영이라는 여성의 탄생부터 학생 시절, 입시, 취직, 결혼, 육아와 그의 인생을 극명하게 되돌아보는 가운데 여성 의 삶에서 어떤 것이 장애가 되어 있는지를 선명하게 그린다. 한국도 포함해서 세계 독서계에서 이 작품이 왜 그만큼 잘 읽혀졌는지에 대해 다양한 분석이 나왔다. 첫 째, 작품을 구성하고 있는 김지영의 라이프 히스토리의 전형성에 대해 많은 지지가 모였다. 둘째로 문장 자체의 가독성이 평가되었다. 또한 셋째로 등장인물의 호칭이 다큐멘터리나 르포르타주의 등장인물처럼 되어 있다. 또 이 소설은 첫장과 마지막 장은 김지영의 과거가 아니라 정신과 의사에게 자신의 병에 대해서 묻고 있는 그의 현재가 그려져 있는 것도 중요하다. 최근 한국의 여성 작가의 작품들은 이 작품을 비롯해서 지금까지의 한국의 소설 작품이 보여주지 않았던 독특한 구심성을 가지고 있다. 그것은 '당사자성'이라는 키 워드로 생각할 수 있다. 현대 한국 여성 작가의 작품을 읽는 사람들은 그것을 '한국 의 이야기'로 읽는 것은 아니다. 같은 여성이라는 ‘당사자’로서 감동과 놀라움으로 받아들이고 있는 것이다. 다만 고발자가 그대로 좋은 표현자가 되는 것은 아니다. 가장 피해를 입은 사람이 가장 그것을 웅변에게 말할 수 있을까 하면 결코 그렇지 않고 반대로 말할 수 없는 경우도 많이 존재한다. 루스 벨라크로프는 『여공문학―― 섹슈얼리티, 폭력, 그리고 재현의 문제』(2012) 속에서 20세기 한국의 여성들이 온갗 곤경에 대해서 어떻게 말할 수 있었는지/없었는지를, 여성을 둘러싼 다양한 배경이 나 경위를 전제로 설명하고 있다. 또 김숨의 장편 『한명』(2016)은 증언집 등을 인용 하면서 위안부였던 여성들의 목소리를 재현했고 원래 커밍아웃하기 매우 어려워서 오히려 침묵만 강요당해 온 그들을, 하나, 둘로 세는 것 자체의 불가능성에 대해서 지적하고 있다. 여성이 말할 수 없는 상황을 이들 논자들은 역사적 경위를 풀어서 독자에게 이해가능한 것으로 열어 주고 있다. 이런 것도 현대 한국 여성 작가의 작 품이 던지고 있는 문제와 통하는 면이 있다.

Cho Nam-ju's fiction Born in '82, Kim Ji-young (2016) vividly depicts the obstacles that stand in the way of a woman's life, the fiction’s protagonist named Kim Ji-young. The novel depicts Kim’s life from birth, through her school years, entrance exams, employment, marriage, and child rearing. Various analyses have been already published why this work has been so well read in the world, including in Korea. First, the typical life history of Kim Ji-young described in the work has been widely accepted. Second, the readability of the text itself was highly praised. Third, the characters were portrayed in such a way as if they were the characters of a documentary or reportage. It is also important to note that only in the first and last chapters of the fiction, Kim Ji-young was depicted not in such a past but in her present, when she is seeing a psychiatrist for her illness. The recent works of Korean women writers, such as this work, have a unique centripetal force that has not been exhibited in previous Korean fiction works. This can be thought of in terms of the key concept of “positionality”. Those who read these works of the contemporary Korean women writers did not read them as stories of Korea but as “our story”, and they accepted them with emotion and surprise as the people concerned were the same women. However, it is not always the case that the accuser becomes a good author, and those who have suffered the most can speak most eloquently about their experiences. On the contrary, there are many cases in which they are unable to do so. In Factory Girl Literature: Sexuality, Violence, and Representation in industrializing Korea (2012), Ruth Barraclough examined how Korean women in the 20th century were (un)able to speak about their own predicaments in the context of women. This book explains various backgrounds and circumstances that were interwoven into a story. In addition, Kim Soom's long fictoin One Left: A Novel (2016) recreated the voices of women who were comfort women through quotations from testimonies and other sources. The novel pointed out the impossibility of counting them as one or two women, since it was extremely difficult for them to come out in the first place and they were only forced to remain silent. These research books and works described the situations what the women cannot talk about, and by unraveling the historical context, they showed the reader what is understandable to them. This is also in keeping with the issues posed by the works of contemporary Korean women writers.

本稿では、満洲に流入した朝鮮人農民の問題を、当時の植民地朝鮮の文学者、特に李箕永（1895-1984） や韓雪野（1900-？）など、植民地朝鮮のプロレタリア文学運動で中心的な役割を果たし、解放後も北朝鮮の文 芸政策の立案者として重要な地位にあった文学者らが、どのようにイメージして作品化したかということについて検 討した。植民地朝鮮の旧プロレタリア文学の作家は、満洲をめぐって出現した新たな事態に、自らの文学活動を 延長させる形で対処していった。本稿では李箕永の長篇『大地の息子』（1939-40）と長篇『処女地』（194 4）、韓雪野の日本語長篇『大陸』（1939）を検討の対象として選んだが、これらはみな奇妙にも男女の三角 関係を中心に物語が展開され、非常にストイックな人間像が理想的なものとして強調される。また作品の中での人 間関係の構成が、（これは現実の満洲国のイデオロギーを反映したものだが）民族や階級（農村の場合は地主 と小作人）を無化していくような形で提示されることも特徴的である。そしてこれらの小説においては何よりも、満 洲という空間が人間を更生・改造する場所であることが強調されている。「植民地的無意識」が豆満江を越えるこ とで「植民主義的意識」に変化する。このような主体意識のアイロニカルな質的変化は、民族主義の抵抗性が 帝国の論理のもとで馴致されていく過程でもあった。その概要を検討してみたい。

山口淑子(李香蘭、1920-2014)は、アジア太平洋戦争の戦中から戦後にかけて活躍した映画女優である。特に、日本の大陸侵攻時には、中国人女優「李香蘭」として、日本の戦争政策に協力する作品に数多く出演した。また、満洲映画協会の専属女優として、「支那の夜」(1940)、「萬世流芳」(1943)、「私の鶯」(1943/44)のような作品に、また戦後も、日本のみならず、ハリウッドや香港などで「暁の脱走」(1950)や「Japanese War Bride」(1952)のような作品に出演した。これらの作品で彼女は、民族とジェンダーの境界におかれた役割を、ときに宣伝／煽動の役割を積極的に意識して演じた。女優引退後、彼女は日本でニュースキャスターや国会議員として活動し、中東問題や慰安婦問題の解決に奔走したが、そのときの彼女の役割は、政治家としてのみならず、映画女優としてのパフォーマンスを彷彿とされる面がうかがえる。本発表では、映画作品や政治活動における彼女の女優としてのキャリアの連続性について考察したい。

Yoshiko Yamaguchi (Lee Xianglan/Ri K?ran, 1920-2014) was a transnational movie star and a famous pop singer in East Asia during and after WWII. During the time when Japan invaded China, she presented herself as ethnic Chinese, using her Chinese name Lee Xianglan. During this time, she played roles in Japanese policy films such as Shina no yoru (China Nights, 1940), Wangshiliufang (Eternity, 1943), and Watashi no uguisu (My Nightingale, 1943/4), that were produced by the Manchukuo Film Association. Her film career continued after the war, appearing in Hollywood films and Hong Kong films such as Japanese War Bride (1952) and Akatsuki no dass? (Escape at dawn, 1950) respectively. In this series of films, she performed characters, whose identity was represented at the intersections of nation and gender; and at times, her characters promoted Japanese war propaganda, instigating people to contribute to the war materialistically and spiritually. After she had retired, she became a newscaster and a congresswoman in Japan involving in the comfort women issue and Japan’s diplomatic relations with the Middle East. Interestingly, however, she often displayed her ‘actress-like’ performances even when she was a politician. In this paper, I examine Yamaguchi’s career in cinema and politics in which she performed her gender and ethnic identity in the national context.