Earticle

본 논문은 가지야마 도시유키(梶山季之)가 식민지 조선을 배경으로 창작한 『이조잔영(李朝残影)』과 『족보(族譜)』라는 작품을 통해 전후(戰後) 일본현대문학자의 식민지지배 인식을 고찰한 것이다. 1990년대 중반 이후 일본의 본격적인 우경화와 더불어 역사수정주의에 근거하여 과거 일본이 일으킨 전쟁과 식민지지배를 다양한 방식으로 합리화하였다. 이러한 경향은 문학과 영화 등 예술분야에도 강한 영향을 주었으며, 이러한 경향을 반영한 작품이 다수 창작되고 있다. 이에 본 논문에서는 일본의 패전 이후 일본현대문학자들이 전쟁과 식민지 지배를 구체적으로 어떻게 형상화했는지, 그 과정을 추적하는 작업의 일환으로, 식민지 조선에서 초등학교와 중학교를 다니고 패전 후 일본으로 돌아가 왕성한 문학 활동을 하였던 가지야마 도시유키(梶山季之)통해 전후 일본현대문학자의 식민지 지배인식을 살펴보고자 하였다. 본 논문에서 식민지 조선을 배경으로 하여 3.1 독립운동 당시 제암리 학살사건과 1940년의 창씨개명(創氏改名) 문제를 전면적으로 다룬 위의 『이조잔영』, 『족보』을 분석한 결과 다음과 같은 결과를 얻었다. 첫째, 3.1 독립운동과 창씨개명에 대해 당시 식민지 조선에 거주하였던 일본인들의 인식과 이들 작품의 인식에는 상당한 차이가 있었다. 둘째, 식민지 조선에 거주하였던 일본인들은 전반적으로 3.1 독립운동과 창씨개명 문제를 일본의 식민지 지배 논리에 근거한 주장이 대부분이었지만 가지야마 도시유키의 작품들은 이러한 식민지 지배의 부당함을 고발하는 내용으로 구성되었다. 셋째, 따라서 가지야마 도시유키는 식민지 조선에서 다양한 체험을 통해 일본의 한국 지배를 고발하고 이를 전후 일본인들에게 적극적으로 이의 부당함을 알리려 했음을 알 수 있다.

This study reviews the awareness of colonial control by a Japanese contemporary writer Kajiyama Doshiyuki (梶山季之) after the war through his works ‘Yijojanyeong(李朝残影: The traces of Lee dynasty)’ and ‘Jokbo(族譜: The genealogy) which background settings are the colonized Joseon. After the mid 1990s, Japan has made diverse attempts to rationalize their past war and the colonial control based on the historical revisionism with full-fledged turning to the right side. Such tendency also has strongly influenced the field of art including literature and film, and many works reflecting this inclination are being created. Therefore, this study reviews how contemporary Japanese writers specifically embodied the war and colonial control after they were defeated. As a part of tracing this process, I looked into Kajiyama Doshiyuki’s awareness of colonial control as a post-war contemporary Japanese writer who went to elementary and middle schools in the colonized Joseon and returned to Japan after the defeat in war and then wrote many literatures. In this study, I analyzed ‘Yijojanyeong’ and ‘Jokbo’ which fully dealt with the Jeamri massacre during the 1919 Independence Movement on March 1st and the Name Changing Program in 1940 around the colonized Joseon and found some results. First, there were substantial differences between the awareness by the Japanese people who had lived in the colonized Joseon and the awareness in literatures about the March 1st Independence Movement and the Name Changing Program. Second, the Japanese people who had lived in the colonized Joseon mostly had agreed on the logic of Japanese colonial control about the March 1st Independence Movement and the Name Changing Program. However, the literatures by Kajiyama Doshiyuki accused the injustice of colonial control. Third, Kajiyama Doshiyuki tried to accuse the Japanese colonization based on his diverse experiences in the colonized Joseon and actively let the Japanese people know about such injustice after the war.

本稿は梶山季之の『李朝残影』について考察したものである。植民地朝鮮を舞台に、日本人男性と朝鮮人女性の悲恋な物語であるこの作品は、1967年に韓国において申相玉監督によって映画化された。本稿は原作小説と映画の内容および登場人物の相違について重点的に分析したものである。まず、映画において原作小説とは異なって時代背景が帝国日本の敗戦を前後にした時期へと変更されている。また、映画においては植民地朝鮮で行われた同化政策および独立運動に対する弾圧も描かれている。そして、最後には主人公である日本人男性が自ら命を絶つという原作小説にはない結末も追加されている。映画には原作小説にはないオリジナルキャラクターも登場し、一部においては原作小説の登場人物を再造形していることも確認した。総合的にこのような内容および登場人物の追加と再造形は、帝国日本による植民地支配を批判するために、また朝鮮の独立を映画の中で浮き彫りにするために行われた点を明確にした。

This paper analyzes Toshiyuki Kajiyama's "Richozanei". This work tells the love story of a Japanese man and a Korean woman in the Japanese Colonial Period. This work was filmed in 1967 by director Shin Sang Ok in Korea. This paper compared and analyzed the original novel and the contents of the film. Especially, the analysis of the difference of characters is focused. First of all, in the film, the background of the period changed to the period around the defeat of Japan, unlike the original novel. It also depicts the assimilation policies pursued in the colonial Korea. and repression of the independence movement. And the story ends with the main character ending his own life. In addition, new characters that do not appear in the original novel are added. In addition, some of the characters appeared in the original novel were confirmed to be reconstructed. It was clarified that the addition and reconstruction of these characters were mainly used to criticize Japan 's colonial rule and to draw attention to the desire for independence of Korea in the film.