Earticle

본 연구는 1949년부터 1992년까지 발표된 중국 조선족 시작품을 대상으로 시대변화 속에 구현된 ‘고향’의 모습과 의미를 살펴보았다. 중국 사회주의체제 하에서의 차별과 억압, 동화와 적응의 과정을 겪으며 창작된 조선족 시에 드러난 ‘고향’의 의미는 중층적 의미망을 형성한다. 먼저 중화인민공화국 건국 초부터 문화대혁명이 끝나기까지 ‘고향’의 의미는 중국이라는 국가체제에 속한 소수민족으로서 생존을 위한 변화와 수용, 동화와 적응의 표상으로 양식화되었다. 1976년 문화대혁명이 끝나고 개혁 개방기 이후의 작품에서 보이는 ‘고향’의 모습은 역사적 기억의 복원과 향토, 음식, 풍물 등으로 상징되는 풍속의 재현을 통해 집단적 동질감과 정체성을 확인하고 구현하고자 하였다. 이들의 작품에 나타난 고향의 변화된 모습과 의미는 한민족이라는 동일한 민족적혈통적 요소를 가지면서도 중국 내 소수민족의 하나로 존재하는 중국 조선족의 특수한 상황과 집단성에 기인한다. 따라서 조선족 문화와 정체성은 중국과 조선이라는 두 개의 문화와 정체성이 융합되어 형성된 특수한 문화 공동체로서 바라봄이 필요하다. 아울러 이들의 작품에 드러난 ‘고향’의 모습은 역사적문화적 특수성이 내재된 공동체적 공간으로 자리하며 구체화되고 활성화된 기억의 저장소로서 의미를 갖는다.

Meanings of 'Home' in Korean Chinese Poetry Kim, Eun-young This study examined images and meanings of 'home' in Korean Chinese poetry published between 1949 and 1992, which manifested within the change of time. Meanings of 'home', shown in Korean Chinese poetry, created under discrimination and oppression by Chinese socialism regime and experiencing assimilation and adjustment, form multi-layered net of meanings. First, 'home' in the period between the foundation of the Republic of China and the end of the Cultural Revolution represented a symbol of change, assimilation and adjustment to survive as a minority within China. 'Home' shown in works since the open policy after the Cultural Revolution in 1976 tried to confirm and realize the sense of homogeneity and identity through revival of customs symbolized by restoration of historic memories, folk culture, food, and features. Changed images and meanings of home shown in these works share the same Korean element and blood line and yet depend on unique circumstances of Korean Chinese and community existed as one of the minorities in China. Therefore, Korean Chinese culture and identity should be considered as a unique cultural community formed by a mix of two cultures and identities; Chinese and Korean. In addition, image of 'home' shown in these works represents a space of the community with historic and cultural uniqueness, and a space to store realized and activated memories.

This article reads WALL-E (2008) as a post-9/11 American narrative. Focusing on the film’s narrative trajectory from Earth to outer space and back to Earth, it argues that the return to Earth functions not merely as a physical restoration of land but as a symbolic return to home, homeland, and ultimately America. The study begins by addressing a central question: why do the descendants of humanity who have never inhabited Earth and possess no lived memory of it immediately recognize it as ‘home’ and speak of ‘returning’? To answer this question, the study examines how the film constructs Earth as an imagined homeland. Drawing on American cultural history and post-9/11 homeland discourse, it demonstrates how WALL-E transforms a place beyond lived experience into a site of belonging, attachment, and national return. In this respect, the film reproduces a post-9/11 ideological structure in which land, home, and homeland become inextricably intertwined. By interpreting the second half of WALL-E through the lens of homeland discourse, this paper argues that the vision of reclaiming Earth reflects broader American desires for security, belonging, and national renewal in the aftermath of 9/11. Ultimately, WALL-E emerges as a post-9/11 American narrative that reimagines Earth as homeland and projects contemporary national desires onto a futuristic setting.

현대 중국에서 도시화가 가속화되고 주택 시장화가 심화되는 가운데 ‘집’은 더 이상 단순히 주거 수요를 충족시키는 물리적 공간에 머무르지 않고, 정체성 확인, 정서적 안정, 사회적 귀속을 담아내는 복합적 장소로 변화하고 있다. 본 논문은 드라마 <안가(安家)> 를 연구 대상으로 삼고, 이푸 투안의 ‘토포필리아’ 이론과 스캔넬 등이 제시한 ‘PPP 삼차원 프레임워크(Person-Process-Place Framework)’를 결합하여, 인간-과정-장소의 세 차원에서 ‘집’의 정서적 애착과 공간 경험을 분석한다. 연구 결과는 다음과 같다. 첫째, 인간의 차원에서 <안가> 는 현지인과 외지인의 귀속 차이 및 인물들의 생활 경험을 통해 ‘집’과 도시 정체성 형성 사이의 관계를 드러낸다. 둘째, 과정의 차원에서 이 드라마는 인물들의 행위 실천, 시간의 축적, 부동산 중개인의 담론적 번역을 통해 ‘집’의 정서적 침전과 의미 구성을 보여준다. 셋째, 장소의 차원에서 물리적 공간의 의미화와 사회적 장소의 정서화를 통해 ‘집’이 어떻게 제도, 자본, 윤리가 교차하는 장소가 되는지를 제시한다. 따라서 <안가> 속 ‘집’은 미리 완성된 사적 용기가 아니라, 시장 논리, 사회관계, 개인 정서가 상호작용하는 가운데 끊임없이 협상되고, 가치가 부여되며, 재구성되는 역동적 장소이다. <안가>에 대한 연구는 현대 중국 도시문화 속 ‘집’이 개인이 안착과 삶의 기반을 추구하는 중요한 의지처일 뿐만 아니라, 귀속 불안, 공간 압력, 사회관계의 재편을 관찰하는 중요한 창구임을 보여준다.

Against the backdrop of accelerating urbanization and the deepening marketization of housing in contemporary China, “home” is no longer merely a physical space that satisfies residential needs. It has gradually evolved into a composite place that carries identity recognition, emotional security, and social belonging. Taking the television drama An Jia as its research object, this paper draws on Yi-Fu Tuan’s theory of “topophilia” and the Person–Process–Place Framework proposed by Scannell et al. to conduct a textual analysis of the emotional attachment and spatial experience of “home” from the dimensions of person, process, and place. The study finds that, first, in the person dimension, An Jia reveals the relationship between “home” and urban identity construction through the differences in belonging between locals and outsiders, as well as through the characters’ life experiences. Second, in the process dimension, the drama demonstrates the emotional sedimentation and meaning construction of “home” through the characters’ behavioral practices, the accumulation of time, and the discursive translation performed by real estate agents. Finally, in the place dimension, through the meaning-making of physical space and the emotionalization of social place, the drama shows how “home” becomes a site where institutions, capital, and ethics intersect. Therefore, “home” in An Jia is not a pre-given private container, but a dynamic place that is continuously negotiated, valued, and reshaped through the interaction of market logic, social relations, and individual emotions. The study of An Jia shows that “home” in contemporary Chinese urban culture is not only an important support through which individuals seek settlement and stability, but also a crucial window for observing anxieties of belonging, spatial pressure, and the restructuring of social relations.

Responding to Kureishi's call for “a fresh way of seeing Britain,” this essay analyzes the reconceptualization of home(land) by the Windrush generation in Sam Selvon's Moses Ascending (1975) and Moses Migrating (1983). Moses, narrator and protagonist in both novels, is a whitewashed black immigrant from Trinidad, who has come to London in the 1950s like many other West Indian immigrants known as the Windrush generation. Moses Ascending begins as a success story of a black immigrant who becomes a landlord of a dilapidated London house, ensconces himself in the highest flat, and hires a white man Friday as a servant. As the story unfolds, however, Moses's house becomes a site where hierarchical binaries of white vs. black, master vs. servant, landlord vs. tenant, and native vs. immigrant are collapsed through a series of “comic reversals.” The ongoing reorganization of Moses's house questions the racist logic behind post-1962 immigration policies and racial attacks on black immigrants. Furthermore, in Moses Migrating set in Trinidad during the Carnival season, Selvon satirizes Moses's misled identification with the ‘mother country' and mocks the idea of keeping Britain white. Read together, Moses Ascending and Moses Migrating challenge the narrow and inaccurate definition of Britain as white people's home(land).

본 연구는 전국 중학교와 인문실업계 고등학교에 재학 중인 남여학생 2,889명을 대상으로 가정에서 경험하는 인권침해 경험의 내용과 인구학적 특성에 따른 차이를 보이는지 살펴보았다. 남녀별로 분석하였으며 결과는 다음과 같다. 첫째, 남학생의 경우에는 발달권, 참여권, 생존권의 순으로 침해경험 정도가 높으며 여학생은 발달권, 생존권, 참여권의 순으로 침해경험 정도가 높았다. 둘째, 남학생의 발달권 침해 경험은 교급, 거주지별로 차이를 보이고 생존권 침해 경험은 거주지를 제외한 모든 인구학적 변인에 따른 차이를 보였다. 셋째, 여학생의 발달권 침해 경험은 교급, 가정경제수준, 부모학력, 출생순위별로 차이를 보이고, 생존권 침해 경험은 출생순위를 제외한 모든 인구학적 변인에 따른 차이를 보였다. 여학생의 참여권 침해 경험은 교급, 가정경제수준, 어머니의 학력에 따라서 차이를 보였다. 연구 결과에 기초하여 청소년기 자녀를 둔 부모나 보호자 대상의 의식계몽운동 추진, 인구학적 특성에 따른 맞춤형 인권교육프로그램 개발보급 등을 시사점으로 제시하였다.

This study investigated differences in violation of human rights at home depending on demographic variables of adolescents. Middle and high school students(1503 boys, 1386 girls) nationwide participated in this study.Findings are as follows: first, for boys the most frequent violation was done at rights to develop. The next frequent violation was done at rights to participate and the least frequent violation was done at rights to live. For girls, the most frequent violation was done at rights to develop. The next frequent violation was done at rights to live and the least frequent violation was done at rights to participate. Second, the violation of boys' rights to develop differed by schools and residential areas and that of rights to live differed by all the demographic variables except for residential areas. Third, the violation of girls' rights to develop differed by schools, family income, parental education, and birth order and that of rights to live differed by all the demographic variables except for birth order. Finally, the violation of girls' rights to participate differed by schools, family income, and maternal education. Findings were discussed from the perspectives of developing human right education programs.

박옥남과 금희는 조선족 3세대에 속하는 작가이다. 박옥남은 2세대와 3세대 사이, 금희는 3세대와 4세대의 경계선에 있으면서 두 작가 모두 조선족의 이주와 정체성 문제를 주제로 작 품을 창작했다. 이 글에서는 박옥남과 금희 작품에 공통적으로 나타난 고향과 가족, 집을 중 심으로 두 작가의 작품에 나타난 조선족의 ‘이주’를 비교 분석하였다. 박옥남 작품에서 ‘고향’은 개혁개방이 시작되고 조선족마을에 자본주의가 도입되면서 조선 족들이 한국과 도시로 이주하기 위해 탈향을 하는 연쇄 이주의 양상을 보인다. 이에 비해서 금희 작품에서는 한국에 이주했다가 고향으로 귀환하는 귀환 이주가 나타나며 돌아온 고향은 낭만성을 상징하는 장소의 의미를 지닌다. 다음으로 박옥남의 작품에 나타난 조선족의 통혼 의식 변화는 조선족이 한족문화에 동화되면서 조선족으로서 정체성이 모호해지는 현상을 보 여준다. 이와 달리 금희 작품에서 ‘가족’은 불우한 가정 환경이나 취업 문제로 중국 관내와 도시로 이주하는 분거가족의 모습으로 나타난다. 마지막으로 이 글에서는 박옥남 작품에 나 타난 이주민의 임시 거처와 금희 작품에 나타난 인물들의 ‘정체성’의 문제를 고찰하였다. 박옥 남 작품에 나타난 이주가 조선족 마을공동체의 해체과정으로 나타난다면 금희 작품에 나타난 이주는 농촌과 도시 공간으로 대비되며, 인물들의 ‘정체성’을 상징하는 의미로 나타난다.

Park Ok-nam and Geum-hee are writers belonging to the third generation of the Joseonjok. Park Ok-nam was between the second and third generations, and Geum Hee was on the borderline between the third and fourth generations. Both artists created works with the theme of migration and identity issues of Joseonjok. In this article, we compared and analyzed the ‘migration’ of Joseonjok in the works of Park Ok-nam and Geum-hee, focusing on the hometown, family, and home. In Park Ok-nam’s work, ‘hometown’ shows the pattern of chain migration, to move to Korea and capitalism was introduced to Joseonjok villages. In contrast, in Geumhee's work, there is a return migration of people moving to Korea and the hometown they return to has the meaning of a place symbolizing romanticism. Next, the change in the intermarriage consciousness of Joseonjok in Park Ok-nam's work shows the phenomenon in which the identity of the Joseonjok becomes ambiguous as Joseonjok assimilate into the Han Chinese culture. In contrast, ‘family’ in Geumhee’s works appears in the form of separated families migrating to Chinese jurisdictions and cities due to unfavorable family circumstances or employment problems. Lastly, this article examines the temporary residence of immigrants in Park Ok-nam’s works and the ‘identity’ of the characters in Geum-hee’s works. If the migration shown in Park Ok-nam's works appears as a process of disintegration of Joseonjok village community, the migration shown in Geum-hee's works is contrasted between rural and urban spaces, and appears as a symbol of the characters' identities.

This paper examines Ha Jin as a poet by giving particular attention to a collection of his poems A Distant Center in relation to his novel A Free Life and explores how his migrant aesthetics is reflected in his poetic world. Jin began his writing career as a poet and published four books of poetry collection in English so far. Yet he is famed as a novelist, for his novels are often highly regarded with prestigious literary awards in the United States. Interestingly, in his highly autobiographical or personal novel A Free Life, Jin describes the main character Nan Wu’s emergence and growth as a poet, through a narrative of his struggle to become a poet and also adding extracts from his poetry journal and a collection of his poems in the epilogue. My critical attention is given to such a poetic pursuit in Jin’s novel. Jin’s migrant aesthetics is expounded with the help of his essay collection The Writer as Migrant that provides the reflections of his literary pursuit as a migrant writer. The paper gives a detailed examination of Jin’s A Distant Center and considers how his poetic aesthetics of migration is rendered in relation to the poetic pursuit depicted in A Free Life. This study intends to offer a full study of Ha Jin as a poet to which little critical attention has been paid.

이 글은 코로나19 팬데믹 이후 미술관을 벗어나 집과 같은 일상적 공 간 내에서 디지털기술을 매개로 이루어진 비대면 예술 프로젝트의 성과와 의미를 되짚는다. 특히 참여, 연결성과 같은 디지털문화의 속성이 시각 예술 분야에서 제한적으로 논의되어왔음을 성찰하고, 이를 중심으로 비대 면 예술 프로젝트 사례를 검토하는데 목적을 둔다. 본문은 크게 두 가지 질문에 답하는 방식으로 논의를 이어간다. 우선 코로나19 팬데믹을 전후 로 동시대 예술 담론에서 중요한 요소로 부각된 연결성과 참여의 개념이 어떻게 맥락화될 수 있는지 살핀다. 논의를 통해 기술적으로 연결됨을 넘 어 연결의 개별적 속성을 파악하는 등 추가적인 고민이 필요함을 역설한 다. 아울러 도구적인 차원에서 참여를 강조하는 것이 아닌, 개인 간의 상 호작용과 교류를 확장하는 문화로서의 참여를 제안한다. 이어 연결성과 참여의 관점에서 국립현대미술관의 구독형 아트 스트리밍 플랫폼 ‘워치 앤 칠(Watch and Chill)’과 참여형 영상 공유 프로젝트 ‘윈도우 스왑 (WindowSwap)’의 사례를 분석하고, 그 함의를 고찰한다. 무엇보다 집을 중심으로 한 두 시도가 예술과 관객, 생산과 수용 간의 경계를 재구성할 수 있었는지 탐색한다. 이로써 예술 분야에서 참여와 연결성이 내포한 경험적 의미를 발굴하고, 비대면 예술 프로젝트의 지속가능성을 가늠하고자 한다.

This paper intends to review the achievements and meaning of noncontact art projects made through digital technology outside of art museums after the COVID-19 pandemic. In particular, the purpose of this study is to explore the case of noncontact art projects from the perspective of participation and connectivity. The study continues the discussion by raising two major questions. First, I will examine how to contextualize the concepts of connectivity and participation, which have emerged as important elements in contemporary art discourse before and after the corona pandemic. Second, from the perspective of connectivity and participation, the examples of ‘Watch and Chill’, a subscription-type art streaming platform of the National Museum of Modern and Contemporary Art, Korea, and ‘WindowSwap’, a participatory video sharing project, will be critically considered. Through the above discussion, it is intended to discover the experiential meaning of participation and connection in art, and to assess the sustainability of non-face-to-face art projects.

This paper inverstigates Mishima’s plays focusing on the “maid”. Mishima put a lot of effort into drawing “home,” the smallest unit of human relations in society, and “family play” is one of the characteristics of his plays. The family form that Mishima drew is a postwar modern family model represented by a nuclear family, and its nature depends on the gender role division of work, such as “white-collar worker husband and homemaker wife”. In a word, the woman is confined in the home, and it is said that it is to be responsible for the home administration as a “housewife”. However, in the home depicted by Mishima, there is no figure of a woman who actually manages as a housewife, that is, a mistress who behaves perfectly as a mother and wife. Instead, the “maid”, who is another person who has entered the home, appears. In Tada hodo takai monowa nai (1952) confirmed in this paper, there was a fierce confrontation with the mistress in the “maid”, but the mistress gradually disappears. These changes may be deeply related to the process by which modern family forms take hold. In a word, the standpoint of the woman named “housewife” that the modern family system was born was confined in the home instead of erasing the existence of “maid” from the society, and it was made to take charge of housework and the child care. It can be said that women exclusively responsible for the function of housekeeping in the home shifted from “maid” to housewife, but the fundamental change does not occur, and the woman who became a housewife can be said to be the weak position than “maid”. In other words, because placed in the position of a housewife, the woman is not recognized professionally like a “maid” and could be regarded as being demoted to an existence with only empty power as a mistress. Mishima’s “maid” is the literary figure that can most effectively explore the power of women that results from the fact that the modern family specializes in home economics and the problems that inevitably accompany it. It can be said that there was.

Throughout her entire life, Elizabeth Bishop constantly reveals her preferences for writing poems full of images and motifs of water. Bishop’s poems often suggest elusive meanings like the dual properties of water which shows the difference between the surface and depth at the same time. Particularly, it is worthwhile to note Bishop’s third book of poems entitled Questions of Travel. This book includes a number of poems about recognizable water images from Nova Scotia to Brazil where the poet spent precious periods in her life. Images of water in a lot of her poems set in North America are described as dry and barren landscapes due to her sense of homelessness derived from the loss of her parents in her early childhood. This is best exemplified in her expression of “the water doesn’t wet anything.” However, it is important that Bishop’s maternal desire is latent under the surface of her poems on the loss of maternity. Her maternal imagination linked to the water images is most manifested in her poems on the “Brazil” section of Questions of Travel. Moreover, a series of poems with images of water devoid of fluidity and maternity set in Nova Scotia allude to Bishop’s latent maternity. Bishop’s water images lurking in maternal desire act as a source to dissolve the dichotomous thinking originated from Western Chauvinism.

이 연구는 청년들의 주거 선택과 주거 생활 과정에 젠더, 계급이 미치는 영향을 분석한다. 대학동 고시촌 을 중심으로 현장 방문과 심층 인터뷰를 통해 연구를 진행하였으며, 연구의 결과는 다음과 같다. 첫째, 청년들이 고 시촌에서 집을 구하고 그곳에서 살아가는 과정은 성별화 된 경험이다. 둘째, 계급은 젠더와 교차할 때, 젠더와 관련 된 요소를 확장시키거나 제한한다. 즉, 계급에 따라 여성들이 젠더적인 측면에서 고려할 수 있는 범위는 차이를 가 진다. 셋째, 고시촌 윗동네와 아래동네의 비교는 계급이 개인의 선호와 선택 앞에서 기능하며, 계급과 젠더가 결합 하는 과정에서 각각의 요소들이 확대된다는 사실을 보여준다. 빈곤 여성은 자신이 가진 계급과 젠더의 조건에 의해 이중의 억압을 경험한다.

This study analyzes the effects of gender and class on the way that young people find and live in homes. This research was conducted based on in-depth interviews, and site visits at Gosichon, Daehak-dong. The results of this study are as follows. First, the process of young people finding homes in Goshchon is a gender-based experience. Second, as class intersects gender, it expands or limits the gender-related factors. Gender-based aspects that women can consider differ depending on class. Third, comparison of the upper and lower villages of Gosichon shows that class functions in front of individual preference and choice, and that each element expands in the process of combining classes with gender. Poor women experience aggravated oppression by their class and gender.

Beginning with Modernist formalism and through Feminist consciousness, Adrienne Rich’s poetry has undergone a continuous change and revision. Especially since 1980s her feminist consciousness has expanded to embrace race, class and sexual orientation as well as gender. The crucial issue for her in this process is how to synthesize dialectically the differences and particularities among women instead of separatism and biological essentialism based on single categorization of woman. In this strategic move, the crucial concept is that of positionality. This attempt of Rich’s to converge otherness to politics of location is developed largely in two directions: one is a continuous quest for her own identity; the other is to create the communal discourse. Location for her includes not only physical site of time and space but also the community of discourse. Thus this paper aims to examine this search of Rich’s in her Your Native Land, Your Life and An Atlas of the Difficult World with emphasis on the representative poems of both books. In “In the Wake of Home,” Rich shows an ambivalent attitude toward home. Home is suggested not only as a safe haven, place of plenitude but as place of absence and loss. All through the poem, the contradictory views on home are juxtaposed. In addition, she also suggests political history of violence through reminding us of history of the homeless, refugees and diasporas. She tries to combine the personal mini-narrative with the meta-narrative of the homeless others. Thus, home also becomes the site to voice for others deprived of home by historical and political violence. In this way, home as a site of contradiction becomes crucial in her politics of location. An Atlas of the Difficult World develops the concept of positionality as the site where a subject accepts the contradictory identities and also as an agent to bestow a political act and responsibility to the subject. Throughout the book Rich makes us question our own locations and the possibility of solidarity with others. As the location and identity of a poet are always changing in response to the mutual act between time and space, so are readers. She requires the readers to join her poems, creating the meanings and taking a responsibility for them. In this way, readers create a new world of her poems. This is Rich’s strategy to locate the readers as an agent of the narrative that her poems open. Different readers in different locations can meet in the space of her poems where they can make new meanings which in turn lead to the revision of history. This is what Adrienne Rich imagines as a community.

This paper is to examine the effects of the space experiences on the space identity of a human being by analyzing the space experience of Yoon Hui-jung, the protagonist of the novel, A Trip to Moojin. ‘Moojin’ is a symbolic place which is reflecting Yoon Hui-jung’s inner world, and in which his ego identity is established, but is not a comfortable or easy place. To Hui-jung, Moojin is becoming a space which has lost its placeness, and in which lethargy and futility are being felt. The ‘small room’ is a space which plays a role protecting him from the outside violence or life crisis, but his small room is a place in which he loses his social ego by being isolated from the real life and which becomes the archetype of sense of guilt to torment him. On the contrary, the fog symbolically connotes his ontological conflicts together with the spatial characteristics of Moojin. It makes his view unclear, and with a strong force but with no clear identity, makes the distance far from others. That is, the fog has a function of severance. It can be said that the image of the fog represents his hidden desires and the duplicity in which he wants to deny the desires. He has made his own image of Moojin with his inner experience from his younger days, and has given the placeness to it, but it is nothing but the place of suffering. His experience of the ‘small room’ and the ‘fog’ only reminds him of Moojin as a chaotic and lethargic place. Moojin has already deprived him of his sense of place seeing that he does not stay in Moojin, but eventually returns to Seoul despite his self-retrospection.

이 글은 인문지리학의 핵심 개념을 적용하여, 조명희 문학에 나타나는 ‘장소성’과 ‘장소상실’의 의미와 양상에 대하여 고찰하였다. 인문지리학에서 장소는 개인과 공동체 정체성의 중요한 원천이며 인간 실존의 심오한 중심이 된다. 조명 희는 장소에 대해 예민한 지각력을 지녔던 작가로서 특히 그의 작품은 ‘집’에 대한 경험과 장소정체성에 주목하여, 1920~1930년대 식민지/제국 체제 하에서 피식민지 주체가 경험하는 장소성과 장소상실의 상황을 보여준다. 조명희 문학에서 ‘집’은 열망과 좌절이 교차하는 부재의 공간으로 형상화된다. 도쿄 유학 시기의 희곡과 시에서 그는 현실의 구체적 장소와 실제적 관계를 맺지 못하고 ‘집’, ‘고향’, ‘머나먼 미지의 곳’을 동경한다. ‘여기’에서의 장소상실이 ‘다른 곳’을 향한 유토피아 지향성으로 발현된다. 귀국 후에도 ‘집’의 부재는 여전히 조명희 문학의 테마로 구현된다. ‘집’에 돌아왔으나 그는 ‘집’의 내부에 있다는 안정감과 유대감을 느낄 수 없기에, ‘집’의 바깥, 엄밀히 말해 식민지/제국 체제 의 ‘바깥’으로의 월경을 꿈꾼다. 체제 ‘바깥’으로, 소련 망명을 감행한 이후에 창작한 작품에는 이주와 정주의 시선이 동시에 나타난다. 새로운 체제의 ‘내부’에서 그는 여전히 ‘바깥’으로서의 조선을 꿈꾼다. 소련 망명 시기의 조선은 소비 에트라는 유토피아적 환상성에 대해 이의를 제기하는 반공간(反空間)으로서의 장소, 혹은 ‘다른 공간’의 가능성으로서 지속적으로 상기되는 장소의 의미를 갖는다. 조명희 문학의 ‘장소성’은 ‘이동성’과 연관된다. 유학, 귀향, 망명으로 이어지는 삶의 이동성은 그의 문학에서 장소에 대한 예민한 지각력과 아울러 장소성 획득의 어려움, 장소상실 등의 특징으로 발현된다. 장소의 ‘내부’에 뿌리내리지 못하고 ‘외부’에 있다는 느낌, 또는 ‘내부’에서 끊임없이 ‘바깥’을 꿈꾸는 그의 태도는 이동하는 주체, 이주자로서의 위 치와 관점을 보여준다. 피식민지인으로서 식민주의를 극복하려는 태도가 조명희의 삶과 문학에서 끊임없는 이동과 이 주를 낳았고, 이렇게 이동하는 주체로서의 타자적 시선이 그의 문학에서 현실을 객관적으로 드러내는 역할을 했다.

Applying key concepts of human geography, this study examines the meanings and conditions of “placeness” and “placenessless” in Jo Myeong ­ hee’s literary works. Jo had sensitive perceptions of place. Especially, his works show the condition of placeness and placenessless, which colonized subjects experience during the colonial/imperial period in the 1920s and 1930s, by focusing on the experience of “home” and place identity. In Jo’s works, “home” is a space of absence where desire and frustration intersect. In his plays and poems written while he was studying in Tokyo, Jo fails to form a real connection to the actual places of his reality, longing for “home,” “hometown,” or “unknown faraway place.” The placenessless of “here” is manifested as a desire for a utopia “somewhere else.” The absence of “home” remains as the theme of Jo’s literary works even after he came back to Korea. Even though he came back “home,” he could not feel the sense of stability and fellowship of being “inside home.” Therefore, he dreams of moving out of “home,” or more precisely, out of the colonial/imperial system. Once Jo defected out of the colonial/imperial system, to the Soviet, his works express desires for “moving” and “settlement” simultaneously. “Inside” the new system, he still yearns for Chosun as a place “outside.” Chosun, in his works during his exile in the Soviet, appears as a counter­space, which raises objections to the utopian fantasy of the Soviet, or a continuous possibility of “other place.”The “placeness” of Jo Myeong ­ hee’s literary works is related to “mobility.” The mobility of his life of studying abroad, returning home, and exile is manifested in his works as sensitive perceptions of place as well as the difficulty of acquiring placeness and the characteristics of placenessless. Jo’s sense of being “outside” without being able to take root “inside” a place or his attitude of perpetual desire for “outside” from “inside” manifests the position and perspective of a moving subject/migrant. His desire as a colonized subject to overcome colonialism resulted in constant moving and migration both in his real life and literary works. Such moving subject’s perspective as outsider objectively exposed the reality in Jo’s literary works.

The purpose of this paper is to reilluminate the major characters of Light in August with the concept of Jacques Lacan's four discourses. Language, on the one hand, primarily is intended to play as a key medium that attests to the identity of human and make relationships with others. On the other hand, however, it plays a role of oppressor against humane identity. As language shows such twofold characteristics, so we humans use language to establish relationships and our own identity but at the same time suffer from extreme conflicts and confusions caused by loss of identity attributable to the outright power of a huge ideologic language (discourse). William Faulkner presented, in Light in August (1932), endless chains of conflicts in relationships between a subject and others, caused by the duplexity, ambilaterality and ambiguity of a language and ontological issues of humans that suffer from these. In particular, in the novel, Faulkner showed clearly how a language binds and oppresses humans and how they are victimized by a cruel, oppressive, aery and contradictory language that affects the unconscious mind and makes them lose their identity. A language that causes humans a tragedy is a collapsed language that has oppressive bindingness. Thus the purpose of this paper is to examine the symptoms of the characters related to the mighty power of the ideological discourses with which the characters agonize within the boundary of home and society. And this study introduces Lacan's four discourses and at the same time examines the psychological symptoms and causes of the character and the basic relationship between human subject and language in the work. Especially this study deals with the sadomasochistic hysteric discourse of Joe Christmas which are the victim's discourses of the oppressive master's and university's discourse. As a whole, this work examines what message the work render to us in these days.

Zenzo Kasai himself has confessed, “I have only written works that are like self-portraits. I could not let myself to write anything else.” Kasai is a representative modern “I novel” author who has drawn out his life experiences and portrayed the heart of <Myself > in his works. In the past, Kasai has been criticized as an advocate of aestheticism or an author who has ignored common sense and moral because of his belief, “Broken lives, broken mankind, that is where my art originates,” and his attitude that he will “sacrifice himself and anything around him for the sake of literature.” However, as a person, he is a supporter of tradition and family and can be considered a tragic writer who, more than anyone, yearned for a loving family but could not carry out a life as a family man. The pain, grief, despair and hopelessness in his personal life are what produced Kasai literature. In other words, Kasai’s personal and literature lives both began with <Grieving Father> and ended with <Grieving Husband>. In Kasai’s works, the general theme is comprised of family relationships such as <A Father-Son Relationship>, <A Husband-Wife Relationship>, <Relationship with girlfriend Osei>, as well as his life in which he suffered from <despair and agony in his two contradicting personal and artistic life>. This article tries to discover a new aspect of Kasai literature by analyzing the meaning of family in Kasai’s life, especially in the married life with his wife Tsuru.

葛西善藏は自ら“自畵像のやうなものばかり書いて来た。その他には何も書けなかつたのである󰡓と告白しているように、自分の直接的な生活体験を素材に＜私>の心情をありのまま作品の中に描写した日本近代私小説の典型的な作家である。 今まで葛西は“文藝の前には自分は勿論,自分に附隨した何物をも犧牲にしたい󰡓という作家的な態度と、“生活の破産、人間の破産、そこから僕の芸術生活が始まる”という芸術的な信念のため、人生の常識と人間生活の規約を無視した作家、または藝術至上主義者であると同時に藝術一切主義者として評価されてきた。しかし、生活人としての葛西は日本的な古伝統主義者であり、家族主義者として誰よりも家族的な情愛に満ちた家庭生活に憧れていたにもかかわらず家庭人としての生を生きられなかった悲しい作家であるとも言える。そのような実生活での苦痛と悲哀、絶望と挫折は葛西文学を形成する直接的な要因になったとも言える。つまり、葛西の生と文学は<哀しき父>から始まり<悲しい夫>で終わったのである。葛西の作品の中には実生活と芸術という二律背反的な生の中での悩みと絶望を繰り返していく葛西自分の率直な生活は勿論、<父と子の関係>, <夫婦關係>, <同棲女おせいとの関係>などが 作品形成の主なテーマとなっている。 本稿では葛西にとっての家族の存在、特に妻つるとの結婚生活についての分析を通して葛西文学の全體像の一斷面を新たに照明した。

In Kim Saryang’s early works, many of the protagonists remind us of the author himself, but most of these protagonists/narrators take the attitude of onlookers, maintaining a distance from the developments of the plot. However, in Kyoshu [Homesickness], the representative work of Kokyo [Home], the second collection of his works, this structure is shaken. Kyoushu is a distinctive work because of the way in which even though its narration is from a third person perspective the distance between protagonist and narrator suddenly narrows and then just as suddenly expands again. In all these sections, Kim Saryang’s national emotion is expressed. In particular the sudden separation of narrator and protagonist in the section in Hokkai Park. expresses the anxiety with regard to Japanese of a writer from a colony. Broadly speaking, there are three parts of the book where this mix-up in the narration occurs: his recollections in the train on the way to Manchuria of the great power that Korea held in her past; in the section where the protagonist screams as he disguises the voice of the pottery, “I” and the hero become one and the same but at the same time, in the episode in the park the protagonist and the narrator do not share the same information. The fact of the story’s narrator placing distance between himself and the psychological state of the protagonist and then closing that distance is not in itself that special, but there are parts of Kyoshu where this distance between the narrator and the hero change abruptly. In particular, this is a feature of the sections where the writer’s “national emotion” is expressed. Through Korean culture as represented by Kokuryo, by the use of the instinctively defined elements of history, culture and language that that make a race Kokyo and Kyoshu expand to become something ethnic. The fact that Kim Saryang’s concept of “home” is connected to the nation.

목적 : 본 연구의 목적은 낙상 위험 주거환경 평가인 HOME FAST의 국내사용을 위해 체계적인 절차를통해 한국어로 번안하여 내용이해도 및 신뢰도를 검증하고자 하였다. 연구 방법 : 한글로 번역된 HOME FAST의 내용이해도를 알아보기 위해 작업치료사 총 21명에게 한글번역본의 이해도 평가하게 하였다. 이후 한글번역본을 역번역 하여 원문과 비교하고 문장구조 및 의미 유사성을평가하였다. 아울러 신뢰도 검증을 위해 지역사회에 거주하고 있는 낙상 고위험군 노인 75명을 대상으로평가를 진행하고 내적 일치도를 검증하였다. 그중 9명의 대상자의 경우 2명의 작업치료사가 방문하여각각 평가한 뒤 검사자 간 신뢰도를 검증하였다. 결과 : 작업치료사를 대상으로 한 내용이해도 검증 결과에서 11개 문장이 이해도가 떨어지는 것으로 나타났다. 이해도 검증 결과의 의견을 바탕으로 검증위원회를 통해 구문을 수정하고 한글번역본을 완성하였다. 한글판을 역번역하여 유사성 검증을 한 결과 문장구조에서는 3문항이 유사하지 않음으로 평가되었고, 의미적 측면에서는 총 6문항이 유사하지 않음으로 평가되었다. 최종적으로 반복적 역번역 과정을 통해한글판 HOME FAST의 내용 타당도를 확보하였다. 한글번역본의 내적일치도는 .62(p<.01)로 나타났고, 검사자 간의 신뢰도는 .97 (p<.01)로 매우 높은 것으로 나타났다. 결론 : 본 연구는 체계적 번역-역번역 과정을 통해 HOME FAST를 한국어로 번역하였다. 아울러 한글판의내용이해도를 검증하였고, 내적일치도 및 검사자간 신뢰도 검증을 통해 신뢰도를 입증하였다.

Objective : This study aims to obtain the validation of Korean version of HOME FAST using the translation-back translation process and to evaluate the reliability. Methods : Total three stages were conducted which includes forward translation to Korean, test for degree of understanding of translated version, back translation to English, and then review and proof reading process. 21 occupational therapists were participated in the evaluation of understanding of Korean-translated HOME FAST, then some of expressions were modified for better understanding. Korean version was went through back-translation to English. Similarity between the original version and re-translated version were evaluated. Total 75 data from community dwelling elderly group were collected to assess internal consistency. Two occupational therapists simultaneously evaluated for the inter-rater reliability. Results : 11 items of Korean-translated scale were responded as having confused meaning by occupational therapists. There was some modification on expression. In the evaluation of similarity between original version and re-translated version, 3 items were selected as dissimilar items in terms of syntax and 6 items were selected in terms of semantic similarity. After the repetitive modification process, items were obtained conceptual equivalence between two different languages. Internal consistency was .62(KR20) (p<.01) and inter-rater reliability was .97(ICC) (p<.01). Conclusion : Korean version of HOME FAST was finalized through translation-retranslation process. The conceptual equivalence was established and Korean version showed highly reliable. In further study, The modification of items reflecting Korean house and life style should be conducted.