Earticle

The history of art during the first half of the last decade was founded the discussion with highly impressive and confident. The art might establish its unique area based on self recognition at that era. The self-confidence of modern art may be possible on enlightenment, which is the firm relationship for knowledge and reality. However the faith of modernism which shows rational tendency, objective, and the existence of universal knowledge has been drastically doubted and criticized thereafter. A internal ideological system which had leaded the modern art was exhausted. Postmodernism revolved to the dramatic openness leaning against the deoedipalizational confession. According to the dissipation of the vitality of modern art postmodern art has been evolved and then various phenomena which follow the trends has been emerged. The avant-garde and resisteive attribute of modern art was diluted fast due to the influx of popular culture. As time goes it can be attracted by spectacle taste than metaphysical peculiarity. It has to inevitably justified the drift of light and quick themes, contents, and images. Such as these phenomena realistically shows fact that postmodern art had been failed to open a new chapter of consilience which intermediates beauty and usual communication to overcome the solipsism of modernism. A trial to pursuit the opened esthetics conceived more ‘heroic’ ‘Star-Subject’ than before by dismantling the modern ‘Hero-Subject’. Postmodernism has been recorded as a regression of art, which is the technology of profound spirit that mitigates antagonism and confrontation and mediates mutual encountering of human being. Prevailing of postmodern freedom had been accompanied by popularity, osetentation consumption, marketing, gambling level exitement, mixtures of desires with price fluctuations. We witness ‘self-confinement’ and ‘lasting absence of exit’ phenomena in postmodernism ideology and practice. We have to deal postmodernism as an ‘ideology which closes the discussion for the future’ in the context of ‘absence of way’ at this point. We are going to investigate how postmodern ideology and practice takes part in the prospection beyond thereafter through discussion. We also pay attention to the ‘absence of prospection’ as a internal problem in itself nevertheless mention the three merge points such as tradition or memory, earthy thought, the self who confrontation others as the clue of prospecting thought which is allowing coming over postmodern absence.

본고는 산책자라는 테마를 통해서 현대인의 정체성(identity)의 의미와 소극적 저항의 의미에 관해 재고해 보고자 한다. 현대 도시에서 살아가는 개인의 정체성에 관한 의문은 고독한 개인이 어떻게 고독한 군중 속에서 살아가는가를 이해하는 것과 밀접하게 연관된다. ‘고향상실성’(Heimatlosigkeit)의 시대를 공간적으로 특징짓는 도시에서 생을 영위해 가는 개인들은 대부분 익명으로 존재하는데, 이 익명성은 현대 사회의 인간 소외와 사물화를 인간해방의 장애로 보고 비판하는 사람들에게는 물론 부정적인 계기로 간주될 것이다. 하지만 익명성의 ‘긍정성’을 사고해 볼 여지가 있지 않을까? 어떤 상황에서는 익명성이 자유를 담보해주는 필요조건이 될 수도 있지 않을까? 박태원 소설의 주인공 구보씨처럼 거리를 배회하는 익명의 산책자의 모습은 분명 근대의 행동하는 ‘강한’ 주체의 모습은 아니지만 ‘약한’ 주체가 가지는 저항의 가능성과 타지에 대한 환대(hospitality)의 가능성 등을 자신의 존재 속에 내포하고 있다. 근대 과학의 발전과 기독교의 도그마티즘 속에서 합리적이고 이성적인 인간상이 강조되면서, 감성이나 육체성은 종종 폄하되어 왔다. 또한 자본주의 발달 과정에서 경제적인 인간을 과도하게 강조하게 되면서 근면함, 노동이 신성화된 반면 노는 인간, 게으른 인간은 자연스레 악으로 간주되게 되었다. 과거의 비타산적 공동체(퇴니스가 말하는 게마인샤프트Gemeinschaft)가 사라지고 도시화되면서 새로운 형태의 이익 공동체(게젤샤프트Gesellschaft)가 형성되었다. 사람들은 점차 교회, 학교 회사 등을 만들어 갔는데, 이런 집단은 공동의 이해관계, 공동의 이익을 전제로 하고 있기 때문에 이 집단의 동일성에 워협적일 수 있는 이질성과 차이는 금기시되고 배제되어 왔다. 그런데 이런 게젤샤프트 시대를 사는 산책자에게서 발견되는 익명성, 다시 말해 자기 정체성의 균열, 자기 망각, 자기에 대한 무애착은 이질적인 타자에로의 열림과 환대의 기반이 될 수 있지 않을까? 그리고 우리는 ‘노는 인간’인 산책자들의 모습에서 권력에 대한 조용하지만 전복적일 수 있는 저항의 흔적들을 찾아볼 것이다. 권력은 유리집처럼 사회를 투명하게 만들어 감시하고, 획일적 ‘정체성’의 공고화로 인간의 삶의 양식을 상투화시키려 하지만, 어떻게 산책자는 권력이 예측할 수 없는 방식으로 미끄러지듯 상투와 상투 사이를 표류하며 권력의 눈을 피해 타자들과의 무한 접속을 꾀하며 저항의 미학을 구축하는가?

Through the theme of flaneur, I want to question on the identity, the passive resistance. It is not without relationship with the theme of the care of the other one, of the hospitality towards the other one, of the be-together with the others that we can find at the solitary and alienated man"s. First of all I questions on the identity of the individual. It is a question of understanding how the solitary individual lives in the solitary crowd. In the tradition where we attach some value to the reason(homo sapiens), we do not judge the body(the man who walks) in its just value. When we estimate the economic and rational man too highly. we ignore the homo ludens, the lazy man. Now the crack of the self, the forgetting of self, the self-abnegation, which we find at the flaneur, will be bases of the opening to the difference, of the hospitality towards the other one. Furthermore we can see growing the new shape of the community, the sociality on the steps of flaneur. And finally I want to show that the flanerie considered insignificant could be a shape of the silent but revolutionary resistance against the standardization, the common sense. By escaping the power which categorizes the life, captures and controls the unstable, the nomad, the invisible flaneur that floats and connects infinitely with the other one.

본 논문은 이승우의 단편소설 「나는 아주 오래 살 것이다」에 대한 연구로, 주인공의 현실 대응 방식을 통해 작가의식과 그것의 형상화 방식을 살펴보았다. 소설은 불가피한 상황의 변화 속에서 한 인간이 경험하는 사회적 폭력과 인간관계의 단절, 절망과 소외를 보여주며, 그로 인해 외부와 단절하고 자기만의 공간 속으로 자신을 유폐시키는 주인공의 모습을 그리고 있다. 작가는 주인공이 선택한 칩거와 유폐의 정황을 통해 무의식의 심연 속에 가라앉아 있던 유년의 상처를 드러내며 상처 입은 자아가 자신을 회복하고, 세상과 소통하는 특별한 방식, 즉 ‘숨김으로 드러내기’, ‘유폐를 통한 소통 방식’과 같은 역설적 방법을 보여준다. 이는 자폐의 동굴에 갇힌 자아가 세계와 갈등하며 상처를 극복하고 세상 밖으로 나오는 것에 관심을 기울이는 작가의식을 반영한 것으로 이러한 방식은 여타의 작품에서도 중요한 모티프로 사용되고 있음을 알 수 있다. 더 많은 작품을 통해 이러한 사실을 구명하는 것을 추후 과제로 삼는다.

This paper is a study about Lee Seung-woo’s novel I will live a very long life. The aim of this study is to know the writer consciousness and expression mode through the protagonist’s ways of responses on reality. The novel shows a person who disconnects himself from the outside world and confines himself in his own space through such absurd situation. The author recalls a memory of his childhood that had been sunk in the abyss of unconsciousness of him. There was a memory of violence from his father and an experience of sneaking into a dark and cramped space to avoid it. Through this work, the author shows special way that the protagonist communicates with the world. Such special way is a paradoxical method, “revealing by hiding”. This is one of the significant motifs in Lee Seungwoo’s novels.

Noblemen in Choseon Dynasty considered Yang(Movements) represent men and Ying(Standstill) represent women. Following this dichotomy, women were forced to being obedient to men. In The Private instructions(內訓), however, it was argued that men representing Yang and women representing Ying are equal and they have just different role according to different identity. While this argument secured the women’s independent identity, it also confined women to the passive nature. New women in the Modern era denied an obedient life to men and tried to find out independent and initiative life based on the thought of sexual equality. Some radical liberal new women denied the concept of sexual fidelity which was only imposed to women and favored a free love. But they didn't overthrow the concept of sexual fidelity which supported by male-centered conventional marriage system and just became an concubine of men. On the other hand, some socialist new women asserted that women have been slaves of capitalism and androcentrism and by the law of historical development, capitalism and androcentrism would be destroyed. In this context, the role of women were just to support the historical development. The thought of women’s right in Choseon Dynasty and Modern Korea were results of resistance or backlash against the traditional system. But the thinkers didn’t make an issue on the whole system and they just tried to secure some slight space in the system leading to confine themselves in the narrow crack.