고통의 시대와 저항담론으로서의 불교사상 -1970년대 이후 한국문학에서의 불교사상 수용 양상과 그 의미-

한순미 ( Soon Mi Han ) 전남대학교 호남학연구원 2012 호남학 Vol.0 No.51

This study is to read how and in what contexts the writers of Korean literature have accepted Buddhist thought as resistance discourses to cope with the age of suffering since 1970`s. The writers established the basis of people`s thought from Buddhist thought against the dark situation at that time, and accepted that as the principle of aesthetical practice to solidify resistance discourses of people`s literature. Maiterya thought can be told enough to be a representative resistance discourse of Korean literature over 1970`s through 1980`s. For writers such as Song Ki-suk, Go Eun, and Kim Ji-ha, Maiterya thoughts was ideological power to establish an ideal society, that is, new Maiterya world through social revolution by the people. And then, the study researched the acceptance patterns of Maiterya tales and beliefs shown in the novels written by Han Seung-won, Song Ki-suk, Yoon Hong-gil, and Mun Soon-tae. Maiterya in their novels is a mediate device revealing the reality of historical suffering. Maiterya is a hopeful sign that will bring a new world someday, but it also a sign of tragedy not realized yet. Jo Jung-rae`s novel『Daejangkyeong』(meaning the complete collection of Buddhist Sutra in Korean) suggests that Koryeo Daejangkyeong was promoted as a political use by the Military Rule. Through Suki Daesa`s critical point of view, it shows the resistance that intellectual writers should keep under Yushin Dictatorship. This is connected to artist Solgeo who painted the fact in his pictures against the political power. Lastly this study interpreted major questions in Ko Un`s『Little Pilgrim』(Hwaeumkyeong in Korean) in connection with the work that writers of national literature tried to find a solution of practical problems. The alternative was Hwaeum Thought and the Bodhisativas` thought of the Mahayana, that is, the practice of equality and love. Since 1970`s, the writers of Korean literature have showed literary resistance discourses, re-interpreting the tradition of Buddhist thought. Especially, the writers had interest in Maiterya thought of Honam area, which is the sign of long resistant flow that Buddhist thought has and cultural representation of Honam as the hometown of justice in Korean literature. At the point, we can understand the trace and depth of spiritual history that Honam`s Buddhist thought and modern literature share between them. In addition, Buddhist thought as resistance discourses was an effort to overcome capitalistic modernization and to find an alternative modernity. In conclusion, the study to research how Buddhist thought was accepted and continued in Korean modern literature is not only to understand the change in thoughts of local and Korean literature, but also to be helpful for the researches to find a solution of practical matters Korean society currently has such as the community and multiculturalism.

바다, 몸과 글쓰기의 친화력

한순미(Han, Soon-Mi) 동남어문학회 2010 동남어문논집 Vol.1 No.30

Kijogae, written by Seungwon Han, falls into the category so-called Novels about novelists, as it pores upon the theory of world-formation, existence of novelists and novel writings, which are originated from the convergence where the discourses on the writer's own body and writings meet. This guarantees the metaphor of the ocean to preoccupy the very center of literary philosophy of Han from the early works. The ocean in Kijogae closely relates to the inquiries into which pursuit the very existence of the writer (or his/her body) and the essence of the world, searching for what contributes to retrieving them. Throughout the story, ‘Sora Huh’ represents the writer, suggesting the emptiness of universe and herself by “Huhbang”, the area she lives, and liquidity as her characteristic. This emptied body is directly related to “Tadhuh”, a Taoist concept which explains the principle of universe. Furthermore, this concept of the ocean approaches the universe to the coalition of visible world and invisible one. Han tailors the writer who effectively reveals the convergence at which the dichotomous concept converse and the writing process in which all these events take place. The vague boundaries between the ocean, the body and the writing process engender the disposition of the writer and writing process in Kijogae. Han enlarges the metaphor of the ocean, his unique concept for an extended period, into mythical imagination, Buddhist and Taoist thoughts, so that he can explore the alternative rendering as the combination of ecology and writing process essentially on the basis of eastern philosophy. Han achieves outstanding esthetic value in Kijogae by arranging of the metaphor of the ocean and characters effectively. Thorough studies on Kijogae kindle the desire to ponder other historic character fictions such as Heuksando Hanulkil, Wonhyo, Chusa and Dasan which establish extraordinary formations and this article will be the ground-breaking work for them.(Chonnam National University)

한국 한센병과 가족이라는 장치

한순미(Han Soon mi) 부경대학교 인문사회과학연구소 2014 인문사회과학연구 Vol.15 No.2

한국 한센병 설화에서 여성은 적극적인 치유자의 역할을 담당하고 있지만 가족이라는 장치 안에서 철저히 희생된 존재이기도 했다. 이 설화 속의 가족은 희생적인 열녀를 탄생시키고 가문을 유지, 보존하기 위해 남성의 건강을 중시하는 장치였던 것이다. 이 설화에서 강조된 여성의 희생과 남성의 건강은 조선시대 가부장제와 짝패 관계에 있었다고 할 수 있다. 전통 시기 설화에서는 여성이 남편의 나병을 치유하기 위해 희생을 했다면 근대 이행기에 출간된 소설 『여선담전』은 평범한 남자가 나병에 걸린 여인에게 선행을 베풀어 신분이 상승하게 된다는 이야기를 담고 있다. 이는 조선 후기 사회의 변동에 따라 나병과 가족의 위상이 변화되고 있는 흔적을 보여준다. 1936년에 출간된 김정한의 단편 「옥심이」에서는 수절, 의리, 열녀로 표상된 나병 설화 속의 여성의 모습을 찾아볼 수 없다. 이 소설에서는 나병에 걸린 남편을 위해 헌신하는 아내를 구시대의 유물로 취급한다. 근대 이후 한센인은 점차 가족이라는 장치의 바깥으로 이동한다. 이제 가족의 자리를 병원과 국가라는 장치가 대신한다. 근대의 병원과 국가는 한센인들의 병을 치유하고 그들의 생명을 보호하기 위해서가 아니라 건강인과 사회, 국가를 보호하기 위해 한센인을 격리하는 정책을 강화했다. 병원과 국가는 "벌거벗은 생명", 즉 한센인들을 체계 안으로 포획하는 폭력적 장치였다. 이 "희생당한 인간"은 식민지 근대의 생명 권력의 체제를 구성하는 토대가 되었다. 생명 권력 장치가 도처에 자리해 있는 우리 사회는 "호모 사케르"를 지속적으로 생산하고 있다. 아감벤이 말했듯이, 우리 모두는 잠재적인 호모 사케르인 것이다. 한국 나병 설화는 호모 사케르가 오늘날 갑자기 출현한 것이 아니라 저 먼 설화의 시대에서부터 이미 존재했음을 보여주는 하나의 사례가 될 수 있다. Women in Korean leprosy (Hansen's disease) tales played a role as an active healer, but a complete sacrifice of the apparatus called family. The family in the tales was a apparatus which gave a birth to a sacrificially virtuous woman and valued man's health to keep and preserve the family. The sacrifice of a woman and health of a man emphasized in the tales can be said to be a partner with the patriarchy in the Chosun era. The woman in the tales sacrificed herself to heal her husband's leprosy, while 『Yeosundam Jeon』, novel published during the period of transition into the modern times shows a common man who got a status upgrade by performing good deeds to a maid leper, which is an evidence of some change in the status of leprosy and family according to the social change during the period of late Chosun. In Kim Jeong-han's short novel, 「Oksimi」 published in 1936, we can never see the one represented as a woman of integrity, fidelity and virtue who was described in existing leprosy tales. The novel treats the wife who dedicated herself to her husband with leprosy like a survival of olden days. Since modern times, those who have Hansen's disease gradually have been moved out of the family apparatus. And now the apparatus called the hospital and the government is substituted for family. Modern hospitals and the government strengthened the policy which isolated the lepers in order to protect those who are the healthy, the society, and the government, not to treat the Hansen's disease and protect lepers' life. The hospital and governmen were a violent system which captured the "bare life", lepers into their planned apparatus. The "Homo Sacer" came to the basis for the bio-power system in colonial modernity. Our society surrounded by the bio-power system keeps on producing "Homo Sacer". As Agamben said, all of us are potential Homo Sacer. Korean leprosy tales can be a case which shows Homo Sacer had already existed from the age of the olden tales rather than it appeared accidently in modern times.

나환의 기억과 서사적 욕망 : 맥락과 징후

한순미(Han Soon-mi) 국어국문학회 2010 국어국문학 Vol.- No.155

Leprosy holds severe complexity as a disease which should be considered in varied realms of the human body, the family, the ethnicity, the nation and self-others. Since lepers' pain and the history of leprous asylum pair closely throughout the history, individual experiences in leprosy are bound to sociopolitical and cultural-historical reflection which make the memories of leprosy have barely reproduced literary narratives. The article relates novels that appeared in 1960s in which medical research and enlightening movement for lepers, and the reclamation project in Omado for lepers' settlement took place. Paradise of Yours(1974-1976) by Chungjun Lee, The Island(1983) by Jungmo Yun and The Autobiography of a Ghost(2003) by Youngkook Ryu necessitate detailed pondering as they arouse political, ethical and historical issues by dealing with 'historical memory' of leprosy rather than simply taking leprosy as a mere theme. The differences among the processes taken for engendering leprosy narratives and the critical consciousness in them embody signs that require discrete analysis. The distinct ways three novels unwind Norusanyang incident indicate the differences among them, from which the writer's desire along with political and ethical foundation of the motif emerge. These novels address questions on destiny, community, history and otherness and contemplate the leads, maintaining slightly different approaches on 'stigma' of leprosy. The questions these novels face, however, are hardly settled and this explains why some narratives remain unfinished and have extended by-talks. However interpreted, these signs indicate the vacancy in historical memory and demand ethical rumination on the others in society. All these necessitate determined examination assuming various aspects on the novels dealing with the leprosy. Hopefully this study would be the ground-breaking work for them.

불교철학적인 물음에 비추어 본 이청준 소설

한순미(Han Soon-Mi) 국어국문학회 2008 국어국문학 Vol.- No.149

The aim of this study is to examine the latter works of Lee Chung-jun with questions derived from Buddhist Philosophy. As it scrutinized, Lee has dedicated himself to widening critical mind and search for the answer by Buddhist ontology, good-evil theory and viewpoint of language and world. In 〈Rebirthing Words〉, by the Tea Ceremonies of Buddhist figure Cho-Eui, Lee seeks for the clue of true words beyond fake words. In 〈Bi Hwa Mil Gyo〉, Lee's quest for answer broadens the suffering of writer -what and how to write- into reflection on representationalism. In 〈In Gan In〉, based on Buddhist ontology and evil-good theory, ontological search of the way from awakening of Theravada Buddhism to practice of Mahayana Buddhism is located. In kunstlerromans such as 〈House of Wings〉 and 〈Mu So Zak〉, matters of dualistic conflict such as subject-object and life-death are delineated by liberal artists who accomplished non-dualistic and Infusionalistic state. As it mentioned above, Buddhist philosophical questions are placed in the depth and tugs Lee's writing. Therefore, Lee's novel may well be comparable with the process Buddhist topics get unraveling. Throughout the way Lee seeks answers on these questions, his novels spontaneously make close look on the contact point of Buddhist philosophy and post- modern thought.

언어문화적 상상력으로 읽어 본 〈천전리(川前里) 암각화〉

한순미(Han Soon-Mi) 국어국문학회 2007 국어국문학 Vol.- No.147

The aim of this study is to consider cultural/historical facet of prehistorical art by 〈Petroglyphs in Cheon-Jeon-Ri(川前里)〉 which preserve continuous trace from the Bronze Age until early to middle Silla dynasty. For making scrutiny into the general symbolic structure of Sill a , I set a 'iconotext' with three other materials. petroglyph image as an artistic text. inscription(銘文) on 〈Petroglyphs in Cheon-Jeon-Ri〉 as historical text. and 〈ode to comet〉 as a literary text and then. In this standpoint. reading with 'cultural/linguistic imagination' means a methodological way which considers cultural/historical phrase and communicational structure. Thus, this treatise has an eye to carry out the further ground of interdisciplinary study by means of 'cultural/linguistic imagination' rather than transcending new interpretation. 〈Petroglyphs in Cheon-Jeon-Ri〉 have images incised by the Bronze Age and list of visitors including loyalty and Hwarangdo members of early Silla dynasty. In chapter 2, by analyzing an inscription what is called Won-myung(源銘) and Chu-myung(追銘) in a historical context, as it turned out, 〈Petroglyphs in Chson-Jeon-Ri〉 are a sort of texts represent cultural/ historical and spiritual/ideal ground. Regarding these fact that Silla authorized the Buddhism in the 15th year of Bubhung King(A.D. 528) and Hwarangdo was reorganized thoroughly in the 37th year of Jinhung King (A.D. 576), the political purpose and motive of their visiting can be clarified. Also, the connection between changed status of early to middle Silla loyalty and the inscription is revealed. The trace found around the site of 〈Petroglyphs in Cheon-Jeon-Ri〉 recover that this patroglyphs have associated with the belief in the God of Mountain and especially with 'Uroh-san-soo(Affection for mountains and rivers 遊娛山水)' of Hwarangdo. In chapter 3, reading by overlapping is used as a method for diversified understanding on materials given above And as a result of application on Yungchunsa's 〈Ode to comet〉, the context and meaning of 'Amusements(遊)' are extended. The 〈Ode to comet〉 seems to be a healing amusements for the people of Silla who rendered a connection between the appearance of comet and human acknowledge and historical context, they sought a way to overcome the fear of repeating astronomical phenomena. In chapter 4, I try to find the clue for interpretation of images in 〈Petroglyphs in Cheon-Jeon-Ri〉 by means of conclusions drawn above. In the result, 〈Petroglvphs in Cheon-Jeon-Ri〉 was served as the map of astronomical phenomena (天文圖) in Silla dynasty and utilized as ritual space. The images in petr oglyphs have meant' documentary picture(記錄畵)' which shows the political group's process of conflict and reconciliation from Bronze age to Silla's early to middle period as well. The last chapter is employed for reflection on the limit of this treatise and examination on the other task and possibility for further study.

분노와 유머

한순미(Han, Soon-Mi) 전남대학교 5.18연구소 2012 민주주의와 인권 Vol.12 No.3

‘고향’이라는 미정형의 기호 - 1980년대 김현 비평의 전개 과정과 숨은 원리 -

한순미 ( Han Soon-mi ) 전북대학교 인문학연구소 2016 건지인문학 Vol.17 No.-

Hometown shown in Kim Hyun Criticism is not limited to his actual hometown only. The hometown in his criticism implies more than a specific place, showing the images with different context. It is a certain place which raises a critical question at the intersection point of various hometowns including the writer’s actual hometown as a subject for analysis, the hometown as a background of work, and the character’s hometown. Gwangju in May 1980 had a decisive effect on his criticism to get sharper in “his historical point of view” compared to his criticism before 1980. Since Gwangju Democratic Uprising, he set ‘the hometown’ as his subject of discussion, drastically exploring “the meaning of violence” and “the root of desire.” The hometown in his criticism in 1980’s appears as different context and meanings. His study on the meaning of violence drastically made since 1980 has been led to the analysis of internal experience of art. In the process, he saw the desire wriggling out of the violent world in Namdo Sori. Sori is what allows to let out of the world of violence which totally destroys and damages to human life, that is, the hometown as the space where art exists. As shown above, the hometown shown in Kim Hyun Criticism has been getting close to hometown in Namdo since Gwangju in 1980. But, we can not define the hometown in his criticism as a single image or meaning. The hometown(s) exists in the process of building and constructing a new world, destroying and destructing the existing world. It is why we call the hometown still alive in Kim Hyun Criticism as ‘Undetermined Sign.’

한센인의 삶과 역사, 그 증언 (불)가능성

한순미(Han, Soon-Mi) 전남대학교 5.18연구소 2014 민주주의와 인권 Vol.14 No.3

분홍빛 목소리

한순미(Han, Soon-Mi) 부산대학교 한국민족문화연구소 2017 한국민족문화 Vol.62 No.-

근대 이후 한국 한센인들이 남긴 증언과 역사 기록, 문학작품, 그리고 잡지 ≪새빛 The Vision≫에 수록된 자료들은 그동안 충분하게 드러나지 않은/못한 한센인들의 삶과 역사를 읽을 수 있는 소중한 유산이다. 그런데 이 ‘추방된 자의 삶’(조르조 아감벤)의 기록에서는 하나의 목소리가 아니라 누구의 것인지 밝힐 수 없는 목소리들이 겹쳐 들린다. 이것은 ‘서발턴은 말할 수 있는가?’(가야트리 스피박)라는 질문 외에 더 복잡한 물음들을 불러온다. 누구의 목소리인가? 그 목소리는 어디에 위치해 있는가? 어디로 갈 것인가? 우리의 과제는 여러 유형의 텍스트들을 겹쳐 읽기 함으로써 이 모호한 목소리들의 행간을 듣는 것이다. 한센인의 자전서사에서는 ‘빛/어둠’, ‘유랑/낙원’의 대조적 이미지가 반복해서 등장하는데 그 의미는 중층적이다. “밝은 빛”, “새빛”은 유랑하는 삶과 미래의 낙원을 동시에 표상한다.(심숭, 한하운) 한센병의 몸에 나타난 “분홍빛” 반점은 절망과 저주의 낙인을 상징한다.(윤지영) 아울러 한센인들의 증언과 실화에 나타난 유랑과 이주의 행로를 역사문화적 맥락에서 독해할 것이다.(심전황, 김백) 사실과 허구, 역사와 문학의 경계가 분명하지 않은 서사의 ‘혼종성’(호미 바바)은 한센인의 비극적인 삶과 역사를 보여주는 징후이자 사회의 차별적 시선을 향한 저항적 전략으로 해석할 수 있다. 한편 한센인 자전서사에서 여러 모티프를 수용, 변용하고 있는 이청준의 소설 당신들의 천국에서 분홍빛 섬, 소록도는 낙원과 공동체의 가능성을 다시 묻는 장소이다. 특히 소설 속의 인물들이 보여주는 섬에의 미메시스(발터 벤야민)적 충동을 낙인의 기억을 다르게 말하고 쓰는 실천적 행위로 읽었다. 한센인의 실재와 만나기 위해서는 다양한 숨결과 목소리가 교차하는 말들의 장소에 귀를 기울여야 한다. 이를 계기로 공식적인 역사에 기록되지 못한, 그러나 아직 소멸되지 않은 낙인의 기억과 흔적을 드러낼 수 있길 기대한다. ‘낙인의 문학사’는 동아시아 한센인 수용소의 기억 연구와 식민지 근대성 연구를 비교할 수 있는 토대가 될 수 있을 것으로 생각한다. The testimonies, historical records, literary works, and data found in the magazine The Vision that were left by Korean Hansen’s disease patients since the establishment of the modern age are a valuable heritage that allow us to read the life and histories of Hansen’s disease patients, which have not been sufficiently revealed. However, rather than one voice, overlapping and unidentifiable voices are heard from the records of the “life of the expelled”(Giorgio Agamben). This brings up more complex questions in addition to the question, “Can the Subaltern Speak?”(Gayatri Chakravorty Spivak): Whose voice is it? Where is the voice positioned? To whom is the voice spoken? Where will they go? Our task is to read between the lines of these vague voices by reading various types of texts together. Contrasting images such as light/darkness and wandering/paradise appear repeatedly in the autobiographical narratives of hansen’s disease patients, and their meanings are multi-layed. Bright light and New light simultaneously represent a wandering life and the paradise of the future(Soon Sim, Ha-Woon Han), while the pink spots on the bodies of Hansen’s disease patients symbolize the stigmas of despair and curse(Ji-Young Yoon). Furthermore, the paths of wandering and migration that appear in the testimonies and real life stories of Hansen’s disease patients will be comprehended within historical and cultural contexts(Jeon-Hwang Sim, Baek Kim). The Hybridity(Homi K. Bhabha) of narratives with unclear boundaries between fact and fiction and between history and culture can be interpreted not only as a sign of the tragic life and history of Hansen’s disease patients, but also as a resisting strategy against the discriminatory view of society. In contrast, in the novel Your Paradise by Yi Cheong-jun, which accepts and transforms various motifs in an autobiographical narratives of Hansen’s disease patients, the pink land Sorokdo is a place where the possibility of paradise and community is asked for again. In particular, the impulse of Mimesis(Walter Benjamin) exhibited by the characters in the island in this novel is read as a practical action that differently speaks and writes the memories of stigma. To understand the reality of Hansen’s disease patients, we must listen to words at a place where various breaths and voices are crossed. I hope that the memories and traces of stigmas that have not been recorded in official history and have not been extinguished yet will be revealed. I believe that the “Literary History of Stigma” can become a foundation for comparing research about Hansen’s disease patients’ memories of camps in East Asia and research of colonial modernity.