최남선의 「천산유기」에 나타난 타자화의 논리 - 식민지적 무의식과 식민주의적 무의식의 경계 혹은 주변에서의 글쓰기 (A Syudy on Otherization in 「Cheonsan yuki(「千山遊記」)」 of Choi Nam-seon(崔南善))

서지정보

· 발행기관 : 한국문학이론과비평학회
· 수록지 정보 : 한국문학이론과 비평 / 13권 / 1호 / 453 ~ 480페이지
· 저자명 : 문성환

초록

This paper examines the logic of subjectification and otherization which appears in Choi Nam-seon(崔南善)'s 「Cheonsan yuki(「千山遊記」)」. Choi Nam-seon travelled Cheonsan which was located in Manchuria(滿洲) in 1941 during the period of Manchu-kou(滿洲國), and left the travelogue. The 「Cheonsan yuki(「千山遊記」)」 shows a perspective that is different from the travelogues in 1920's. This difference comes from the otherization of himself as the one that stood in margin or the boundary.
Through diverse forms of écriture, Choi Nam-seon was, directly or indirectly, connected to the inside and outside of modern Korean literature. They not only embody the creation and diversion of many modern perceptions including those of literature, but also include the assemblage of discourse surrounding the unconsciousness and desire of colonial intellectuals. Hence, the study of Choi Nam-seon's écriture and his intellectual journey provides an important clue to the understanding of modern Korean literature and Koreas's process of modernization. It is practically impossible to explain Korea's modernization and the diverse assemblages of perception that unfold themselves throughout that process, without touching on Choi Nam-seon who ceaselessly produced diverse forms of écriture from the Modern Enlightenment Era to all the way down to the post-Korean War period. This is why studying Choi Namseon does not stop at studying Choi Nam-seon alone, but expands its meaning to studying the modern Korean literature of which Choi Nam-seon is a part.

영어초록

This paper examines the logic of subjectification and otherization which appears in Choi Nam-seon(崔南善)'s 「Cheonsan yuki(「千山遊記」)」. Choi Nam-seon travelled Cheonsan which was located in Manchuria(滿洲) in 1941 during the period of Manchu-kou(滿洲國), and left the travelogue. The 「Cheonsan yuki(「千山遊記」)」 shows a perspective that is different from the travelogues in 1920's. This difference comes from the otherization of himself as the one that stood in margin or the boundary.
Through diverse forms of écriture, Choi Nam-seon was, directly or indirectly, connected to the inside and outside of modern Korean literature. They not only embody the creation and diversion of many modern perceptions including those of literature, but also include the assemblage of discourse surrounding the unconsciousness and desire of colonial intellectuals. Hence, the study of Choi Nam-seon's écriture and his intellectual journey provides an important clue to the understanding of modern Korean literature and Koreas's process of modernization. It is practically impossible to explain Korea's modernization and the diverse assemblages of perception that unfold themselves throughout that process, without touching on Choi Nam-seon who ceaselessly produced diverse forms of écriture from the Modern Enlightenment Era to all the way down to the post-Korean War period. This is why studying Choi Namseon does not stop at studying Choi Nam-seon alone, but expands its meaning to studying the modern Korean literature of which Choi Nam-seon is a part.

참고자료

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