고노 후미요 원작 만화와 애니메이션 『이 세상의 한구석에 』론 – 전쟁 기억의 재현방식과 기억의 장소로서의 구레와 히로시마와 스즈의 신체성을 중심으로 – (A study on the Fumiyo Kono’s Original Manga and Animation “In this Corner of the World" -Focusing on the method of recreating war memories and as a places of memory Kure, Hiroshima, physicality of Suz)

서지정보

· 발행기관 : 한국외국어대학교 일본연구소
· 수록지 정보 : 일본연구 / 93호 / 137 ~ 163페이지
· 저자명 : 심수경

초록

本論文は、2006年～2009年に発表されたこうの文代の漫画『この世界の片隅に』とこの漫画を原作として2016年に製作されたアニメーション『この世界の片隅に』が反戦平和文学として論じられていることに対する問題提起から論じられた論文である。本論文では、女主人公のすずの人物造形と戦争記憶の再現者としてのすずのナラティブを通じて、個人のナラティブがいかに共同体のナラティブとして確立されていくかを考察した。また、この作品の主な空間である広島と呉の持つ場所の意味を照明した。呉は空襲ですずの右手と姪をなくした記憶の場所であり、広島はすずの家族が犠牲になった場所である。何より、すずの失われた右手の空間は被害の集合体として戦争を記憶し再現する出発点となる。この作品分析を通じて、この作品は日本の他の戦争文学と同じように被害者としての女性と被害者の立場で反戦平和を語っていることには変りないと指摘した。ただ、原作とアニメーション作品に韓国の国旗とともに曖昧ではあるが、加害者としてのナラティブが表れていることは進展した歴史認識とも言える。しかし、戦争責任への反省の言説として登場しているとも思われるこの場面は、それまで社会体制に順応的だったすずの行動から唐突感を否めない。韓国の太極旗一つに戦争責任に関する認識と言説をすべて表そうとしたのは、かえって歴史認識の甘さを露呈しているとも言える。より客観的で徹底した歴史認識の上で反戦と平和を語る努力が求められる。

영어초록

This thesis examines the characteristics of the female protagonist Suzu and her role as a reproducer of war memories, focusing on Fumiyo Kono's original manga "In this Corner of the World" published in 2006-2009 and an animated film produced in 2016. Through this, we examined how individual narratives are established as collective narratives. In addition, the meaning of the places of Hiroshima and Kure, which are the main spaces of this work, was highlighted.
Kure is the Suzu's memories place where of the air raid, loss of hers right hand, and the death of hers niece are imprinted on her, and Hiroshima is the place where Suzu's family was sacrificed. Both of these spaces are remembered as spaces of damage. Above all, Suzu's body is a collection of damage, and it is a space of damage that embodies the damage of war in person, and serves as a starting point to remember and reproduce the war after the war. Through an analysis of this work, I pointed out that this work, like other Japanese war literature, talks about anti-war peace from the standpoint of women and victims as victims. However, it can be said that the fact that the words of the perpetrator appear in the original and animated works, albeit ambiguous, along with the Korean flag, is an improvement in historical awareness. However, it is undeniable that this scene, which seems to appear as a discourse of remorse for the responsibility of the war, is abrupt from Suzu's behavior, which until then was adaptive to the social system. It can be said that the author's attempt to express all perceptions and discourses about war responsibility in a single Taegeukgi reveals the naivety of historical perception. Efforts are required to talk about anti-war and peace based on a more objective and thorough understanding of history.

참고자료

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