‘삐라를 든 여자들’의 냉전 -해방/전쟁기 여성작가 김말봉의 행로와 문화냉전의 젠더정치- (Cold War of Women Holding ‘Billa(Leaflets)’ -Female Writer Kim Mal-bong’s Life in the Liberation/Wartime Era and the Gender Politics of Cultural Cold War-)

서지정보

· 발행기관 : 한민족문화학회
· 수록지 정보 : 한민족문화연구 / 68권 / 68호 / 165 ~ 224페이지
· 저자명 : 김경연

초록

이 글은 해방과 점령, 단정수립과 전쟁으로 이어지던 시기 남한에서 활동했던 여성작가 김말봉의 문학 행로를 통해 여성이 통과해간 해방과 냉전의 의미를 독해하고 문화냉전의 젠더정치를 조명하고자 했다. 식민지시기 여성운동가이자 대중작가로 활약했던 김말봉은 해방공간에서 아나키즘 여성운동가로 복귀하는 한편 공창폐지운동을 여론화하기 위해 『카인의 시장』을 집필하면서 작가로 귀환했다. 문학을 여성운동의 전략적 미디어로 활용하면서 여성구제를 위해 분투했던 김말봉은 그러나 남한에 단정이 수립되고 특히 한국전쟁을 경험하면서 중도적 입장의 아나키스트에서 반공주의자로, 매춘여성의 해방을 실천하던 여성운동가에서 공산진영과 싸우는 문화전사로, 남녀동등의 낙토를 열망하던 여성시민에서 가부장적 국가를 승인하는 여성국민으로 이행해 갔으며, 김말봉의 해방/전쟁기 소설들은 이와 같은 굴절을 고스란히 현상하고 있다.
해방기 『카인의 시장』을 통해 여성시민의 도래를 알리고 여성의 민주주의를 웅변했던 김말봉은 전시에 개작한 『화려한 지옥』에서는 이들 진취적 여성청년들을 남성국민을 조력하는 여성국민으로 포획하면서 가부장적 국가주의에 편승해 갔다. ‘반공주의-친미주의-자유민주주의’를 전파한 냉전서사 『별들의 고향』에서도 남성은 반공국민의 적자로 추대되는 반면, 여성은 공산주의에 오염된 사악한 ‘빨갱이/적’으로 퇴치되거나 혹은 남성을 받들고 조력하는 ‘아내-어머니/국민’으로 살아남게 된다. 여성시민으로 썼던 『카인의 시장』에서 발아한 여성주의는 여성국민으로 다시 쓴 『화려한 지옥』이나 『별들의 고향』에서는 가부장주의에 여지없이 압도되며, 식민체제에서 여성의 자각과 민족/민중 해방을 견인한 이념으로 작가가 동조했던 사회주의는 냉전체제의 부상 속에서 반공주의에 일소된다. 사회주의 혹은 공산주의를 적시(敵視)하고 여성주의를 억압하며 오직 반공국가주의에 전신하는 여성작가 김말봉의 행로를 통해서 해방공간에서 남녀동등의 낙토조선을 상상하며 삐라를 들었던 여성들이 걸어갔던 냉전의 질곡을 가늠해 보고자 했다.

영어초록

Through Kim Mal-bong who experienced volatility in the period of historical ebb and flow led by liberation, trusteeship, establishment of a single government, and the Korean War, this study intended to delve into the meaning of liberation and Cold War that female writers went through and to interpret gender politics triggered by the Cultural Cold War.
Kim Mal-bong was the “Great Mastress of the Literary Circles” who gained popular support with her novels “Jungle” and “Wild Rose,” and was also the “Pioneer of Women’s Liberation Movement” who was involved in the “Geunwohoi(Women’s Association of the Roses of Sharon)” and “Jungwoi Ilbo(Inside and Outside Daily).” To return as a female anarchism activist and encourage the abolition of licensed prostitution in liberated Korea, she returned as a female author by writing “Cain’s Market.” Kim Mal-bong used literature as strategic media as women’s movements and strived for the liberation of women and gender equality. However, with the establishment of single government in South Korea and especially the outbreak of the Korean War, Kim turned into a “cultural woman” in the Democratic camp who “fought with a pen” at the forefront of the Cold War. Published during the liberation period /Korean War era, her novels develop her changes, from a central anarchist to a fervent anti-communist; from a female activist who actively called for the liberation of prostitute women to a “cultural warrior” fighting against the Communist camp; and from a female citizen who yearned for a paradise of gender equality to citizen who approved a patriarchal nation.
Immediately upon liberation, Kim Mal-bong banded with other women under a public ideology of the abolition of prostitution through “Cain’s Market” and created female citizens who punished unfair male power while dedicating themselves into politics instead of romantic relationships, advocating for women’s democracy. However, Kim pursued a patriarchal nationalism in her remake novel “Splendid Hell” during the war, by turning herself into a woman citizen who assisted her exemplary husband. In addition, the “Hometown of Stars” published during the war is a novel that reflects the Cold War anti-communism and strong nationalism. Throughout the entire Cold War that propagates the doctrine of the Free World, “Anti-communism—Pro-Americanism—Liberal democracy,” men are inducted into the legitimate sons of anti-communist country; however, women are eliminated as ‘Evil Commies and enemies’ polluted by communism or survive as ‘Mother—Wife—People’ who revere and help men.
Thus, in the anti-communist narrative that welcomes ideological compatriots as equal compatriots transcending ethnicity, class, and gender, women in fact were nothing but ‘second-class citizens’ who assist male citizens. Holding billa on streets, Kim Mal-bong imagined female adolescents who bonded by the ideology of women’s relief, as the image of women to come. However, Kim transformed into a cultural warrior of Cold War anti-communism and distorted these promising, forward- moving women into ‘improper and rebellious women’ and created ‘whole-rounded women’ as the angels of household who volunteers for the patriarchal country.

참고자료

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