전쟁소설에 나타난 식민주체의 이중성-박완서의 <나목>을 중심으로 (Rereading Par Wan-So's The Naked Tree : Beyond the Constructionism)

서지정보

· 발행기관 : 한국여성문학학회
· 수록지 정보 : 여성문학연구 / 10호 / 117 ~ 137페이지
· 저자명 : 최성실

초록

여성의 성이란 주어진 사회적인 환경에 의해서 구성되는 구성의 산물이라고 한다면 이러한 구성주의적 사각 못지 않게 중요한 것이 '구성되지 않는 것'에 대한 것이다. 여성성도 일종의 이데올로기적인 허구에 불과하다면, 이때 중요한 관건이 되는 것은 이러한 자기 지시적이고 동어 반복적인 수행적 조작이란 무엇인가를 따져보는 것과 동시에 수행되지 않는 구성되지 않는 것으로서의성 정체성의 의미에 대한 분석적 해석이라는 것이다. 구성주의를 넘어서 반구성주의적인 시각까지를 포함한 성 담론에 대한 논의가 필요한 이유는 상징화될 수 없고, 길들여지지 않는, 다시 말하면 고착적인 이데올로기로 환원되지 않은 최종적인 버림목에 대한 논의가 중요하기 때문이다.
사실상 여성을 단지 전쟁, 지배 이데올로기의 회생양으로만 규정할 수없는 부분들이 분명 존재하고 있으며 그것은 여성 혹은 피지배자의 정체성은 지배적인 이데올로기를 내면화시키면서동시에 동화되지 못하고 남아 있는 정체성의 잉여분을 포기하지 않는다는 사실과 밀접한 관련이있다. 그것은 사소한 일상을 통해서 지배적인 이데올로기로 환원되는 자기 동일성과는 무관하게, 구성되지 않은 채 남아 있는 성 정체성이 갖는 의미와 나아가서 전시 신식민지체제 하에서 여성의 성장의 의미란 무엇인가를 싣도 있게 따져 볼 수 있는 시발점이 될 수도 있는 것이다.
그런 측면에서 본다면 동방예의지국이라는 동양의 신화로, 혹은 가부정적 논리의 회생양으로도 환원하지 되지 않는 주인공 경아의 정체성은 <나목>의 의미를 다시 한번 생각하게 하는 문제적인 대목이다. 왜냐하면 경아가 보여주는 정체성 형성의 과정은 타자와 길항하는 자기 동일화의논리란 항상 이중적이고 양가적인 방식으로 존재할 수밖에 없다는 사실에 대한 심도 있는 논의를가능하게 하기 때문이다. 여성의 주이상스가 가부장제의 경계선을 넘나드는 부재와 결핍의 산물이라면, 신식민지 시기 여성의 주이상스는 큰타자인 미국의 경계를 자연스럽게 넘나드는 '부재와 결핍'의 응결체였던 것이다. 이를 통해 경아는 콘타자를 매개로 하여 형성된 구성적인 것들을거부하면서 비-자기 동일성의 정치성의 여성성을 형성해갔던 것이다. 그리고 이미 분열된 경아의의식은 옥회도씨라는 결여를 안고 있는 존재와 결합을 시도하려고 하지만, 결국 자신의 결핍의자리를 메우지는 못했던 것이다.
자신과 동일시의 대상으로 인식했던 옥회도씨와의 사랑은 자기 동일성, 통합의 환상에 불과했던 깃이다. 오히려 욕회도씨기 '블우한 시절, 온 민족이 안단했던 시점'의 나목이라면 이는 신식민지 체제하에서 한국인의 정체성이란 무엇이었는가에 대한 질문으로 확대해서 생각해볼 수도있을 것이다. 식민화 되지 않은 채 잉여물로 남아 있는 바자기 동일성의 정체성이란 PX시절 경아가 미국과 미국인에 대해서 우리와의 '차이' 라고 인식했던 것과 무관하지 않은 것이다. 한국 전쟁을 겪으면서 성장한 여성의 문제가 면밀하게 검토되어야 하는 것도 바로 이러한 전략적 사유가갖는 현실적인 응전력 때문이라고 하겠다.

영어초록

If the feminity is said to be the product of construction, formed by given social conditions, the attention to the non-constructed' is important as well as this constructionist point of view. If the feminity is an only ideological fiction, the following is surely required; the analytical interpretation on the meaning of sexual identity as the non-constructed and the non-performed as well as the analysis on the performative operation that is self-referring and repetitive. The reason why arguments about the sexuality discourse including dis-constructionism beyond the constructionism is needed is that the argument on the final prop which cannot be symbolized, tamed and reduced to the ideology is important.
In fact, we cannot regard the woman as the victim of war and dominant ideology, which is closely related with the fact that the identity of woman or the governed internalizes the dominant ideology and never abandons the unidentified and left surplus of identity at the same time. As Judith Butler says, if the sexual identities of the woman and the man are constructive and performative, what must be presented as a strategy is but the interest on the non-performative and non-constructed, not the factor of performance and construction. Through the process of growth, if we approach analytically to the parts where social conflicts are internalized or the surplus is left, we can discuss not only the development of the war and the woman but the disidentity beyond the feminine constructed socially. It is significant because it can be the point of departure where the meaning of sexual identity which is not constructed regardless of the self identity reduced to the dominant ideology through everyday life and the meaning of growth of the woman under the neocolonial governance during the war can be profoundly remarked.
The Naked Tree is a novel that implies various issues, related with the specific korean situation or the Korean War. Especially, in comparison with another 1950's novels that take the war as their settings. The Naked Tree is an arguable novel because it reveals how a woman 'grows', going through the war. In this novel, the problematic issue of how the subject is formed in the process of growth is finely depicted in the special background. The subjects, in deed, give the common lack to their counterparts. The woman is not the complement for the man but the embodiment of his lack in this point of view. She says, "It's not because of you. Because of the war. This crazy war kill two of us in turn after a while. None can be freed from the crazy hand", eager for the love of Ock Huido, but it is not simple like that. In a sense, that she loves Ock Huido is also for the desire to escape from the boundaries of traditional moral conventions. This is also the regret at the mother who was obsessed with the past memories and made her die slowly and the disobedience to the family members who wanted to make her a moderate woman under the name of the main branch of family. In addition, it is the resistance against the eye of an American soldier of PX, who pointed to her and viewed her as if she were a passive woman of the East country of courtesy.
Therefore, Ock Hui-do was the object of a liaison outside the commonsense love and at the same time, the lack of Kyung-a who was willing to be freed from all the dominant ideologies. The stronger her desire to escape from the social norms like the morality is, the severer her obsession with Ock Hui-do is. He is a dropout in the entire Korean society, the powerless leader in the house, the marginal man who has the possibilities of liaison in relations with Kyung-a. Eager for Ock Hui-do, Kyung-a says "Because of the war. This crazy war kill us in turn soon, None can be freed from this crazy hand", and Ock Hui-do cries out, "I want to be a human being. I want to make sure that I am a human being". These scenes imply that they mutually confirm their lack. For Kyung-a, Ock Hui-do is a character who has the anxiety and the impoverishment of war thoroughly and his behaviors make some surplus, which cannot be adjusted to the given circumstances and reduced to the frame of the dominant ideology.
Inspite of this, she came to marry Tae-su because of his continual courtship and the surroundings. The marriage becomes the motivation that makes her accept the reality and internalize the conflicts. The marriage was the very social agreement that was under the control of the phallus so Kyung-a cannot handle. The real situation which makes her marry someone she does not love grows dramatic. The marriage is to enter the field under the control of the phallus and the field of patronymic names for her. The marriage with Tae-su was rather the result of acceptance than her will. Kyung-a adjusts to the given reality and can't help marrying him, however, she never forgets Ock Hui-do, who is left as the surplus after the marriage. Like she feels that her husband is the other, Ock Hui-do is not the object evoking her complete identity but the existence evoking the property of disidentity, as the other that intermingles with herself. Even though she gets the name of wife through the marriage and the name of mother through the delivery, she cannot define her own identity and her existence by means of any name, This means that the identity of a woman exists as the obscurity and ambiguity that is not reduced to the social and the constructive.
Moreover, as she says, if Ock Hui-do is the naked tree of "the desperate period, the period when all the people were in the darkness", it can be widely rethought as the question of what the korean identity is under the neocolonial governance. What is the identity that is not colonized and left as the surplus? Maybe it is internalized in the things that Kyong-a thought of as the differences, of America and Americans, (Her) identity that is not reduced to the oriental myth of the East country of courtesy, or to the logic of patriarchy is elaborated in the crossing process of the identity, which makes and conceals the operational ways of the desire at the same time. And the reason why this crossing process is important is that through this, the profound remark is possible, the remark on the fact that the logic of identification related with the other is always dual and ambivalent. This realistic power of response that this strategic cogitation has requires the problem of a woman who grew through the Korean War to be examined in detail.

참고자료

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