김사량 문학 연구

Abstract

국문요지

이 논문은 식민지 말기 김사량의 문학에 드러나는 ‘문학적 기획’에 얽힌 주체의 욕망 구조를 ‘에스니’와 ‘번역’ 틀 속에서 드러내는 것을 그 목적으로 삼는다. 36세의 젊은 나이로 생을 마감하기까기 그는 10여년 남짓한 문단활동을 했고 이 중 아쿠타가와 상 후보로 뽑힌 「빛 속으로」(1939)를 시작으로 장편「태백산맥」(1943)에 이르기까지 4년간 일본어 창작에 매진하였다. 이 시기는 그의 문학작품의 6할 가량이 발표된 시기로 가장 활발한 창작을 보여주었던 시기이기도 하다. 그동안 이 시기의 일본어 창작물에 대한 평가는 언제나 ‘저항과 협력’이라는 잣대 속에서 민족의 복리에 부합하나, 이반하나를 따지는데 집중되어 왔다. 이러한 평가 잣대는 분명 일제에 의해 진행된 제국주의적 기획이 가진 폭력성을 고발하는 차원에서 큰 의미를 가질 수 있다. 그러나 중일전쟁, 태평양전쟁 등으로 대표되는 긴박한 시국 속에서 ‘대동아 공영권’에 대한 무조건적 찬동이 강요되던 현실이라는 점을 감안할 때, 이러한 평가는 현실적 제약 속에서 벌어진 저항의 영역의 가치를 간과하는 결과를 발생시키기도 한다. 더불어 저항성과 결부된 주체의 욕망의 차원에 대한 의미화 작업 역시 간과되기 십상이다. 본고는 ‘이중어 글쓰기 공간’에서 활발히 활동했던 김사량의 문학이 이러한 평가기준 속에서 그 풍부한 함의를 충분히 드러내지 못한다는 문제의식을 가지고 접근한다. 먼저 김사량이라는 작가를 평가할 때, 빈번하게 동원되는 ‘민족작가’라는 술어가 김사량에 이접될 때 빚어지는 오류를 살펴보기 위하여 ‘민족’이라는 ‘네이션’(nation)의 번역어가 지닌 복합적 의미층을 ‘에스니’(ethnie)라는 개념어를 통해 분절했다. 또한 이 ‘에스니’(ethnie)라는 용어를 김사량의 내면에서 욕망의 운동을 촉발시키는 상수항을 가리키는 용어로 채택하였다. 그는 자신의 일본어 창작이 ‘조선인의 생활감정을 내지에 호소한다’는 소임을 이행한다는 동기로부터 비롯되었다고 말한다. 이는 조선이라는 자신의 ‘에스니’와 일본이라는 ‘네이션’ 사이에 자신을 놓고 자신의 ‘에스니’를 내지에 전달한다는 문학적 기획이다. 이는 일본어 창작이 열어놓는 ‘번역’이라는 영역 속에서 자신의 ‘에스니’를 일본이라는 ‘네이션’과 등가교환이 가능한 대상으로 실체화 하려는 정치적 기획이기도 하다. 그가 이 기획을 유지하기 위해 점유하는 ‘번역자의 위치’는 전달 내지 소통을 위해 자신의 욕망을 철회하는 위치이기도 하다. 이러한 층위에서 그가 ‘조선’과 ‘내지’ 사이에서 자신의 자리를 말소하는 희생을 지불하고 ‘에스니’의 실체성을 확보한다는 욕망구조를 ‘번역’이란 장 속에서 구성해내고 있다는 것을 확인 할 수 있다. 한편 ‘번역자의 위치’는 두 단위의 집합을 이어주는 사회관계의 제작적 실천을 수행하는 자리임과 동시에 말하는이와 듣는이 사이의 인칭관계를 교란하는 ‘부정항’이기도 하다. 이러한 ‘이중성’에 의해 그는 자신이 옹호하고자 하는 ‘에스니’의 완결성이 ‘내지’와의 비대칭적 관계 속에서 불확정성으로 와해되는 심연을 조우하게 된다. 이는「빛 속으로」와 「천마」속에서 드러나는데, 김사량은 두 텍스트 속에서 ‘서술자의 위치’를 통해 자신의 ‘중개자’적 입지를 고수하며 ‘증상’적 지점을 드러낸다. 나아가 이를 통해 자신이 ‘중개자’의 위치 속에서 조직해낸 ‘조선적인 것’과 ‘일본적인 것’의 대립이 상징적 고정점을 갖지 못하고 불확정성에 내몰린 주체의 상황을 은폐하기 위한 전략의 일환이라는 사실을 분석해낼 수 있다. 김사량은 자신의 ‘욕망’이 유지될 수 없는 이 지점으로부터 물러나서 1941년부터 1942년 2월 조선으로의 귀환 이전까지 ‘조선의 참모습’ 자체에 집중하며 그에 해당하는 다양한 ‘사례’들을 수집하는 것으로 문학적 형식을 전환한다. 이것은 ‘에스니’의 실체성을 옹호한다는 대의를 위해 자신의 자리를 말소한다는 욕망을 유지해나가기 위한 또 다른 방편이자 일종의 ‘도피’로 볼 수도 있을 것이다. 이 시기에 조선을 배경으로 씌어진 소설들은 ‘조선의 진상’에 대한 전형을 창출하는데 관심이 집중되었다기보다 ‘조선의 풍속’을 드러내는데 인물과 공간을 활용한 것으로 파악되기 때문이다. 오히려 일본에 전달할 대상으로서, ‘조선인의 생활감정’을 담고 있는 형상으로 그가 주목한 것은 ‘화전민’이다. 그가 늘 관심을 가지고 관찰했던 ‘화전민’은 르포와 소설이라는 장르적 형식을 수다하게 교체하며 반복적으로 형상화된다. 이러한 반복적 형상화를 통해 그는 조선 에스니의 알레고리에 해당하는 ‘화전민’에 점근선적으로 접근하고 있다는 감각을 얻고 있으며 이 행정 속에서 ‘화전민’으로 유비되는 ‘에스니’의 실체성이 ‘요청’되고 있는 것이다. 1942년 조선으로의 귀환한 후 그는 『국민문학』에 글을 게재하며 일본어 창작을 이어나간다. 자신의 문학적 기획과 현실적 조건의 역학관계가 변환됨과 더불어 전시체제하의 문단통제가 극에 달했던 시기로 조선이라는 ‘에스니’에 대한 강조가 대두되기 어려운 상황이었다. 이에 그는「태백산맥」을 환상의 영역으로 설정하고 그간 대면을 유보했던 ‘화전민’을 전면에 배치한다. 그러나 이 속에서 ‘화전민’은 ‘국민’이 되어야 할 존재로 구성된다. 즉 화전민의 ‘반역자’적 측면이 ‘개척자’적 측면에 압도되고 있다. 역사공간이 허용하는 낭만주의적 ‘이상’은 국책잡지『국민문학』속에서 ‘에스니’의 실체성을 옹호하는 소극성을 뛰어넘어 ‘국민국가’의 논리에 잠식된다. 끝내 화전민들을 낙토에 들여놓지 않고 연재를 끝낸 것은 이렇듯 ‘네이션’의 욕망이 드리우는 인력에 대한 저항으로 보인다. 환상의 영역 속에서도 자신의 ‘실존적 기획’의 형식이 보존되기 어려워진 상황은 이후 그가 2년간의 침묵을 거쳐 연안탈출을 감행한 바와 연결될 수 있을 것이다.|A Study on Kim Sa-ryang’s Literature -With focus on the ‘Position of Translator’ and ‘Desire’-

Lee Dong-jae Dept. of Korean Language & Literature The Graduate School Hanyang University

The purpose of this paper is that the desire structure of the subject tangled in the ‘literary project’ Kim sa-ryang was to reveal in the literature of the late colonial period reveal in the framework in the 'ethnie' and 'translation'. He was literary activities for more than 10 years until his death at the young age. He was sold to the Japanese creation in the four years from 「in to the light」(1939) chosen as a candidate for ‘Akutakawa prize’ to「Tae-Back-San-mac」(1943) During that time, he showed the creation of his most active because he published 60% of his literary works. Evaluation for Japanese creations at that time was focused as to whether Japanese creations corresond with welfare of the nation in standard of esistance and cooperation or not. Standard of these evaluation can have significant meaning because it denounces the violence of imperialism conducted by it in Japan. But Given the reality that forcing were unconditionally approved For the dire situation that is representative of the Sino-Japanese War as the Pacific War in the Greater East Asia Co-prosperity Sphere, These evaluations Generates that value of the Resistance area took place within realistic constraints is overlooked. In addition, signification work of the dimension to resistance coupled with the desire of the subject too is likely to be overlooked. This manuscript approaches with the awareness of issues that briskly active Kim sa-ryang literary is not enough to reveal these undertone in these evaluation standard. First, when evaluating the writer Kim sa-ryang, I divide translations of 'ethnic' 'The Nation' (nation) with complex meaning layer into the ethnie '(ethnie) "Conceptual Terms to see error when the nation writers' predicate is substituted for Kim sa-ryang. In addition, I appoint the ethnie term as a term that refers to the immutableness that sparked the movement of desire of the inner side of the Kim sa-ryang He said that his Japanese creation come from motivation to fulfill the responsibility to appeal to the feelings of Koreans living in Japanese. putting himself between ethnie as Korean and nation as Japan, he prepared project of literary that own ethnie is given Japanese. This is project of poiltics to substantialize own ethnie in the area of Japanese creation's opening 'Translation' and equivalent exchange as a possible target. To retain this project, he occuppying the translator position is in position to withdraw own desire for the communication and delivery. On these floors, we can make confirmation that He paid for a sacrifice to cancel own seat between this 'Japan' and 'Korean' and composed greed structure that ensured substantiality of 'ethnie' In chapters called 'translation'. Meanwhile, 'the situation of translator' is the position, which carry out the poietic practice to connect the set of two units, at the same time, it is the 'negative' to disturb the person-relationship between narrator and audience. Because of this 'duplicity', he encountered that the completeness of 'ethnie' he adhered collapsed into uncertainty in the asymmetric relation to 'Japan'. It was shown in 'Into the light' and 'Pegasus', Kim Sa-ryang clinged to his 'link-man' position by 'the narrator position' and shown 'symptom' point. And then, it is possible to analyze that the conflict of 'Chosunistic thing' and 'Japanese thing' he made in his 'link-man' position is a kind of strategy to hide the situation of the subject that didn't have the symbolic fixed point and was driven into uncertainty. When Kim Sa-rayang stepped back the point where he couldn't satisfy the 'desire', during 1941-Feb 1942, he changed the literary style by focusing on the 'real face of Chosun' and collecting various 'instances'. It could be another expedience and a kind of 'escape' to maintain the desire to erase his position for the general effect protecting the true nature of 'ethnie'. Because the novels he wrote during the period shown that they utilized people and spaces to reveal 'the custom of Chosun' rather than to create the model of the 'truth of Chosun'. Rather, he paid attention to the 'slash-and-burn farmer' as a model of the 'life feeling of Chosun people' in order to deliver it to Japan. the 'slash-and-burn farmer' he observed with attention always was embodied repeatedly by changing genre styles such as reportage and the novel many times. By this continuos imagery, he got the feeling to approach to the 'slash-and-burn farmer' asymptotically which is the allegory of ethnie of Chosun, and the truth of 'ethnie' which was analogized as a 'slash-and-burn farmer' was 'demanded' in the administration. In 1942, after coming back to Chosun, he continued to Japanese language writing by contributing to 'People's literature'. It was hard to emphasize to 'ethnie' of Choson because his literature plan and the dynamics of realistic conditions was changed and literature censorhip went to extremes. Therefore, he established 'Tae-Back-San-mac' as a domain of fantasy, and he put the 'slash-and-burn farmer' in front that he deferred to face before. But the 'slash-and-burn farmer' was composed to 'people' in this. That is, the aspect of 'traitor' was overwhelmed by aspect of 'pioneer'. In the national project magazine 'people's literature', romantic 'ideal' history-space allowed was encroached by 'people's nation' logic which was more than passivity to adhere the truth of 'ethnie'. He finished the series not to allow the 'slash-and-burn farmer' to the paradise, it seemed to resist against the gravity of the desire of 'nation'. After 2 years silence, he tried coast escape, that was connected to the environment that is difficult to preserve his own style of 'project of existence' even in the fantasy area.

▔▔▔▔▔▔▔▔▔▔▔▔▔▔▔▔▔▔▔▔▔ keyword : ethnie, nation, translate, the schema of configuration, desire, project of existence, duplicity of translation, slash-and-burn farmers, asymptotic approach, abyss, real; A Study on Kim Sa-ryang’s Literature -With focus on the ‘Position of Translator’ and ‘Desire’-

Lee Dong-jae Dept. of Korean Language & Literature The Graduate School Hanyang University

The purpose of this paper is that the desire structure of the subject tangled in the ‘literary project’ Kim sa-ryang was to reveal in the literature of the late colonial period reveal in the framework in the 'ethnie' and 'translation'. He was literary activities for more than 10 years until his death at the young age. He was sold to the Japanese creation in the four years from 「in to the light」(1939) chosen as a candidate for ‘Akutakawa prize’ to「Tae-Back-San-mac」(1943) During that time, he showed the creation of his most active because he published 60% of his literary works. Evaluation for Japanese creations at that time was focused as to whether Japanese creations corresond with welfare of the nation in standard of esistance and cooperation or not. Standard of these evaluation can have significant meaning because it denounces the violence of imperialism conducted by it in Japan. But Given the reality that forcing were unconditionally approved For the dire situation that is representative of the Sino-Japanese War as the Pacific War in the Greater East Asia Co-prosperity Sphere, These evaluations Generates that value of the Resistance area took place within realistic constraints is overlooked. In addition, signification work of the dimension to resistance coupled with the desire of the subject too is likely to be overlooked. This manuscript approaches with the awareness of issues that briskly active Kim sa-ryang literary is not enough to reveal these undertone in these evaluation standard. First, when evaluating the writer Kim sa-ryang, I divide translations of 'ethnic' 'The Nation' (nation) with complex meaning layer into the ethnie '(ethnie) "Conceptual Terms to see error when the nation writers' predicate is substituted for Kim sa-ryang. In addition, I appoint the ethnie term as a term that refers to the immutableness that sparked the movement of desire of the inner side of the Kim sa-ryang He said that his Japanese creation come from motivation to fulfill the responsibility to appeal to the feelings of Koreans living in Japanese. putting himself between ethnie as Korean and nation as Japan, he prepared project of literary that own ethnie is given Japanese. This is project of poiltics to substantialize own ethnie in the area of Japanese creation's opening 'Translation' and equivalent exchange as a possible target. To retain this project, he occuppying the translator position is in position to withdraw own desire for the communication and delivery. On these floors, we can make confirmation that He paid for a sacrifice to cancel own seat between this 'Japan' and 'Korean' and composed greed structure that ensured substantiality of 'ethnie' In chapters called 'translation'. Meanwhile, 'the situation of translator' is the position, which carry out the poietic practice to connect the set of two units, at the same time, it is the 'negative' to disturb the person-relationship between narrator and audience. Because of this 'duplicity', he encountered that the completeness of 'ethnie' he adhered collapsed into uncertainty in the asymmetric relation to 'Japan'. It was shown in 'Into the light' and 'Pegasus', Kim Sa-ryang clinged to his 'link-man' position by 'the narrator position' and shown 'symptom' point. And then, it is possible to analyze that the conflict of 'Chosunistic thing' and 'Japanese thing' he made in his 'link-man' position is a kind of strategy to hide the situation of the subject that didn't have the symbolic fixed point and was driven into uncertainty. When Kim Sa-rayang stepped back the point where he couldn't satisfy the 'desire', during 1941-Feb 1942, he changed the literary style by focusing on the 'real face of Chosun' and collecting various 'instances'. It could be another expedience and a kind of 'escape' to maintain the desire to erase his position for the general effect protecting the true nature of 'ethnie'. Because the novels he wrote during the period shown that they utilized people and spaces to reveal 'the custom of Chosun' rather than to create the model of the 'truth of Chosun'. Rather, he paid attention to the 'slash-and-burn farmer' as a model of the 'life feeling of Chosun people' in order to deliver it to Japan. the 'slash-and-burn farmer' he observed with attention always was embodied repeatedly by changing genre styles such as reportage and the novel many times. By this continuos imagery, he got the feeling to approach to the 'slash-and-burn farmer' asymptotically which is the allegory of ethnie of Chosun, and the truth of 'ethnie' which was analogized as a 'slash-and-burn farmer' was 'demanded' in the administration. In 1942, after coming back to Chosun, he continued to Japanese language writing by contributing to 'People's literature'. It was hard to emphasize to 'ethnie' of Choson because his literature plan and the dynamics of realistic conditions was changed and literature censorhip went to extremes. Therefore, he established 'Tae-Back-San-mac' as a domain of fantasy, and he put the 'slash-and-burn farmer' in front that he deferred to face before. But the 'slash-and-burn farmer' was composed to 'people' in this. That is, the aspect of 'traitor' was overwhelmed by aspect of 'pioneer'. In the national project magazine 'people's literature', romantic 'ideal' history-space allowed was encroached by 'people's nation' logic which was more than passivity to adhere the truth of 'ethnie'. He finished the series not to allow the 'slash-and-burn farmer' to the paradise, it seemed to resist against the gravity of the desire of 'nation'. After 2 years silence, he tried coast escape, that was connected to the environment that is difficult to preserve his own style of 'project of existence' even in the fantasy area.

▔▔▔▔▔▔▔▔▔▔▔▔▔▔▔▔▔▔▔▔▔ keyword : ethnie, nation, translate, the schema of configuration, desire, project of existence, duplicity of translation, slash-and-burn farmers, asymptotic approach, abyss, real