earticle

영어

Lee Hoe Seong, a second-generation Korean in Japan won the Akutagawa Award(1972, 66th) with「a woman fulling cloth by pounding(1971)」for the first time among the Japanese Korean writers. This work was written in a format that the writer recalls a childhood memory of his mother from the point of view of the boy after he became an adult. In this composition of ‘recall’ there are features of viewpoints which are responsible for the past and the present respectively. They are ‘Jojo’ in his childhood and ‘I’ in the present. As for the content, the writer is especially putting the spotlights on the life of first-generation Japanese Korean who left the Chosun during the Japanese Occupation, lived enduring the hardships in Japan and died there. He put his spotlight on the life Japanese Korean Women, among which especially is highlighted the life of his own mother. In this process the writer found the world that ‘Jojo’ in the childhood had never realized. The world means the composition of the coercive force of Japan which was inflicted on Koreans in Japan. This composition of the force was repeated in the relation between the father and the mother(men and women), and formed the double-layered structure of oppression. ‘I’ came to find that ‘the mother’ was located in the place of the most oppressed under the double-layered structure of repression. But he found not only ‘the mother’ as the most oppressed and powerless, but also ‘the mother’ as the powerful woman who protected her family through her dedication and sacrifice. Ultimately, this work created the image of 'the mother' as the national woman who lived a subjective life despite the double-layered oppression and held the identity of the Chosun people to the end. However, there is a little problem that this way of creating the image of ‘the mother’ consists in the biased beautifying of only highlighting the mother, totally negatively describing the other characters. His violent father appeared as the evidence of 'Jojo' family's tragic life, and the rest of the first-generation Japanese Koreans were completely negatively portrayed as helpless, or frivolous, filthy, and heartless figures. The only presence about which the writer has beautiful memories is his mother ‘'Jangsul’. This attitude of beautifying only his mother results in the biased excess of the writer’s reinterpretation of the mother. The reason of the writer’s negatively portraying Japanese Koreans seems to show his attitude of rejecting that ‘I’ and ‘my’ comrade, ‘the mother’ belongs to the category of Japanese Korean by denying them. In other words; this can be interpreted as ‘my’ attitude of 'reverse discrimination' on the Japanese Korean. As the result, the formation of oppression inflicted on the Japanese Korean became to have multi-layered structure with discrimination and exclusion between themselves being added. The trials of Japanese Koreans are more aggravated and expanded.

한국어

재일조선인 작가 이회성은 자기 기억의 재해석을 통해, 일본에서 고 난의 삶을 살다간 재일조선인 1세대 그 중에서도 어머니의 삶을 집중 조명하고 있다. 그 과정에서 조선과 일본, 남성과 여성이라는 강·약(强· 弱)의 중층적 억압 구조에서 가장 약자(弱者)의 자리에 있는 ‘어머니’를 발견한다. 그러나 단순히 약자로서의 ‘어머니’를 발견하는 데 그치는 것 이 아니라, 헌신과 희생으로 가정을 지킨 강인한 여성으로서의 ‘어머니’ 를 회상하며 이러한 ‘어머니’상을 제시하고 있다. 그러나 이러한 ‘어머니’상의 제시 방법이 다른 등장인물들은 전면 부 정적으로 형상화하고 오로지 어머니만을 부각시키는 편중된 ‘미화(美 化)’를 통한 것이다. 이는 기타 재일조선인을 부정적으로 형상화함으로 써 그 범주 안에 ‘자신’과 자신의 동지적 존재인 ‘어머니’가 포함되는 것 을 거부하는 태도로 판단된다. 이는 재일조선인 2세대가 1세대에 보이 는 차별적 시선, 즉 ‘역차별’의 형태로도 해석해 볼 수 있다. 결과적으 로 재일조선인에게 가해지던 억압의 형태는 시대적 상황뿐만 아니라, 재일조선인 간의 차별과 배타까지 더해져 더욱 가중되는 중층적인 억압 구조를 형성하고 있다.