개발의 문화사와 부양자/남성성 획득의 드라마: 이문구의<장한몽長恨夢>(1973)을 대상으로

Abstract

Lee Mun-Gu’s <Jang Han Mong> a novel with a background of the middle of 1960’s, and is the story of the process of changing the cemetery from Sinceon-dong, Seodaemun District to Myeongju-ri, Gwangju-gun, Gyeonggi-do. Originally San-5 was beautiful mountain, but during the Korean War, but while about 2000 tombs were created, it became a cemetery. However, when an American built up a technical school for mixed bloods in the cemetery site, the cemetery began to relocate. Since then, the cemetery is not a grotesque place where the spirits of revenge wonder but a school for mixed bloods from the war, which they learn the technique and grow. This implies that moving grave may be symbolic acts for finding a new life freely from memories of war and regret that press the survivor’s mind. A motif of moving grave is a narrative to meet developmentalism that seeks a new advance of a history through advancement and renovation freely from days of anger and mental agony. The development is a project of self-reformation that doesn’t stay at the National Land development strategy that reorganizes urban spatial effectively. The reason why it is that the development holds a cause in great account and is an idealistic, therefore, it orders us to gain the qualities of modern manhood as main agents of survival out of traditional manhood that is very weak and independent. Moving and changing from tradition to modern and from a farm village to a city mean a gendered drama that men can acquire masculinity of industrial society as a progressive performer. Especially, this novel shows that men of vulnerable social group struggle in order to survive to risk unlawfulness. The masculinity of protest is a type of developmentalism and of narratives of masculinity in the 70’s, distinguishing from the decadent and depressed masculinity in dominant hegemony of the middle class or a generation of a youth cultural movement.