신여성과 에로스의 역전극 : 나혜석의 「현숙」과 김동인의 「김연실전」을 대상으로
A Study on New Woman's Sexuality and The Perversion of Eros
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본고는 신여성의 섹슈얼리티를 성 역할 전환의 소재 전통 속에서 검토한 것이다. 텍스트가 한 시대와의 컨텍스트를 이루기도 하지만 초시대적 상호텍스트성을 갖는다는 것이 문학 소재사 내지 주제론의 방법론적 근거가 된다. 이렇게 볼 때 나혜석과 김동인이 그들 시대의 가장 뜨거운 이슈였던 신여성의 섹슈얼리티에 각각 「현숙」과 「김연실전」으로 대응한 것은 현실상관성도 갖지만 서사를 주도하는 여성들이 파격적이고 공격적인 에로스를 보여준다는 점에서 성 해방의 소재사에 접맥되어 있다고 하겠다. 에로스의 역전극은 실상 여성 억압의 역사만큼이나 길고도 오랜 양성공존의 문화적 본능에 다름 아니다. 이를 개화기의 여성작가와 남성작가가 재독해한 「현숙」과 「김연실전」은 그러므로 성 역할 전환의 개화기식 변이라고 할 것이다. 이 텍스트들은 가정을 박차고 카페나 학교 같은 공적 영역으로 나온 가출여성 주인공이 서사를 주도하며 속물적 신남성을 길들이는 점에서 공통성을 갖지만 차이점도 있다. 예컨대 「현숙」에서 주인공 현숙의 섹슈얼리티는 자의식에 바탕을 둔 계산된 것이라면, 「김연실전」의 경우 욕망과 일탈을 혼동한 신여성의 허위의식이란 것이다. 곧 「현숙」에서 타산적이고 영악스러운 카페여급 현숙이 금전등록기로 자처하며 그녀 주위의 신남성들과 계약결혼을 제의하는 위악적인 여성인데 비해 「김연실전」의 동경유학생 김연실은 통속소설을 탐독하다 문학=연애라는 생각에 이르고, 연애는 여성해방인 즉 연애를 경험해야 선각자가 된다고 믿으며 남성편력에 나서는 위선적 여성이다. 이 같은 낙차는 전자가 여성에게 호의적인 여성 텍스트이고, 후자는 여성에게 적대적인 남성 텍스트인 것에 기인하는 것일 수도 있다.
Abstract
I examined the New Woman's sexuality and the perversion of eros based on literary thematics (Stoffgeschichte). I especially pointed out Rha, Hye-Suk's Hyun-Sook(1936) and Kim, Dong-In's Kim, Ryun-Sil jun(1939) in this article. That's why they had very exceptional and aggressive sexuality in their period, the so called, Korean Enlightened Times, in the early part of the 20th C. Actually, the eros of upside-down is a cultural causality and psychic drama referring to the sexual hegemonic conflict in the patriarchy. Many writers have continually represented this androgynous, bisexual utopians in their texts. Also, Rha, Hye-Suk and Kim, Dong-In presented their way of re-reading this theme. This is what Hyun-Sook and Kim, Ryun-Sil jun I tried to discuss here. The two texts have something a common with the New Woman taming man. The female protagonists of them attacked the traditional moral, patriarchy. On the other hand, they have many differences as follows. Fist, Hyun-Sook written by Rha, Hye-Suk presents a new type of marriage according to contract. Hyun-Sook, the main character of the text is a very clever and highly self-conscious cafe waitress. She regards herself as a register, neglecting passion. That's why she's obsessed by her past love-affairs. She only has her name, Hyun-Sook in the text and others are anonymous men referred to by their initial Y, K, L…… She leads the narrative and wants to contract a marriage with her spouse every 6 months. She's going to raise money to pay for a sexual service in exchange for an account. I guess she's snobbish, even though it's a kind of strategy reversing her eros and allows for the contemporary Korean econimic poor situation colonized by Japan in the 1930s. It's too difficult to differentiate between her desire and sexual deviation. Second, Kim, Ryun-Sil jun written by Kim, Dong-In coufused us, too. The heroine Kim, Ryun-Sil stole her step-mother's money and ran away from home. She went to Tokyo without any idea of what she wanted to do. She entered a school and soon decided to be the New Woman leader which was affected and mediated by her friends. She began to read a few popular English novels translated into Japanese. She tries to have a boy friend the same as the novel's lover. She believes the sexuality of erotic feeling is real love and that's the way of practicing a woman's liberation. She's not so much a woman leader, as she is a frivolous, hypocritical girl enjoying free sex. In the semiotic viewpoint, the former written by the female writer who was a New Woman, intentionally upsets the new intellectual men and the traditional morals. The latter, the male writer's ironical discourse, laughs at the New Woman and her love. In conclusion, both of them criticized the New Woman's sexuality which was morally ruined in the 1930s, but the texts may probably show us a type of a 'newly Born Woman'(called by Helene Cixous) against the phallic power in the transition period of Korean modernization.