식민지 언어의 교란과 혼종적 서사―김문집의 그랜드 보헤미안 호텔(グランドボヘミアンホ テル)과 이별의 노래(別れの曲)를 중심으로―
The Subversion of Colonial Language and Hybrid Narrative Forms ― A Study of Kim Mun-jip’s Grand Bohemian Hotel and Song of Farewell ―
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초록
本論文は在日朝鮮人作家・金文輯の作品『グランド・ボヘミアン・ホテル』および『別れの曲』を対象とし、1930年代植民地都市・京城を背景に展開される感覚的叙事と文体実験の様相を分析する。両作品は同一の叙事構造と人物構成を共有しつつも、作品集所収本と新聞連載本という媒体的差異に応じて、叙述方法や感覚の配列において微妙な変奏を示している。第一に、都市空間の再現はネオンサイン、ホテル、自動車など資本主義的記号を通して、歓楽と不安が交錯する場所性を浮かび上がらせる。第二に、女性人物の形象化は頽廃的感覚性と内面的空虚を媒介として、欲望と倦怠が入り混じる近代的主体を示す。第三に、パンユ／パンスという黒人人物は異国性と他者性を凝縮した存在として、人種的表象と感覚の倫理的緊張を集約する。第四に、文体的次元においては、感覚の破綻と重層、夢幻的イメージの構成を通じて、言語そのものを感覚の媒介として作動させ、現実と非現実の境界を曖昧にする装置を準備する。金文輯の作品は、日本語という植民地言語を取込むと同時に撹乱する文学的実験を通じて、近代的自我の分裂と他者の倫理的位置を思考させる独創的な成果を示している。
Abstract
This paper examines two works by Kim Mun-jip(1907∼?), a Zainichi Korean writer: Grand Bohemian Hotel and Song of Farewell, which are set against the backdrop of colonial Seoul in the 1930s. It analyzes the modes of sensory narrative and stylistic experimentation that characterize these texts. Although the two works share identical narrative structures and character configurations, they vary subtly in narrative techniques and sensory arrangements depending on their medium―whether they form part of a short-story collection or a newspaper serial. First, the representation of urban space reveals a locus of intersecting pleasure and anxiety intersect, articulated through capitalist signifiers such as neon lights, hotels, and automobiles. Second, the portrayal of female characters mediates decadent sensuality and inner emptiness, thereby exposing the entanglement of desire and ennui within the modern subject. Third, the figure of Pangyu/Pangsu, a Black character, embodies condensed alterity and exoticism, encapsulating the ethical tension inherent in racial representation and sensory perception. Fourth, stylistic ruptures and overlaps of sensation, together with dreamlike imagery, render language itself a medium of perception, destabilizing the boundary between reality and unreality. Kim Mun-jip’s works demonstrate a distinctive literary achievement by appropriating and subverting the colonial language of Japanese, thereby prompting reflection on the fragmentation of the modern self and the ethical positioning of the Other.