계몽의 불안과 공포의 영토화 - 일제강점기 《매일신보》 괴담의 감성 구조와 서사 관습

Abstract

Geodam(horror story) is a genre that touches the weak link of humans associated with surreal sense. The aliens, such as ghosts and tokebi(goblins), was the object to be denied of existence in the world of enlightenment. When the surreal beings were called and the narrative styles of horror were established in the world where modern science had just begun to be emphasized, what kind of senses and consciousness they had to appeal to? In answering this question, this paper has focused on the magical nature hidden in the dominant emotion that dominated the enlightened colonial secular society. The reason for enlightenment, which commands the drawing of the rules of life within the individual, had spread the notion of the soul as the master of the individual's spirit. When the idea of ​​"soul" was linked to modern nationalism, as the idea of ​​"national sprit", which lost its country, did not lose itself, immortality was infiltrated in the concept of modern 'soul' unlike Confucian 'sim/hon(soul)'. The immortal sense of the soul, which was invisible and could not be scientifically proved, already provided the realm of transcendent mystery ironically within the modern sense that advocated breaking away from magical thinking. The antinomy of dominant emotions, which advocated post-jujucialization, but secretly contained traces of witchcraft such as immortal spirit within it, provided room for revitalization rather than eradication of occult imaginations such as ghost and goblins. The Geodam custom of “Maeil Sinbo(Daily maeil), was a literal reproduction of the internal frictions of contradictory emotional structures that denied the existence of ghosts and ghosts, but tolerated the idea of ​​an immortal soul. Expressions that questioned the certainty of life and accumulated eerie anxiety and agitation that caused a crack in the stability of existence could be stylized as an object of interest because of the intrinsic strength of the 'stylization' of the mass media itself. The structure of the common enjoyment provided by the mass media created a valid condition for the entertainment of fear without being buried in isolation. Typed narrative practices had emotionally acceptable adjustments to the fear of existence by sliding and dissolving the unresolved horizon of understanding of the existence of the world into another horizon of understanding, the custom of story. The newly organized collective sensation of “fearing pleasure” functioned as a solution to dissolve the antinomy of the dominant sensibility and the inability of resolving the remaining sensibilities.