헤테로토피아와 고향유토피아 ― 김사량과 루쉰, 이창동과 지아장커의 작품을 중심으로

Abstract

The goal of this study is to examine the specific examples of the “hometown” image, “heterotopia” and “hometown utopia” which has frequently been expressed as an epic strategic mechanism in modern films and novels of Korean and Chinese writers, such as Lee Chang-dong and Jia Zhang-ke, and in the works of writers such as Kim Sa-ryang and Lu Xun. This study, particularly, pays attention to the features of so-called oriental modernity by carefully examining the process of the hometown images and narratives being converted into the place or space of utopia, namely heterotopia, and thus being sublimated into a hometown utopia ritual that guarantees the future. The term heterotopia is an unrealistic space without a real place, but unlike utopia, it is actually a realized utopia space that exists in real life and performs its function. In art, heterotopia can be transformed into an artistic device that connects the unreasonable real world with the ideal world of the future. Kim Sa-ryang and Lu Xun's heterotopia and hometown utopia are criticizing reality and leading the future by idealizing the past by combining spatial perceptions of “here” and “there” with temporal perceptions of “past, present, and future”. The films of Lee Chang-dong and Jia Zhangke seem to be admiration for the ideal of heterogeneous consciousness realized through memories of their hometown, which disappeared psychologically after the corruption of their hometown in the process of modernization between Korea and China. It was analyzed as a flowing heterotopia. Therefore, hometown utopia has an active meaning of criticizing and reflecting on various phenomena that occurred in the process of modernization and reflecting on the crisis brought about by Western modernization.