1970년대 김지하 시의 일본 표상 연구

Abstract

This paper aims to analyze the representation of Japan, a country with close relations with Korea in the 1970s, and to assess the historical coordinates of Kim Ji-ha's poetry beyond the existing national literature (people's literature) frame. At this time, the representation assumed as the methodology and main conceptual word is not trapped in the narrow category of visualization of the inner reaction to the outside world. The representation study is the work of examining the historized structural action that interacts with the times, society, and culture both inside and outside the text. Based on this, this paper examines the criticism of the policy against Japan and the pattern of recapturing the name of the nation revealed in "Condolence anti-national and undemocratic 'national democracy', illuminates the amplitude of the perception of colonial history projected on "Hwangtogil", and pays attention to the scene in which self-reflection in "Hell 1" overlaps with the Japanese representation of objects-machines. Through this, it demonstrated that Kim Ji-ha's poetry focused on criticizing the post colonial system of the time, regarding Japan as a substitute. In addition, this paper focused on the Japanese representations of "Castor Kamikaze—To Yukio Mishima" and "Dungbada". As is widely known, the poem in front is Kim Ji-ha's poetic response to the incident of Yukio Mishima, who chose to die while shouting "Long live the emperor." It should be noted that this poem reverses the solemn masculinity emphasized by Yukio Mishima and the shallow femininity of naked a female soldier and prostitutes. The poem is based on misogyny and fights a hegemony struggle while establishing the nation's identity. The same is true of the Damsi "Dungbada", which increased the satire of the object and the activity of the poetic subject by appropriating the pansori style. Misogyny's rhetoric formed a symmetrical representation of the empire—Japan—male and colony—Joseon (Korea)—women. This has resulted in diluting the political responsibilities that the Korean and Japanese authorities have to bear, and over-reproducing accusations and punishments against women (sex) at the gender level.