소문에서 사실로, ‘위안부’에서 반전인사로 ― 중국 현대 일본인 ‘위안부’ 제재 작품과 그 특징 고찰

Abstract

Modern Chinese works about Japanese “military sex slaves” that appeared around 1940 were mainly distributed based on the economic and cultural foundation of the Chinese National Party. Overall, works about Japanese “military sex slaves” have relatively monotonous plots and character images compared with works depicting Korean and Chinese “military sex slaves.” As for genre characters, short stories, scripts, screenplays, and reportages describing Japanese “military sex slaves” were published. Works about Japanese “military sex slaves” were the products that maximized political nature and sensationalism brought by the “historical views of Chinese writers burdened with a life-threatening task of the survival of the state and people.” Facing directly the causes of the Sino-Japanese War, China’s urgent situation at a crossroad of the fall of the state and people, and the war crimes against humanity frequently committed by the Japanese troops in those days, the Chinese writers completed the Akiko narrative or the birth of “anti-war Umeko who is dating” through the process of “confirming a rumor as a fact,” “adapting and altering the rumor as a fact,” and “integration into a work.” It was not a matter of choice for them. The pain and the personality destruction process suffered by Japanese “military sex slaves” were not much different from those of Korean and Chinese “military sex slave” victims. Most of works about Japanese “military sex slaves” used the lives of such women as a propaganda tool for a victory in war and went against humanitarianism from the current international viewpoint. Side effects thus come out of criticizing works about “military sex slaves” that are connected to the past and present political viewpoints of China and have a mix of literary and historical texts. Modern Chinese works depicting Korean, Chinese and Japanese “military sex slaves” are different from one another according to the nationality of a “military sex slave” in terms of creative motivations and the perceptions and descriptions of “military sex slaves.”