재일 작가의 ‘위안부’ 표상 —8월의 저편(8月の果て)과 다시 오는 봄(巡りくる春)을 중심으로—

Abstract

In this paper, a comparison and analysis of literary works depicting the Japanese military comfort women. It should be taken into mind Upon attention to “Tour of coming spring” and “End of August,” is that the presence of Koreans in Japan can view the comfort women recognition of Japan and Korea. Two writers, has been known as a writer, which has been pursuing a universal work world that is different from the ethnic writing so-called Zainichi first generation literature. Then, whether two writers could ensure distance to the ethnic discourse around the comfort women, which is in the statement that “Do not be blasphemy to my mother”? Comfort women in the novel of writer Yang have the collectiveness of the colonial body to be trampled/exploitation. Though the ‘comfort women’ who are grouped are an effective device to criticize imperialism and violence But this is located on the same line that the method of Tsuka Kouhei to speak for contradictory logic of men of Japanese wartime generation. When the comfort women are shaped of in the discursive framework of ethnic=nationalism, a person who is caught up in history, its the meaning of Woman’s life are forced to shrink. In this manner, the life of comfort women, which must be denied the love is no choice but be others of again. However, the impossible love of comfort women, as Miri Yu is drawn by “the end of August”, would not because of reality of comfort women who endure only through the separation of body and soul. The key to literary to shape the history of comfort women is not in the framework of the discourse of ethnic and women, this is a personal who had to endure uprooted shake pain raw been caught up in the wave the history it is that it was reality. KeyWords:Nationalism and Feminism, Ethnic Writing, The impossibility of comfort women’s love, Collective body, Dating and sexual violence.