지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
The purpose of this study is to consider a modernity of colonized Korea through Lee Hyo-Suk’s City and Ghost(1928). It cannot be denied that 1920-30’s Korean cities were modern places. But the presupposition that those places were homogeneous is likely to be mistake. Because the place is deployed and functioned by social power relation, then city is functioned in the same manner. Particularly, colonized city is an embodiment of colonial power. Hence colonized Korean city was heterogenous place that divided by colonial power.
In this view, Lee Hyo-Suk’s City and Ghost becomes a clue to consider modern city, Kyungsung. He chose contemporary Kyungsung for work’s background. Kyungsung Improvement Project was almost finished in 1928, hence unfair development of Kyungsung was deepened. Lee Hyo-Suk paid attention to that aspect. He treated material and systemic conditions of Kyungsung, and presented modernity as control-power.
Lee Hyo-Suk showed structure of Kyungsung as the oppositional. This structure was represented ‘center/border’ frame. Citizens enjoyed urban cultures and products in the center of city but laborers slept in the open air in the border of city, though they made all the products that citizens enjoyed. Laborers are modern people only when they are bound in modern labor. They cannot enjoy products from themselves.
Lee Hyo-Suk took a traffic accident to reveal the inner order of Kyungsung. Because traffic accident assumes material and systemic conditions that make accident possible. In fact, the second Roads Improvement Project is finished in 1928, extent of the roads was increased. According to this extent, traffic was increased, too. Already published traffic regulations helped cars to move smoothly. Therefore traffic accident in Kyungsung represented conflict between newly producted car flows and walkers.
Unlikely early works in 〈Mae-il Sin bo〉, Lee Hyo-Suk attended to real aspect of Kyungsung. Watching abstract spaces in early works, he could show strong desire of humans but could not reveal cause of that desire. In City and Ghost, Lee Hyo-Suk could approach behind power relation concentrating on real Kyungsung’s aspects. But Lee Hyo-Suk had to refer origin of power to Kiseng and knaves rather than Japanese ruler cause censorship of Japanese imperialism.
In this view, Lee Hyo-Suk’s City and Ghost becomes a clue to consider modern city, Kyungsung. He chose contemporary Kyungsung for work’s background. Kyungsung Improvement Project was almost finished in 1928, hence unfair development of Kyungsung was deepened. Lee Hyo-Suk paid attention to that aspect. He treated material and systemic conditions of Kyungsung, and presented modernity as control-power.
Lee Hyo-Suk showed structure of Kyungsung as the oppositional. This structure was represented ‘center/border’ frame. Citizens enjoyed urban cultures and products in the center of city but laborers slept in the open air in the border of city, though they made all the products that citizens enjoyed. Laborers are modern people only when they are bound in modern labor. They cannot enjoy products from themselves.
Lee Hyo-Suk took a traffic accident to reveal the inner order of Kyungsung. Because traffic accident assumes material and systemic conditions that make accident possible. In fact, the second Roads Improvement Project is finished in 1928, extent of the roads was increased. According to this extent, traffic was increased, too. Already published traffic regulations helped cars to move smoothly. Therefore traffic accident in Kyungsung represented conflict between newly producted car flows and walkers.
Unlikely early works in 〈Mae-il Sin bo〉, Lee Hyo-Suk attended to real aspect of Kyungsung. Watching abstract spaces in early works, he could show strong desire of humans but could not reveal cause of that desire. In City and Ghost, Lee Hyo-Suk could approach behind power relation concentrating on real Kyungsung’s aspects. But Lee Hyo-Suk had to refer origin of power to Kiseng and knaves rather than Japanese ruler cause censorship of Japanese imperialism.
목차
1. 서론
2. 도시 공간의 대립 구조와 근대적 노동 조건
3. 교통사고에서 드러나는 도시의 내적 질서
4. 구체적 공간에 대한 천착과 작품 형상화의 문제
5. 결론
참고문헌
[Abstract]
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UCI(KEPA) : I410-ECN-0101-2013-810-001691471