논문 초록 (Abstract)
본고에서는 1940년대 고아원 ‘향린원’을 모델로 한 영화 <집 없는 천사>와 소설 <천맥>을 통해 현실적인 부랑아 교화 시설이 낙원으로 호명되고 부랑아가 천사로 서사화되는 과정을 살펴보며 두 텍스트에 공통적으로 내재하는 시선과 이질적인 목소리를 살펴보고자 한다. 본고에서는 향린원의 고아들이 근대 사회의 부랑자에 대한 격리, 교화 담론과 아동에 대한 애정, 양육 담론이 중첩되는 존재로 발견되고 있으며 각각의 텍스트가 ‘부랑자－아동’의 어느 한 측면을 중심으로 고아들을 호명함으로써 서사에서의 차이를 나타냄을 밝힐 것이다. 향린원의 고아들은 근대적인 노동과 시공간 규율의 학습을 통해 감시와 통제를 내면화함으로써 부랑아에서 천사로 재배치된다. 향린원을 대상으로 한 영화 <집 없는 천사>가 향린원의 고아들을 부랑자로 발견하고 교화하는 담론을 중심에 배치하고 있다면, 최정희의 <천맥>은 향린원의 고아들을 아동으로 발견하고 그들을 양육하는 담론을 중심으로 씌어진다. 부랑자의 교화를 위해 영화 <집 없는 천사>에서 강조하는 것은 ‘선생님’ 방수원의 위로부터 지시되는 가르침이다. 이와 달리 최정희의 <천맥>은 부랑아들의 불량성을 떨쳐내는 과정에서 가족애, 헌신적인 모성애와 같은 이데올로기를 강조하고 있다. <천맥>의 결말은 사적인 어머니의 욕망(육친애)을 공적인 아버지의 규율(모성애)로 포섭하는 것이 된다.
This study aims to examine the course that an educational asylum for vagabond is regard to a paradise and a vagabond is narrated to an angel, to resolve the common feature and the point of difference on the movie and the novel which were modelled after Hyanlinwon in 1940’s.
We will explain the fact that the orphans in Hyanlinwon were discovered by overlapping the discourse of isolation, enlightenment for vagabonds and the discourses of love, bringing up for children, and that each text shows difference to being focus on an orphan as an aspect of vagabond or an aspect of child. The orphans in Hyanglinwon were rearranged from vagabonds to angels with education of modern time-space discipline and works, and they were internalized surveillance and regulation. While the movie regards a orphan as a vagabond and is focus on the discourses of enlightenment for the vagabond, the novel regards a orphan as a child and is focus on the discourses of bringing up for the child. For enlightenment of a vagabond, the movie emphasizes a precept notified from ‘a teacher’ Bang, Su-won. For bringing up a orphan as a nomal child, the novel emphasizes the ideology like love for family, mother's love differently. The end of the novel is that public father's discipline subsumes private mother’s desire.
This study aims to examine the course that an educational asylum for vagabond is regard to a paradise and a vagabond is narrated to an angel, to resolve the common feature and the point of difference on the movie and the novel which were modelled after Hyanlinwon in 1940’s.
We will explain the fact that the orphans in Hyanlinwon were discovered by overlapping the discourse of isolation, enlightenment for vagabonds and the discourses of love, bringing up for children, and that each text shows difference to being focus on an orphan as an aspect of vagabond or an aspect of child. The orphans in Hyanglinwon were rearranged from vagabonds to angels with education of modern time-space discipline and works, and they were internalized surveillance and regulation. While the movie regards a orphan as a vagabond and is focus on the discourses of enlightenment for the vagabond, the novel regards a orphan as a child and is focus on the discourses of bringing up for the child. For enlightenment of a vagabond, the movie emphasizes a precept notified from ‘a teacher’ Bang, Su-won. For bringing up a orphan as a nomal child, the novel emphasizes the ideology like love for family, mother's love differently. The end of the novel is that public father's discipline subsumes private mother’s desire.
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