과학서사와 괴물의 정치학 - 1960, 70년대 『학원』 -

초록

This article analyzes the scientific narrative of the youth magazine 『Hak-won』 in the 1960s and 1970s. The monster in which the boy protagonists in the space opera genre face off as a core concept was examined, and the meaning of the monster in the formation of the boy's identity was analyzed. 『Hakwon』 magazine was a new space for teenagers to read and enjoy science fiction set in space in earnest. Western space opera genres that fight space monsters are translated and introduced, and science fiction creative novels are also published. This scientific narrative has reproduced the hybrid imagination of humans/alien, humans/animals, and humans/machines and provided a world of posthuman imagination where you can enjoy visual pleasure through illustrations. Despite these advantages, the monster that the boy protagonist confronts and defeats reveals the limitation of reconstructing the privileged subject centered on human males. Types of monsters can be classified as aliens that reveal animal vulnerability, monsters that reveal fears of pollution through similar reproduction, and monsters that show fear and punishment for uncontrolled reproduction. Who becomes the monster in the process of creating various hybrid species tells us who is the inappropriate others. These are beings that break down boundaries, beings that threaten normality. It can be seen that the being in which the physical difference from the norm of human beings is embodied is a monster. It can be said that the essential characteristics of humans, such as hatred and denial of the animal body, are phenomena that appear when idealizing the male image of the mechanical body. The narrative of fear or punishment of uncontrolled reproduction also remains regrettable as it poses the risk of over-imagination of the identity of the subject. The fact that the boy's identity, which is reconstructed as a future technology leader, consists of an identity composition that seeks perfection that rejects hybridity and even denies human vulnerability can be seen as the limit of the posthuman imagination shown by 『Hak-won』.

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