권윤덕 역사 그림책 『용맹호』에서 재현 방식의 변화와 그 성과

초록

In her historical picture books, Flower Grandma (2010), Wooden Stamp (2016), Sixteen (2019), and Yong Maengho (2021), Kwon Yun-deok explores how we can shift our perception of historical events from ‘their problems’ to ‘our problems’, and how historical picture books can approach human dignity and historical truth. In Flower Grandma and Wooden Stamp, Kwon Yun-deok recreates the victims of war by centering on them. However, in Sixteen, the protagonist is a gun—it transforms from a martial law soldier’s gun to a citizen’s gun, and in Yong Maengho, she shows the horrors of war through the trauma of the perpetrator. Yong Maengho can be considered a complete work by addressing the issues of narrative representation in previous picture books in three ways. First, the book breaks away from the dichotomous structure of perpetrator and victim in its portrayal of the protagonist in historical picture books. By depicting an ordinary middle-aged man, Mr. Yong Maengho, a Vietnam War veteran, experiencing the physical manifestations and pain of war trauma in his daily life, the book highlights the irony of the perpetrators of war. Second, the problem of time and space in historical picture books is not presented as a disconnected flashback or a story of the past in the order of past-present-past, but rather as a traumatic memory that reveals the past inherent in the present. The tragedy of war is realistically depicted as the present being consumed by past memories. Third, the historical event offers a moral lesson. Rather than appealing to the reader’s sense of justice, the theme of opposition to war and prayer for peace is presented as a symbol of how the goodwill of anyone helping the vulnerable can purify the world, embodied in the image of the water hyacinth.

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