基督信仰元素在朝鮮半島的「去脈絡化」與「再脈絡化」：從賈穆到尹東柱

The Decontextualization and Recontextualization of Christian Elements in the Korean peninsula: from Francis Jammes to Yoon Dongju

尹東柱（ 윤동주 ， 1917-1945)作爲日佔時期唯一一位延續了朝鮮語文學傳統的詩人， 創作受到法國詩人賈穆的影響。他通過閲讀日文譯本和朝鮮詩人白石（백석，1912-1996）化用賈穆（Francis Jammes，1868-1938）的詩作來間接學習和模仿賈穆的詩歌。然而尹東柱只是使用了和賈穆相似的田園風光、驢子等動植物意象， 他在宗教觀上和賈穆有根本的不同。他眼中的苦難不是人性普遍的遭遇， 而是歷史環境的產物； 不完全停留在個人層面，而帶有了群體性質。尹東柱詩歌中的羞恥感和朝鮮民族無意識中的「恨」感一脈相承，包含故土被日軍侵占的抵抗心理與悲愴情緒。因此，尹東柱的詩歌形成過程體現出基督信仰元素在朝鮮半島的「去脈絡化」與「再脈絡化」。

Yoon Dongju was the only one who continued Korean literature during the Japanese occupation period. His works were influenced by the French poet Francis Jammes. Yoon learned and imitated Jammes's poems by reading Japanese translations by Miyoshi Tatsuji and Korean poet Baek Sok's works. However, Yoon only described the pastoral scenery, donkeys, and other animal and plants similar to Jammes's, but his religious views are fundamentally different from Jammes's. The sins in Yoon's poems are not a universal experience of human nature, but a product of historical context. It does not completely refer to an individual's sin but has a group base. The sense of shame in Yoon's poems comes down in one continuous line with a sense of hate (han 한), which is a Korean collective unconsciousness, including resistance to Japanese occupation and the grief of losing homeland. Therefore, the formation process of Yoon's poems reflects the decontextualization and recontextualization of Christian elements in the Korean peninsula.