황석영의 「北邙, 멀고도 고적한 곳」연구 - '말없음 언표'의 서사적 기능을 중심으로 -

신종곤(Shin Jong-Gon) 돈암어문학회 2000 돈암어문학 Vol.- No.13

소설 『최후의 증인』과 영화 [최후의 증인]에 나타나는 서사 구조 비교 고찰

신종곤(Shin Jong-gon) 원광대학교 인문학연구소 2012 열린정신 인문학연구 Vol.13 No.2

The purpose of this article is to consider the problem of losses that appear in the course of the novel『The Last Witness』turns into a movie [The Last Witness]. 『The Last Witness』is supported in the three different levels of narrative text. Those are "the investigation story of Oh-byeongho", "past history revealed in the course of the investigation" and "the narrative to act in order to correctly restore the value of the distorted". The axis of the three narratives reveal the meaning and alternating with each other. There is a need to consider the phenomenon in which the axis of the three kinds of narrative exchanges to overall view of what narrative means. Loss occurs when the meaning of the novel to create a movie. Be interpreted with the genre grammar, especially when there is a risk to be reduced meaning. To this end, this paper have examined to interpret 『The Last Witness』based on the detective narrative grammar through [The Last Witness]. [The Last Witness] Deploy in accordance with the grammar of the detective narrative. There are the tribulations of the figures revealed in the course of the investigation and trying to catch the real killer of Oh-byeongho. Results in the axis of the narrative it is greatly diluted to express the character"s behavior and frustration that properly to reconstruct the damaged value. This is limited by the terms of the genre of detective narrative grammar to interpret the text in the results occurred.

영화 [은교]의 각색 연구 -소설[은교]를 원천이야기로 삼은 영화 [은교]의 변형적 각색 방식을 중심으로-

신종곤 ( Jong Gon Shin ) 민족어문학회 2013 어문논집 Vol.- No.68

이 글의 목적은 소설 『은교』를 영화 [은교]로 각색하는 과정을 고찰하는 데에 있다. 특히 [은교]가 변형적 각색의 특징을 보여준다는 점에 주목하였다. 이에 따 라 [은교]의 각색 방식이 변형적 각색 방식의 특징을 갖는 근거를 밝히고 변형적 각색을 통해 변주되는 주제 의식을 고찰하고자 하였다. [은교]는 『은교』의 주요한 인물과 배경 그리고 사건들을 재현하면서도 원작과 다른 주제 의식을 보여준다. [은교]의 영상 주는 원작에 나타나는 주요한 사건들을 통사적으로 재배열하고 사건들을 생략·추가·변형함으로써 새로운 의미의 내러 티브를 창조한다. 이를 위해 우선 [은교]는 『은교』에 나타나는 일인칭 서술의 특징, 즉 편지와 일기체의 특성에 나타나는 고백들과 이를 종합하는 서사적 현재의 서술을 해체한다. 일인칭 서술을 통해 과거 사건들을 종합하는 방식이 아니라 인 물들을 초점대상으로 현재의 시점에서 사건들을 선형적으로 서술하는 방식을 택한다. 또한 원작을 관통하는 ‘늙음/젊음’이라는 갈등의 원인이 되는 모티프를 생략 하거나 희석한다. 그리고 ‘늙음/젊음’의 모티프를 “시적 감수성/‘공대생’의 인식” 이라는 새로운 모티프로 대체한다. 원작이 반복하고 강조하는 모티프를 통해 ‘늙음’과 ‘젊음’의 간극을 메울 수 없는 현실 인식을 노출한다면, [은교]는 소통을 통 해 동일성을 획득해가는 과정을 보여준다. 즉, 『은교』가 현상을 통해 문제를 제기 한다면, [은교]는 ‘시적’ 혹은 ‘감성적’ 소통이라는 삶의 방식을 ‘훼손된’ 현실을 극복할 수 있는 방안으로 제시한다는 것이다. 이 때 두 텍스트에 나타나는 호명의 방식은 주제 의식을 드러내는 데에 중요한 역할을 한다. 『은교』는 개인을 종속적인 주체로 간주하여 ‘강한 호명’을 통해 개 인을 주체의 욕망대로 전환하고자 하는 시도와 그 시도의 파탄을 보여준다. 반면 [은교]는 특정한 주체의 자질을 호명하여 존재론적 의미를 부여하는 ‘약한 호명’ 의 방식을 택한다. 그리고 이러한 시도를 통해 주체간의 동일성을 획득하는 과정을 보여준다. 궁극적으로 하나의 이야기를 원천으로 하여 새로운 이야기를 만들어 내고자 하는 시도는 담론 문화를 활성화한다는 데에 크게 기여한다. 원작을 다른 관점에 서 해석하고 이를 통해 다양한 담론을 생산할 수 있기 때문이다. 이런 점에서 [은 교]의 각색은 원작에 대한 해석과 세계를 바라보는 다른 관점의 가치를 제시한다 는 점에서 의의가 있을 것이다. The purpose of this article is to study on adaptation of the relationship film [Eungyo] adaption of novel 『Eungyo』. The relationship between two texts forms transformative adaptation relationship. Because there is the change of subject matter. The purpose of this paper is to study the subject that is changing and narrative strategies. [Eungyo] represents the characters and the background and the events of [Eungyo]. But [Eungyo] rearranges the important events and syntactic of novel. And Omits, adds and transforms events of novel. So [Eungyo] creates a new narrative. The theme of the novel is the conflict between old age and youth. On the other hand, the film`s theme is communication. The novel raises the issue based on the phenomenon. On the other hand, the film suggests a way to overcome the reality. How is the poetic sensibility and Emotional communication. However, the ``interpellation`` plays important role in the subject matters to form between two texts.『Eungyo』shows the way of strong ``interpellation``. Strong ``interpellation`` wants to switch the subject. These attempts were unsuccessful in novel. Because ``subject`` rejected such a ``interpellation``. By the way, film is successful by weak ``interpellation``. The weak ``interpellation`` called and brings out the qualities of the ``subject``. Ultimately, the way of adaption of film [Eungyo] contributes to activating discourse. It is the variation changing the story to another story.

폐쇄적 기호 창조자의 기억법 고찰 -김영하의 『살인자의 기억법』에 관하여-

신종곤 ( Shin¸ Jong-gon ) 우리어문학회 2021 우리어문연구 Vol.69 No.-

The purpose of this study is to attempt a new reading on the novel of 『Memory of the Murderer』 written by Kim Young-ha. The novel is described as a confession statement that makes the reader feel the authenticity of the narrative. Nevertheless, narrative indicators that reveal ambiguity reserve the judgment of its authenticity. This is related to the way the narratorcharacter 'I' constructs one’s own memories. 'I' projects experiences on objects in the world to create symbols and manipulate them. Because 'I' is the one who is with the intention of creating one's own life by symbolizing the object. This is embodied in actions such as writing that 'I' continues. The subjects who project their experiences are favored with signs that indicate the direction of life, signs that threaten the will, and signs that reveal differences in perception with others. 'I' is trying to preserve my memory through records. In this process, 'alzheimer’s disease', which encourages forgetfulness, serves as an opportunity to drive memories. At this time, 'I' reveals the intention to historize one's own life as a monument. 'I' wants to make one's life absolute. Also 'I' tries to justify this through standards that depend on one's beliefs. It is a universal way of memory for humans to make up a life exclusively of objects. However, 'I' overlooks the possibility of a new interpretation of the experienced symbol. 'I' also refuses to interpret objects autonomously and share their preferred memories with others. Memory of the Murderer focuses on this way of remembering, that is how life is constructed. And it presents a reason why being willing to justify one's experience through symbols is catastrophic.

1950년대 전후소설에 나타난 현실인식의 굴절 양상

신종곤(Jong Gon Shin) 한국현대소설학회 2002 현대소설연구 Vol.- No.16

The purpose of this paper is to observe the change over realizing the reality by writers in the post-war novels in 1950`s. specially reflected in the novels of Seo ki-won and Kim Kwang-sik. To objectify the experiences of war can be resulted from the holistic perspectives of life that the subject, facing the war, the extreme violence itself, involves in. It means that the subject does not regard the violence and unfairness of war as a coincidence instead does as the natural factor of life. Through this way, it could give the subject the chance of looking back oneself from present moment. However, it can not be precluded that Korean war has different meaning in the light of the causes of the war compared to the Western. The war could be the mediates of self-communion for the war, however, ironically the ideology of the nations was getting stronger in the reality of the war. Accordingly to writers seeking for New Morality as a way of self-reflection, this period of time was thought of the retrogression of the real life. In this paper, works of two writers, Seo ki-won and Kim Kwang-sik, showing their thoughts on these circumstances, are reviewed cause the point view of the world in writings of these two had been changing as the reality of society changed. Right after the war, they looked in to the true meaning of general human-being affected by the war. Seo ki-won perceived the human-being to be the existence of the desire and projected the willingness for this desire as the meaning of self-denial. In his work,『Amsajido』, the symbolic place, called the house with a hole in the celling brought up the question of nature of human-being by denying the fatherhood and through self-communion. Kim Kwang-sik showed the hopeless self awareness of the isolated individuals from mechanistic world in his work『Number 213 house』. However, their trends in these two writers` works were turned back to criticize against the problems of the real world around in 1950`s. Around this time, the agressiveness of anti-communism and the reduction of economic support from outside leaded to the deteriorating society, which had writers to seek for the alternatives for the regression for the reality. Seo ki-won showed self-awareness who could not help being back to the social order in 『Moonlight and Starvation』 while Kim Kwang-sik wrote critically about the phenomenon of enforcing the existing values and the problem of transmitting values in 『The Figure of Mother & daughter』. The question of the lack of perceiving history in post-war novels in 1950`s, used to be a major subject of criticism, are suggested for re-evaluation. The opinion, so called the perception of history of Seo ki-won can be regarded of representing the political and social reality. After Korean War as the life went retrogressively, these circumstances could not but play a role as the principle of life and as the subjects to be overcome against the reality to writers in these times.

영화에 나타난 가족 서사 연구 -2000년대 이후 한국영화에 나타난 아버지의 법과 죽은 자식의 계열화 양상을 중심으로

신종곤 ( Jong Gon Shin ) 현대문학이론학회 2009 현대문학이론연구 Vol.0 No.36

텔레비전 드라마의 서사 구조와 플래시백의 서사적 기능 고찰 -[달콤한 인생]을 중심으로

신종곤 ( Jong Gon Shin ) 현대문학이론학회 2011 현대문학이론연구 Vol.0 No.44

[Bittersweet Life] shows distinctive characteristics between the customary television dramas. Distinctive characteristics appear prominently in the use of flashbacks. In order to understand the meaning of the narrative of [Bittersweet Life], we must understand the character`s cognizance in flashbacks. Combine with montages and voice-overs, the flashbacks create the effects of narrative devices. The effects of flashbacks are supplement, summary, repetition and exposure. The effects of flashbacks in [Bittersweet Life] are to continue to be modified meanings of narrative. The narrative strategy of [Bittersweet Life] requires active participation of viewers. The effect of flashbacks fits with the narrative strategies that [Bittersweet Life] is pursuing. Especially, narrative using flashbacks makes the story changes. Therefore the viewers need to modify their stories that changed by flashback. Narrated by the flashback is to change and extends the story.