여성캐릭터의 양가성 –廉想涉의 1920-30년대 小說을 中心으로–

김정진 한국어문교육연구회 2023 어문연구(語文硏究) Vol.51 No.1

Most of the female characters examined here pursued double values that were damaged in the so-called fallen world. In the work, the characters’ self- interested and valuable views turned them ambivalent. The dual values and the anachronism of the truth created duality, which caused friction with other characters. People are changed in production through their relationships with each other, and the fundamental cause is triggered by their duality. Such a clue became an important factor in turning the character’s dual conflict into duality in the entire narrative. In that sense, Choi Jeong-in’s suicide in New Year’s Eve is the end of a contradictory situation, and the entire narrative of her suffering while enduring an incompatible situation can be said to be the content of artistic creation with a tragic novel structure embodied in ambivalence. The ambivalent situation of Choi Yong-hee in Sunflower, which cannot coexist, is her marriage to the good old groom Sun-taek, and her life carrying her lingering attachment to her deceased ex-lover Hong Soo-sam, which lies at the base of it. In the end, there is no choice but to drive her tragically. Chun-kyung in “Isim” finds her marital relationship disrupted due to her husband Chang-ho’s infidelity and her own sexual desire; with such ambivalence, she leads an anxious and painful life, and the relationship is repeated with Cunningham. Park Chun-gyung’s ambivalent desire is portrayed in her works as the coexistence of corruption and reflection. It is because the character is intersperse with her sexual desire to deny her reality and her reality-first desire to pursue money. The reality is that the stronger the desire for money, the greater the degree of corruption. Humans’ submission to money is proportional to their inner desire. Chun-gyung in “Isim” recognized that she was enslaved to sex and money, but when ethical regrets came into play, she rather boldly pursued a life of desperation as a slave to money and sex. The episodes of ambivalent composition in the story with the ending of suicide can be said to be Yeom Sang-sup’s typical expression of the life of a modern woman at the time. On the contrary, female characters with ambivalent personalities appearing in Yum Sang-sup’s early and middle novels were set up as murderers in important events in the novels. Although the murderer type is not the main character in the story, he is connected to the main character and commits murder as a part of expressing his ambivalent desire in a very important case. The representative characters are Jeong Maria in Love and Sin, Kim Suk-jeong in Gwang-bun, and Suwon-jip in Three Generations. This shows the fierce aspect of the new creative world that embodied the lives of women of the time in the most tragic and individualistic way, rather than the fact that the writer Yum Sang-sup hated new women or possessed a sense of the difficult times under the Japanese colonial era. 김정진, 2023, 여성캐릭터의 양가성, 어문연구, 197 : 107~133 본고에서는 염상섭의 1920-30년대 작품의 주요 여성 캐릭터의 특징이 양가성에 의해 형상화되었다는 논의를 진행하였다. 除夜 의 최정인의 무리한 욕망의 실천, 해바라기 의 영희가 보여준 전 애인 무덤으로 간 신혼여행 그리고 二心 의 박춘경의 문란한 성욕과 자살 등의 사건들은 당대 사회 여성으로서의 일탈적 삶을 형상화한 것이다. 그녀들은 가부장에 의해 축출되거나 결혼을 강제당하는 딸로서 전근대적인 가치관 앞에서 저항하는 캐릭터들이다. 그녀들은 이상과 현실의 양립하기 어려운 문제를 양가적 입장으로 돌파하고자 한다. 그때 개성을 주장하던 염상섭의 입장은 그녀들의 방종을 양가적으로 형상화했다고 할 수 있다. 한편 신여성 출신으로 욕망의 화신이라고 할 수 있는 여성 캐릭터들은 상당량 살인자로 등장한다. 이때 작가는 개성의 문제를 빙자한 극한의 이기적 욕망의 양가적 상황을 비참한 결말로 여성캐릭터를 성격화하였다. 개성적 투지로 당대의 현실에 맞서는 캐릭터 형상화와 그것을 어떤 입장에서 바라보는가 하는 작가의 입장을 추론하는 것은 廉想涉 小說에 대한 새로운 해석 시도로 평가될 수 있다.

염상섭 초기평론의 양가성 인식 연구

김정진 국제어문학회 2019 국제어문 Vol.0 No.82

The purpose of this study was to clarify how the early literary criticism of Yum Sang-sup is perceived. The discussion is divided into three parts. First, following the Gaesong theory, Yum Sang-sup can be seen agonizing at the end of various investigations into the art problem of his ambivalent times. The extreme and idealistic theory of personality creates a great disparity between reality and an uncompromising world view. The individualistic pursuit of art against the backdrop of a logic crisis and the dualistic circumstances created by colonial limits to individuality forms the main theme of his early criticism. Individualism becomes a paradoxical contradiction, but ambivalent perception helps to overcome the situation imposed by colonization. Second, he tries to integrate nationalism and socialist literary theory, but the alliance between nationalism and socialism is ironic. If the two are allied, they will result in ambivalence. It was necessary to embrace socialists in the interest of the purity of national literature, which includes anti-Japanese sentiments. On the level of integration, however, Yum Sang-sup, who stood in the position of the subject’s existence, is on the side of pure literature advocating literature itself, and as such, he looks for a solution for an ambivalent situation that involves political tendencies in fine arts. Third, following realist theory, he is in a dualistic position. The realist worldview constitutes a literary world in which the interests and representative events of the whole society are shaped through the personal experiences and trivial affairs of all people. It denotes realism in the sense that society as a whole is revealed through personal life. His logic emphasizes the transformation of the world into the union of. It is in agreement with seeing the reality of the present times as the ethics of the artist. However, in a free state, the ethics of the writer are in conflict with the Japanese ideology of empire. Therefore, in the Japanese colonial period, the literary theory of Yum Sang-sup takes an ironical view of colonial knowledge. In the end, the ironic perception of the initial criticism of Yum Sang-sup attempted to break through a dualistic situation. The process has evolved into a theory of individualism, compromise, and realism, while maintaining a dualistic perception. 염상섭의 초기 문학평론의 성격규명이 본고의 연구목적이다. 논의는 세 부분으 로 구분된다. 첫째, 염상섭은 양가성이라는 당대의 예술문제에 대해 다각적인 모색 끝에 극단적이며 이상적인 개성론을 제시한다. 개성적 예술추구와 식민지치하에서 개성의 한계라는 양가적 상황에 대한 비판적 평론이 추구된다. 개성론은 극단론으 로서의 모순이 되었지만, 그것은 식민지라는 상황을 지양 극복하는 양가적인 인식 에 기인한 것이다. 둘째, 절충론에서 그는 민족주의와 사회주의 문학론을 절충시키려는 아이러니 한 주장을 한다. 양자가 제휴된다면 양가적인 상황이 되고 만다. 염상섭은 순수 문예를 지향하는 국민문학파의 문학 순수성 옹호와 민족적 항일이라는 대전제에 서 사회주의자들을 수용할 필요가 있었다. 그런데 좌우 통합이라는 차원에서, 주체의 존폐가 걸린 입장에 봉착한 염상섭은 문학자체를 옹호하는 순수문학의 편에 선다. 그리고 염상섭은 순수예술에 정치성향을 포함시키는 양가적 상황에 서 해결책을 모색한다. 셋째, 사실주의 문학론에서 있어서도 염상섭은 양가적 입장에 선다. 사실주의 적 세계관은 모든 사람들의 개인의 체험과 사소한 일들을 통하여 사회 전체의 관심사와 대표적 사건이 형상화되는 문학세계를 이룬다. 그것은 개인의 삶을 통 해 사회전반이 드러나는 리얼리즘을 의미한다. 그의 논리에는 대상과 주체의 합 체라는 세계 변용이 강조된다. 그것은 당대의 현실을 작가의 윤리로 본다는 말 과 상통한다. 그런데 자유로운 상태에서 작가의 윤리성은 일제강점기의 이데올 로기와 상충한다. 그렇기 때문에 일제강점기하에서 염상섭의 문학론은 식민지 지식으로서의 아이러니컬한 시각을 갖게 되는 것이다. 결국 염상섭의 초기평론에서 나타나는 아이러니한 인식은 양가적 상황을 타개 하려는 시도이고 그 과정은 양가적 인식을 유지한 상태로 개성론, 절충론 그리 고 사실주의 문학론으로 전개된 것이다.

위대한 개츠비에 나타난 개츠비의 낭만적 비전

박병주 한국교통대학교 2017 한국교통대학교 논문집 Vol.52 No.-

This paper focuses on a critical study of Gatsby’s romantic vision in The Great Gatsby by F. Scott Fitzgerald. The novel has often been accepted as the fall or decline of American Dream or the criticism of moral corruption. Though they have led to some stimulating readings, we must pay attention to Gatsby’s romantic vision for understanding Gatsby’s tragic irony. In the end, Nick, narrator, character and critic, returns to the West because of the corrupted materialism embodied in Tom and Daisy. Nevertheless, he thinks highly of Gatsby in spite of his immorality. But in this paper I claim that although Nick called Gatsby a great person, Gatsby’s romantic vision is ambivalent. Finally, we can find the tragic irony in Gatsby’s romantic vision.

염상섭 소설의 반골형 인물 연구 -1920-30년대 작품을 중심으로-

김정진 ( Kim Jung-jin ) 국제어문학회 2021 국제어문 Vol.- No.91

염상섭은 일제강점기하에서 지식인이 그들의 삶을 모색하는 전형으로서 체제와 구세대에 반발하는 반골형 인물을 만들어 냈다. 그 인물들은 당대 일본유학 출신이거나 일본인 혼혈 혹은 일본식 근대교육을 받은 신세대 인물들이다. 그리고 염상섭 작품의 주요 인물들은 반골기질이 있으며 그가 속한 세계에 반발하는 반골적 행동이 서사 갈등 구조의 중심이 되고 있다. 근대 교육으로 스스로 마치 일본인보다 더 우수하다는 착각을 하는 반골형 캐릭터는 귀국 후 그들은 자유연애나 일제식민지 지하에 체제 혹은 식민지 사회에서의 부조리 등에 맞서면서 그들이 일본인이 아니라 신민지 지식인이라는 혼종성을 인식한다. 그리고 그들은 일본인처럼 자유롭게 살고 싶었지만 식민지 지식인의 한계라는 현실 문제에 봉착한다. 거기에 바로 양가성이 자리한다. 그들은 그러한 양가성의 추구를 위해 소설에서 갈등을 야기시켰고 작품 전체 서사를 이끌어 가는 갈등구조를 소설에서 형상화해낸다. 그리고 혼종성과 양가성이 염상섭 소설 인물성격화의 특질 중 하나인 반골형 인물을 만들어냈다. The rebellious characters in Yum Sang-sub’s novels usually have a tragic ending. This is because the character’s constant attempts to integrate incompatible ambivalences have created an illogical eclecticism. As a result, rebellious characters often have an unfortunate end. In “New Year’s Eve” and “Two minds” Choi Jeong-in” and Park Chun-kyung respectively commit suicide, “Teacher E” leaves work and wanders, and “Nam Chung-seo” suffers from the confrontation between Joseon and Japan. In “Love and Sin,” Ryu Jin leaves for Manchuria, in “Three Generations,” Kim Byung-wha is arrested and imprisoned by Japanese police, and in “Figs,” Kim Byung-wha leaves for Tokyo, the heart of the enemy in terms of the struggle. As such, the fates of the rebellious characters are tragic, but they play a central role in the work of Yum Sang-sub and become the central axis leading the narrative. In Yum Sang-sub’s novels written in the 1920s, the meaning and role of the half-bone character is very important. In “New Year’s Day”, “Teacher E,”, “Nam Chung-seo,” and “Love and Sin,” the rebellious characters are usually of mixed-race or foreign students from Japan. They were engrossed in the idea that they were Japanese or superior to the Japanese given the modern education they had received in Japan. However, after returning to Korea, they felt the hybridity of being colonial intellectuals, not Japanese, as they faced the absurdities of the colonial society or the system under Japanese colonial rule. wanted to live freely like the Japanese, but the reality of colonial intellectual limit presented a problem. Therein lies the ambivalence. To destroy such ambivalence, they caused conflict in the novel, and the conflict structure that guides the entire narrative of the work is embodied We are faced with a tragic ending in which the ambivalence is resolved. On the other hand, in works such as “Three Generations” and “Figs” written in the 1930s, anti-skeletal figures are set as socialists or anti-Japanese resistance activists. Due to the censorship of the Japanese imperialists at the time, they find themselves in complicated situations, such as camouflage tactics to deceive others who suspect them. They develop an ambivalent perception in the limited situation where they cannot pursue the pain and ideals of reality. However, the ambivalence intensifies the conflict structure of the novel. In addition, he maintains the tension structure of the novel by continuously leading the friendly relationship between Jo Duk-gi of “Three Generations” and Lee Won-young of “Figs,” who can be considered sympathizers. In the end, Kim Byung-wha is imprisoned and Kim Bong-ik leaves the country, and the novel is about to end.

최명익 『장삼이사』 의 초점자 연구

신희교(Sin, Hui-gyo) 한국언어문학회 2016 한국언어문학 Vol.98 No.-

Jangsamisa is Choe Myeongik’s a short story. This work is the work of psychologism affiliation. This work connected to Lee Sang s works. But Jangsamisa is different from Lee Sang s works. Meantime a focalization study of Jangsamisa focused on external focalization. But as a stream of consciousness is cross of unconsciousness and consciousness, so focalizer(focalization) aspect of Jangsamisa is cross . Namely there is cross of external focalizer and internal focalizer. In focalization object case, the cross appears, too. The cross unlike change is found in sentence unit. Meanwhile Jangsamisa shows the characters s ambivalence. A woman s ambivalence is based on a life. But a focalizer s ambivalence is based on an idea. The focalizer s ambivalence is eventually a play of idea or an idea of play. In this regard Jangsamisa is text of romantic irony. What is a cause of external focalizer and internal focalizer s cross? That is to say, It is thought that when writer produces text his consciousness is attributable to anxiety. (This anxiety appears focalizer s ambivalence in the text.) That is to say, this anxiety can only be explained by a situation of last stage of Japanese imperialism. Discontinuance of Munjang is proof of that. The focalizer of Jangsamisa have self-respect. He just shows his thoughts to implied reader(reader). In the situation of last stage of Japanese imperialism, his attitude like this have a meaning of literary history unlike pro-Japanese intellectuals. But his attitude released from life seems a undesirable thing in view of essence of novel genre. Nevertheless, the life is a life under control of Japanese imperialism. In this regard, focalizer s a play of idea or an idea of play will be reevaluated. That is to say, there was another worthy life-style as this intellectual s own way to protect himself unlike pro-Japanese intellectuals.

거리두기와 아이러니

김윤정 ( Kim Yunjung ) 국민대학교 어문학연구소 2019 語文學論叢 Vol.38 No.-

I borrowed the title of this paper from Virginia Woolf’s essay about Ivan Turgenev, “the Novels of Turgenev”. Woolf’s several essays had read and interpreted many classic writers in a Woolfian way. In particular, she expressed great interest and respect for Russian writers, one of whom is Ivan Turgenev. Although he is known as a 19th-century realist writer, Woolf understands him as the starting point of a comtemporary writer with dual attributes. Jessie Matz also uses “literary impressionism” to describe Woolf, Russian and other writers, “Impression” did not intend only objective sight but subjectivity, a duality of real seeing and personal vision. Related dualities followed, as impressionism could seem to deliver appearance or reality; to require innocence or sophistication; to favor life or art, the natural or the aesthetic. Woolf often set up a parallel relationship between binary oppositeness such as form and content, the private and the public, major character and minor character, etc. Then she freely crossed their boundaries and translated a certain problem in the one world unto that of the other. Of course this ambivalence in Woolf and Turgenev does not resolve the real problem of war, nor does it conclude the tragic troubles of all human beings. It does enable us, however, to broaden our vision and envisage a possible common life.

김승희 시의 아이러니 연구

이유정(Lee, Yu-Jeong) 우리문학회 2016 우리文學硏究 Vol.0 No.50

본고는 1980년대 한국 여성시가 ‘아이러니’를 본격적으로 수용하여 ‘여성적 문학’에서 ‘여성주의 문학’으로 도약하게 되는 새로운 전기를 마련하고 있다고 본다. 이에 1980년대 김승희 시에 나타난 시적 아이러니를 분석하여, 이 시기 여성시가 지닌 현대성의 문제를 고찰하고자 했다. 이를 위해 ‘아이러니’를 ‘현대성’의 특징이자, ‘현대 예술’의 시작점이라고 본 버먼의 관점을 받아들였다. 1980년대 김승희의 시적 주체는 비정상적인 현실에 저항하고자 하면서도 세속적 안위를 보장받기 위해 현실과 공모할 수밖에 없는 양가적 삶의 태도를 보여준다. 1980년대 여성시 텍스트에서 억압적 현실을 상반된 감정과 태도로 살아가는 시적 주체가 발견된다는 것은 이 시기 여성시인들이 표면적 인식으로 파악할 수 없는 인생의 복잡한 양상들을 균형 잡힌 시각으로 형상화할 수 있었다는 것을 뜻한다. 나아가 세속적 삶과 공모하는 시적 주체의 출현은 이 시기 김승희가 서정시의 아우라가 사라진 공간을 작품화해 현대성의 새로운 전기를 마련하게 됐음을 의미한다. 김승희 시 텍스트에서 시적 주체의 양가적 태도는 ‘아이러니’의 형식으로 나타나며, 이것은 비서정성을 본질로 하여 시적 주체의 인식론적 난처함을 드러내기 위한 미적 수단이 된다. 초기 시 텍스트에서 현실을 자신의 이념적 지도 아래 관망하고, 교조적이며 단일한 삶의 태도를 보이던 시적 주체들은 세속 도시 내부의 비평적 대상이 되면서 자본주의적-도시적 삶을 살아가는 군중들의 무의식을 더 잘 관찰할 수 있는 상태가 된다. 초기 텍스트에서 계몽 이성의 진리가 실현되기만 하면 평등한 사회가 될 수 있을 것이라 여겼던 시적 주체의 믿음은 실제 현실에서 어떤 식으로든 좌절되고 만다. 이는 시적주체가 전래의 시가 갖고 있던 선험적 미의 형식에서 벗어나 세속적인 삶을 살아가는 군중들의 변화된 삶의 모습을 담아낼 수 있을 때, 현대성을 지닐 수 있음을 뜻한다. 타락한 시대와 연루된 존재로서 시적주체는 텍스트에 필연적으로 환멸과 죄의식의 감정들을 산출한다. 한편, 김승희는 군중들의 자발적인 ‘연대’와 일상의 미물들이 보여주는 ‘존재론적 대응’을 보여줌으로써 세속적 현실과 단절될 수 없는 시적 주체가 희망을 예감할 수 있는 방법들을 제시한다. 김승희 시에 나타난 아이러니는 현실의 중력에서 결코 벗어날 수 없는 시적 주체들이 세속적 삶과 타협하면서도 현실의 삶 너머를 희구할 수 있는 유일한 방법이다. This study focuses on irony in Kim Seung-hee’s poems of modernity. According to Berman’s view, the core of modernity is the irony that reflects a poet’s desire to separate from crowd of people, as in the case of Baudelaire. Kim Seung-hee"s poetic subject reflects an ambivalent attitude to life, inevitably conspiring with a secular reality in order to guarantee comfort. In the 1980s, with women found to be living in a repressive reality, the poetic subject was one of conflicting emotions and attitudes. This means that 1980"s female poets expressed contradictory and conflicting emotions that did not reflect the surface perception from a balanced perspective. Kim Seung-hee’s work shows the emergence of a secular poetic subject embodying modernity through traditional lyrics and other methods. The ambivalence of Kim Seung-hee’s poetic subject appears in the form of irony, revealing the epistemological annoyance of the poetic subject by means of a non-lyrical nature as its essence. The poetic subject is a state of unconsciousness that can be observed from the crowd of capitalist society as a critical object within a secular city. Modern poets are able to capture the changing modern life when some of the crowd choose to live a secular life. A fallen poetic subject reveals the inevitable disillusionment and feelings of guilt in the text. Meanwhile, Kim Seung-hee suggests voluntary “solidarity” and the ontology of little things. The irony in Kim Seung-hee’s work is recognized as the only way in which a poetic subject can escape the reality of gravity;he or she can crave a life beyond the secular, and yet compromise with real life.

김유정 소설의 “열린 결말” 연구

김승종 ( Seung Jong Kim ) 현대문학이론학회 2013 現代文學理論硏究 Vol.0 No.53

김유정의 소설의 대부분은 열린 결말의 형식을 취하고 있으며 이중적인 아이러니 효과를 거두고 있다. 표면적인 차원에서의 수사적 아이러니는 김유정 소설에 등장하는 인물들이나 독자들이 애초에 기대하지 않았던 결과를 알게 됨에 따라 발생한다. 반전 효과를 수반하는 수사적 아이러니는 독자의 흥미를 유발하며 서사적 긴장을 형성하고 현실적으로는 문제가 해결되지 않았음에도 불구하고 작품이 구조적으로 완결되는 데 기여한다. 이에 비해 사회·역사적 차원에서 발생하는 심층적 아이러니는 등장인물의 윤리적 규범에서 벗어난 일탈행위를 당 시대의 본질적 모순과의 연관성 속에서 파악할 때 인지된다. 생존 자체가 위협당하는 절박한 상황 하에서 민중들에 의해 불가피하게 행해지는 절도, 도박, 매춘 등은 근본적으로 체제 유지를 목적으로 하는 기존의 윤리적 규범을 해체하고 순박한 내면과 민중적 감각과 생존 방식에 바탕을 둔 대안적 윤리를 모색하는 방향으로 나아간다. 이처럼 등장인물들의 일탈행위가 민중 내부의 시점을 통해 정당성을 획득함에 따라 김유정 소설에서의 이중적 아이러니가 성립된다. This paper deals with plot of novels written by Kim You Jung. And this paper focuses on open ending of Kim You Jung`s novels. His novels`s open ending creates the effect of ambivalent irony, which is not simple contrast between intentions and results, but reveal contradiction of tenant farming in the Japanese colonial period. The situation of Kim You Jung`s characters of novels is getting worse when we compare ``end`` with ``beginning``. The characters of novels fall over themselves for improving their economic situation, but that situation would not improve absolutely. They were placed in extreme situation, and they do illegal acts, which is steal, gamble, prostitution for getting out from worst situation. But they always failed to escape from poverty because of the barrier of tenant farming in the Japanese colonial period. The women traveler in ‘The traveler of mountains’ gets merry with Duc-Dol, the son of pub, but she got merry already, and had husband. She stoles winter clothes of Duc-Dol, and returns to sickly, poor husband. And Eung-O in ‘The Manmubang’ stole rices that he have cultivated himself, but is not his possession. They violets the laws of Japanese colonialism. But they did those action not for themselves but for others. Therefor their illegal actions is objets of sympathy, not of condemn. The characters of another rural novels drove out Delbyengiee who is wanderer prostitute for family`s living. Even they sold wife, or tried to follow Delbyengiee. Of course they failed and backs to situation of ‘beginning``. Or they betray friends, plow over pea patch, injures himself for taking gold. These novels reveal the fact, that contradiction of tenant farming in the Japanese colonial period devastated not also their economic life but their inner world. The characters of urban novels of Kim You Jung are beggars, hostess of bar, unemployed person. They become lethargic or have a big crush elder women. They reveals ruined urban life, an trend of materialism, chronic poverty. Especially ‘The Blazing Sun’ is embodying the poor husband who is doing best to wife who is dying because of poorness. Likewise the ‘open ending’ of Kim You Jung`s novels show worsen aspects than ‘beginning’. The character of his novels try to get over their difficult position, but their attempt always fail. The open ending of These novels create ambivalent ironic effect. And ironic effect of these novels deconstruct existing morals and persue alternative morals for people class.

『칠박공의 집』에 나타난 양면성과 호손의 아이러니

서석경 미국소설학회 2006 미국소설 Vol.13 No.1

The work aims to review Hawthorne’s Irony through studying various ambivalence in The House of the Seven Gables, especially focusing on Clifford's altered state of consciousness. In the Preface to The House of the Seven Gables, Hawthorne famously distinguishes between romance and the novel, also claims that his narrative is a romance in “its attempt to connect a by-gone time with the very Present that is flitting away from us.” Hawthorne’s romance is taken to be integrative mode seeking to reconcile self and other, past and present, spirit and matter, actual and imaginary. By this ambivalence, his romances are full of various ironies of fine intelligence and sensibility. Clifford is an ambivalent figure in the site of considerable anxiety and altered state of consciousness in The House of the Seven Gables. At one point in the novel, Clifford in the crowd of a political procession passes, is immersed in the surging stream of human sympathies. But after discovering Jaffrey dead in the study, Clifford and Hepzibah fly from the House of the Seven Gables boarding a train. The train is a figure for their displacement. The writing of romance takes place in a kind of altered state of consciousness, analogous to mesmerism. As a final irony, Holgrave’s daguerreotype of the dead Judge serves, because of it’s presumed minute fidelity, as evidence not only in the case of Jaffrey’s sudden death, but also that of the earlier death of his uncle, which it is assumed to repeat. The ambivalence and the irony in Hawthorne’s romance is linked with the discrepancies between the idealism and the reality in American society.

시 창작의 놀이치료 기능 - 김소월의 시를 중심으로

전미정 한국문학이론과비평학회 2008 한국문학이론과 비평 Vol.40 No.-

The purpose of this study is to review the poems of Kim So-wol from the viewpoint of play therapy and establish academic foundation on the literature therapy. To begin with, by studying the family origin of the poem composition and play, the action of play aspect upon the poem composition has been reviewed by utilizing Freud's psychoanalysis as a tool to analyze the literary works. In the body, the writer has reviewed the play therapy function of the poems of Kim So-wol in three aspects, which are women persona acting play, rhetoric play of double language of irony and paradox, and musical play of rhythm. The women persona, irony and paradox, and rhythm are typical characteristic of Kim So-wol's poem. In short, to sublimate agony in play, women persona might be proper than men persona. The double language as a rhetorical way to control the psychological fear of the poet was used as a fantastic door to get rid of the deficiency and frustration from the actual world that admitted only one among the two. In addition, rhythm is very suitable to the play that provides amusement and pleasure, which is the results of pursuing psychological sense of stability through the magical and fantastic world in the form of sound. Through these three characteristics, the writer expresses that the poet enjoyed poem composition as a play unconsciously, and by repeating the actual agony in the play, the poet enjoyed certain kinds of psychological liberation, that is, pleasure.