이문구 소설의 문체 연구 : 연작소설을 중심으로

장선희 忠南大學校 大學院 2016 국내석사

Focusing on sequence novel of Lee Moon Gu, this study is designed to analyze what role Lee Moon Gu’s literature style is playing to express the themes. This study claims that writing style is analyzed and interpreted by ‘what does the style tell’ and ‘how does the style tell’, beyond only regarding as a style of expression which is unrelated with theme and idea. The writing style has writer’s intentional sentence structure, which is not accidental. Therefore, in the writing, there appears the writer’s perspective and the subject. Existing research on Lee Moon Gu’s novel is more about subjective aspects. There are a few researches about aesthetic aspect but, the research which is concentrated in use of progressive sentence and dialect shows the limit. This paper is studied broadly and specifically about vocabulary and humorous writing including dialect, local language, slang, and so on, about aspects of oral and descriptive statement, and about comparison and metaphor in Lee Moon Gu writing. Furthermore, I studied how the writing style effects on subject imagery by analyzing these aspects and features. By focusing on vocabulary in novel of Lee Moon Gu, this study examines the features of writing style of Lee Moon Gu’s novel. Use of dialect and local language is conspicuously important feature of Lee Moon Gu‘s writing style. Dialect of ChongChung Province changes the meaning of word as different tones and abbreviations of words shorten articulation. Lee Moon Gu shows folksy atmosphere of small country village by using dialect and native words which are not even in dictionary. This dialect and native words have very important roles in portrayal of traditional rural community and ecological viewpoint. Next, I studied about slangs and vulgar talk. Use of coarse slang appears when there are serious conflicts between people or social complications so that slangs and vulgar talk can be interpreted as verbal violence aspect when there is frustrated desire. Also, narrator experiences the liberty of suppressed feeling, freedom, and catharsis through using forbidden coarse language. Repeated spoken rough language in the Lee Moon Gu’s novel was written- intended to express that there are often conflict in rural society. In the following, I had careful research on features of humorous style of writing and progressive sentences that expresses traditional figure of speech, and biographic style of writing in Lee Moon Gu’s novel. Lee Moon Gu imparts reader the detailed description of rural life in 1970’s through humor in ironical situation, comical interpretation of the characters, and humorous analysis of the disconsolate time. Furthermore, by describing astute ruralists who are unlikely to be known as pure and innocent and government officers who ignore ruralists with governmental authority, Lee discloses changing ‘looks like pure and innocent rural people’ and criticizes contradiction and irrationality of the society. Most of the sentences Lee Moon Gu writes are long prolix style. This is very different from modern writing style which is simple. He succeeds classic old novel, making long sentences using connective suffix. Prolix style of Lee Moon Gu reminds reader of traditional story teller who gives audience a fictional storytelling and the writing style well describes real dialect of ChongChung province, the background of the novel. Also, the style succeeds Korea traditional Pansori. Moreover, Lee Moon Gu starts with writing biography of historical figures and develops from the biography into classical biographic novel with fabrication. Narrator in the novel keeps involving in the story like style of story teller and Pansori singer, this is very typical Lee Moon Gu’s writing style. For the lastly, I specifically studied on features, which can be found in rhythmic sentence rhetoric that accompanied on repeat, contrast, and enumeration to deliver context the more effectively by emphasizing the sentences. The rhetoric of Lee Moon Gu preferably excludes a cliché and seeks new and fresh writing style with a strong personality. Also, we can learn that this rhetoric is very appropriate to emphasize the message that he wants to tell by prompting steady rhythms to bring memory. Indispensable figurative sentences in the rhetoric, simile, mimetic words, metaphor, proverb, and metonymy are used in Lee Moon Gu’s novel. Lee uses common real-life objects to create his own unique figurative sentences. Lee Moon Gu style connotes the writer’s thoughts and educational moral. That is very natural because Lee Moon Gu has sympathy on the poor rural people who have suffered from city centered modernization and wrong and government agricultural policy and also, he feels sorry for the erosion of traditional values and changing rural life which is imbued with urban life manner. Lee Moon Gu emphasizes that people should maintain humane community, although human life has become very convenient because of the machines and people in the rural community need to wake up and have self- innovation inside the community through his unique writing style. Especially, it is very meaningful that Lee Moon Gu takes important role to preserves our own language by using obsolescent ChongChung dialect and traditional word in his novel.

이효석 문학의 비교문학적 연구 : 아리시마 다케오, 다니자키 준이치로와의 비교

양미영 忠南大學校 大學院 2016 국내박사

This dissertation compares Yi Hyosŏk(1907-1942)’s literature with Arishima Takeo(1878-1923) and Tanizaki Jun’ichirō(1886-1965)’s literature to explore the features and historical meanings of Yi’s literature in its relation to Japanese modern literature. Most comparative studies about Yi Hyosŏk have dealt with influencial relationships between English literature and Yi's literary world, because Yi studied English literature at University and he mentioned many Western writers in his works. On the other hand, in spite of that Yi Hyosŏk was educated by Japanese educational system and lived all his life as a colonial intellectual/writer under Japanese imperialism, any existing study about a relationship between Yi and Japanese literature has not been found. For this reason, one of aims of this dissertation is to fill the vacuum of existing studies. To compare with Yi Hyosŏk’s literature, two Japanese writers-Arishima Takeo and Tanizaki Jun’ichirō-were selected as subjects of comparison. Arishima and Tanizaki are important writers in Korean modern literary study for the fact that few Korean modern writers were influenced by their literature, and Yi Hyosŏk also has some similar points with their works. Arishima and Tanizaki were members of Shirakaba-ha and Tanbi-ha, respectively, which were important literary groups in Japanese modern literary field. These two groups represent two different dispositions in Japanese Taishō literature; cosmopolitanism and aestheticism. Yi Hyosŏk shows some aspects that are influenced from Taishō period’s literary trends which have both positive and negative sides. Thus, this study focuses on the Taishō literature as a common point and examines these three writers’ literary world through comparison and contrast between each other's. As Tanizaki’s and Arishima’s literature are very different each other, if Yi Hyosŏk’s literature could be compared to these opposite writers at the same time, it could be a proof of wide spectrum and universality of Yi’s literature. First, Yi Hyosŏk and Arishima Takeo have similarities in three themes; Bible as a literary work, great depiction of nature and humanity, and advocating individual and freedom. These themes let us reconsider its value and modernity of Yi’s literature. Arishima is a practical idealist who tried to defend humanity against violent convention and ironical modernity, and Yi is a realistic cosmopolitan who stood the time of colonial and refused to agree with the Japanese fascism, establishing his own philosophy in life. Second, Yi Hyosŏk and Tanizaki Jun’ichirō’s works are analysed focused on eroticism and aestheticism which are the biggest similarity of two writers. Through analysing, it is revealed that Tanizaki stands out as a post-modern artist in his literary life. On the other hand, Yi shows great modernity in his sense of art and the time. In this chapter, Exoticism and traditionalism of Yi and Tanizaki are also deliberated and we can learn out that they always keep their conviction against force and seduction of Japanese fascism. In particular, Yi Hyosŏk kept up with the trend and was very modern, but at the same time, he always corroborated his belief in art and cosmopolitan vision. This is a significance of Yi Hyosŏk’s literature in Korean modern literary history. Yi Hyosŏk can be studied with both Arishima Takeo and Tanizaki Jun’ichirō who are in charge of two representative positions in Taishō literature, and to conclude, Yi is a writer who has an ability to embrace and range extremely different literary styles. This fact also proves that Yi Hyosŏk is a modern writer who has good resources to be researched by an approach of comparative literature. In a word, Yi Hyosŏk was a modernist, a cosmopolitan and a Diaspora at the same time in chaotic modern Korea. At last, this dissertation expects to be a meaningful study in terms of indicating variety of modern literary scene through researching those three modern writers of Korea and Japan.

이청준 소설의 신화적 공간 연구

강숙영 忠南大學校 大學院 2017 국내석사

This study attempts to prove that Lee Cheong-jun’s literary journey is in accord with the heroic mythology that has a structure of separation, initiation, and return by analyzing the Lee Cheong-jun novel’s mythical space. Because the narrative space in Lee Cheong-jun’s novels includes meanings far more than spatial background. The dramatis personae in Lee Cheong-jun’s initial novels, like “Leaving the hospital” and “The wall of a rumor”, are lost their primitive maternal spaceby violence whish is symbolized with the eletrical light. They imprison themselves voluntarily in the state of loss of ego. Closed spaces changed in a variety of form, such as shed, hospital, and secret room symbolizing the womb that is the space of material. And the spaces are the spouts of Lee Chong-jun novel’s mythical space. Wandering characters who are lost their material space are looking for a new sacred space. In “The hawk hunter”, “The target” and “The tightrope walker”, aesthetic spaces preserving the value of Tradition or art are usually seen as ‘isolated mountain’ or ‘in the air’ image. The frame structure used in Lee's early novels often roles a kind of threshold that distinguishes the world of cosmos from the chaos. The narrators enter the new sacred space through the frame structure. To protect the value of art, the characters in the frame choose to die. By doing so, the spaces of novels featuring them become the holy space more outstanding in mythic imagination. Lee Chong-jun's mythical journey begins at this place. The ‘sea’ in Lee’s works appears a space of ordeal for regeneration or death. The image of sea in Lee’s novel is the path to a paradise where a community’s illusion is concentrated, also chaos which a death lurks in. For this reason, The ‘sea’ is the most conspicuous space in Lee‘s mythical works. The characters never give up the persue for the paradise. But the space which they arrived at appears just in fantasy. In “Yours’ paradise” and “I-Eo island”, the space where the person wanted to pursue from the autogenetic fate is seen as being transformed into a space where they are looking for the self-identity. However, their attempts for the paradise are frustrated. After their failure, Lee cheong-jun and his characters arrive in their birthplace of origin. But their epic for the return are delayed consciously. It’s because that they have a bitter memory of losing their home and hometown. “Snowy road” is a turning point to the mythic spatial transfiguration from the space of the loss of motherhood. Lee cheong-jun finds the motive to rebuild a home as well as to regain his mother through this story. At the same time, his hometown is restored, too. His mother reminded him of their old days like a shaman, their bitter memory is sublimated to a place of comport. Lee cheong-jun completes his epic of return through the process of sublimation , ‘writing a novel’. Late in life, Lee cheong-jun changed the painful history of our people into the story for healing. He suggests us mourner's house and the stage of exorcism which are rampant a wail and laughter for the space of forgiveness and sympathy. The ‘funeral’ with the dead in “Festival” and the ‘stage’ performing exorcism in “The island swallowing the myths” acts as an initiation for ‘eternal recurrence’. Though Lee cheong-jun is the most intellectual and ideological writer, it is interesting that he studied illogical myths in depth. However, all of his mythical space in his work indicate that Lee choeng-jun takes a profound interest in the subject of myths throughout his whole life. And we can seize the hidden space of myth in his novels. The perfect space of motherhood, ‘shed’ or ‘room’, is transformed into ‘mountain’, ‘the sea’ and the ‘island’that are holy spaces. At last, Wandering narrators return to their hometown where it is extended to the space of empathy. In the end, the space of Lee cheong-jun's novel itself achieves the mythical transcendence. And Lee cheong-jun who became a shaman in his novels completes his return to his origin.

채만식과 라오서(老舍) 소설의 작중인물 비교연구

왕요 忠南大學校 大學院 2019 국내석사

채만식과 라오서는 한국과 중국 근대 문학사에 중요한 공헌을 한 작가이다. 본고는 그들은 한국과 중국의 현대 문학사에서의 업적과 기여를 주로 설명하였다. 문학 창작 초기에 풍자적 기법으로 창작된 『태평천하』, 「레디메이드 인생」 및 『묘성기』, 『문 박사』"대상으로 비교문학의 시각부터 두 작가 처한 시대상황과 가자의 인생체험을 비교하고 풍자적 수법을 선택하는 이유를 제시하였다. 인물 성격 분석과 인물 창작 방법의 두 가지 측면에서 필자는 두 작가의 문학적 세계를 더 잘 이해할 수 있도록 두 작가의 작품 사이의 유사점과 차이점을 비교했다. 텍스트의 구체적인 분석을 통해 그들의 풍자적인 풍격을 더 깊은 이해가 된다. 창의적인 주제와 특정 민족과 사회적 상황의 치이로 인해 두 작가의 풍자 문학 세계는 다양한 풍격을 보여줍니다. ABSTRACT A Comparative Study of Characters in Cai Wanzhi's and Lao She's Novels Yao Wang Master of Arts in Korean Language & Literature, Graduate School Chungnam National University Daejon, Korea Supervised by Professor Ki-Seob Song Cai Wanzhi and Lao She are writers who have made significant contributions to the history of modern literature in Korea and China, respectively. This paper mainly explains their achievements and contributions in the history of Korean and Chinese modern literature. In this paper, selects the representative works "Tai Ping Tian Xia", "Already Life", "Cat City" and "Dr. Wen" which were created by the irony in the early stage of their literary creation, mainly adopting the viewpoint of comparative literature to compare the era in which the two writers lived and the respective life experiences and show that the reasons why two writers choose to satirize literary creation. After that from the two aspects of character analysis and character creation methods to understand the similarities and differences between the two writers' creations, then to better understand the literary world of the two writers. Through the specific analysis of the text, and then have a deeper understanding of the satirical style embodied in their works. Due to the different creative subjects and specific nationalities and social situations, their satirical literary world also shows different ironic styles.

이상 소설의 미학적 정치성 연구

강숙영 忠南大學校 大學院 2019 국내박사

This paper is to illuminate the politicality of aesthetics in Lee Sang’s literature. Lee Sang pursues the literature that dissents from ethos as old conventions, creates new possibilities of the sensible and distributes them into the various domains of life. His idea can be regarded as a preoccupation of Jacques Ranciere`s unique view on the relationship between politics and literature, to which we have recently paid attention. The novels of Lee Sang pursued to create a new emotional possibility of life beyond all the old customs and conventional power. “A darkroom of a Map”, is a illegible text unconcerned with practice of normative language and grammar of novels. Lee Sang was confronted with inherent ego in fear of death in that time. His ego of a living person was broken up having a new self-consciousness about life. "A darkroom of a map" is a record of the process of his transformation from a engineer Kim Hae Gyoung to a writer Yi Sang, tracing on his track to wander about the city. And the inner light of his mind, the impetus for its transformation, materialize to "ampere", the objective correlative, in his character’s room. The meaning of the title `A map` is a metaphor of the despairing, meaningless world become strange to him. ‘A darkroom` symbolizes his inner mind desolated like `ruin of the location`, `grave` where he couldn`t settle down comfortably. However, Lee Sang complete the separation from the former self, succeeding in creating a new essential ego by art. "A darkroom of a map" is the narrative of self-restoration. Through art, Lee Sang could restore the light of existence. Lee Sang, experimenting with unusual and unique forms from previous short stories, refused to be subjugated in the conventional recognition system and tried to break it down. In "wings", Lee Sang completed self-delusion writing by creating a various semantic structures with the language of "Wit and Paradox." This writing strategy distorts the speaker's perception of reality. This fact is revealed through the speaker's attitude toward ‘silver coins’. Silver coins symbolizes the speaker's 'clear spirit' and the 'a mute coin bank' represents the speaker's unconsciousness of refusing to recognize reality. The speaker's attitude to ignore the social meaning of silver coin and "Wit and Paradox" embody the ‘33rd house’ as a space of Heterotopia. For Lee Sang, love and belief in women was an "soaring ladder" that allowed him to forget the restraints of reality. The women constantly produce signs for male speakers to decode. The women's imperfect love enables unfixed interpretation, like the signs of art. Male characters learn the truth of life through anxiety and fear caused by the failure of love. It is possible that the women change into the symbol 'modern.' The fail of love is also a shadow of modern times that Lee Sang intended to criticize through his stories. The space of 'Taegeuk' reached by the speaker of "Jongsaenggi" embodies the outermost space where there is a language of silence. The ‘Taegeuk’ is not a physical and spatial place, but a threshold point that cannot be expressed in knowledge and language. "Jongsaenggi" is a self-portrait of an artist who is enduring death to go out there. The creation of his novels was an attempt to suggest a new perspective away from the view of Logos. The unique gaze of penetrating and cross-eyed is his strategy to tear apart the world's shroud and awaken the potential of a language. In the Lee Sang’s novels, the subversion of the text image is made on two levels. The first is to focus on the visual composition of the letters themselves, and the second is to seek the unfamiliarness of the emerging visual image while reading the sentences. In story of “Donghae”, ‘the sharp blade’ is the eyes of punktum which disassemble ‘a shapeless modern boy’, Lee Sang. He shows a new sense of value to overcome the devastation created by modern values to us. . In "Hwansi gi(the diary of a visual hallucination )," Lee Sang tells that the modern values of romantic love and a shining future can distort the view facing the truth. Lee Sang tries to penetrate small and insignificant things through the violence of the senses that touches the limits of conventional perception. The antennae of Lee Sang explores the language of resonating with the world, tries to bring down the image of free thought. In "Lost flower," the ‘time’ is the main matter rather than an epic. The ‘Lost flower’ means the Lost time. The symmetrical point of time in this work is the author's literary space consisting of love and death, creation and extinction, and the origin and regression. Like a spider, the protagonist of “Ji-Ju-Whoe-Shi” senses all the vibrations around him and stretches his tentacles. Lee Sang calls for action against the power system by ending the work with imperative sentence. As such, Lee Sang of novel language generates sensory stimuli. The images of the thought that his strange languages generate take us elsewhere. There is the power of creation for a new world. The novelty that goes beyond all the banality is the writer's long-cherished desire. The language of the senses that is made by Lee Sang is more practical than the language of ethics. The novels of Lee Sang are the course of a revolution to acquire a new "value" by creating a strange senses that subversive the general sense of experience.

김동인의 예술가소설 연구

이근영 忠南大學校 大學院 2019 국내석사

It was a transition period in the history of modern literature between 1920s and 1930s. Various trends were introduced by students studying in Japan and literary coterie magazines were established. There was a tendency to deny conventional values and to emphasize an understanding of human being and individual autonomy. Numerous writers were emerging through literary coterie magazines and they tried to create new literary works. In such influence, artist novels containing conflicts with art and reality were emerging too. Kim Dong-in is a representative writer who has shown his own originality in his experimental works in his time. He tried to present his viewpoint of arts in his novels with artists appearing in his work. His artist novels are divided into two distinct aspects revealing his agonies for reality and art. Artist novels are categorized as a madness destroying daily life and a mirror reflecting everyday life based on the distance between art and reality. Various shapes of madness appear in the process of pursuing an aesthetic beauty along with a madness destroying daily life. Artists are passive and timid in their daily lives but they become to reveal their creativeness as creators who are out of moral ethics. Artists seek newness. However, the newness disappears when their work comes into the world and then they try newness all over again. Seeking newness drives them to destruction world without ceasing. The mirror reflecting everyday life shows images of artists who get frustrated by environment and moral collapse. Artists are forced to face a reality which they have to live a life as low class in a materialistic perspective world even though they are mentally oriented to the upper class. They are poor but the artistic self makes a lot of effort not to be poverty. Poverty makes them be conscious about their readers and incapacitate their writing but artists try to preserve their pride. Artists keep their artistic-self by concealing and revealing their own problems in the reality in novels. Concealing is plural spaces for artists and only defined beauty is recognized in this monolithic space. It also becomes a negative space for hiding themselves. Artists isolate themselves having a conflict with the times. Revealing justifies their artistic-self through confession. Revealing of artists is unethical and immoral, so they do not get the sympathy of others but they find their own way of living in recognition of their presence in it. Artists are able to preserve artistic-self and pride through concealing and revealing in the reality of novels. However, this process reveals limits soon. First of all, when they put the aesthetic beauty first, artistic-self and moral-self get to cause collision. This means that artists seem to exist separately from reality but are bound to reality at the end. Along with this, artists look for the aesthetic beauty everywhere but end up with non-satisfactory beauty at the end. This is ironic but it becomes the source of the artists artistic desires. Finally, there is a limit in the way a male intellectual treats a female. A male intellectual seems to treat female intellectual equally but he considers her as a temporally subject of love. This reveals the limitations that a male intellectual seems to be enlightened and to deny a conventional system but still has a patriarchal attitude. The distance that artists recognize reality and art is a way of preserving the artistic-self. They have chosen the best way to protect the artistic-self by transcending reality or by compromising with reality. Whatever the choice is, the artists try to satisfy the artistic-self. There is no satisfaction but only emptiness. They are tragic artists who live a lonely life. This is reflects Kim Dong-in himself. 1920년대와 30년대는 현대소설사에서 많은 변화가 있었던 시기이다. 일본유학생을 통해 다양한 사조가 들어왔고 많은 동인지가 만들어졌다. 또 기존의 가치를 부정하고 인간에 대한 이해와 개인의 자율성을 중시하는 풍조가 나타난다. 동인지를 통해 많은 작가들이 등장하면서 새로운 작품을 창작하려는 시도가 이어진다. 이러한 영향 속에서 예술과 현실 속에서 갈등하는 예술가소설이 등장한다. 시대적 흐름 속에서 자신만의 독창성을 드러내며 실험적인 작품을 쓴 대표적인 작가는 김동인이다. 김동인은 예술가가 등장하는 많은 작품을 쓰며 자신의 예술관을 제시한다. 김동인의 예술가소설은 예술과 현실에 대한 고민이 드러나며 이를 통해 현실을 인식하는 양상이 두 가지로 나뉜다. 예술가소설은 예술과 현실의 거리를 기준으로 ‘일상을 파괴하는 광기’와 ‘일상을 비춰주는 거울’로 분류된다. ‘일상을 파괴하는 광기’에서 예술가가 ‘미’를 추구하는 과정에서 나타난 다양한 ‘광기’의 형상을 볼 수 있다. 예술가들은 일상생활 속에서는 소극적이며 소심한 모습을 보이지만 창조의 순간에는 도덕적 윤리로부터 벗어난 창조자의 모습을 드러낸다. 예술가는 새로움을 추구한다. 하지만 그들의 작품이 세상에 나오는 순간 새로움은 사라지고 또 다시 새로움을 추구한다. 새로움의 추구는 그들을 파괴의 세계로 이끌지만 멈추지 못한다. 일상을 비춰주는 거울에서 예술가들은 환경에 의해 좌절하고 도덕적으로 몰락해 가는 모습을 나타낸다. 예술가는 정신적으로는 상류층을 지향하고 있으나 물질적으로는 하층민으로 살아갈 수밖에 없다. 그들은 가난하지만 예술적 자아는 빈곤하지 않도록 많은 노력을 한다. 가난은 독자를 의식하게 만들고 글쓰기를 무력하게 만들지만 예술가는 예술가로서 자존심을 지키려고 노력한다. 예술가들은 소설 속 현실에서 자신의 문제를 감춤과 드러냄을 통해 예술적 자아를 지킨다. 감춤은 예술가들에게 복수의 공간이며 규정된 아름다움만 인정하는 획일된 공간이다. 또 자신을 숨겨야 하는 부정적인 공간이다. 예술가는 시대와 갈등양상을 띠며 자신을 고립시킨다. 드러냄은 고백을 통해 그들의 예술적 자아를 정당화시킨다. 예술가의 드러냄은 비윤리적이며 비도덕적이라 타인의 공감을 얻지는 못하지만 그 속에서 자신의 존재를 인식하면서 살아가려는 나름의 방법을 모색한 것이다. 감춤과 드러냄을 통해 예술가는 예술적 자아와 자존심을 지킨다. 하지만 그러한 과정에 한계가 나타난다. 먼저 ‘미’를 우선시 하는 경우 예술적 자아와 도덕적 자아가 충돌을 일으킨다. 이는 예술가는 현실과 분리되어 존재하는듯하지만 현실에 얽매일 수밖에 없다는 것을 말한다. 또 예술가는 아름다움을 찾아 헤매지만 그 어디에서도 만족할 만한 아름다움을 찾지 못한다. 이것은 아이러니이지만 예술가의 예술적 욕구의 원천이 된다. 마지막으로 남성 지식인이 여성을 대하는 태도이다. 남성 지식인은 여성 지식인을 동등하게 대하는듯하지만 잠깐의 연애대상으로 여긴다. 이는 남성 지식인이 기존의 제도를 부정하고 계몽적인 사상을 가진 모습으로 보이지만 여전히 가부장적인 태도를 지니고 있다는 한계를 드러낸다. 예술가가 현실과 예술을 인식하는 거리는 예술적 자아를 지키는 방법이다. 그들이 현실을 초월함으로써 혹은 현실과 타협함으로써 예술적 자아를 지킬 수 있는 최선의 방법을 택한 것이다. 어떠한 선택을 하든지 예술가는 예술적 자아를 충족시키려 노력하지만 만족은 없고 공허함만 남는다. 그들은 고독한 삶을 살아가는 비극적 예술가이다. 이는 김동인의 모습이다.

이청준 소설에 나타난 자유와 사랑

이하은 忠南大學校 大學院 2018 국내석사

This study aims to explore the relationship between freedom and love in the novels of Lee Chung-Jun. This discussion is based on the concept of freedom as described by Rudolf Steiner, and the concept of love as portrayed by Julia Kristeva and Simon May. In 1960s, it was period which blocked thought about freedom and freedom was formed into épistémè in 1960’s literature. Lee Chung-Jun explores and reflects a matter of freedom in his novel in various ways in the face of rapidly changing realities. In his literary journey, he sets out to answer the question of what freedom is, concluding that real freedom is when all freedom can coexist. Anything regarded as freedom could be suppression as it imposes another possibility. That is how Lee Chung-Jun expresses freedom in his novel by showing ambilaterality of freedom. He combines love with freedom for meaning true freedom. But love also has ambilaterality, which could be a dogma. When love is toward to others, it could be a way to be free. However, when love is toward one-self, it could turn into means to get what he wants. This narcissism love spreads various way to identify with his ideal. It always fails until it is toward others. To describe its ambilaterality, Lee Chung-Jun shows that love is changeable and violent. This study attempts to analyze the relationship of freedom and Love centering on 󰡔Door of freedom󰡕, 󰡔Your paradise󰡕, 「Door of time」. It could be categorized into ‘Absence of love and Impossibility of freedom’, ‘Searching the relation of freedom and love’, ‘Action of love and realization of freedom’. As a result, this study reaches a conclusion that freedom is impossible without love. ChapterⅡ considers ‘Absence of love and Impossibility of freedom’ through 󰡔Door of freedom󰡕. Author depicts a wounded person who experienced a sense of loss, thereby resorting to belief is the only way to comfort his spirit. To show his belief is to be missoinary without showing himself. Being caught up in a fantasy of God’s love, he didn't hesitate harm others for God. It shows how love could be violent, when it is toward one-self who identifies with God. Nevertheless, he realizes that meaningless belief couldn’t be a way to be free, so he persists in his belief. To sum up, 󰡔door of freedom󰡕 shows meaningless belief could restrict a human act. Chapter Ⅲ analyzes ‘Searching the relation of freedom and love’ through 󰡔Your paradise󰡕. It depicts Sorokdo where lepers live and are controlled by a director. Inmates who are ill with leprosy are controlled and suppressed even their human desires in Sorokdo. As inmates express their human desire, they choose ways to get freedom such as suicide, escape or kill their suppressor. Jo Baek-hun, the director of Sorokdo, sees them as human beings with love. It makes inmates feel alive and free to do as they want. However, he turns into a dictator when he fails to rebuild the Sorokdo project. The relationship between the director and inmates in Sorokdo indicates that community is necessary but it can potentially lead to totalitarianism. To seek a right way to get freedom, 󰡔Your paradise󰡕 suggests ‘La communauté désoeuvrée’. Through it, lepers and Jo Baek-Hun heard a voice, which is covered by director’s myth. The voice was the ‘love’, and there is a possibility that a community of freedom will be presented through marriage. Chapter Ⅳ considers ‘Action of love and realization of freedom’ through 「Door of time」. It describes a man, Yu Jong-Yeol, who wants to overcome a limit of picture, which halts time flow. To reach time flow, he arranges his works by detaching its time sequence. It shows violence of subject. To overcome the limit, it should be a starting point for cognizing other. He cognizes other, when he went Vietnam War as a photo journalist. To cognize other is to make a person escape from the extinction of the present. To escape present and move to future, it is important to go and have solidarity with other through ethical responsibility and love. To show love, he decides to take photos of refugees. Yu Jong-Yeol, who is ready to die for them, cross into them to show love toward other. Yu Jong-Yeol’s last moment, which capin takes, shows he eventually overcomes his limit. To sum up, 「Door of time」 shows that love toward other brings freedom.

『소년이 온다』의 소설교육적 의미와 교육 방안 : 2015 개정 교육과정을 중심으로

조주희 충남대학교 교육대학원 2018 국내석사

The present study sought to analyze the significance of Human Acts for prose fiction education with a focus on the revised Educational Curriculum of 2015 and, by making use of this novel, to discuss concrete educational plans. With the announcement of the revised Educational Curriculum of 2015, school textbooks have been published newly, thus leading to interest in prose fiction works to be used in Korean language education. In comparison with textbooks published in accordance with the revised Educational Curriculum of 2009, however, these new textbooks have tended not only to reinclude literary works already included in earlier textbooks but also to publish only a few prose fiction works in single volumes, thus revealing problems in prose fiction education. In order to grasp the reality of prose fiction education actually conducted at schools, the present study first reviewed the works included in both the current Educational Curriculum and textbooks. According to the results, changes in achievement standards were negligible, and some of the prose fiction works included in textbooks were fixed. Through this, the present study grasped the limitations of the current prose fiction education, which contrasted sharply with the educational value of prose fiction education. In order to overcome such limitations in prose fiction education, the present study proposed the inclusion of Human Acts, Han Kang’s novel, in textbooks. This is because elements of and significance for prose fiction education can be extracted from this work, a contemporary novel whose value has already been acknowledged both in South Korea and abroad, thus making possible the establishment of diverse educational plans. The present study analyzed Human Acts with a focus on elements of the novel that manifest themselves as unique characteristics. In the analysis, the personages, points of view, plot, narrative structure, and use of italics and special characters were verified. In addition, the themes were differentiated for individual chapters in terms of the novel’s problematics and possibility of communication and messages according to various interpretations were extracted. Next, based on the foregoing contents, teaching and learning plans making use of Human Acts were created, thus establishing educational plans. Achievement standards were established based on the revised Educational Curriculum of 2015, and related study goals were devised. As a result, it became possible to predict concretely the effects of using Human Acts in prose fiction education. Nevertheless, there are limitations to the present study. One is that, in the process of extracting significance of Human Acts for prose fiction education, any opinion diverging from the argument of the present study, too, can be accepted as one interpretation. Indeed, all prose fiction works can change in meaning according to the ways in which they are interpreted. However, the fact that interpretations and opinions can differ for each work can lead students and teachers to feel unstable in terms of educational plans, which should be fixed and maintained uniformly. In addition, it is necessary to conduct follow-up research. Because research collecting all textbooks published after the announcement of each new Educational Curriculum and grasping the literary works included in them has been conducted, the revised Educational Curriculum of 2015 likewise will lead to similar studies in the future.

이태준 소설의 수사학 연구

마기영 忠南大學校 大學院 2018 국내석사

이태준의 󰡔문장강화󰡕를 기본서로 삼고, 그의 단편소설을 분석함으로써 이태준 소설 문장이 가진 표현적 특징을 연구하였다. 이태준의 문장력과 󰡔문장강화󰡕의 사적 가치를 알고 연구한 논자들도 없지 않았으나 대부분 이태준의 작품 자체를 실증적으로 들여다보기보다는 이태준의 문장에 대한 인식이나 시대적 관련성 중심으로 주목해왔다. 따라서 그의 문장론과 작품의 연관성을 가지고 면밀히 분석해보고자 한 데서 본 연구는 시작되었다. 논문은 이태준이 󰡔문장강화󰡕에서 강조한 묘사, 언어, 화법의 측면에 맞게 장을 구성하였다. 각장에서는 이태준이 󰡔문장강화󰡕에서 언급한 각각의 개념들에 대한 내용을 먼저 적시하였고, 그 사례들을 그의 작품 속에서 찾아 예증하였으며, 그렇게 함으로써 어떠한 소설적 효과를 거두었는지 해명하고자 하였다. Ⅱ장에서는 재현과 문장이라는 제목으로 먼저 핍진한 묘사를 통해 인물과 장면, 사태를 생생하게 재현해 낸 그의 문장표현들을 살펴보았다. 이태준은 설명적이 아닌 묘사적이고 심리적인 글이야말로 가장 문장력을 살릴 수 있는 길임을 강조하였다. 구체적이고 세밀한 묘사는 소설의 리얼리티를 한층 북돋으며 불필요한 관념의 동원 없이 즉자적으로 인물을 그려내고, 사건의 추이를 따라가며 소설의 행로에 발맞추게 하는 효과를 획득한다. Ⅲ장에서는 이태준 문장의 보다 세부적인 요소들을 살펴보고자 하였다. 유일어 탐색, 감각어 활용, 독창적인 단어를 통한 개성있는 구문 완성에 주목하였다. 이태준은 소설 속 인물에 꼭 맞는 담화를 만들어 내는데 집요하게 매달렸으며, 그 인물만의 유일한 단어를 찾아내려 애썼다. 또한 우리 말이 세계 어느 언어보다 다양한 의성어와 의태어를 가지고 있음을 알고, 이를 적절히 사용하여 표현의 구체성을 높이고 문장에 생동감을 부여하였다. 그런가하면 이미 관습화된 표현을 경계하고 새롭고 독창적인 단어와 표현을 만들어 쓰고자 노력하였다. Ⅳ장에서는 이태준 작품에 나타난 자유간접화법 문장의 실례를 들어 보였다. 작중인물과 서술자의 목소리가 혼재된 그의 문장이 독자로 하여금 서술자, 작중인물 혹은 작가의 사유이미지와 만나게 만드는 효과를 예증하고자 하였다. 자유간접화법(FID)으로 쓰여진 문장은 문장의 주체가 누구인지, 즉 말하는 자가 누구인지에 대한 판단이 쉽지 않으며, 그렇기에 독자의 독서 휴지시간이 길어진다. 그럼으로써 독자는 작가가 의도한 주제에 대한 공감 또는 가치판단을 시도하며 독자의 사유는 소설 안과 밖으로 자유롭게 이동한다. 이 과정에서 소설은 독자의 삶을 인식하고 판단하는 인식도구로 기능하게 된다. 본고는 이태준 소설을 통한 특수한 개념의 확정이나 새로운 관점의 정립보다는 이태준의 텍스트 󰡔문장강화󰡕와 그의 단편소설에 대한 구체적 분석과 목차에 열거한 항목별 사례를 충분하게 예증하고자 하는데 연구목적이 있다. 이태준은 일제강점기라는 시대적 특수성, 국어사용을 금지시키는 수모의 시대에도 굴하지 않고 한국어로 소설쓰기를 지속하였고, 그 미학을 가다듬는데 역량을 기울였다. 그의 이러한 노력을 묘사, 언어, 화법의 측면에서 살펴봄으로써 독자에게 다가가기 위해 끊임없이 언어를 조탁하고 자신을 연마한 이태준의 소설 세계에 더욱 구체적이고 심층적으로 접근할 수 있을 것이다.

김승옥 소설의 주체와 서사 전략

마기영 忠南大學校 大學院 2021 국내박사

The aim of this study is to investigate a particular range of narrative strategies employed through Kim Seung-ok’s literary texts as well as meaningful character analysis in light of social, political, and economic transformations of Korea of the time. Kim Seung-ok, a representative novelist of the 1960s who received considerable attention for his sensibility differentiated from that of previous generations of writers, focused on the ‘individual’ and everydayness. Throughout his novels, Kim Seung-ok portrayed disruptive family narratives in the absence of a father figure in the aftermath of the war, and delicately captured the daily life and private space experienced by individuals living in modern urban Korean society. Ultimately, his excellence was remarkably revealed in the characters who exhibited the splitting of the subject seized by the snobbish capitalist daily surroundings. This study specifically concentrates on Kim Seung-ok's literature in relation to the peculiarities of Korean history shackled by a variety of occurrences such as the Korean War, the April 19 Revolution, and the May 16 military coup d'état, maintaining the view that the conditions of contemporary circumstances and social practice deeply affect the way an individual in certain times is established as a specific subject. Moreover, this study attempts to associate Kim Seung-ok’s literary works with political and economic transformations of the era expedited by government policies of rapid modernization and industrialization, which resulted in rural to urban migration for material abundance and the exploitation of labor in factories. Due to these social contexts, the characters in Kim Seung-ok's novels such as self-supporting students who moved from the countryside to Seoul or common men in cities often fall into poverty and alienation. The protagonists hope to settle in the real world and stand tall as subjects, but the reality is unequal and hopeless. They are portrayed as characters who resent and contemplate, nonetheless eventually surrendering and succumbing to reality. The gap between reality and ideals along with the snobbery of capitalist society is somewhat related with the formation of subjectivity of the protagonists. The two concepts of the subject and the other clearly express mutually exclusive aspects. If there is a subject, the other must be placed in the opposite direction, and the subject cannot exist without the other. To have a correct perception of the world and to discover the positivity of the other is an essential and foremost element for the subject to shift towards love. It is far more ideal for a relationship called love, where one side does not dominate or obey the other unconditionally, but rather recognize each other's subjectivity and face each other on an equal footing. The characters of Kim Seung-ok's novels do not grow into mature subjects with an understanding of the other for various reasons. They are fragile human beings who are hiding the trauma at the bottom of their lives while experiencing war. In particular, in the family narrative where a father figure is absent, the boy protagonists, who experience poverty and rough ups and downs as their mother or grandmother take over the head of the household, have difficulties in overcoming the Oedipus complex and settling into the Symbolic soundly. Therefore, they grow into adults without being properly mature, often failing to experience the successful fulfillment of love by replacing the object of love with a woman other than their mother. The subjects of Kim Seung-ok's novels have a flimsy sense of self due to the accumulation of guilt, and also they fail in love by sexually objectifying women as a consequence of the unconsciously embodied violence under the Name of the Father. The characters in the absence of love who hardly reconcile with the real world as modern subjects tumble into skepticism, disillusionment and nihilism, not to mention revealing the aspects of a helpless subject without any passion for fighting for life. All they have left is a sense of mortification, depression, and resentment against the world. Rather than looking for alternatives to the unreasonable real world, the subjects of Kim Seung-ok's novels are melancholic subjects who are withdrawn and contemplate the world impotently. They are the representative types of characters appearing in disillusionment literature. The novel woven by these subjects is called a disillusionment novel, and therefore Kim Seung-ok's narrative strategy is a technique for revealing the characters of such a disillusionment novel. Instead of trying to find an alternative to the unchangeable reality in the fictional realm of novels, Kim Seung-ok attempted to experiment with a new form through digressions, différance, repetitions, and wordplay, thereby showing the subject alienated and divided from the world. He also tried to exhibit how absurd and confusing the world inside and outside the work is, and a disillusioned world where young people do not know the way forward by frequently introducing a series of meaningless dialogues and the form of questions without answers. The sentence ‘a goat is strong’ in “Strong are the Goats” emphasizes the fluidity and power of “goat power” and the negative traits behind it through repetition and variation more than ten times. In addition, phrases such as 'blatantly' or 'to be honest' repeated in ”60s Style” form irony by emphasizing the character's personality or ironically expressing it. Digression, which can be regarded as an unnecessary addition as if it deviated from the mainstream of the narrative, is a narrative technique often found in Kim Seung-ok's novels. This digression should not be mistaken for coming from writer Kim Seung-ok’s inexperienced plot construction ability. He effectuated ’controlled’ excess by ‘intentionally utilizing’ excessive digression. One of Roland Barthes' 'the pleasure of the text' is to float among these numerous digressions, and to discover the messages contained in them as well as the playful jouissance they give. Kim Seung-ok, who was recognized for his excellent language skills, realized 'différance' by introducing the slide of a sign that refers to a single object. The best illustration of this is in "Summer I Stole". Here the titles referring to Jang Young-il, the protagonist's friend, seem to be perpetually sliding into numerous signs such as 'toad', 'acne', 'wobbler', 'Mr. Jang Young-il', 'momma', and so forth. Through this kind of verbal slippage, one would sense the inner side of a divided self of a character that cannot be fixed as one, and at the same time discover the writer’s perception which refuses to be standardized and inflexible. The digressions and meaningless dialogues used by Kim Seung-ok lead to achieving the possibility of pleasure in the technical aspect of language while granting validity to all voices in the form of polyphony. Various digressions are particularly studded in "Seoul, Winter 1964" and "Summer I Stole". The free employment of digressions has the effect of showing the thoughts, reactions, and value judgments of different characters on the event. Digression is a way of subversive thinking that defies uniform thinking, and in Kim Seung-ok's novels, it serves to convey the voices of the subaltern who are the periphery of the city. Kim Seung-ok inserts a plurality of independent voices into the narrative through unfiltered presentation, believing that a novel in which the voices of diverse classes can be freely heard is worth reading. The aesthetics of Kim Seungok’s novels lies in the dynamism of the structure created by frame narrative, repetition, questions and conversations, digressions and différance, in conjunction with the narrative tension brought about by binary opposition such as hometown and city, reflection and helplessness, or departure and return. Since his experimentation of literary forms was unfamiliar and unaccustomed at that time, and his endeavor to deliver the novel's message to the reader in such a unique way was considered novel, contemporary critics dubbed his literary work 'the revolution of sensibility'. Although Kim Seung-ok's language and narrative techniques are clearly new sensibility in light of those of the previous generation, they expose their limitations as sensuous wordplay. The fact that Kim Seung-ok's novels failed to develop into the ones aimed at solving problems and ended up as a disillusionment novel should be judged in consideration of the background of the times. The way in which his characters consistently struggle to build their own world is after all a testament to the situation of the era when no model displaying a clear perception of self and the world was found. The economic modernization policy resulted in the rapid growth in social productivity and material abundance, but lacked the power to drive ‘spiritual modernization’. Therefore, Kim Seung-ok's narrative only flows as a play on language of disillusionment, revealing a limitation that it lacks any firm ideology or ideological support. Kim Seung-ok showed the possibility of a new novel by experimenting with various forms such as repetition, questioning, frame narrative, digression, and différance while exquisitely examining an individual's everydayness and inner life, away from the realistic representation of warfare that previous generations of writers were preoccupied with. Employing the spirit of freedom of the April 19 Revolution as his literary momentum, he constantly pondered over the individual and society, and ideals and reality, and kept asking questions about the true way of life. On the whole, the literary status and significance of Kim Seung-ok's novels lie in the fact that they helped to awaken the consciousness of the readers by sharply capturing the circumstances of the time and revealing the inner side of the young generation in distress and despair in that world.