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5 · 18 희곡에 나타난 환상 연구 -<오월의 신부>를 중심으로-
양진영 ( Yang¸ Jin-young ) 우리어문학회 2021 우리어문연구 Vol.71 No.-
본고는 황지우 희곡, <오월의 신부>에 나타난 환상(fantasy or illusion)을 연구하는데 목적이 있다. 이를 위해 캐스린 흄(Kathryn Hume)의 이론을 원용해 이 연극에서 환상이 환영(illusion)과 탈환영(disillusion)으로 사용되는 양상을 고찰할 것이다. 흄은 환상이 문학에서 사용되는 양상을 환영, 성찰(vision), 교정(revision), 탈환영의 네 가지로 세분화했는데 <오월의 신부>에서는 이중 환영과 탈환영이 두드러진다. 이 연극에서는 제례 의식을 통해 현실을 부정하는 환상이 드러나는데 이것은 흄의 사유로 보면 긍정적 환상으로 재해석된다. 이 연극에서 드러나는 현실 도피적 환상도 현실을 기피해 이상 세계로 옮겨가려는 시도가 아니라 현실의 모순이 치유된 세계를 만들자는, 적극적인 저항 의지를 드러내는 환상으로 해석이 가능하다. 이런 연구 목적에 따라 1장에서 츠베탕 토도로프, 캐스린 흄, 미셸 푸코를 중심으로 환상에 대한 기존의 연구사를 검토했고, 2장. 3장에서는 <오월의 신부> 희곡을 대상으로 환상이 구체적으로 어떻게 사용되는가를 고찰했다. 이 결과 이 연극에서는 흄이 정의한 현실 도피적 환상이 환영의 양상으로, 현실 부정적 환상은 탈환영의 양상으로 나타남을 알 수 있었다. 이런 방법으로 다른 작품을 분석해 보면 문학 텍스트에서 환상이 흄의 또 다른 개념인 성찰과 교정으로 나타나는 양상도 밝힐 수 있을 것이다. 이 연구는 문학 텍스트에서 환상이 구체적으로 어떻게 기능하는가를 알려준다는 점에서 의의가 있다고 본다. This article aims to study the aspects of fantasy or illusion in Hwang Ji-woo’s play, < The May Bride >. To this end, Kathryn Hume's theory was used as a illusion and a disillusion in this play. Hume divided the aspects of fantasy used in literature into four categories: illusion, vision, revision, and disillusion. Among those in < The May Bride >, illusion and disillusion stand out. In this play, the ritual reveals a fantasy of denying reality, which can be interpreted as a positive fantasy by Hume's reasons. The escapist fantasy revealed in the play is not an attempt to escape reality and move to an ideal world, but rather a fantasy that reveals the willingness to actively resist the reality to create a world where the contradiction of reality is cured. To this end, Chapter I reviewed the existing research on fantasy, focusing on Tsvetang Todorov and Hume. Then Chapter II and Chapter III examined how fantasy was specifically used for plays in < The May Bride >. As a result, the play showed that the escapist fantasy defined by Hume was a form of illusion and the negative fantasy of reality was a pattern of disillusion. By this method analyzing other works may reveal how fantasies in literary texts appear in Hume's other concepts of vision and revision. This study is meaningful in that it tells us how fantasy functions specifically in literary texts.
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최인훈의 ‘환상’ 개념과 서구환상문학론 비교 - 최인훈의 ‘환상론’ 연구를 위한 예비적 단계의 검토
김춘규(Kim, Chun-kyu) 한국현대소설학회 2022 현대소설연구 Vol.- No.85
Existing studies on Choi In-hoon’s fantasy theory have been conducted on Choi In-hoon’s fantasy as an idea of art and the fantasy revealed in fantasy works through existing Western fantasy literature theories. This can be said to be because Choi In-hoon’s research on literary theory, which has been in full-scale since the 1980s, and his later works, Keyword and Letter of the Sea seem to deal with ‘Fantasy’ in a new way. In other words, Choi In-hoon’s fantastic literature represented by Guwonmong and Seoyugi can be sufficiently explained through fantastic literature theories, while Keyword or Letters of the Sea seem to have to be applied with a new concept of fantasy. However, this study attempted to reveal that the two research methods are not disconnected from each other, but are closely related internally. This is a preliminary discussion in revealing the whole concept of Choi In-hoon’s fantasy that should be carried out in the future. Choi In-hoon’s concept of fantasy has many levels of meaning. In this paper, it was divided into ‘fantasy as a origin’, ‘fantasy as a conscious form’, and ‘fantasy as an art’. And ‘fantasy as a conscious form’, which corresponds to the relationship between the work and humans, was noted. The creator and appreciator of the art recognize the fantasy that appears in the form of art, but do not lose self as a realistic human being. This state of coexistence between fantasy and reality has a similar meaning to Todorov’s fantastic sense of ‘hesitation’ or Jackson’s perception of fantastic things, ‘paraxis’. However, the fantasy of the two theorists emphasizes the confrontation between reality and unreality, and evokes the psychology of anxiety and fear caused by the confrontation. Therefore, the two concepts are hostile to each other. On the contrary, Choi In-hoon’s concept of fantasy pursues dialectical sublation of reality and fantasy. Humans should be able to stay in fantasy through appreciation of art and know that it is not reality, and should not lose fantasy while staying in reality. Of course, this strangely contradictory state of coexistence requires training on art appreciation and tension in consciousness. Through these activities, humans become aware of the ‘fantasy as a origin’ in reality, and its perception again becomes a source of new art creation. The relationship between humans and art becomes easier to understand through Catherine Hume’s schematic, which emphasizes the ‘sense of meaning’ given to the human mind and the resulting gradual changes in the world. However, Choi In-hoon’s fantasy is ultimately infinite. It differs in that it is like an imaginary utopia, which can be said to be the beginning and completion. One of Choi In-hoon’s fantasy concepts compared to their theory, “Fantasy as a conscious form,” is a preliminary step toward reaching the fantasy as a completion of evolution, which can be said to be the beginning and end of the human mind. On the one hand, this fantasy(form of consciousness) is more important than anything else in that it is the only and concrete channel through which humans can detect its ‘imaginary utopia’. It is a methodology that can dream of an ideal in reality.
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