나집 마흐푸즈의 소설에 나타난 1967년 아랍-이스라엘 전쟁

박재원(Park, Jaewon) 한국외국어대학교 외국문학연구소 2015 외국문학연구 Vol.- No.57

나집 마흐푸즈는 사회 내에서 인간의 본질을 추구하는 작가로서, 그의 소설 형식은 한 마디로 정의하기 어려울 정도로 다양하다. 그런 가운데 그의 소설은 전반적으로 리얼리즘을 지향한다. 나집 마흐푸즈 소설의 중요한 주제 중 하나인 1952년 혁명이 가져온 이집트 사회의 변화는 1960년대 이후의 작품에 집중적으로 나타난다. 『알카르낙』은 혁명정부가 정권을 유지하기 위해 행하는 공안 통치가 이집트 사회를 어떻게 바꾸었는지를 묘사하는 소설이다. 혁명정부는 왕정을 폐지하고 신생 공화국을 세우면서 개혁을 목표로 여러 가지 공약을 내놓았다. 과거사를 부정하고, 광범위하게 농업과 공업에 근대화 정책을 도입했다. 그러나 권력을 독점하기 위해 자신들이 택한 아랍식 사회주의 이념외에 다른 사상을 용납하지 않았으며, 무슬림형제단, 서구적 사회주의자, 세속적 민주주의자, 자유주의자 모두를 싸잡아 반대세력으로 몰았다. 이러한 정책은 60년대에도 계속되어 사상의 퇴보와 시민사회의 분열을 초래하였다. 나집 마흐푸즈가 묘사하는 사회는 혁명의 이념에 동조하는 진영과 반대하는 진영 모두가 고통 받는 파편화한 사회였다. 문단에서 크게 인정받은 마흐푸즈조차 창작 활동을 하면서 혁명 정부의 감시와 검열을 받았다. 그는 검열 당국과 불화하고 저항하고 타협하면서 소설을 썼다. 본 논문은 이 과정에서 마흐푸즈가 택한 서사 전략에 주목하였다. 새로운 서사 기교들을 도입하고 실험적으로 사용함으로써 할 말을 하려는 그의 시도는 텍스트 안팎으로 드러난다. 정치적으로 민감한 1967년 전쟁을 다루면서 나집 마흐푸즈가 의존할 수밖에 없었던 타협과 절충의 양상을 알아본다. Najib Mahfuz was an Egyptian novelist who sought after human nature in the frame of society. His literary world was so diverse that it can not be defined by a few sentences, while the writer intended realism. Since 1960s he dealt in a number of works with the themes of Egyptian society after 1952, and Karnak was one of them. The novel described how revolutionary government, the security police in particular, changed the face of Egyptian society through watch, arrest, detention, torture and murder without trial. The Egyptian revolution of 1952 abrogated the old monarchy, aiming at the modernization and industrialization of the country. The successive governments did not tolerate any ideology or thought other than their Egyptian socialism. The result was that all of the parties, religious groups, communists, secularists and other political and social activists fell under surveillance and oppression, and the life of ordinary citizens became full of fear and terror. The society that Najib Mahfuz describes in Karnak was a fragmented one for both of the supporters and the opposition groups to the government. The freedom of expression was restricted to such an extent that Mahfuz himself had to be exposed to governmental intervention and censorship. This made him and his colleagues introduce new techniques. The paper aims to describe the dreadful situation of Egypt in the 1960s as shown in Karnak, and survey Mahfuz"s narrative strategy to cope with the autocratic government, especially the politically sensitive theme as 1967 War against Israel. 나집 마흐푸즈는 사회 내에서 인간의 본질을 추구하는 작가로서, 그의 소설 형식은 한 마디로 정의하기 어려울 정도로 다양하다. 그런 가운데 그의 소설은 전반적으로 리얼리즘을 지향한다. 나집 마흐푸즈 소설의 중요한 주제 중 하나인 1952년 혁명이 가져온 이집트 사회의 변화는 1960년대 이후의 작품에 집중적으로 나타난다. 『알카르낙』은 혁명정부가 정권을 유지하기 위해 행하는 공안 통치가 이집트 사회를 어떻게 바꾸었는지를 묘사하는 소설이다. 혁명정부는 왕정을 폐지하고 신생 공화국을 세우면서 개혁을 목표로 여러 가지 공약을 내놓았다. 과거사를 부정하고, 광범위하게 농업과 공업에 근대화 정책을 도입했다. 그러나 권력을 독점하기 위해 자신들이 택한 아랍식 사회주의 이념외에 다른 사상을 용납하지 않았으며, 무슬림형제단, 서구적 사회주의자, 세속적 민주주의자, 자유주의자 모두를 싸잡아 반대세력으로 몰았다. 이러한 정책은 60년대에도 계속되어 사상의 퇴보와 시민사회의 분열을 초래하였다. 나집 마흐푸즈가 묘사하는 사회는 혁명의 이념에 동조하는 진영과 반대하는 진영 모두가 고통 받는 파편화한 사회였다. 문단에서 크게 인정받은 마흐푸즈조차 창작 활동을 하면서 혁명 정부의 감시와 검열을 받았다. 그는 검열 당국과 불화하고 저항하고 타협하면서 소설을 썼다. 본 논문은 이 과정에서 마흐푸즈가 택한 서사 전략에 주목하였다. 새로운 서사 기교들을 도입하고 실험적으로 사용함으로써 할 말을 하려는 그의 시도는 텍스트 안팎으로 드러난다. 정치적으로 민감한 1967년 전쟁을 다루면서 나집 마흐푸즈가 의존할 수밖에 없었던 타협과 절충의 양상을 알아본다. Najib Mahfuz was an Egyptian novelist who sought after human nature in the frame of society. His literary world was so diverse that it can not be defined by a few sentences, while the writer intended realism. Since 1960s he dealt in a number of works with the themes of Egyptian society after 1952, and Karnak was one of them. The novel described how revolutionary government, the security police in particular, changed the face of Egyptian society through watch, arrest, detention, torture and murder without trial. The Egyptian revolution of 1952 abrogated the old monarchy, aiming at the modernization and industrialization of the country. The successive governments did not tolerate any ideology or thought other than their Egyptian socialism. The result was that all of the parties, religious groups, communists, secularists and other political and social activists fell under surveillance and oppression, and the life of ordinary citizens became full of fear and terror. The society that Najib Mahfuz describes in Karnak was a fragmented one for both of the supporters and the opposition groups to the government. The freedom of expression was restricted to such an extent that Mahfuz himself had to be exposed to governmental intervention and censorship. This made him and his colleagues introduce new techniques. The paper aims to describe the dreadful situation of Egypt in the 1960s as shown in Karnak, and survey Mahfuz"s narrative strategy to cope with the autocratic government, especially the politically sensitive theme as 1967 War against Israel.

나집 마흐푸즈의 『미라마르』에 나타난 이집트 1952년 혁명

박재원 ( Jae Won Park ) 부산외국어대학교 지중해연구소 2015 지중해지역연구 Vol.17 No.1

The recent Arab Spring will be considered as a historical event which brought and will bring drastic changes to the whole Arab world. The Egyptians and Arabs, however, have not produced yet proper literary outputs about the January revolution of 2011. Prominent Egyptian literary works of the past can offer to the contemporary writers a reliable guidepost in this regard. The paper selected Najib Mahfuz``s novel Miramar, published in 1967, to study on the impacts of revolution in Egypt. The novel attracted wide attention with its multiple narrators, because the technique was new to Arab writers since the translation of William Faulkner``s The Sound and the Fury into Arabic in 1963. Miramar is s story about the events that happened in an Alexandrian pension of the same name. The characters have different backgrounds and each of them narrates what happens inside the pension and, at the same time, reveals through retrospection what he saw, experienced and believed. Pivot character of the novel is Zuhra, the beautiful servant girl of the place. Amir Wajdi seems to represent the author Najib Mahfuz in a number of aspects. One of the main topics of the residents is 1952 Revolution. They advocate, complain and blame the Revolution and what it brought to Egyptian society. The novel discovers in a scene that they all feel fear of the Revolution``s watchful eye and ear. Amir Wajdi says that he has not been an opponent of the Revolution. But he probably is not pleased with the current situation of Egypt after 1952. His view on the Revolution is clearly shown in his advice to Zuhra when she decides to leave the pension. The paper concludes that Miramar exposes that the Revolution, as is shown in Sarhan al-Buhayri``s corruption and eventual suicide, failed in achieving what it promised. But Amir Wajdi, and so does Najib Mahfuz, finds a hope in Zuhra who represents Egypt. She is destined to find magically a suitable bridegroom when the time comes.

『도적과 개들』에 나타난 나집 마흐푸즈의 서술 기법

박재원 ( Park Jae-won ) 부산외국어대학교 지중해연구소 2016 지중해지역연구 Vol.18 No.4

The article explores Egyptian novelist Najib Mahfuz`s narrative techniques, internal monologue in particular, revealed in The Thief and the Dogs (al-Liss wa-l-Kilab). The main character of the novel is a thief who lost everything when he was in prison, including his only daughter. The character, Said Mahran, was based on the real story of the notorious criminal Mahmud Amin Sulayman, who became legendary in Egyptian society in 1961. The novel tells about Said Mahran`s hatred and attempt to get revenge on the unfaithful wife and her lover. Said Mahran failed in fulfilling this goal and met a tragic death. The author criticizes Egyptian society, which drove the character to total ruin. It seems that Najib Mahfuz criticized the military regime, but in a clever way, when Said Mahran was released from prison on the occasion of the anniversary of the Revolution. Said Mahran was freed because of this event, but his freedom caused his final fate. His death might be a natural result of the crime. The irony, however, was what the author created at the textual level through his own artfulness. As for the narrative techniques, the novel is considered a work of the experimental stage. The author concentrates on experimenting with the internal monologue. The narration of the text is conducted by a third-person narrator as well as by the main character. The latter appears throughout the text as a narrator, as the listener to his own internal monologue, and as the character that the third-person narrator describes. The unexpected and abrupt switch of the narrator of the monologue makes reading the text difficult. It is clear that the use of the internal monologue increases the effect of delivering the message from the character directly and vividly to the reader. However, the author neither repeats the technique so heavily in later works nor gives it up entirely. It appears that he saw the experiment as a half success.

무함마드 알비사띠 단편소설의 서술 기법 : 「약한 빛은 아무 것도 드러내지 않는다」를 중심으로

박재원(Park Jae Won) 한국아랍어·아랍문학회 2014 아랍어와 아랍문학 Vol.18 No.3

The paper surveys narrative techniques as shown in Muhammad al-Bisati's short story. Along with his fellows of the Sixties Generation writers in Egypt, al-Bisati endeavored after appropriate techniques that may reflect the social and political changes, and express the spirit of his times properly. His short story A Dim Light Reveals Nothing can be regarded as an exemplary work that witnesses the author's continuous efforts. The short story is about a small village The Revolution, a troop of soldiers, has come to. The people of the village experience an unprecedented day with the soldiers who utterly refrain from communication. The paper finds that the author, while narrating the scenes, adroitly utilizes metaphor and metonymy, inducing the reader to participate positively in the narrative. The author attempted to represent the places and the characters through metaphorical and metonymic description, and finally projected an image of a panopticon on the village captured by The Revolution. However, the author posed -or seemed to do so- a question; who is the real prisoner? It was ironical that The Revolution/watchers were in fact the watched, as they were surrounded by the people, and could move only in the darkness like the criminals. The paper concludes that the literary work is a political discourse in the first place, and is at the same time an allegory of the power and the powerful. The work is narrated alternatively by the first person of a little boy, and the third person of a grown-up, that renders the irony of the panopticon more lively and vivid.