이상 소설의 미학적 정치성 연구

다국어 초록 (Multilingual Abstract)

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.

목차 (Table of Contents)

• Ⅰ. 서론 1
• 1. 문제제기 및 연구목적 2
• 2. 연구사 검토 6
• 3. 연구의 방법 16
• Ⅱ. 미학적 존재자로서의 자각 27
• 1. 지도 속의 아포리아 29
• 1) 지도로부터의 탈주 31
• 2) 내면의 암실과 성질 없는 지도 39
• 2. 죽음과 존재 회복의 서사 44
• 1) 죽음의 가능성과 예술 44
• 2) 앙뿌을르와 존재의 빛 47
• 3. 자기 갱신의 글쓰기 49
• 1) 규범적 언어 양식에서의 탈주 49
• 2) 본래적 삶과 새로운 글쓰기 52
• Ⅲ. 미학적 탈주 공간의 창조 56
• 1. 위트와 패러독스의 공간 57
• 1) 날개의 헤테로토피아 61
• 2) 백지와 은화의 공간 분할 65
• 2. 연애의 형식과 근대의 공간 74
• 1) 공포와 추락의 공간 76
• 2) 질투와 비밀의 기호 84
• 3. 바깥과 침묵의 공간 91
• 1) 질서 바깥의 언어 92
• 2) 예술과 침묵의 공간 100
• Ⅳ. 시선의 미학과 정치성 108
• 1. 낯선 시선과 시각 110
• 1) 새로운 미적 감각의 추구 111
• 2) 소설 형식의 시각적 전복 113
• 2. 착란과 투시의 서사 121
• 1) 착란과 환각의 시선 122
• 2) 슬픈 투시의 상상력 124
• 3. 관습적 시선의 해체 128
• 1) 푼크툼의 순간과 사유의 강요 129
• 2) 얼굴과 원근법의 광학 137
• Ⅴ. 이상 소설의 정치적 독해 145
• 1. 미시적인 것과 감응의 철학 147
• 1) 미미한 것에 대한 사유 149
• 2) 감각과 감응 152
• 2. 비순응의 미학 160
• 1) 예술의 기호와 유목적 주체 162
• 2) 거미의 감각과 미시정치 168
• 3. 이상 소설 공간의 정치성 176
• 1) 반재현과 감각의 미래 177
• 2) 시간의 대칭점과 대자유의 공간 183
• Ⅴ. 결론 195
• 참고문헌 201
• ABSTRACT 210

참고문헌 (Reference)

1 김진엽, 하선규, "『미학』", 책세상, 2007

2 고은, "『이상평전』", 민음사, 1974

3 이상문학회, "『이상소설작품론』", 역락, 2007

4 정주아, 정주아, "『이상의 사상과 예술』", 신구문화사, 2007

5 김주현, "『정본 이상 전집 1,2,3』", 소명출판, 2005

6 김유중, 김주현, "『그리운 그 이름, 이상』", 지식산업사, 2004

7 이원도, "「이상 문학의 해체성 연구」", 동의대학교대학원 박사논문, 2007

8 이시은, "「이상의 도시와 시공간 의식」", 『현대문학의 연구』17호, 2001

9 나병철, 나병철, 나병철, "「1930년대 후반 도시소설 연구」", 연세대 박사논문, 1990, 1990

10 서준섭, "「1930년대 한국 모더니즘 문학 연구」", 서울대 박사논문, 1988, 1988

11 명형대, "「1930년대 한국 모더니즘 소설의 공간구조 연구」", 부산대 박사논문, 1991, 1991

12 권성우, 권성우, "1930년대 모더니즘 소설 연구-반영 이론적 해석을 중심으로", 『모더니 티와 타자의현상학』, 솔, 1999, 1999

13 임화, "「사상은 신념화, 방황하는 시대정신」, 《동아일보》, ,12", 12일자, 1937

14 한상규, "「1930년대 모더니즘 문학에 나타난 미적 자의식에 관한 연구」", 서울대 석사논문, 1989, 1989

15 이재선, "「전통과 반역-사실주의와 이상문학의 시간」, 『인문연구논집』6", 서강 대 인문과학연구소,년 7월, 1976

16 최학출, "「1930년대 한국모더니즘의 근대성과 주체의 욕망체계에 대한 연구」", 서강대학교 박사논문, 1995

17 정하늬, "「이상 소설에 나타난 모조이미지 연구」, 『한국현대문학연구』25호", 한국현대문학회, 2008

18 정하늬, "「이상(李箱)의〈失花〉에 나타난 도시 ‘동경(東京)’의 의미 연구」", 『현 대문학연구』26, 2008

19 문흥술, "「1930년대 한국 모더니즘 소설에 나타난 언술 주체의 분열 양태 연 구」", 서울대 박사논문, 1998, 1998

20 조영복, "「1930년대 문학에 나타난 근대성의 담론 연구-김기림, 이상을 중심으 로」", 서울대 박사논문, 1996, 1996

21 신형철, "「이상의 텍스트에 새겨진 1930년대 초 동아시아 정세의 흔적들 : 이상 문학의 정치성 해명을 위한 시론(試論)」", 『인문학연구』, 2011, 2011