이주홍 소년소설 『피리 부는 소년』의 구조와 인물 심리 연구

Abstract

This article analyzes the structure and child psychology of Lee Ju-hong’s feature-length young boy novel, 『The Boy Who Plays a Pipe』, that is, the psychology can be changed by chronotop. The analysis of the narrative structure of 『The Boy Who Plays a Pipe』 borrows Prop’s theory and Bachchin’s Chronov theory. Child psychological changes in characters were divided into five types according to Ericsson’s development theory, and the state of child psychology changed according to chronotop. Children’s growth motifs were divided into two types. The five child psychological analyses of characters in 『The Boy Who Plays a Pipe』 is as follows. First, in the chronograph(anxiety) of the threshold, Young-gu’s friends, grandfather, and young uncle are unbelievable characters. The characters who have performed these actions are considered the actions of immature children. Second, in the chronotop(anxiety) of the road, Young-gu and children lost their clothes to a young man who has a large field, feeling shameful and anxious. In Busan, psychology on the road appeared to be anxiety, too. Third, in the castle’s chronograph(horror), Hyung-tae builds up his own castle and asks friends and brothers to steal melons, and asks them to buy watermelon with the stolen money. Burudoku also builds his own castle and tells Young-gu to steal a fountain pen. Hyung-tae and Burudoku are imperial. Submissive children could not escape from fear. Fourth, in the meeting chronotop(stable psychology), Young-gu meets Seung-ho. Young-gu lives in Seungho’s house, and he plays the flute at a broadcasting station following the suggestion of Seung-ho’s father. At this time, ‘the Pipe’ became the bridge that forms the meeting chronotop. Fifth, Rablé Chronov(integrated psychology) is characterized by human creative action, growth and change. Young-gu also meets his mother at Uncle Choi’s hospital. After discharge from the hospital, he hears the news of his father at the house of an old man, Mr. Jang. He finds his family, lost identity, and integrates with his friends who bothered him. The analysis of the two growth motifs of characters in 『The Boy Who Plays a Pipe』 is as follows. First, there are external transformation and implicit transformation in the mask growth motif. The external transformation is passive, and the implicit transformation is active. Both of them became factors to develop the main character, Young-gu. Second, in the proactive growth motif, children grew up through various experiences. Young-gu experienced war at the age of ten. Because of the war, he grew up taking responsibility for his life. The psychology of the children in 『The Boy Who Plays a Pipe』 was changed according to the chronotop. Also, in the growth motif, Young-gu seems to have undergone an external transformation, but in essence, he has grown into an intrinsic transformation. Therefore, it can be seen that the main motif in Lee Ju-hong’s novel 『The Boy Who Plays a Pipe』 is a proactive growth motif.