이문구 『관촌수필』에 나타난 고향의 양상과 의미

Abstract

Since the early 1970s, the position of the hometown has changed with the emergence of a binary opposition between urban and rural areas in Korean novel. Lee-moon-goo is not an exception. His serial novel, 『Gwanchon Supil』 is located in the flow of change. In this novel, unlike before, the hometown of nostalgia is introduced. This article reconsidered its meaning after analyzing the hometown that he created to understand his attitude change to his hometown and rural areas. Lee Moon - goo made narrative of the past experience through 『Gwanchon Supil』. Through his reminisce, he positively faces the past. As the value of the past has increased, it has become more dominant in semantics than present and future. Especially the past - home. The privileged past - hometown functions as a point de capiton and it acted as a sort of instance in the level of meaning. It became a criteria of criticism of the present-hometown. As the past-hometown became privileged, the hometown appeared in three divisions. The first is the past - the hometown before the war. It is a place where the original 'I', which is now lost, exists. And it is a place where self - identity can be realized. The second is the past - the hometown after the war. This is where self - identity cracked. However, it is a place full of anticipation for restoration due to recoverability. The third is the present-hometown reorganized by the modern symbolic order. What is interesting is that the past-hometown before the war is longing for, but 『Gwanchon Supil』 is highlighting the past-hometown after the war. In 『Gwanchon Supil』, 'Grandfather' functions as a 'primitive father'. He emerges through the illusion of proving the absence of subject. Grandfather is associated with the pleasure of my self - identity. Then the declaration of 'I' to follow Grandfather's world is interpreted as a kind of demand for self-identity. The wisdom, example, and acknowledgment carried by my grandfather is a self-component of I and a key element in supporting the community. In particular, warmth serves as a point de capiton and means the practice of symbiosis ethics and sharing in order to build a community as a paternalism. In addition to his grandfather, there are 'Suk-gong' and 'Ok-jum', which guarantee the identity of 'I'. The common features of these characters are to show their unchanging form and behavior regardless of the flow of modernization. They are not only community-oriented, but are also consistent with past-home values and behavioral possibilities. However, their narratives are found to deny a kind of fetishism. It is summarized as "he / she knows well that his hometown as nostalgia can not be restored, but it will act as if it is possible". This representation of ideology is read by Lee Moon-gu as a strategy for the survival of rural areas and hometowns. He does not emphasize the creation of realistic character figures but seems to have built a symbolic figure with the power to restore damaged communities.