환멸의 세계와 탐미적 서사 ─ 박범신론

Abstract

This thesis is a study on the salient traits of his origin of writing, world view, and manner in creative writing of “The cart which a white caw is pulling”and “The dirty desk”with himself own strong autobiographic character mainly. First of all, this thesis found out his grave pessimism in the process of study. The writer expresses his awareness of futility from a tragic reality of a denial of birth, a discord within the family, poverty and structural contradiction and dominative theory in our society and so on. The writer who felt disillusionment from a tragic world selected writing of the novel in compensation for the matter and the concrete methodology was a slant toward the aesthetic world. The aesthetic nature to be embodied by the writer is as in the following. First, it is longing for the out -of-ordinary happenings and death. The writer finely images to use material grotesque and sensual for a novel. Second, it is a sexual love of the out - of - ordinary. In recent years the writer comes up with an idea that the indecent aesthetics coexists in a work of art with everyday life through a sex scene of abnormal sexuality with sadism instead of a conventional affectionate sexual love. Third, it makes the good use of a sensual language. This contributed definitely to a close relation with the popular as his major point. The writer presents an aesthetic pleasure to readers through a delicate sensational description about an intuitional cognition for object. It brought the value that the slant toward the aesthetic world made his work be inadequate for an ability of real response. This is because the writer gained access to the aesthetic world and object with flashing imagination. Such aspect showed a further deepened tendency from the work after an end of his literary career. In such point, there is an problem for the writer to solve how the harmonious combination should made up between an imageable intuition and contemplation of a wait -and- see attitude toward the world in the other side of a superficial aestheticism.