채만식 소설의 이분법(二分法): 여성 인물의 형상화 양상을 중심으로

Abstract

The key words that penetrate Chae Man­sik's novel can be compressed into three categories. It is ‘money(capital)’, ‘ethnicity’ and ‘female’. Among them, it can be said that the proportion of works that embody the life of ‘women’ is the most. In the novel, women appear regardless of status or class. At this time, Chae Man­sik's novel shows the confrontation between the old and the new to avoid the old and pursue the new. To be more specific, the work ends with an open ending that suggests or makes expectations that a new generation should open a new era, always centering on a new person. This is a phenomenon that is so common that it is said to be common. This characteristic can also be called as the unique “dichotomy'” of Chae Man­sik's literature. Even if you name it like that, it seems to be inferior. With the advent of this dichotomy, allegory and satire are combined in the way to shape it. Chae Man­sik seems to be the most effective author of writing that combines allegory and satire. In order to confirm this aspect, this paper considered the female characters in the novel. For example, the relationship between the mother-in-law and the daughter-in-law, the relationship with the new woman in contrast to the early marriage, the relationship between the old woman and the new woman. And I analyzed the “Tark­ryu” in which the dichotomy of Chae Man-sik's novel was most obvious and effective. As a result, it was confirmed that the dichotomy was an important narrative strategy in Chae Man­sik's literature.