2000년대 한국 단편소설에 나타난 가르시아 마르께스 소설의 마술과 환상 -박민규, 함정임, 박형서의 단편소설을 중심으로-

Abstract

This study intertextually examinedGabrielGarcíaMárquez’s characterpresentation method, creation technique, and stylistic characteristics asobserved in Korean short novels from the 2000s. For this purpose, the novelswere classified into three creation methodology categories, which are ‘name,names – multiple reappearance of the same proper name’, ‘poetic resonance ofmagical time and fantasy’, and ‘content and face ofmemory – wish and extensionofGabrielGarcíaMárquez style’. Themultiple reappearance of the same propername is found in regard to two proper names, Jose Arcadio and AurelianoBuendia, appearing in One Hundred Years of Solitude, one of Gabriel GarcíaMárquez’s representative long and short novels. In the story, seventeen of thecharacters are called same by these names. Min-gyu Park’s Bolivar, whichcaricatures the falsehood of humans and the irony of history happening throughthemediumof the proper name Bolivar at a village in Bolivia of South America inthe mid 20th century, shows a variation on Gabriel García Márquez’s techniqueof multiple appearance of the same proper name. Gabriel García Márquez’sshort novels are found to form two strata: Kafkaesque fantasy narratives withstrong poetic resonance arising from highly condensed symbolism withoutnoticeable outline, and traditional narratives of colloquial style. Jeung-imHam’searly work First Love and another novel White Night published in the 2000s arein a correlative relation with fantasy narratives in Gabriel García Márquez’s shortnovel in terms of the foreshadowing plot, juxtaposition of the real and the surreal, Park’s short novels are implicated more deeply with Borges than with GabrielGarcía Márquez in the aspect of creation methodology, but at the same time areconnected implicitly to Gabriel García Márquez’s colloquial characteristic. Theconvention of an old lady’s natural oral sense and style is found in the two writers’styles. In Hyung-seo Park’s short novels Bus Stop, You and Village and aNon-boring Dream, Gabriel García Márquez’s above-mentioned friendlycolloquial style and poetic use of time are conspicuous.