이상 소설 연구 - ‘천재’와 ‘탕아’의 형상을 중심으로

Abstract

This essay aims to consider Lee Sang's novels in it's the Shapes of Characters, especially the Protagonist. This consideration covers the study on the aspects of taking action against the reality of 1930s represented in the Lee Sang's Novel. The problem of Modernity is a key element to determine the Shapes of Protagonist. Additionally, the esthetic sides are also grounds to have figure out the Shapes. This essay eventually make clear the Stratified Aspects of Lee Sang's novels. These strata are not the relations between reality and unreality(the stream of consciousness), but the different ways of coping with the same world. In Chapter 2, I discuss on the coexistence of the two shapes in a novel. The view of history distinguishes the Shape of Genius from the Shape of Debauchee, which are two selves of a character. The former's concept of history is continuity, and the latter's is rupture. The Debauchee's concept of history can contemplate through the retrogression of the family history, and the rupture of family history which appears in his anti-familial love affairs. The Debauchee who is involved with a lot of women against the family ethics shows his identity is collapsed. Through the Genius Self, we can study the tension between 19th century and 20th century. Experiencing these tension, the Genius Self explore his identity, which can study through the symbol of cloth, the imagination of body dissection. These two shapes of selves respectively occupy the heterogeneous space-time which is the esthetic side to characterize the Shapes. Women characters act as switching element from one self to the other self. Involving in the Protagonist's love affair, they demonstrate the Corporeality which is against the traditional ethics and the Intelligence. Therefore, they indirectly illuminate the aspects of The Debauchee's view of history and Intelligence Pursuit of The Genius. Contacting with foreign elements, the Genius pursuit New Meaning, and want to turn it over the coming generations. In Chapter 3, I discuss on the division of the two shape of the Protagonists, comparing Gijuhoesi with Nalgae. The Corporeality of Capitalism is key element to divide the two protagonists. The protagonist of Gijuhoesi is characterized as a incomparable Debauchee viewed from two sides. First point is the view of history as rupture and Corporeality appeared in relation with a prostitute-wife. Second point is conspiracy with the Corporeality of Capitalism. Through ‘the economy of O’ accumulating a fortune by management of Capital, Gijuhoesi reveals contradiction which may appear in the economic principle of capitalism. The protagonist of Gijuhoesi conspire with ‘the economy of O’, requesting to increase money of prostitute-wife. All characters of the novel are tenors of the metaphor ‘Spider’ which means sucking in the other party's economically and sexually. As most nearly ‘Spider’, the protagonist shows the shape of the incomparable Debauchee. Meanwhile, the prologue of Nalgae shows the view of history as continuity and the protagonist of Narrative displays the shape of a Genius. This essay study the shape of Genius through ‘The economy of Wife’. ‘The economy of Wife’ also shows the Corporeality of Capitalism as ‘the economy of O’. But the aspects distinct from O's. The wife's economy means that she pays her husband for having space and time to prostitute herself. Contrary, her husband pay for having space to waste time. The event of Adalin caused from the imbalance between the space-time which the wife wants to do business and the time which the husband waste outside shows harmful effect of Capitalism. Ironically, with ‘the event of Adalin’ as momentum, the protagonist wake up from being ‘a Stuffed Genius’. The space of thinking and playing indicates the shape of Genius turns into the space of Corporeality because of the Imbalance, from which the protagonist escape and dream ‘Modern World’ being in harmony the Modern Culture and the Modern Spirit. In Chapter 4, I discuss on the unity of the two shapes of self. Silhwa and Jongsenggi consists of two story lines narrated by introspective narrator. This essay start discussion from noticing the logic of Mathematics adapted in the novels. In discussion of Silhwa, I see the difference of space-time(the settings of the two story lines) indicates ‘Time Difference of Modernity’. The stories of Seoul(23-24th of Oct.) and Dongkyung(23-24th of Dec.) narrated by free association shows the different degrees of Modernization of two space-time. The shape of Debauchee and of Genius are at opposite ends of the spectrum. The Protagonist as introspective narrator recognize ‘Time Difference of Modernity’ through the aspects of free love and contact with Modern Intelligence. The Protagonist of Jongsenggi as introspective narrator interweaves two story lines, and there are three deaths of the protagonist at the age of twenty-five years and eleven months. This essay see it as the total amount of living of protagonist including the different aspects of his life. Jongsenggi is the novel that the Genius(25years and 11months) narrates on the Debauchee who die at 25years and 11months. Therefore, Jongsenggi consist of two story lines, that is the story of Genius and of Debauchee. This essay the story shows the shape of Genius calls the Narrative of Fall, and the story shows the shape of Debauchee calls the Narrative of Spring. The former creates the latter, and vice versa. Jongsenggi is likely to be defined as ‘Writing of the Genius on the Debauchee’. The death unite different aspects of life. Briefly, the internal orders dominating the Novels of Lee Sang are as in the following ; The two images of self occupying different time-spaces switch over to the other image of self through the medium of women characters, and according to the aspects of being the two selves, the meanings of the novels are generated. The meanings are the aspects of responding to the reality of 1930s represented the 'Modernity', are ultimately concluded in the recognition of limitation of the colonized Chosun and the pursuit of the essence of ‘Modernity’. This essay discuss that these internal orders of the Novels of Lee Sang are succeeding the narrative composition and meaning generation of the traditional novel, Gu-unmong(九雲夢).