일신의 안정과 도피행위에 대한 자기 합리화: 이태준 「해방전후」, 채만식 「민족의 죄인」을 중심으로

Abstract

This paper aims to look into the causes of anxiety and psychological phenomena in real life. Most of the researchers have studied the activities before liberation and the history of the artist who changed after liberation. It appears that the researchers self-criticism and self-reflection of the two artists' works. The reason why the author considers the difficulties of the situation of the times and the factors of psychological anxiety in literary works is that literature is like a mirror that reflects the social, political, and economic situation of that time. Writers include the difficulties of the times in their works so that readers can recognize and sympathize with the reality, and considering the difficulties of the situation of the times serves to understand and record the times. In literary works, the protagonist shows various psychological reactions amid the difficulties of the times. Examining these psychological reactions enables an in-depth exploration of human nature. Through this, readers will understand the psychological complexity of humans and the resulting conflict. Lee Tae-joon and Chae Man-sik's novels explain me in the present through the process of confessing to the past. The 'confession' at this time does not record one's grim past deeds, but reveals the inner consciousness experienced in the process of transforming one's past from the perspective of the liberated present. The superficial aspect of the work, which is revealed by the silence that was passively dealt with in reality and a different defection than usual, reveals the intention to transform in a newly changed environment as an excuse. Through this, the protagonists of the novel try to emphasize that they were reborn as subjects for state construction, who had not been able to strive for national independence. 「해방전후」 and 「민족의 죄인」 replace the life problems recorded by the writers during the colonial period with the problem of survival, revealing a sense of crisis of unproven national identity. This shows that their confession is directed at a new country, and at the same time, it is based on the memories of a colonial society in which the nation and the state did not match.