여성작가의 전쟁 체험 장편소설에 나타난 ‘모녀관계’와 ‘딸의 성장’ 연구― 박경리의 시장과 전장과 박완서의 나목을 중심으로 ―

Abstract

A Study on the Aspects of 'Mother-daughter Relationship' and 'Growth of Daughter' in Fair and Battlefield of Park Gyeong-Lee and Bared Trees of Park Wan-Seo From the point of a matrilineal literature in which a principal stem of narration is mother and daughter relationship and formation of subjectivity of daughter, the warfare novels of Park Gyeong-Lee and Park wanseo can be contrasted with the postwar novels of male authors able to be named generically as a patrilineal literature of hometown-loss time. While patrilineal literature tends to pursue mythical motherhood or motherly utopia, Fair and Battlefield of Park Gyeongnee and Bared Trees of Park Wan-Seo demythologize motherhood by concreting the motherhood which includes an insanity, untruth, deception and desire to possess as well as motherly devotion. The mother, Ms. Yun in Fair and Battlefield with only identity as mother as the fostering protector of children wants to fasten the daughter to the fostered place eternally. The daughter can not mature herself as a subject of her own life because of sense of guilt caused from not requiting appropriately the sacrifice and devotion of the mother. Differently, the mother of heroine Lee Gyeong in Bared Trees is restricted to the patriarchal identity as 'mother of son'. Mother who are only 'mother of son' cause the daughter to a kind of spiritual disease which is a sense of guilt about her being. Korean war and the loss of patriarch exposes the contradiction of mother- daughter relationship and becomes a dramatic occasion which forces the relationship to reform. The more the suffering caused by warfare is serious, the stronger Jiyeong, heroine of Fair and Battlefield, trust the force of life and display strong motherhood to her young children. The death of her mother in the while paradoxically completes daughter's journey of becoming mother. Meanwhile, the mother in Bared Trees negates her actuality and lives in the impulse of thanatos. Inside motherhood-child scenario of the mother, there is only a place for patriarch and son, not a place for daughter. After the mother dies, Lee Gyeong calls dead mother and les rites de passage of youth through covert pain of mind by the means of writing. consequently, the body of the mother who exists in her daughter's inner pain gets the woman writer to write, substituting the symbolic father and her male lovers (writing phallus).