어머니와 딸 그리고 가부장(제)의관계 변화의 양상 －박완서의 「엄마의 말뚝」 연작과 김애란의 「칼자국」을 중심으로－

Abstract

In general, women in Korea are excluded from the position of the head of a family because of gender role imposed by society. Korean women are on a quite different condition from male who can take over the status of patriarch with regardless of their qualification. In this context, mother-daughter relationships under patriarchy have to on complex conditions. This paper compares and analyzes aspects of mother-daughter relationship represented in two novel: Park Wan-Suh’s “Mother’s Garden” series and Kim Ae-Ran’s “Knife Marks”. To say precisely, find some differences and repetitions in the relationship between 1930s-born daughter and her mother(“Mother’s Garden”), and 1980s-born daughter and her mother(“Knife Marks”). Two mothers represented by Park Wan-Suh and Kim Ae-Ran were involved in the patriarchal pressure of each era. Mother of “Mother’s Garden” hoped daughter became a ‘New Woman’ as new existence. However, there is a few thing that ‘New Woman’ could do. When daughter has grown up, she realized that mother’s consciousness was filled with “consciousness of outside the door”. On the other hand, the mother of “Knife Mark” does not made a specific request to her daughter. ‘I’ remember that her mother was person who attached importance to ‘order’, ‘plan’ and ‘rationality’ as principle, but in the same time she always placed peripheral position due to the patriarch(y). But the two daughters do not dismiss the consciousness and living of their mother who are previous generation women. They rather inherit them progressively and made a bond. Based on the common experience in the “absence and otherness” that structuralizes women’s consciousness and living, the two daughters make mother-woman genealogy of the present. Pass through the patriarch(y) that triggers these experiences, they share a common consciousness among women and, on the basis thereof, provide a common antagonism.