『무너앉는 소리』 3부작의 창작동기 연구

Abstract

This paper aims to discover the reason why Lee Ho-cheol made the two sequels to Devil Sprits that Are Being Worn out. In this paper, I argue that the sequels were created to complement the deficiency of Devil Sprits that Are Being Worn out. It is a lack of critical minds about reality. To prove this, I focus the expression of “Wham boom Wham boom” and the artistry in Devil Sprits that Are Being Worn out. “Wham boom Wham boom” is a sound, which is interpreted into a sign of the collapsed family by Young-hee. This sound resonates with her anxiety about family breakdown. This narrative device give prominence to the “arrogant” artistry of Devil Sprits that Are Being Worn out. The writer shows again the appearances of family dissolution, which is described in Devil Sprits that Are Being Worn out, in the sequels, Collapsing Sound and The Last Feast. The appearances of family collapse, which is described in the sequels, give stronger historicality to the sequels than Devil Sprits that Are Being Worn out. “Wham boom Wham boom” disappears in the two sequels. It is substituted with various realistic sounds. In the sequels, where the fictional noise does not sound, the family breakdown is not Young-hee’s anxiety any more. It is real. They put more emphasis on the collapsed family. Therefore, the transition from the fictional sound to the various realistic sounds is a sign that the author’s mind trans from artistry to historicality. The transition from artistry to historicality is related to Lee Ho-cheol’s own identity. He defected to South Korea from North Korea. He intended to criticize a social reality in South Korea. The intention drove him to create the two sequels. And he reveals the refusal of aesthetic values in them. This is concerned with his attitude to artistry. Namely, “artist” whom “novelist” attempts to regulate is a symptom that he tries to regulate. “Wham boom Wham boom” that represents the artistry of Devil Sprits that Are Being Worn out is an object which he has to be construed. The two sequels are attempts to construe “Wham boom Wham boom” and regulate it into his order. Consequently, I conclude that the two sequels are the outcomes that are driven and created by his identity and the symptom.