현길언 소설에 나타난 집단로맨스와 반영적 글쓰기

Abstract

The novels of Hyen Gil Un show that the historical truth becomes materialized and changes into the distorted ideology by collective romance of village people after the Japanese colonial era, Liberation and during the confused stage of the Korean War. In Fever dealing with the whole story of ‘4ㆍ3 Public Movement’, the journalist, ‘I (The Department Head, Choi)’, requires the related people to state all that facts and tries to raise a veil. At this time, as the hero, ‘I’, visits the people involved in the movement in the position of analyst and requires them to state on that, but the truth of facts are covered by the resistance of objectives of analysis. Then, in Fire-and-Ash, the narrator, ‘I’, looks back the family of ‘Mr. Go’ which was the object of his envy for a while but suffered death en messe by throwing stones of village people because it was branded as a rioter in ‘4ㆍ3 Public Movement’ from the reflective viewpoint. But in the novel, Our -Grandfather which uses the dramatized confession by salpurigut, ‘Sin Gyu’, who suffered death because he was branded as a communist by village people, tries to lift a veil about the whole story of the movement by being possessed by the spirit of his father. Like these, in the novels Fire-and-Ash, Fever and Our-Grandfather of Hyen Gil-Un, the writer analyzes how the historical truth becomes distorted by a distorted ideology and a collective violence through the narrative conversation between the analyst and the objectives of analysis. At this time, ‘the narrator’ becomes an analyst digging into the inside details of the case, induces the people involved in the movement to confess or statement but the truth becomes veiled by their resistance. In addition, the countertransference of analyst toward the objectives of analysis is also resulted in the veil of truth. Behind the collective romance under the name of symbolic father, the castration complex such as censorship acts on. Like this, the novels of Hyen Gil Un suggest that the truth becomes veiled by distorted and overstated collectively romantic visions for a long time through the narrative conversation between the analyst and the objectives of analysis. While in Fire-and-Ash and Fever, the writer analyzes the whole story of prominent events by more positive arguments in the position of a collective identity, but the writer focuses on the narration healing the spirit of the father as a historical identity being buried in the collective ideology and falling so low as to become a ‘dead father’.