최인훈 소설에 나타난 일제강점의 기억과 풍속 재현의 글쓰기 - 「두만강」을 중심으로 -

Abstract

「Duman River」 is recreating the custom of reality in H-eup very specifically and explicitly at the end of the Japanese occupation that was extracted from an author's memory of childhood. 「Duman River」 is capturing the power relationships, which influence the daily life of colonists, through exploring the space of colony. As a logistical base of the Japanese imperialism for invading continent, H-eup has hybridity of being co-existed Japanese and Joseon people in diverse classes, but is variously divided according to the dynamic composition originating from a relationship between colony and non-colony. 「Duman River」 focuses on a growth narrative in two heroes. The colonially daily life is revived very specifically through their narration. In this process, 「Duman River」 is grasping with which method the colonial ideology of being produced by the Japanese Empire of the day is internalized in everyday life. Through diverse events and seasonal customs, Japan's lifestyle and culture are rushing in colonists' daily life. Through education at school and home, newspaper and text, a war discourse and colonial ideology that the Japanese Imperialism propagates come to get into the inside of colonists. The process of internalization in the colonial ideology, which had been attempted in 「Duman River」, can be considered to be a previous work that explains the colonial unconscious and its dualism of being possessed by a character in 『Typhoon』, especially Otomenak. Moreover, a de-colonizing point, which failed to be addressed in 「Duman River」, is developed in 『Typhoon』. In this regard, 『Typhoon』 can be considered even as another narration that was spread a folded part, which failed to be reproduced as reality in 「Duman River」. In this way, 「Duman River」 can be said to be at a point of elucidating more minutely the transition process in colonialism and de-colonization that Otomenak develops in 『Typhoon』.