이태준의 성북동 : 이태준의 단편소설 및 『무서록』에 나타난 ‘교외’와 “구석진 곳”의 의미에 대하여

Abstract

Lee Tae-Jun wrote many short stories and essays based on various aspects of the change and recognition status and customs of the suburbs of Seongbuk–dong in the 1930’s and was unique in the quality and quantity of the concrete representation. He expressed regret over the situation in which intimidated people, such as the poor and the fool, living in Seongbuk-dong, are destined to be culled by rapid urbanization. On the one hand, his short story maintained a cynical view of the snobbery of living in the Culture home. The attachment to the former was related to his specific making meaning for the traditional antique. As such, he have expressed his desire to consider the landscape and objects of Seongbuk-dong as a kind of the antique from some essays. Such a view turned to the writer himself and his entire family living in his home, Suyeonsanbang in the short story “Rainy”. In this short story, the writer and his families were portrayed as individuals rusting and gathering moldy in the long rainy season. or put conscious distances from urbanism or secularization, which can not be overlooked. This view of the inhabitants of Seongbuk-dong including themselves was made possible by the hierarchy and aesthetic distinction derived from the sense of life as a living citizen of the suburban that used to commute to Seoul. It focused on historical changes of Seongbuk-dong, which was generally regarded only as countryside or rural, as a new residential area with various types of individuals. In Lee Tae-Jun’s short stories and essays, Seongbuk-dong was historically suburb was built by private builders, and was rediscovered as the space of the  contemporaneity of the uncontemporary. Seongbuk-dong was neither rural nor city, but rural and city. Apart from his own intentions, he intended to unwittingly recognize the parallax gap and between the past and present, rural and urban, mountainous and secular, stopping and changing both of which coexisted in the suburbs of Seongbuk-dong. Imaginary breaks and distances to former from the latter were causing parallax gap. Lee Tae-Jun went to the world of self-identity, which is likened to the sunset of the old rampart, which must have been historically invalid or deeply in the recesses of Seongbuk-dong. But it was the destiny of destruction and destruction.