손창섭 소설에 나타난 남성의 존재론적 변환과 결혼의 회피/가정의 수호 양상

Abstract

The paper attempted to analyze aspects of that male characters have changed in Son Changseop's novels in the 1950's, focusing on male's existence and to prepare the meaningful ground for explaining by connecting to his novels in the 1960's. In his early works, these marriage-avoidant male characters go beyond 'co-figuration' that reproduces a woman and a man as symmetrical co-conceptions by identifying themselves with a female(mother) not a father. Further it shows that they distance themselves from their father who is busy trying to save face and do not want to compete against other males. Since "Lost Dream" (1956), however, the 'young men frightened by social unrest' have been reformed as a 'man with social ethicality' who makes a home and helps other people as a love triangle in the works is repeated, changed and reproduced. A man may form a similar community to family through joint actions such as 'sharing' or 'entrusting' a woman when he is absent. Through such processes, Seo Mangi, an 'exemplary patriarch', appears and is portrayed as a male character who tries to fulfill his obligations as the head of household through solidarity and to keep his home in the "Surplus People" (1958). Seo Mangi shows hegemonic masculinity that represents a dominant position compared to other men. In other words, Seo Mangi recreates the moral aspect of people supported in his time and is the criterion against which Bong-u and Ikjun are considered as a 'surplus'. By the mid to late 1950's, it is important in that Son Changseop was seeking ways of getting out of his early works. I think that as a result of his persistent efforts, he showed the 'family' and 'marriage' and hegemony between men in various situations in a lively manner by writing a novel which is appearing serially in a newspaper in earnest in the 1960's.