류주현 소설의 이분법적 인식론을 바탕으로 한 인물 유형과 열린 결말 연구―1950년대 주요 단편 중심으로

Abstract

The research on Ryu Ju-hyeon is paradoxically insufficient with his vast work history. Regarding this artist, who is arguably included in the postwar generation's writers group but lacks evaluation and research compared to the quantitative and qualitative achievement of the work, this paper starts with the question of why Ryu Ju-hyeon stood on the periphery in discussing postwar literature. Considering the circumstances of this period, which cannot be separated from personal experience, history, and the fact that Ryu Ju-hyeon's works are often out of the mainstream capture network makes me think again about the category of postwar literature. As an answer to the question, I would like to present the possibility of independent interpretation of the work itself. As the starting point of the study, I would like to lay the foundation for research on Ryu Ju-hyeon's literature by selecting and interpreting works that can be analyzed in common subject words among works in the 1950s, which can be said to be the beginning of the work. During this period, Ryu Ju-hyeon's characters commonly recognize the world through dichotomous planning, which can be said to be an epistemology and a projection of the worldview that the author looks at the time. The world of such dichotomy is also a reproduction and composition of the violent contemporary world. In the face of such a world interpretation, the characters appear hesitating as boundaries and hesitating with worries instead of choosing either side. In addition, the great unit that such characters can choose is characterized by the form of an open ending at the level of questions that does not reveal any direction on the basis of the fragmented circumstances of the past. The confusion after liberation, the political severity after the ideological war, and the moral hazard in poverty are hints at the correlation between the era, writers, and literature, where understanding the circumstances of society at the time and understanding the writer's situation are preceded. In addition to that, we can see again the works of many artists who are not included in the category or discussed when we repeatedly think about the category of postwar literature, or whether it was too single an external category theory. On the contextual basis of the world of prospects and the absence of prospects in the world, works of existential and nihilistic tendencies often acquire a lot of understanding. In this climate, Ryu Ju-hyeon pours out half of his short stories during this period. Ryu Ju-hyeon's works, which are not included in a bold subject such as ideological concerns, invasion of existence, or escape to romance due to disillusionment, read the theory that they are a dichotomy of the common denominator of the works, and read the value of the novel in the 1950s.