최명익 소설의 서술 기법 연구 - <장삼이사>와 <맥령>을 중심으로 -

Abstract

A unique status of Choi Myung-Ik’s novels suggests that he should be reexamined anew. Above all, what is necessary is an all-encompassing study of his novels published both before and after Liberation. However, most of the previous studies on Choi Myung-Ik focused on his novels written before Liberation. Even in the case of the study on his novels written after Liberation it only approached them thematically or surveyed their status in the broad framework of North Korean Literature rather than discussed them concretely through analyses of his novels. Having such a critical mind, this article attempts to analyze his novel 『Maegryeong』 published after Liberation in terms of the narrative technique. In order to investigate and reveal the trajectory of drastic changes in Choi Myung-Ik’s works of novel, the research on his narrative technique should include the examination of his novels published after Liberation beyond the existing research trend. As a first step, this article explores the narrative technique in 『Maegryeong』, the first novel Choi published in North Korea right after Liberation. As the watershed work of Choi, 『Maegryeong』 reflects both chaos and fervor directly after Liberation and conflict and agony Choi suffered from in getting closer to the party-centered North Korean literature. To begin with, chapter 2 examines 『Jang-sam-i-sa』, a novel published prior to Liberation, to make the point of argument clear and contrast changes in his narrative technique before and after Liberation. Then the analysis of 『Maegryeong』 follows in chapter 3. Choi Myung-Ik endeavored to go beyond the task given right after Liberation by juxtaposing self-reflection of intellectuals and positive figuration of laborers and farmers. He got closer to the party-centered North Korean literature in the sense that he reflected the land reform, i.e., the essential of the political society and portrayed the people as the primary agent in transforming society in 『Maegryeong』. Being assimilated into North Korean literature, the narrator who led the critical discourse of colonial modernity prior to Liberation remained a purveyor of authoritative discourse outside the literary works. Additionally, the narration devoted to the North Korean doctrines for literary creation based on the political discourse came to get settled in the very place where the spirit of negative criticism lapsed.