《河岸》 속 ‘文革’의 상흔과 재현— 공간구조와 인물 형상을 중심으로

Abstract

This paper uses Sutong’s full-length novel, 《河岸》, as the subject of the study. In 《河岸》, Sutong recalls the history and memory of China’s painful past and trauma, the Cultural Revolution. Seen through the wounds and contradictions of the dark and absurd times, Sutong focuses on the lingering wounds and pains of those who have disappeared or left behind as victims of history. It embodies the tragic life of an individual trampled by the atrocities of history and shows critical reflection on violence and absurdity of the times. In the text, I closely examine the wanderings and cries of the Chinese, who had to spend years of patience, and how the artist reproduces their unhealed wounds and tragedies, and the special spaces in the work, ‘河’and ‘岸’, and Ku’s father and son. In Chapter 2, I looked at the opposing spatial structures of ‘河’ and ‘岸’,and the implications contained in them. Yu Pang-jin(油坊鎭), who projects the space of ‘岸’, ‘岸’ is a violent space that promotes anger and hatred through class conflict and struggle under the extreme left ideology craze, and suppresses and removes others with different origins and class status. The mainstream forces here dominate space with their social status and power as weapons, reign over the weak through violence and oppression, and dominate Yu Pang jin(油坊鎭). The Jin chak gang(金雀江) River, which projects the space of ‘河’, ‘河’ is a space inhabited by those who are deprived of basic human rights such as life and freedom by the tyranny and tyranny of the ideology wielded by Yu Pang jin(油坊鎭)’s powerful people. In my work, I interpreted these two special narrative spaces as an allele to the times and history stained by the disaster of political power. There is an inherent sense of cold criticism and revelation of the dark past history that distinguished me from you through class verification and struggle, thoroughly branded as counter-revolutionary, class dichroic, and rebound, and divided the world. In Chapter 3, I looked at the unhealed wounds and tragedies of the Chinese, who had to endure the years of pain amid the whirlwind and confusion of history, through the Ku’s father and son. Ku Wen Xuan(库文轩), buried in a uniform totalitarian idea, reflects the father’s generation who lost critical thoughts and subjectivity without seeing the sloppy and absurdity of the system and ideology in the tyranny of civilization at the time. Sutong stares at the irresponsible avoidance and deception of systems and ideologies that cover up the wounds and sacrifices of countless individuals and cover up the mistakes and sins inflicted by the times and history in individual guilt. The life of his son Ku dong ryang(库東亮) is a self-portrait of the rich youth of the Chinese, who had to suffer from severe growing pains in the 60s and 70s. Sutpng condenses the wounds and wandering of Ku dong ryang(库東亮), who had to live a wealthy life without settling anywhere, and the contradictions and absurd narratives of the times into a novel and meaningful expression of ‘empty fart(空屁)’. This work contains in-depth thoughts and insights on heavy topics such as Life, History, and Society, and is a very meaningful humanistic work in Sutong’s literary trajectory.