김원일 『슬픈 시간의 기억』의 서술 전략과구원의 상상력

Abstract

After examining the unique narrative techniques in the series Memories of Sad Times, which can be evaluated as Kim Won-il's representative late novel, this article explored new possibilities for old age narratives. In the early and mid-term, the author mainly writes anxiety narratives, absurd narratives, and war narratives, but at the age of 60, he presents an old-age narrative that puts the elderly author to the forefront. The four works embody their final testimony using the autobiographical memories of your dying old age as motifs, condensing experimental techniques that are distinctly different from previous novels. ｢Who am I｣, ｢I know myself｣, ｢I'm afraid｣, and ｢I don't exist｣ take an organic composition as a series of novels, but since the autobiographical memories of each central character are different, it is important to closely examine the four implications for the entire subject. Phelan's concept of "incredible descriptor" and "credible descriptor" is the main mechanism of analysis, and he judged that the narrator may be reliable in some ways and not in others, so if the reader can take this into account, he can freely communicate with the author. To summarize the four characteristics through this, first, they embodied their final testimony by featuring elderly narrators and elderly writers that were not seen in early mid-term novels. However, due to dementia, stroke, hand tremor, and bipolar disorder experienced by the unreliable elderly narrator and the four elderly people, their autobiographical stories gradually crack and begin to be suspected. As a result, the reader indirectly communicates with the narrator at a certain distance as he moves away from the narrator. Second, due to the narrator's full-fledged disturbance operation, the timing of the utterance is disturbed, and a young narrator appears, opposing the world of talking and the world of talking as time and space are reversed. Third, the author's "high line" becomes important and the role of revealing the whole story of the event becomes self-inflicted, and the reader faces a narrative subversion as he peeks at the author's utterances, actions, and thoughts. Fourth, the narrative subject's preemptive use of this technique is a handmade initiative to maintain the tragic life of old age through the envelope of the old age narrative as well as the extinction of the testimonial generation. In addition, it is the death perception that the only way for the generation of testimonies who have been trapped in "memories of sad times" throughout their lives to be freed is only when they reach death, and the boss's foot from the imagination of redemption. Therefore, this series can be evaluated as a representative late novel and old-age novel that embodies various handmade products while expanding the subjective consciousness that penetrates his literature as a whole.