서사의 두 가지 일탈 방식; 함정임과 윤성희의 여성적 글쓰기를 중심으로

Abstract

Women’s works published in the 2000s find their ways out of the trite theme limited to sexual discrimination-motif instead of introducing novels that focus on novel’s narrative, thereby adopting writing style that prefers difference to uniformity, flow to unity, and floating organization to structure. This thesis will study the method of narration used in novels of Hahm and Yoon. These two writers oppose men-centered narration by focusing on the ordinary, restoring marginal voices and revealing the hidden truth. Ecriture feminine like this forms the process of finding solutions to overcome an identity crisis in the modern literature. The main characters in Hahm’s novel–The Blue Eye in Your Heart– are women. However, a reason why an autobiographical novel hitherto treated as a typical pattern of women’s novel can be distinguished here as a deviation is because Hahm avoids using monologic language, and moves towards self-portrait of incompletion. Her novel goes in and out the world of illusion with multi voices and images floating around rather than gives clear answers to the questions about what women’s life means and what the reality is like toward them. Hahm’s ecriture feminine uses illusion symbolizing the desire repressed by social taboo that it particularly seems to be a breakthrough that would change women literature. This narration of illusion is concretely expressed through sensory organs of the human body, and therefore it does not lean toward surrealism but is rather read as a method to bear reality. On the other hand, works included in Yoon’s–A Cold– rarely mention of self, while the third person nomenclatures of objective eye such as ‘father and mother’, ‘men and women’, and ‘older sister and younger sister’ are used. Yoon realizes ecriture feminine through describing lives of the surroundings rather than talking about life as a woman or a woman writer. Yoon challenges hegemonic discourse of the world with hesitating narration that opposes men’s logical regulation and with metonymic narration which has the characteristics of disruption that counters teleological narration. Metonymic writing allows her to skip the black-hole of reality, keeping her from falling into it. Furthermore, it breaks the boundary of dichotomous gender and expands femininity to generic term of the suppressed, thereby introducing another topographical map of women literature as ethics for others.