5·18 소설의 정치미학 연구 - 랑시에르의 문학의 정치에 바탕해

Abstract

This article is an attempt to look at 5·18 literature through a different approach from traditional historical considerations. To this end, this article will try to apply the terms and concepts that Jacques Rancière theorized for two novels representing the Gwangju Uprising in Korea. His political aesthetics are a useful methodology for reinterpreting 5·18 literature as it goes beyond the binary boundaries of participatory literature, pure literature, political art and aesthetic art. To this end, this article will read Lim Chul-woo's Spring Day and Choi Yoon's There, soundless, a petal falling depending on how Rancière reads Balzac's La Peau de chagrin and Flaubert's Madam Bovary. For Rancière reasons, Spring Day is a text that shows the excesses of words and objects seen in Balzac's novels, and There, soundless, a petal falling is an example of democratic writing in that it reveals the aesthetics of fiction by rejecting the rules of reproduction, the literary style of Flaubert novels. The two novels need to be reinterpreted through a new approach in that they contain political aesthetics that do not rule politics through the excesses of words and objects and fictions conceptualized by Rancière. Rancière considers the work of distributing the sensible system they set up against Plato and Aristotle, which create a hierarchy of abilities and incompetence, as the essence of politics. Rancière believes politics only begins when those who do not have a share stipulated by Plato and Aristotle are the ones who speak in the community. Therefore, allocating and redistributing languages and noise, visible and non-visible, etc. forms the distribution of the sensible that Rancière refers to. Rancière's political act is to form a new distribution of the sensible to bring new objects and subjects to a common stage, and to show what was invisible. In this regard, the distribution of the sensible is political in itself. Rancière regards art as a representative form of the distribution of the sensible in that it plays a role in disrupting and destroying existing systems. Here, it becomes possible to argue that politics is aesthetic and aesthetics are political as well. For Rancière's reasons, novels such as There, soundless, a petal falling where no political figures appear and no background or event is politically motivated are also practicing the politics of literature. Rancière points out that in the way the distribution of the sensibles is made, the unvisual becomes visible, the words considered noise are discourse, the excesses of words and objects are revealed, or the fictitious writing is realized. Since one or two of these four methods can be seen as the distribution of the sensibles, this paper adopted a method of considering the excess of words and objects in Spring Day and fiction in There, Soundless and a petal fall. To be specific Chapter II examined Lim Chul-woo's Spring day in which speeches, which have been considered noise are revealed in languages based on Rancière's reasons. As a result, the surplus of languages and things of the social subordinate subjects, which is expressed in Spring day is a Rancière political aesthetics that tries to redistribute the existing sensible to their own way by visually revealing their existence in an invisible state. In Chapter III, based on Rancière's view of writing that is inconsistent with existing reproducible writing principles as fiction, this articles reads There, soundless, a petal falling. As a result, the novel has aesthetic political character in that it attempts to redistribute the sensible in a way that arranges words and sentences without being conscious of the causal arrangement of events, which is the norm of reproducible writing.