박완서의 자서전적 글쓰기 서사 전략과 그 탈식민주의 의미 - <<그 남자네 집>>을 중심으로 -

Abstract

Park Wan-Seo tries to tell us her femininity and time in the country for many years, that is to say the time from 1950. She is a writer who emphasizes that history should include a lot of women’s voices who went through the time in the existing central narrative as delivering women’s periphery narrative constantly with 「Mi-Mang」. 「A bare tree」, 「Mother’s Post」, 「A Leanly year of city」, 「Who ate all the singas?」 and 「Were That Mountain Were There Really?」. The purpose of this paper is to identify narrative strategies which female subject writer Park Wan-Seo used in historical writing. At the beginning Park Wan-Seo has acted, female writer’s position was not strong. It’s been evaluated that in such situations, she has filled a gap which male writers did not grasp with female voice. In this paper, as investigating strategies used in narrative of the male-centered history as a female writer and the process of the meaning, it premises to identify resistance to overcome male domination-centered historicizing. The initial criticism on Park Wan-Seo can be seen to remain in somewhat narrow assessment located only in a small area of the female writer in male-centered literary world. The title of female writer attached before writer Park Wan-Seo’s name proves this. Sensory’s resistance that only minorities can use which Park Wan-Seo used in <The man’s house> makes it sublimated a historical chapter to crack out the contents of the existing writing and not to be produced. And, she escapes the restricted area of having the title of the female writer with oxymoron. In other words, this is because of expressing fictionality of the history that women are excluded as making the area which only women can have narrative. A way that women existed as peripheral minorities challenge the center is to tell and write to the world. Women have a duty to inform information and ideas about female sexuality. What women write is to describe the time passed, the time passing, which means to write history. The reason why Park Wan-Seo tells her voice at the second half in the stages of her work world can be seen here. Female autobiographical writing can function as resistance practice about the central narrative and memories are involved in the operating principles of this description. Park Wan-Seo recalls history through the act of remembering as making the periphery of war descriptive on the boundary between the narrative and autobiographical narrative. While looking through the house of the past and oneself there, The hybrid time meeting the current and the past is completed in the narrative. The taste embodied implies new resistance as reproducing living survival subjects in the war with hunger.