장정일의 갈래 의식과 극적 환상 연구

Abstract

It seems clear that Jeong-Il Jang has changed his writing style in the course of time: from a lyric form to drama, from drama to an epic form, and from an epic form to essays. The change of his writing style can be said to reflect his thought about violent realities. In particular, plays appear to be chosen as a form that best deals with contradictions and violence in the reality. Based on methodologies employed in psychoanalysis, this paper aims to investigate Jeong-Il Jang's recognition of the reality and its treatment strategies. To achieve this goal, it analyzes the discussions so far more profoundly which are limited to the figuration of ‘father’. In other words, it endeavors to find the point at which Jeong-Il Jang's plays fill the gap of the fantasy that the ideology of the reality generates and the logic of strategies, i.e, the dramatic fantasy, that the writer adopts to deal with it. The strategies used in Jeong-Il Jang's plays are of three types: crimes as a violation against the symbolic father's law or taboos, confusion caused on the way to the return to capitalism, and salvation by the Other of the imaginary, ‘mother’. Of these three strategies, the last one is the main topic of Jeong-Il Jang's plays. However, the analysis of the ends of his plays shows that he fails to present strategies good enough to overcome the contradictions of the world. Despite his efforts to reveal contradictions and violence of the world and get them over, Jeong-Il Jang seems to be unsuccessful in saving the reality. This is not a limitation of his plays but evidence for the unbelievable degree of contradictions that cannot be overcome easily. This is to say that Jeong-Il Jang's plays obtain the authenticity of literature by showing that his imaginative dramatic fantasy is seized or controlled by the governing ideology of the current world.