시민과 혁명의 시간 - 4.19와 박태순 소설의 문학사적 의미

Abstract

April 19 Revolution holds great significance as a node in the political history and also a reference point in the formation of literary discourses in the history of literature. There have been diverse discussions about the political significance of April 19 Revolution, and they can be divided into three major characteristics: first, one can examine two aspects in that the Revolution was represented ideologically by students: one is that the Revolution was signified with its political implications sealed in the history of literature by a group of literature called the April 19 generation, and the other is that it was specified into a single age group or the generation that entered college in 1960, which means that its meanings in the history of literature were created differently from the context in the political history. Even if it is kept in mind that they formed a school and carried out very productive works, such an exclusive possession of the April 19 discourse is unique indeed. As a result, the April 19 generation set a certain boundary between the literary sense that experienced the time and its discourse tendency and left a mark between them, excluding the discourse groups in an opposite position. Secondly, the Revolution received meanings as the manifestation of the "sentiment" unique to a new literary generation and was symbolized as intellectual sense or ideality found in novels by Kim Seung-ok and Lee Cheong-jun. This point worked as a factor to make the Revolution enter the history of literature along with the position that it was a hostage of literature and the marginalization of literary texts outside the center by the April 19 generation. As the literary works externalized by the Revolution were eventually sorted out unilinearly into the people-popular literature theory in the 1970s, the discussions about the Revolution and citizens were not able to leave a mark on the literary discourse. Finally, attention should be paid to the unique patterns in the formulation of the Revolution in history. They derived from the performance peculiarity of the Revolution and the multiple layers of discourse titles for the subjects of the Revolution. The present study argued for this following interpretive perspective by examining major novels of Park Tae-soon: latent in the main positions of taking the April 19 Revolution as an incomplete revolution or proxy revolution by students were the knowledge discourse's negative perception of citizens as subjects and the uncertainty of official subjects due to the gap between the urban poor, one of the major power groups to lead the Revolution, and the ideal people. In this sense, Park seems to hold a very multi-layered position in literature. His early novels are included in these boundaries and, at the same time, cross them. The biggest sign of this is found in his The Collapsed Theater, in which all of college students, citizens, and "demonstration squads of the night" whose name is not called are marked in the position of subjects in an unstable manner. The author self-criticizes the instability of subjects in his active activities at the camp of national literature and formulates the Revolution in the idea of resistance discourse by placing "people" in the position of subjects firmly.