『벽공무한』 재독(再讀)을 위한 몇 가지 단서와 하나의 텍스트

Abstract

The purpose of this study is to reexamine Lee Hyo－seok’s narrative strategy roughly by annotating on the several clues appearing in a formal aspect of ByeokGongMuHan. As the novels in the last period of Japanese imperialism usually have, ByeokGongMuHan also have definitely changed its direction for interpretation according to the outside elements and contemporary historiography. But in the process of supplementing the outside elements and following change of historiographic view, we need to review if we missed several clues which are already arranged in the text itself. For example, these are the several clues which are presented in this study. First, why does ByeokGongMuHan present not a protagonist but Moon Hoon as a focalizor in a beginning and an end of the novel? Second, why is the Moon Hoon’s job a novelist? Third, why is Moon Hoon's desire identified with Ill－ma’s desire? Fourth, why is the narration of ByeokGongMuHan absurd like this although it was written in the 1940’s when the form of modern novel reached a certain standard? Lastly, I filtered out necessariness of this absurdness and the excess portion in the horse racing scene which reveals ByeokGongMuHan’s absurdness by reading Emile Zola’s Nana. In the process of asking and answering those contents, I thought Lee Hyo－seok might notice an impossibility which was existed in the form of modern novel and once again he might intend to realize the new form of the novel which tears down a wall of the impossibility through ByeokGongMuHan.