‘家出한 노라’의 행방과 식민지 남성작가의 정치적 욕망 -『인형의 집을 나와서』와 『직녀성』을 중심으로

Abstract

The intellects of colonized Chosun called out ‘Nora’ to break down the patriarchal family ethics and thus see the world with the absolutely new eyes. They encouraged ‘Nora’ to abscond but didn't tell her life after ‘Runaway’. Some male writers in the early 1930s paid attention to ‘Runaway Nora’. This thesis is supposed to clarify why they paid attention to Nora and what the meaning of the politics which appeared in the process of narration about post abscondence is. The representative works in this age are After a Doll's House and Vega, each heroine of which is the same ‘Runaway Nora’. Both works gave a good deal of space to the process of Runaway Nora's sufferings and degradation. The narration of female sufferings could configurate the reality of the colonial capitalism stereoscopically and effectively. In addition, both works accepted the socialistic prospect, dealing with the narration of the women's liberation. For example, ‘Nora’, a heroine of After a Doll's House was born again as ‘Imsooni’, a proletariat and ‘Insook Lee’, a heroine of Vega became one of the members who founded the community with a new nation-system. Up to recently, these socialistic prospects that two works adopted in the end of narratives have been criticized because of the unreality and the romanticity. But we can catch the meaning of these prospects without the narrative causality only when we get to know why the male writers in the early 1930s called out ‘Runaway Nora’. Male writers described the narrative of the women's liberation to hide or cover up the appearances of male intellect ‘ideologists’ as assistants. At the end, the ideology of these ideologists gain the final victory. We can regard these narratives and the ends as a solution to the situation in which the position and the ideal of the male writers went from bad to worse. They hurried up to combinate the socialistic prospect with the narratives of the women's liberation. And that's the way that they recovered their weakened authorities. The discourse of ‘Nora’ in 1920s is about ‘Runaway’. That is to say, it was dealt as an icon of modern self-establishment, individualism, and personality discovery. But the male writers' interests in ‘Nora’ were about ‘After Runaway’. That is to say, the interests were expanded into the problems to society. We can read the sexual politics of the male intellects in this age through the narratives of the women's liberation, which adopted their socialistic prospects by ‘Runaway Nora’.