비페이위(畢飛宇) 소설 『위미(玉米)』에 나타난 욕망과 폭력의 구조

Abstract

Bi Feiyu is a writer who has been very active so far since 1990s, whose major works have won numerous literary awards and have simultaneously been translated and published in many foreign countries. In particular, the novel Three Sisters has been recognized on its literary value, as having won the 3rd Lu Xun Literary Prize in 2005 and the 4th Man Asian Literary Prize in 2010, and at the same time, also gained much popularity from the public. As he has attracted public attention in China and abroad, researches have been extensively conducted on him as well, but it could be said that domestic researches on Bi Feiyu are relatively inadequate, compared to his awareness. Considering his entire creations, The Moon Opera(靑衣) and Three Sisters, published since 2000, may be important inflection points. Either before or after this period, his early creation, which has focused on the questions in history, languages, and philosophy, changed into adopting the realistic subject matters; even in the creative method, the early avant-garde style was changed into the direction where the realistic factors are remarkable. Accordingly, we can recognize that in the novel, Three Sisters, the writer has put his heart and soul into the problems of the relationship between human beings and the imagery of characters. Particularly, the novel focuses on describing the relationship involving power, where power becomes an allegory on the tyrannical system. Through the three sisters, Bi Feiyu highly emphasizes the process of desiring for power and the structure of violence inherent in it. And we come to be able to find the shadow of the Cultural Revolution in the structure of desires and violence, which he depicted. He doesn't directly mention the Cultural Revolution or depict revolutionary characters in his novel, but the unconscious nature of violence inherent in it is being embodied via everyday life. The chain of desires and violence, which has been passed down to “Yumi”, “Yuxiu(玉秀)”, and “Yuyang(玉秧)”, dismantles the boundaries between actors and victims and comes to reveal the nature of violence concealed behind everyday life.