모옌(莫言) 문학의 생명의식과 모성, 그리고 비판성― 《개구리(蝸)》와 《풍유비둔(豊乳肥臀)》을 중심으로

Abstract

Nobel Prize winner Mo Yan is not only a prolific writer, but also a male artist who shapes women, which is a rare case. This paper focuses on the fact that Moyen has drawn human vitality through robust motherhood through 《Frog》 and 《Big Breasts and Wide Hips》, raises a question regarding that his maternal image is called ‘mother of the earth’ and represented as a ‘natural’ biological function, and attempts a new interpretation by analyzing the characters of Wanxin (萬心) and Shangguanlu (上官魯). About Wanxin that has been considered as a failed character literarily even though she was a successful embodiment of ‘cold-blooded executive for family planning (计划生育)’, this paper emphasizes self–censorship against the backdrop of the Cold War era, in other words, the character’s abundance by highlighting the inner wounds through her life history, ‘the fear of betrayal by her lover’s surrender to Taiwan’. In addition, Shangguanlu is regarded as a motherhood that produced a ‘family’ irrelevant to ‘paternal bloodline’ and as a motherhood of ‘perseverance’ such as ‘nature-land’ that encompasses both Communist Party and Nationalist Party. To the contrast, the male character represented by Mo Yan is centered on ‘independence for freedom’, sexual indulgence, and the paternal bloodline that is about scattering one’s ‘seeds’ onto his ‘field’. It claims ownership of women, his ‘field’. However, the author’s criticism of anti-vitality through praise for motherhood is considered as a sharp criticism against the inhumanity of the Communist Party, the living regime, because he deprives motherhood of Wanxin and criticizes the Communist Party member daughter of Shangguanlu.