본문 바로가기
KERD
논문KCI 등재

라이트노벨 정체성의 계보학 - 자의식과 공감의 구조를 중심으로

The Genealogy of the Identity of Light Novel - Focused on the Self- consciousness of its Texts and the Communication Structure with its Readers

0

조회

0

다운로드

3

인용

0

참고문헌

키워드

주제분류학제간연구

초록

The Genealogy of the Identity of Light Novel - Focused on the Self-consciousness of its Texts and the Communication Structure with its Readers Yee, Sun-Kyung This study examines ‘Light Novel’, the representative narrative of ‘Otaku(オタク)’ culture, one of the original Japanese subcultures. Light Novel has a history of almost thirty years and is still on the process of the formation of its identity. In this context, this paper aims to display its diachronic transition points of 30-year Light Novel history focused on some watershed points of its process of development. In dealing with those wakes of its history, this article elaborates the changes of self-consciousness of its texts centered on the usage of first-person pronouns and the communication structure centered on the psychological empathy with readers. My attention is directed to the four conversion points of its history: Slayers series by Hajime Kanzaka from the late 1980s, Boogiepop and Others by Kouhei Kadono in the late 1990s, Suzumiya Haruhi series by Nagaru Tanigawa from the mid 2000s, and a series of works of Sugaru Miaki in the 2010s. Slayers series by Hajime Kanzaka, the starting point of Light Novel, had performed the girlish identity using a first-person pronoun ‘あたし(a-ta-si)’, which showed the endeavor to separate itself from conventional classical novels. Boogiepop and Others by Kouhei Kadono paraded a variety of first-person pronouns such as ‘僕/ぼく(bo-ku)’, ‘私/わたし(wa-ta-si)’, and ‘俺/おれ(o-re)’. The readers are left intrigued to deduce the big picture of the entire plot from each fragmented first-person pronouns’ stories. Suzumiya Haruhi series by Nagaru Tanigawa has employed two personal pronouns, ‘you’(they call themselves using the feminine personal pronouns such as ‘私/わたし’ or ‘あたし’) and ‘me’(俺/おれ). In so doing, Otaku readers are able to emphasize with the texts of Light Novel. A series of works of Sugaru Miaki in 2010s share the sensibilities of coeval Satori generation(さとり世代) in the present Japan: they discover the new surviving strategies from the deepest unconscious death drive. As we have seen, Light Novel will be predicted to keep their composing and flexible identities to the passing of times.

Abstract

The Genealogy of the Identity of Light Novel - Focused on the Self-consciousness of its Texts and the Communication Structure with its Readers Yee, Sun-Kyung This study examines ‘Light Novel’, the representative narrative of ‘Otaku(オタク)’ culture, one of the original Japanese subcultures. Light Novel has a history of almost thirty years and is still on the process of the formation of its identity. In this context, this paper aims to display its diachronic transition points of 30-year Light Novel history focused on some watershed points of its process of development. In dealing with those wakes of its history, this article elaborates the changes of self-consciousness of its texts centered on the usage of first-person pronouns and the communication structure centered on the psychological empathy with readers. My attention is directed to the four conversion points of its history: Slayers series by Hajime Kanzaka from the late 1980s, Boogiepop and Others by Kouhei Kadono in the late 1990s, Suzumiya Haruhi series by Nagaru Tanigawa from the mid 2000s, and a series of works of Sugaru Miaki in the 2010s. Slayers series by Hajime Kanzaka, the starting point of Light Novel, had performed the girlish identity using a first-person pronoun ‘あたし(a-ta-si)’, which showed the endeavor to separate itself from conventional classical novels. Boogiepop and Others by Kouhei Kadono paraded a variety of first-person pronouns such as ‘僕/ぼく(bo-ku)’, ‘私/わたし(wa-ta-si)’, and ‘俺/おれ(o-re)’. The readers are left intrigued to deduce the big picture of the entire plot from each fragmented first-person pronouns’ stories. Suzumiya Haruhi series by Nagaru Tanigawa has employed two personal pronouns, ‘you’(they call themselves using the feminine personal pronouns such as ‘私/わたし’ or ‘あたし’) and ‘me’(俺/おれ). In so doing, Otaku readers are able to emphasize with the texts of Light Novel. A series of works of Sugaru Miaki in 2010s share the sensibilities of coeval Satori generation(さとり世代) in the present Japan: they discover the new surviving strategies from the deepest unconscious death drive. As we have seen, Light Novel will be predicted to keep their composing and flexible identities to the passing of times.

참고문헌 (24)

  1. 上遠野浩平, "ブギーポップは笑わない" (1998), 電撃文庫
  2. 神坂一, "スレイヤ-ズ 1~15" (1989), 富士見書房
  3. 谷川流, "涼宮ハルヒ シリーズ" (2003), 角川書店
  4. 三秋縋, "いたいのいたいの、とんでゆけ" (2014), メディアワークス文庫
  5. 三秋縋, "三日間の幸福" (2013), メディアワークス文庫
  6. 三秋縋, "スターティングオーヴァー" (2013), メディアワークス文庫
  7. 마에지마 사토시, "세카이계란 무엇인가", pp.150~151 (2016), 워크라이프
  8. 아즈마 히로키, "게임적 리얼리즘의 탄생", pp.21~ (2012), 현실문화연구
  9. 아즈마 히로키, "동물화하는 포스트모던", pp.60~75 (2007), 문학동네
  10. 에티엔 바랄, "오타쿠 가상 세계의 아이들", pp.29~ (2002), 문학과지성사
  11. 오카다 토시오, "오타쿠", pp.9~13 (2000), 현실과 미래
  12. 임진수, "애도와 멜랑콜리", pp.7~10 (2013), 파워북
  13. 지그문트 프로이트, "정신분석학의 근본 개념", pp.74~ (1997), 열린책들
  14. 크리스토퍼 라쉬, "나르시시즘의 문화", pp.24~28 (1989), 문학과지성사
  15. 학산문화사, "파우스트 Vol. 1", pp.447~ (2006), 학산문화사
  16. 후루이치 노리토시, "절망의 나라의 행복한 젊은이들", pp.27~ (2014), 민음사
  17. 후쿠시마 료타, "신화가 생각한다: 네트워크 사회의 문화론", pp.174~193 (2014), 기역
  18. 榎本秋, "ライトノベル 文学論", pp.20~24 (2008), NTT出版
  19. 新城カズマ, "ライトノベル「超」入門", pp.11~ (2006), ソフトバンククリエイティブ
  20. ぼっち, "ラノベのなかの現代日本 : ポップ", pp.講談社, ノスタルジア
  21. 羽渕一代, "どこか「問題化」される若者たち", pp.113~140 (2008), 恒星社厚生閣
  22. 山中智, "ライトノベルよ、どこへいく : 一九八〇年代からゼロ年代まで", pp.7~ (2010), 青弓社
  23. "三秋縋"[URL]
  24. "メディアワークス文庫"[URL]

관련 논문AI추천

이 간행물의 다른 논문 (26건)