近代化와 狂人
Modernization and the Madman
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Against this backdrop of historical context, the figure of the madman in literature can be understood as a literary space in which the author is able to freely articulate a modern consciousness that has not yet been realized in contemporary reality. The madman figures depicted in these three novels belong to a similar literary system, one that consistently expresses the forms of modernization, the intellectual content of modernization, and modern sensibilities. The symbol of the madman, therefore, can be seen as a common literary modernist mode in early modern China, Russia, and Korea, serving simultaneously as a vehicle for intense social critique and as an expression of orientation toward modern consciousness.
Abstract
Against this backdrop of historical context, the figure of the madman in literature can be understood as a literary space in which the author is able to freely articulate a modern consciousness that has not yet been realized in contemporary reality. The madman figures depicted in these three novels belong to a similar literary system, one that consistently expresses the forms of modernization, the intellectual content of modernization, and modern sensibilities. The symbol of the madman, therefore, can be seen as a common literary modernist mode in early modern China, Russia, and Korea, serving simultaneously as a vehicle for intense social critique and as an expression of orientation toward modern consciousness.