이상 소설 『童骸』에 나타난 감각의 문제와 글쓰기의 이중적 기호들

Abstract

Yi-sang attaches greater importance to the sense of touch than to the sense of sight in his work, “Donghae”. It is thought of as an attempt to resist the vision model of modernity, formed since Descartes. Shifted from ‘Eternal Time’ to the part of consciousness, ‘I’(in this novel) go into finding the objects in external world with the tactual sensation and look upon the objects under his eyes as linguistic sign. Because of the ambiguous attribute of linguistic sign itself, ‘I’, however, ain’t close to the nature of the object. The uncertain condition of things is meant pleasure to me on the contrary. In fact, the ambiguity has a relationship with the part of unconsciousness, the fantastic world to me. In his novel, Yi-sang makes ‘I’ come and go in the provinces of reality and fantasy through arrangement of the sign, “knife”. One day awaking and taking to look ‘a woman with knife’, ‘I’ ask her the question, “Are you a killer?”. His question in this way is that much relevant and probable, because he haven’t moved to consciousness. He is still left in the world of fantasy or moving picture. But peeling a citrus with her knife, she, named ‘Yim’, does against his expectation. ‘knife’-‘citrus’ chain plays an important part to him to get more realistic sense out of ambiguous condition. Through that chain, ‘I’ become a realistic man with the sense of marriage. Text in novel is also changed to have realistic tendency after that. Being extremely realistic, however, ‘I’ am sunk in self-hatred and let his lover, ‘Yim’ go to his friend, Yun. When ‘I’ in despair go to movie with another friend of his, T, T gives him a knife. ‘I’ am troubled with whether he have to kill ‘Yun’ or ‘Yim’ or himself with the knife. But T gives a citrus to him, too. ‘knife’-‘citrus’ chain in this part, does the opposite funtion with that former chain. It lets him know emotional, nonrealistic part of world like friendship. In brief, there are two communication failures in “Dong-Hae”, occurs from the difference of knife/death and knife/citrus. But it is not only failure itself. In dialogue, it makes him(‘I’) face the interactive circumstances out of the cognitive world he constructed before. The first linguistic failure makes him(‘I’) being realistic out of childish dream. ‘Dong-Hae’ is, in a kind, a laboratory work with only a linguistic variable given. The second failure in just the end of the work, makes him, a realistic adult, enter into another world, which is emotional, fantastic and friendly.