양석일(梁石日)의 「운하(運河)」론 - 신체감각과 공간표상에 관해 -

Abstract

The initial work as the novelist of Yang Sok-il is “Taxi frenzied uproar music”(1981). “The Canal”(1980) which is collected there is at the original form-like position in the birth of the full-length novel such as “End of the family chart”(1989), “Lullaby in the uterus”(1992), “Bone and Blood”(1998). But the work which did not attract attention so much by the shadow of the taxi driver thing and the masterpiece inventing one after another. I take up “The Canal” in this report and consider a physical sense of Yang Sok-il and a characteristic in the spatial representation. Therefore at first I pay attention to ‘canal’ as the topos of the literature of Korean resident in Japan and investigate a similarity and the difference in eyes for ‘canal’ of other writers. The literary starting point of Yang Sok-il is poetry. I analyze it through the attitude against the ‘language’ and the ‘body’ of characters how desire in his story is articulated in the process which Yang Sok-il converts into a novel language from poetic language. In addition, when it represent space called ‘canal’, I consider how to come to expression. This work is not only a literary characteristic of Yang Sok-il appear in the “The Canal,” a short story, will be in the process of understanding the theory of the body of Yang Sok-il is expressed as ‘Asian Body’ thereafter.