5월 소설에 나타난 복수 서사의 형상화 연구

Abstract

‘May’ in 1980 was distorted from the beginning and duplicated falsely, and now it is being historicalized as oblivion. In order to resist the distortion of the beginning, representation and testimony seemed essential processes, in order to counteract the amplification of lies, the self-confessed narrative of shame seemed natural. However, the writing of representation and testimony could not answer ‘where were you then’ to heal ‘shame’, and the first person confession was also helpless to prove ‘innocence’. Nevertheless, linking May with revenge was not easy, as May should always be right, revolutionary, progressive and democratic. But revenge, which has been constantly suspended due to a state that has lost its function of conviction, is trying to have justification, even though it is private revenge in the novel. In this paper, I would like to describe the revenge narratives of the May novels, which talked about the reason why private revenge has no choice but to have justification. The question began with the fact that ‘national violence is not over yet’. It was because of the suspicion that mental violence, which is now invisible, continues from 80 years of physical violence. With national violence continuing and personal violence (private revenge) being completely blocked, 5월 소설에 나타난 복수 서사의 형상화 연구 121 someone may gain strength if they talk about the legitimacy of private revenge. Therefore, I would like to recall the experiences of individual subjects who were excluded from the public domain through multiple narratives of May novels based on the characteristics of May’s revenge, the possibility of replacement, and romance. Just as many problems that should be in the realm of public discourse have been excluded from the private sphere, so has May’s revenge, too, been excluded from the public realm. However, Lee Hae-kyung’s 『Unpulled Trigger』(2013) tells that the revenge of May has publicity through the overlapping of individual and historical memories, and this publicity constantly reproduces memories of May. In addition, May’s subjects, who were obsessed with guilt and shame, were suppressed in May and could not live as independent humans, but Kim Kyung-wook’s 『What is Baseball』 (2013) says that the possibility of revenge in May is leading to reflection and reconciliation. And just as romance can always dream outside the system to prevent evil, even if only purity and nostalgia remain removed, Son Heung-kyu’s 「First Terrorist」(2008) says that the ever-failing and delayed May’s romantic revenge is preventing May’s historicalization and drawing hope. The reason why we are still talking about May is probably not just because of the resentment of the ‘unfinished resolution’. It is probably because of the reality that neither the memories of the glorious times when humans could be human nor the pains of those days nor the joys of those days were shared. For the preservation of that memory, for the emotion of sympathy, I believe that May literature will be transformed anew.