장덕조 소설에 내재한 ‘모성성’ 고찰-『薔薇는 슬프다』를 중심으로-

Abstract

This study examined Jang Deok-jo’s full-length novel, <The Roses are Sad>, in order to inquire into the 1950’s discourse on complex motherhood based on the archetypal motherhood of Neumann. <The Roses are Sad> fully reflected dynamic discourse on fundamental motherhood and breakaway from, adaptation of, and convergence of institutional order while upholding clear public consciousness. Especially, it gives a chance to examine the change and convergence of the institutional motherhood since the female characters in the novel show the change of motherhood which has been monopolized while reflecting the contemporary ought within the focus of narrative. The sense of ‘Motherhood’ inherent in Jang’s novel appear in the novel consistently in close association between social phenomena and the author’s values. Especially, in the discourse on the remarriage of Roh Baek-mi, the ‘widow with children’, has sufficient basis for discussion in the form of the ‘concealed self-awareness’ entangled with subjective desire of the women of the 1950’s and the ‘choice’ for the birth of a new entity. The paradoxical situation where Roh Baek-mi’s conflict of affection ends with death showed multilateral changes which disbanded the ‘strong and sacrificing’ and idealized aspect of mother based on maternal love which appear from the author’s early works and the standardized motherhood which expresses desire and revolts against the ‘unconditional affection.’ Such gainsay of freedom and paradox of death are deemed useful in refreshing the context of ‘motherhood’ in current position, and it will be a meaningful work of examining the social order that adapts and returns to the dominant discourses which is newly reorganized through the topic of ‘motherhood.’