역사적 비극을 서사화하는 '애도로서의 치유' 지향 소설 연구 - 김숨의 『떠도는 땅』(2020)과 한강의 『작별하지 않는다』(2021)를 중심으로

Abstract

This paper studied a healing-oriented novel as a condolence to the alienated other by recalling historical tragedies to the present and restoring the voices of the victims of the incident. The recent work of Kim Soom and Han Kang is consistent in that they are restoring historical scars to a low voice. Of course, the narratives of Kim Soom's "The Floating Land" (2020) and Han Kang's "Don’t Say Goodbye" (2021), which put the pursuit of personal history at the forefront, are different. Nevertheless, the implications of 'healing as mourning', which narrates historical tragedies, were analyzed while tracking the similarities and differences between the two artists' works. Kim Soom's work requires attention in that it explores the origin of the space, which is still the home of the diaspora-style life of the "Koryo people," focusing on the forced migration of Koreans in 1937. The work of the Han Kang is considered a significant effort in that the pain of the victims and their bereaved families has not been properly compensated or healed since the Jeju April 3 Incident in 1948. The two writers' work is directed toward mourning for historical victims, but it is understood that it provides achievements aimed at healing not only for the writer himself but also for the reader. The experience of historical tragedy is part of an extremely painful shaping work, but the results of such painful work can provide true companionship of mourning and healing to the other beings after the event in the sharing of memories. Mourning and healing are two sides of the same coin. Of course, since normal mourning can be the first step in healing, it is a prerequisite that the conditions for mourning are created. However, aftershocks from the forced migration of Primorsky in 1937 and Jeju 4.3 in 1948 still remain in the 2020s. History is being turned away or thrown into oblivion as if it were a relic of the past. At this time, Kim Soom and Han Kang produce feature-length novels by reflecting on the ethics of the novelist for posthumous mourning. And the novels are completed with a narrative of extreme love for the scapegoats of history.