감정과 정동의 수사학:『사랑의 수족관』 읽기
The Rhetoric of Emotion and Affect:Reading the Aquarium of Love
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초록
본고는 김남천의 연애소설, 『사랑의 수족관』을 감정과 정동의 움직임 및 관련 개념을 중심으로 살펴보았다. 기본적으로 이 작품은 일종의 ‘혼사장애담’으로 간주할 수 있다. 그리고 거기에는 네 명의 남녀들로 얽힌 삼각관계가 있었다. 본고는 연애란 기본적으로 감정이 극대화되는 순간이라는 점에 착안하여, 작품에 드러난 감정 구조 및 정동의 흐름을 살펴보았다. 이 글은 여러 이유에서 어펙트(affect)의 한글 번역어로서 정동(情動)을 택하였다. 이 작품에서 가장 빈번히 반복·사용되는 어구는 “~심장(가슴)의 동계(動悸)~”라는 표현이다. 그래서 소설 텍스트에 등장하는 해당 어구를 모두 모아보았다. 동계는 ‘두근거림’의 옛말로서 뜻과 문맥상 정동과 거의 유사한 개념임을 확인하였다. 『표준국어대사전』에서 정동의 정의는 “희로애락과 같이 일시적으로 급격히 일어나는 감정. 진행 중인 사고 과정이 멎게 되거나 신체 변화가 뒤따르는 강렬한 감정 상태이다.”라고 설명돼 있음을 고려한다면 이는 크게 잘못된 추론은 아닐 것이다. 이에 따라 본고는 남녀 주인공, 김광호와 이경희, 그리고 이들과 삼각관계에 있는 송현도와 강현순의 감정과 정동의 양상들을 추적하고 그 의미를 밝혀 보았다. 이 과정에서 스피노자가 분류한 슬픔과 기쁨, 욕망 외에 48가지의 인간 감정을 참고하여 텍스트와 비교하였고, 비교적 부합하는 것들을 함께 부기하였다. 이 소설에서 김광호를 통해 드러난 기술 이성의 가치중립성과 판단중지의 양상들은 다양하게 평가할 수 있다고 본다. 덧붙여 이 작품에서 빈번한 괄호의 사용은 내용의 부연·설명, 인물의 심리묘사나 내심독백 등의 다양한 용도로 사용되고 있음을 확인할 수 있다.
Abstract
So far, this paper has examined Kim, Nam-cheon's novel, Aaquarium of Love, focusing on the movements of emotions and affections and related concepts. Basically, this work can be regarded as a kind of 'marriage disability story'. And there was a triangular relationship involving four men and women. Focusing on the fact that dating is basically a moment when emotions are maximized, this paper examined the emotional structure and flow of affect revealed in the work. For many reasons, this article chose affect as the Korean translation of jeongdong(情動). The phrase that is most frequently repeated and used in this work is the expression "~the 動悸 of the heart (chest)~". So, I collected all the phrases that appear in the novel text. It was confirmed that Donggye is an old word for 'throbbing' and is a concept almost similar to affect in meaning and context. In The Standard Korean Dictionary, the definition of affect is explained as "emotions that temporarily occur rapidly, such as joy, sorrow, and pleasure. It is an intense emotional state that is followed by physical change or stopping the ongoing thinking process."Accordingly, this paper tracks the emotions and affections of the male and female protagonists, Kim, Kwang-ho and Lee, Kyung-hee, and Song, Hyun-do and Kang, Hyun-soon, who are in a triangular relationship with them, and reveals their meaning. In this process, in addition to the sadness, joy, and desire classified by Spinoza, 48 human emotions(Jeongdong) were referenced and compared with the text, and the relatively consistent ones were added together. Lee, Kyung-hee's emotions and affections were implemented in the order of 'desire->pleasure->sadness->pleasure'. Kim, Kwang-ho's path to affect went through 'desire->pleasure->desire(desire for Kyunghee who has been out of contact)/sadness(the pain of not meeting Kyunghee)->pleasure’ sequentially. Song, Hyun-do's affections followed a more complex path of 'desire(obsession of success and success) -> joy(half consent to Lee Kyung-hee's marriage) -> sadness (Lee Kyung-hee falls in love with Kim Kwang-ho) -> joy(Kim Kwang-ho was thrown out to Manchuria) -> sadness (combination of Lee Kyung-hee and Kim Kwang-ho).’Hyun-soon's path of affect was followed by 'desire -> joy -> sadness(the relationship between Gwang-ho and Kyung-hee) -> joy(the blessing to the future of Gwang-ho and Kyung-hee).'In this work, the aspects of value neutrality and suspension of judgment of technological reason revealed through Kim Kwang-ho can be evaluated in various ways. First of all, it can be viewed critically in that it neglects and conceals colonial reality. On the one hand, Kwang-joon's influence on Kim Kwang-ho's attitude and attitude can be evaluated positively in that it has the least ethical virtue of denying value neutrality and confronting a given reality. It is also a view that deserves evaluation that Kwang-ho emphasizes social individuality as a member of the community rather than as an individual. For example, Hyun-soon's inevitable abandonment of her beloved Kwang-ho is a result of taking into account her background and social personality as a professional woman. In addition, it can be seen that the frequent use of parentheses in this work is used for various purposes, such as supplementation and explanation of the content, psychological description of a character, and inner monologue. This contributes significantly to the detailed description and tracking of various aspects of affect triggered between lovers, and the subtle psychological movements and waves of fine particles, centering on the concept of affect.