≪海上花列傳≫의 敍事와 圖像의 場面化 - 매체, 교육, 기억의 現在化를 중심으로

Abstract

Hai-shang Hua Lie-chuan, in Mandarin transcription, is an epic novel which, as if newspaper articles, fragmented episodes of Shanghai prostitutes in the late 19C were compiled(chuan); unexpected different situations were inserted(cha); and important situations of an episode were hidden(cang) and revealed(shan). Obviously, this novel was acceptable because readers had already got used to Shanghai brothels, which were the main background of Hai-shang Hua Lie-chuan, through the texts and illustrations of Shanghai News(ShenBao) and Dian Shi Zhai pictorial, which began to gain a new reading population. Hoping the readers would understand some meanings formed beyond the text itself, the author rarely showed himself in the novel. Also, he did not provide the clear endings of the characters(Hua) in the ocean of Shanghai(Hai-shang) to the readers who had followed the “chuan-cha-cang-shan” storyline. On the boundary of the dream and the reality, in order to have the readers communicate with the characters who released their desire for things, what the author allowed was endless questions. The author believed that presenting only the current lives (Lie-chuan) of each prostitute(Hua), who is uprooted and floats around in the Shanghai Ocean(Hai-shang) was enough to give the readers introspection about admonishment and existence. Furthermore, the genealogy of each character of Hai-shang Hua Lie-chuan, who makes niches between an event and a person, stores experiences in the flower ocean(Hua-hai) as new memory, and becomes another beginning of a new relationship.