‘여성 신성’의 배제와 남성 주체의 불안 - <오뉘힘내기> 이야기를 중심으로 -

Abstract

Once upon a time a sister and a brother were very strong and mighty heroes. In fact the sister was stronger and wiser than her brother. As they were still children, he has often shown off his strength to others and his sister has been concerned about his vanity. One day she dressed up like a man and took part in Korean wrestling arena for her brother. The brother competed with his sister for the best prize without even knowing her identity and went down to his sister. After coming back home he still was filled with anger that he had been defeated, so his sister told him the truth. Then the angry brother proposed her to have a trial of strength. In accordance with a proposal, he has built a castle and she has built a pagoda. When she was about to win a bet, her mother made her daughter to eat very hot soup for her son. At last she got the worst of it, she had to die because they promised that a loser ended it all. Time after time he broke out in revolt and was defeated for he has been a person to have a fatal lack because of his sister’s death. This study is an analysis and criticism on the story of <Brother Having a Trial of Strength with his Sister(“Onuyhimnaegi”(오뉘힘내기)>. The story is called as ‘tragic oral-narrative’ which is defined the narrative transmitted by oral- performance possessing a tragic plot and a tragic theme, and creating tragic effects in this article. The objects of this research are the oral-narrative in which ‘hamartia(tragic flaw)’ is composed of the attributes of ‘the female’, the will or the act of ‘the male’ is collapsed and defeated heinously. The gender-border of the male which is made by objectifying the female exclusively, depends on the gender-border of the female logically, since its category cannot be constructed without establishing the boundary of ‘female’. Most of all the factors deviating from normalization are necessarily to be incorporated into the boundary as essential components again. Thus it is very important that all these objects abjected are represented as the female image. The male is nothing but a melancholic subject with the loss to be unable to be mourned for, supposing that the initiation effect of tragic oral-narratives is to suppress and deny things except what the social order and rules permit, through internalizing a mechanism of normalization. The male's lack is melancholy itself from the aspect of showing the nervous and the anxiety because he cannot be conscious of what he has lost and he himself unconsciously denies the fact itself that he lost something.