‘처용’ 모티브의 현대소설 변용을 통해 본 ‘처용’의 문학적 의미 연구-김소진의 「처용단장」과 이인성의 「강 어귀의 섬 하나」를 중심으로
A Study on Literary meaning of 'Cheoyong motif' through Korean modern novels
0
조회
0
다운로드
5
인용
0
참고문헌
키워드
초록
This paper examining aspects of the Korean modern novel transformed 'Cheoyong motif' is to explore the meaning of the literary. Korean traditional story 'Cheoyong' has been researched and analyzed on the numerous controversial aspect. Interpretations and discussions of that story have got from Confucianism, Buddism, Taoism to myth, legend, religion, politics, shamanism, art. The story still is being interpreted and re-created on modern culture. It mostly has been accepted focused on 'extramarital affair' and romance. But Kim so-jin's novel 'Cheoyong story' was differently re-created 'Cheoyong motif' in point of social criticism and satire of apostatized intellectuals'. Kim so-jin's novel showed intellectual's dilemma, which placed between desire for power and morality for low class, popular writer and author for low class. Also it shows Kim so-jin's introspection about author's ontology in 90's changing environment. Kim so-jin's Cheoyong revives Cheoyong's dance through having a bundle of paper money instead of knife. Kim so-jin's novel criticized intellectual's defection and explored the context of tragic reality. It means satire spirit implying love in that Kim so-jin try to embrace that. Lee In-seong's novel 'Island at the mouth of the river - Cheoyong fantasy,' explored fantasy of unconscious desire and transcendental art intoxicated with the pleasures. This article works through the psychoanalytic theory of desire(Freud, Lacan)to interpret fantasy. Lee In-seong's Cheoyong became a 'Subject' after having experienced the chaotic desire. 'I'-hero of the novel is born as 'Subject' through experience other's desire and separating from mother symbolized 'Manhui' in not contradiction of desire space. This tragedy of 'Subject' called reader's attention to human's tragedy having to live in civilization. Lee In-seong's novel shows art world has been shaped with Dionysian fantasy and liberation, transcendental as well as tragic marker engraved on the Subject. In conclusion, Kim so-jin's Cheoyong is intellectual located between reality and ideal and Lee In-seong's Cheoyong is artist located between desire and transcendence.
Abstract
This paper examining aspects of the Korean modern novel transformed 'Cheoyong motif' is to explore the meaning of the literary. Korean traditional story 'Cheoyong' has been researched and analyzed on the numerous controversial aspect. Interpretations and discussions of that story have got from Confucianism, Buddism, Taoism to myth, legend, religion, politics, shamanism, art. The story still is being interpreted and re-created on modern culture. It mostly has been accepted focused on 'extramarital affair' and romance. But Kim so-jin's novel 'Cheoyong story' was differently re-created 'Cheoyong motif' in point of social criticism and satire of apostatized intellectuals'. Kim so-jin's novel showed intellectual's dilemma, which placed between desire for power and morality for low class, popular writer and author for low class. Also it shows Kim so-jin's introspection about author's ontology in 90's changing environment. Kim so-jin's Cheoyong revives Cheoyong's dance through having a bundle of paper money instead of knife. Kim so-jin's novel criticized intellectual's defection and explored the context of tragic reality. It means satire spirit implying love in that Kim so-jin try to embrace that. Lee In-seong's novel 'Island at the mouth of the river - Cheoyong fantasy,' explored fantasy of unconscious desire and transcendental art intoxicated with the pleasures. This article works through the psychoanalytic theory of desire(Freud, Lacan)to interpret fantasy. Lee In-seong's Cheoyong became a 'Subject' after having experienced the chaotic desire. 'I'-hero of the novel is born as 'Subject' through experience other's desire and separating from mother symbolized 'Manhui' in not contradiction of desire space. This tragedy of 'Subject' called reader's attention to human's tragedy having to live in civilization. Lee In-seong's novel shows art world has been shaped with Dionysian fantasy and liberation, transcendental as well as tragic marker engraved on the Subject. In conclusion, Kim so-jin's Cheoyong is intellectual located between reality and ideal and Lee In-seong's Cheoyong is artist located between desire and transcendence.
참고문헌 (23)
- 일연, "삼국유사" (1989), 범우사
- 김소진, "열린 사회와그 적들" (1993), 솔
- 이인성, "강 어귀 에 섬 하나" (1999), 문학과 지성사
- 곽 근, "처용설화의 현대소설적 변용 연구", 국어국문학, (125) (1999), 국어국문학회
- 김경수, "처용은 누구인가" (2005), 역락
- 김명인, "김수영, 근대를 향한 모험" (2002), 소명출판
- 김상환, "라깡의 재탄생" (2009), 창비
- 김상환, "풍자와 해탈 혹은 사랑과 죽음" (2000), 민음사
- 김수영, "김수영 전집 1-시" (1991), 민음사
- 김승종, "미완으로 빛나는 민중의 작가-김소진론", 현대문학의 연구, (9) (1997), 한국문학연구 학회
- 김영숙, "현대 소설에 나타난 설화의 변용 양상 연구 : <아랑은 왜>(김영하)와 <처용단장>(김소진)을 중심으로", 석사, 문예창작학, pp.2010
- 김지하, "타는 목마름으로" (1990), 창작과비평사
- 김진, "처용의 해석학" (2007), UUP
- 오지원, "처용설화의 현대적 변용 연구", 석사, 국어교육, pp.2007
- 윤석산, "신라 가요 “處容歌”와 “處容 說話”의 현대시 수용 양상", 한국언어문화, 17 (1999), 한국언어문화학회
- 이광호, "강 어귀에 섬 하나" (1999), 문학과 지성사
- 이창민, "전언의 향방" (2002), 월인
- 임금복, "액자구조로 다시 쓴 '처용가’의 의미 -신상성·김소진·구광본 소설을 중심으로", 유관순 연구, (11) (2006), 백석대학교 유관순연구소
- 최미정, "처용의 문학전승적 본질", 관악어문연구, 5(1) (1980), 서울대학교 국어국문학과
- 황도경, "한국 패러디 소설 연구" (1996), 국학자료원
- 황병익, "역신(疫神)의 정체와 신라<처용가>의 의미 고찰", 정신문화연구, 34(2), pp.127~152 (2011), 한국학중앙연구원[DOI]
- Homer, Sean, "라캉 읽기" (2006), 은행나무
- Marcuse, Herbert, "에로스와 문명" (1989), 나남