서술의 신빙성 연구

박형서 ( Hyoung Su Park ) 우리어문학회 2015 우리어문연구 Vol.52 No.-

Study on the ``Narrator-viewpoint`` is regarded as very important in esthetic appreciation analysis of Discourse. Among others, ``the reliability issue`` is about the way of story proceeding which is making readers feel confused or seducing them by throwing away the effort of narrator to have reality and tearing down the reliability of narrative. This concept, ``unreliable narrator`` named by Wayne C. Booth, has lots of problems to be agreed because the discussion about that has been divided into several parts for its repetitious revision and the arbitrary definition of its objects and range. So in this paper, I correct the term ``unreliable narrator`` to ``narrative for reliability operation`` for calling the attention of readers to the fact that ``the reliability issue`` is not an aspect of interpretation but is a kind of narrative strategy, and it does not depend on the ``indicators in relation to (un)reliability`` completely. On the other hand, this fact suggest some imaginary boundary which is withholding the judgment of reliability among several contrary narratives, that is to say its special embodiment of the narrative for reliability operation. Therefore I analyze two short stories to examine aesthetic aspects within ``border of reliability`` concretely. First, 「99%」 shows that narrator can make readers withhold judgement by weaving some contrary narrative informations carefully. Next, 「A table for six people」 shows that narrator can do the same things by a conflict of pan-narrative agreement and informations in the text directly. As you see, the aesthetic aspects in the ``border of reliability`` tell us strategic value and usefulness in interpretation of ``narrative for reliability operation`` concisely.

서술의 신빙성 연구

박형서 우리어문학회 2015 우리어문연구 Vol.52 No.-

Study on the ‘Narrator-viewpoint’ is regarded as very important in esthetic appreciation analysis of Discourse. Among others, ‘the reliability issue’ is about the way of story proceeding which is making readers feel confused or seducing them by throwing away the effort of narrator to have reality and tearing down the reliability of narrative. This concept, ‘unreliable narrator’ named by Wayne C. Booth, has lots of problems to be agreed because the discussion about that has been divided into several parts for its repetitious revision and the arbitrary definition of its objects and range. So in this paper, I correct the term ‘unreliable narrator’ to ‘narrative for reliability operation’ for calling the attention of readers to the fact that ‘the reliability issue’ is not an aspect of interpretation but is a kind of narrative strategy, and it does not depend on the ‘indicators in relation to (un)reliability’ completely. On the other hand, this fact suggest some imaginary boundary which is withholding the judgment of reliability among several contrary narratives, that is to say its special embodiment of the narrative for reliability operation. Therefore I analyze two short stories to examine aesthetic aspects within ‘border of reliability’ concretely. First, 「99%」 shows that narrator can make readers withhold judgement by weaving some contrary narrative informations carefully. Next, 「A table for six people」 shows that narrator can do the same things by a conflict of pan-narrative agreement and informations in the text directly. As you see, the aesthetic aspects in the ‘border of reliability’ tell us strategic value and usefulness in interpretation of ‘narrative for reliability operation’ concisely. ‘화자-시점’ 연구는 담화의 심미성 분석에 있어 중요한 위치를 차지한다. 그 중에서 ‘신빙성 문제’는 사실성을 확보하려는 노력을 방기하고 서술의 신뢰성을 현격히 낮추어 독자를 혼란시키거나 유혹하는 이야기 진행방식에 관한 것이다. 부스에 의해 ‘신빙성 없는 화자’라고 명명된 이 개념은 그간 거듭된 수정 및 대상과 범위의 자의적 규정 등으로 논의가 분산되어 합의해야 할 사안이 적지 않다. 이에 본고에서는 ‘신빙성 조작 서술’로 수정 명명하여 신빙성 문제가 해석의 양상이 아니라 서사전략의 일종임을 환기하고, 그 전략의 구현 여부가 ‘(비)신빙성의 표징’에 전적으로 의존하지 않음을 명확히 한다. 한편으로 이러한 사실은 자연스럽게 신빙성 조작 서술의 특이한 구현, 즉 상반된 서술들의 견제 속에서 신빙성 판단이 유보되는 가상의 공간을 암시한다. 따라서 이 ‘신빙성 경계’에서의 심미적 양상을 구체적으로 검토하기 위해 두 편의 단편소설을 분석한다. 먼저 「99%」는 상반된 서사정보들을 치밀하게 직조하여 판단유보의 상태로 독자를 이끌 수 있음을 알려준다. 다음으로 「육 인용 식탁」은 범서사적 규약과 텍스트 내의 서사정보를 정면으로 충돌시켜 같은 효과를 얻어낼 수 있음을 보여준다. 이처럼 ‘신빙성 경계’에서의 심미적 양상들은 ‘신빙성 조작 서술’이 지닌 전략적 가치와 해석적 효용을 간명하게 드러낸다.

소설 이해로서 서술자의 신빙성 평가에 대한 연구

정진석 ( Jin Seok Jeong ) 국어교육학회 2011 國語敎育學硏究 Vol.42 No.-

이 연구는 그간 내포 작가와 서술자의 거리, 서술자와 독자의 거리로 양분되어 논의된 서술자의 신빙성에 대한 평가를 소설 이해의 차원에서 비판적으로 검토하고 신빙성 평가의 구도와 과정을 제안하고자 하였다. 이를 위해 소설≪세월의 너울≫과 이에 대한 해석 텍스트를 분석 대상으로 삼았다. 신빙성 평가는 첫째, 중층적 소통. 둘째, 독자의 해석 행위로서 추론의 과정, 셋째, 해석 공동체의 의미 교섭이라는 구도를 지닌다. 이와 같은 구도 하에서 신빙성 평가는 다음과 같은 과정을 통해 수행됨을 밝혔다. 첫째, 독자는 서술자의 자질 평가를 통해 서술자와 자신의 거리를 설정하고, 둘째, 비신빙성 표지를 탐색하면서 서술자의 신빙성을 판단하며, 셋째, 의미 교섭을 통해 자신이 내린 신빙성 평가의 타당성을 확보하고자 한다. 이와 같은 신빙성 평가의 구도와 과정은 소설 교육에서 신빙성 평가를 수행하는 데 필요한 명제적, 방법적 지식으로 활용될 수 있다. 한편, 이 연구는 앞에서 밝힌 신빙성 평가의 구도와 과정을 근거로 시점의 학습으로 제한된 신빙성 평가의 교육적 가치를 확대하고자 하였다. 이를 정리하면, 학습자는 신빙성 평가를 수행하면서 첫째, 서사적 소통 능력을 신장할 수 있고, 둘째, 가치 탐구 경험을 활성화할 수 있으며, 셋째, 공진을 실현할 수 있다. 이상의 신빙성 평가의 구도와 과정은 독자의 반응 형성과 그 다양성을 긍정하는 독자 반응 비평의 차원을 넘어 내포 작가의 가치를 경청하면서 응답의 책임을 다하는 읽기, 즉 독자 책임 비평의 한 범주가 될 수 있다는 점에서 그 의의가 있다. This essay aims to examine the judgement on the reliability of narrator has been discussed as a distance between the implied author and the narrator of as distance between the narrator and the actual reader and propose the structure and process of judgement on the reliability. To achieve this, this essay analyses ≪The Wave of Time≫ and it`s interpretive texts. The structure of the judgement on the reliability is as in the following;First, the multiple communication, second, the process of inference as a reader`s interpretation, third, the negotiation of meaning in the interpretive community. Under this structure, this essay shows the process of the judgement on the reliability as follows. First, Setting up a distance between reader and narrator by an evaluation on qualifications of a narrator. Second, the judgement on the reliability of a narrator by investigating indicators in relation to unreliability. Third, Ensuring validity by the negotiation of meaning. The foregoing discussion can be used as propositional knowledges and procedural knowledges to judge the reliability of narrator. Finally this essay tried to expand the values of the evaluation on the reliability of narrator that has been restricted just for learning the point of view. To sum up, the evaluation on reliability can help students to, first, develop their ability for narrative communication, second, build up value inquiry experience, and third, achieve coevolution.

An Integrated Study on Measuring Interactive Narrative Reliability in Story-driven Video Games

상양,조동민 한국전시산업융합연구원 2023 한국과학예술융합학회 Vol.41 No.2

This study begins with a focus on the reliability of interactive narrative in story-driven video games, given that the extent of game engagement, the degree of narrative engagement, and the state of player agency all influence the reliability of interactive game narrative, which leads to positive or negative player attitudes toward the game itself. The purpose of this study is to develop a narrative reliability scale (NRS) to measure the reliability of interactive game narrative that integrates immersion theory from ludology and player agency theory based on a narratological mental model. The experiment distinguishes seven factors in a player's preserved game experience: Flow, Immersion, Narrative understanding, Narrative coherence, Presence, Malleability of character images, and Emotional involvement. The NRS was developed and validated through exploratory factor analysis and underwent two experiments with professional players and ordinary people to verify the scale's effectiveness. The NRS provides a psychometrically valid measure of the reliability of interactive game narrative when playing story-driven video games, and therefore provides a theoretical basis and reference for the design of future game interactive narrative.

단재 신채호의 텍스트와 콘텍스트

김승환 ( Kim Seung-hwan ) 현대문학이론학회 2016 現代文學理論硏究 Vol.0 No.67

1928년 작 「용과 용의 대격전」은 서사텍스트(epic text)와 논설텍스트(editorial text)가 복합되어 있는 다성(多聲) 텍스트다. 일견 기괴(grotesque)와 환상(fantasy)이 중심인 환상소설처럼 보인다. 하지만 이 작품은 환상소설이 아니다. 토도로프(T. Todorov)에 의하면, 독자가 기괴하고 경이로운 묘사를 대할 때 망설임(hesitation)이 있어야 환상소설이다. 그런데 독자는 「용과 용의 대격전」을 읽고 망설임을 느끼지 않는다. 왜냐하면 사실이 아니라는 확신이 있기 때문이다. 반면 「용과 용의 대격전」을 혁명의 서사로 읽으면 이 작품은 민족해방의 열망을 담고 있는 알레고리적 소설이다. 이런 점에서 이 작품은 환상적 요소와 알레고리가 중층된 복합 텍스트다. 이런 중층의 서사는 시점과 거리 등 서술의 방법을 규정한다. 이 텍스트의 특징은 내포작가(Implied Author) - 화자(Narrator) - 이야기(story) - 청자(Narratee) - 내포독자(Implied reader)의 구조에서 텍스트 바깥의 실제작가 신채호가 텍스트 안으로 들어가서 텍스트를 지배한다는 점이다. 작가 신채호는 자신이 곧 화자가 되어서 텍스트 내의 청자에게 확신에 찬 이야기를 발화하면 청자는 그 이야기를 수동적으로 받아들인다. 그러므로 텍스트 서사구조에서 이 소설의 화자는 권위 있는 화자(authoritative narrator)가 권위 있는 발화(authoritative narration)를 하는 권위 있는 담론(authoritative discourse)에 해당한다. 권위 있는 화자란 텍스트에 내포된 화자가 텍스트에 내포된 청자에게 다른 해석의 여지를 남겨두지 않고, 즉 상상을 차단하고, 권위적인 담론으로 자신의 이야기를 강요하는 화자다. 텍스트 내의 허구적인 청자는 그 발화의 일관성 때문에 화자의 권위를 인정하게 된다. 이처럼 닫힌 텍스트인 「용과 용의대격전」의 작가 신채호는 자신의 절대주의 사상을 환상성으로 처리함으로써 소설적 구성을 하였다. 이런 이유 때문에 청자와 내포독자가 일치되는 현상이 발생한다. 그러니까 화자가 청자에게 발화하지만 실제독자인 이천만 조선민중에게 직접 이야기하는 구조다. 이것이 신채호 소설의 특징인 `믿을 수 있는 화자의 권위 있는 발화`라는 텍스트구조다. Big battle of Dragon to Dragon, written in 1928, looks like a grotesque and fantasy novel, but it is not. According to T. Todorov, the reader needs hesitation when they read a fantasy novel`s grotesque story. No reader feels hesitation reading Big Battle of Dragon to Dragon. If we read the work base on the revolutionary epic, it is allegory with the vision of national liberation of the colonized Chosun. So, it has dual text structures of the fantastic mood and allegorical tone. This structure controls the narrative style as distance, viewpoint, and narration method. Text structure theory by W. Booth and S. Chatman can be explained as; `real author - Implied Author - Narrator - story - Narratee - Implied reader - real reader.` In this text structure system, Sin Chae-ho, gets inside the text and controls the whole text. Sin Chae-ho expresses his absolute goal of national liberation with fantasy and allegory, but he takes a role as narrator and narrates in the voice of invincible voice. The authoritative narrator is a very strong narrator who enforces the narratee to read the text with no other interpretation outside of the story line. He closes imaginative thinking of narratee and controls the implied reader not to go out of the story. In this text structure, the narratee and implied reader are juxtaposed in the story line. The narrator narrates first, to the narratee second, to the implied reader third, and to the real reader as Chosun people under the colonized situation. It is the most distinctive structure of Sin Chae-ho`s reliable narrator`s authoritative narration.

『위대한 개츠비』를 위한 변론 - 해설자의 신뢰성을 중심으로

변종민 미래영어영문학회 2014 영어영문학 Vol.19 No.4

This article attempts to discuss the reliability of Nick Carraway as narrator in The Great Gatsby and the greatness of the novel. The traditional view of Nick's role as narrator is that he is quite reliable, honest, and moralistic. However, this critical position has been challenged by a number of critics who hold that Nick is quite unreliable, dishonest, and even immoral. Considering the fact that he represents the authorial voice and supports the implicit moral code of the author, however, Nick is enough to be reliable in his narration. His perceptions, interpretation, and evaluation of the matters in the work coincide with the norms implied by the author. The reader also identifies with the story and cares about Gatsby by Nick's careful and prudent narration. Through Nick's reliable narration, Fitzgerald presents his readers with the ultimate goal of American Dream in the sense of naive idealism, which is represented by Gatsby's consistent and passionate love for Daisy.

Ghostly Writing: Narrative Structure in J.M. Coetzee's Foe

Youngnam Cha 21세기영어영문학회 2008 영어영문학21 Vol.21 No.1

The paper provides an in depth of examination of the narrative structure of J. M. Coetzee's Foe. First of all, Coetzee writes back to Robinson Crusoe, written by a British author, Daniel Defoe in the eighteenth century. In writing back to Robinson Crusoe, Foe appropriates Defoe's rhetorical devices such as an autobiographical element, journal and memoir. The appropriation is shown from the section one to the section three. Most significantly, the appropriation aims at (de)constructing the reliability of the novel in the early eighteenth century. It is, however, notable that the strategy of writing-back in Foe is not that simple. That is to say, Coetzee essentially questions the reliability of Robinson Crusoe within the postcolonial context. The subversion of the reliability begins with the third person female narrator, Susan Barton, instead of the first person narrator, Robinson Crusoe in Daniel Defoe's Robinson Crusoe. Under the gaze of Susan Barton, the reader finds that Defoe's rhetorical devices are not applied to the racial other, Friday. By pointing out the problematic representation of Friday, Foe maximizes the subversive effect of the writing-back strategy. In particular, Coetzee's idea on representing the other goes a step further. For him, Susan Barton also cannot speak of the other as well as for the other. The disappearance of the reliable narrator, Susan, in the last section reveals the radical idea of Coetzee on writing and representation. The ghostly voice of the last section questions the reliability and narrative of Susan Barton. The ghostly narrator clearly tells that any narratorial subject cannot be free from the reliability in terms of representing the other. In sum, J. M. Coetzee's Foe takes advantage of the effect of the appropriation and subversion as a postmodern parody of Robinson Crusoe. And at the same time, the narrative structure of Foe offers the reader a chance of reconsidering its textual limitation as well as a counter-discourse to the racial contract embedded in colonial narratives.

신빙성 없는 서술자의 인지적 전회와 신빙성 판단의 역사성 - <치숙>의 수용사를 중심으로 -

이인화 ( Lee In-wha ) 한국문학교육학회 2020 문학교육학 Vol.0 No.66

이 연구는 신빙성 없는 서술자에 대한 인지적 논의의 흐름을 일별하고 <치숙>의 수용사를 분석함으로써, 서술의 신빙성을 판단하고 그 의미를 이해하기 위해 독자가 인지적 틀을 능동적으로 투사하거나 문화적으로 제약을 받는 양상을 구체적으로 살폈다. 신빙성 없는 서술자의 논의는 최근 수사적 접근이 직면한 한계를 지적하면서 인지서사학에 기반을 둔 독자 중심의 접근을 시도하고 있다. 인지적 관점에서 신빙성 없는 서술자는 텍스트의 의미론적 모호함, 충돌하는 목소리, 스토리와 서술의 모순 등을 자연화하려는 독자 해석의 산물이다. 서술자의 신빙성에 대한 독자의 판단은 개인적일 뿐만 아니라 공동체적이기 때문에 문화적으로 다양하고 역사적으로 가변적이다. 이런 점에서 <치숙>의 수용사는 신빙성 판단의 다양성과 가변성을 예시하는 흥미로운 사례로, 이 연구에서는 수용사에 나타난 신빙성 없는 서술자의 변천을 ‘풍자라는 문학적 틀과 ‘추악’의 신빙성 없음’, ‘레드 콤플렉스의 제약과 친일적 개인주의자의 신빙성 없음’, ‘문학적 틀의 수사적 전회와 무지한 반사회주의자의 신빙성 없음’, ‘성차별의 문제의식과 서술자의 중층적 신빙성’으로 살폈다. 이러한 분석은 인지적 접근의 통찰을 독자 개인의 주관성과 다양성에서 공동체의 문화적 제약과 역사성으로서 심화한 시도로, 수용사에 나타난 신빙성 없는 서술자의 변천을 맥락적으로 추적한 문화사적 연구로서의 의의를 지닌다. 또한 독자 개인과 해석 공동체의 관습적 수용을 반성하고 수정하면서 신빙성 판단에 매개된 자기를 성찰적으로 이해하는 해석학적 작업으로서 의의를 지닌다. This study examines the flow of discussion of unreliable narrators and analyzes the reader’s appropriation of “Chi-suk” to understand aspects readers project the frame or are restricted by culture. The discussion of the unreliable narrator, which started at Wayne Booth, points out the limitations of the rhetorical approach, and is recently undergoing a cognitive exhibition based on cognitive narrative. An unreliable narrator from a cognitive point of view is the product of an interpretation strategy created by the reader’s efforts to naturalize the ambiguity and contradictions of the narrator found in the text. the reception history of Chi-Suk is an interesting example that illustrates the diversity and variability of judgments about unreliable narrators. In this study, I examined four changes of unreliable narrator in reception history, ‘the literary framework of satire and unreliability of ugly’, ‘constraints by red complex and unreliability of pro-japanese individualists’, ‘rhetorical return of the literary framework and unreliability of ignorant anti-socialist’, ‘problem consciousness of gender discrimination and the layered unreliability of narrator’. This analysis reconstructs the reception history of unreliable narrator and has significance as a cultural history study. It is also a process of reflectively understanding one’s self-mediated unreliability, reflecting on and modifying the customary acceptance of readers and interpretive communities.

『로드 짐』에서의 콘래드의 서사전략: 말로우,“우리 중의 한 사람”

박선화 ( Sun Hwa Park ) 한국근대영미소설학회 2013 근대 영미소설 Vol.20 No.1

This paper commences with the doubt about Marlow`s reliability in telling Jim`s story to the listener and reader in Joseph Conrad`s Lord Jim. Marlow describes Jim who in the first part of the novel abandons the Patna which is in a critical condition and carrying about 800 passengers; in the last part, he exerts himself to regain his fame in Patusan but he decides to accept his death for his own cause. Marlow tries to understand Jim using several minor narrators who support Marlow`s opinion and judgement. However, I argue how much the reader and listener can trust Marlow and minor narrators, and therefore we should distinguish the author and narrator from the implied author, who has sensibility that accounts for the narrative. With the suggestion that the structure of the novel has something to do with Marlow`s intention to control all the narratives, I disclose the concealed contradictions in the narratives. From chapter 1 to 3, the omniscient writer draws the reader`s attention to how insufficient Jim is to meet the needs as the first mate by showing his failures. From chapter 5 to 35, Marlow has authority over Jim by observing and intervening in Jim`s affairs and alludes to his weakness. From chapter 36 to 45, the privileged man appears as Marlow`s mouthpiece to represent the way of Jim`s death. Though Conrad uses the three different narrators, I suggest it is Marlow`s strategy to lead us to see the theme of ``the journey into the deep truth of human heart``. So, as a double of Conrad, Marlow just shows his concern of ``the state of a man`s soul` rather than the white man in a colonial milieu. It is likely to read Jim`s story as a production of Britain`s imperialism in that Marlow sends Jim to Patusan in order to occupy and construct a new colony after ousting other colonists. This is why Marlow calls Jim one of us. Using multiple voices, Conrad`s narrative strategy functions to blur the historically specific conditions that allow for the construction of a figure such as Jim. Through the voice of the implied author we should catch, Lord Jim can be read as the tale which is concerned with the relationship between colonizer and colonized.

Unreliable Third Person Narration? The Case of Katherine Mansfield

Murphy, Terence Patrick,Walsh, Kelly S. De Gruyter 2017 Journal of literary semantics Vol.46 No.1

<P><B>Abstract</B></P><P>The concept of an unreliable third-person narrator may seem a contradiction in terms. The very act of adopting a third-person stance to tell a story would appear to entail an acceptance of a basic need for truth-telling, a commitment to what Wayne Booth terms the implied author’s “norms of the work.” Nonetheless, in the essay that follows, three of Katherine Mansfield’s short stories – “A Cup of Tea” (1922), “Bliss” (1918) and “Revelations” (1920) – will be examined in order to demonstrate how the strategic suppression of the distinction between the voice of the narrator and that of the central character can lead to a strong sense of unreliability. In order to read such narratives effectively, the reader must reappraise the value of certain other stylistic elements, including the use of directives involved with directly quoted speech, seemingly minor discrepancies between adjacent sentences and, perhaps most importantly, the structure of the fiction itself. We contend that Mansfield’s use of this form of unreliable third-person fiction is her unique contribution to the short story genre.</P>