환상성, 현실의 탐색을 위한 우회의 서사

구수경(Koo, Soo Kyung) 구보학회 2008 구보학보 Vol.4 No.-

본 논문에서는 이외수의 『벽오금학도』와 황석영의 『손님』의 분석을 통해 현실 초월과 인간 구원의 주제를 드러내는 데 환상적인 요소들이 어떻게 기능하고 있는지를 고찰하였다. 한 마디로 두 작가에게 있어서 환상적인 요소는 과학적 합리주의와 물질만능주의, 이데올로기의 폭력성으로 대표되는 현대사회의 병적이고 비극적인 실상을 전경화하기 위한 역설적인 장치들이다. 즉 현실세계의 법칙이나 질서로는 해결할 수 없는 소망이나 구원을 ‘환상’이라는 문학적인 상상력을 통하여 실현시키고자 하는 표현 형식인 것이다. 이외수는 『벽오금학도』에서 육안과 뇌안으로 살아가는 현실세계를 거부하고, 심안과 영안으로 살아가는 선계를 꿈꾸는 주인물들의 삶의 방식을 통해 ‘어떻게 살아가는 것이 참다운 행복인가’에 대한 질문을 던지고 있다. 실상 이외수가 아름답게 형상화하고 있는 선계라는 공간은 실재하는 공간이라기보다는 우리의 마음과 영혼이 한없이 맑고 순수한 경지에 도달했을 때 맛보는 내면적 행복감의 감각적 형상화라고 할 수 있다. 그런 점에서 비합리적이고 낭만적 감성에 의해 창조된 환상세계는 사실의 진술이 아니라 가치의 진술로서 이해해야 한다. 선계로 가는 것이 중요한 것이 아니라 물질과 욕망만을 좇고 자연과의 소통이 단절된 현대인들의 삶이 얼마나 삭막하고 어리석은 삶인가를 깨닫는 것이 중요하다는 것이다. 바로 이외수는 환상적 공간의 창조와 아름다운 묘사적 문체, 소설문법의 틀에서 벗어난 자유로운 글쓰기 전략을 통해 전방위적으로 이러한 진실을 일깨우고 있다. 황석영의 『손님』은 한국전쟁 당시 동족간의 잔인한 보복 학살극으로 인해 죽은 원혼들을 불러내어 그들의 한을 풀고 영혼을 위로함으로써 화해와 용서의 길을 열어 주기 위하여 환상적인 요소를 수용하고 있다. 이는 이승 주변을 떠돌고 있는 망자들에게는 편안히 저승으로 떠날 갈 수 있는 길을, 산 자들에게는 왜곡된 역사를 바로 잡고 참회와 속죄를 통해 가슴 깊이 뿌리내린 죄의식에서 벗어나는 길을 열어놓고 있다. 결국 황석영은 세계가 직면한 불행한 현실에서 벗어나는 방법은 국가간 혹은 동족간에 행해진 전쟁과 폭력으로 인해 쌓인 상흔과 분노, 한을 수면 위로 끌어내어 해소하는 과정을 거치지 않고서는 진정한 용서도, 화해와 구원도 이루어질 수 없다고 생각하는 것 같다. 따라서 산 자들의 죄의식의 원천이자 한 맺힌 원혼인 망자들까지 이승으로 불러들여 집단적인 씻김굿을 벌이고 있는 것이다. 결국 이외수와 황석영의 작품세계는 불행한 현실을 비판하거나 고발하는 차원에 머무는 것이 아니라 인간이 초래한 비극을 인간의 힘으로 변화시킬 수 있는 방법을 탐색하고 있다는 점에서 공통점을 보인다. 바로 ‘환상성’은 그 탐색의 과정에서 그들이 선택한 문학적인 양식이라 할 수 있다. This paper aims to look into the function and meaning of the fantastic factors in Lee, Oi Soo’s novel 『Byukokuemhakdo 碧梧金鶴圖』 and Whang, Suk Yong’s novel 『The Visitor』. To above two writers, the fantastic factors are paradoxical device which focused the abnormal and tragic aspects of modern society. In a word, they use the fantastic factors to realize some wish and salvation that can not accomplish in actual world. In 『Byukokuemhakdo』, Lee, Oi Soo questions what the true happiness is. A supernatural world which protagonists pursued for means the beautiful and mystic sphere to have reached through the pure mind and soul in this novel. Lee, Oi Soo exactly criticizes the desire-intended life of the modern persons by using the fantastics, the descriptive literary style and creative writing strategies. Whang, Suk Yong’s 『The Visitor』 is the work which make the way of forgiveness and comprise between dead victims and alive persons in 1950’s Korean War. In this novel, the fantastic meeting between dead victims and alive persons makes dead persons depart this life without regret. Also it makes living persons correct a false historical fact and free from consciousness of sin. In conclusion, above two writers’ works have common features that search for how to change the miserable modern society by means of human’s power and effort. Just ‘the fantastics’ are literary device that they choose in the process of searching for the way.

오영수 소설에 나타난 식물적 상상력과 순응의 미학

구수경(Soo Kyung Koo) 한국현대소설학회 2010 현대소설연구 Vol.- No.45

The object of this thesis is to study the characteristics of O, Young-Soo` short stories. There is no conflict between characters in O, Young-Soo` works. The protagonists in his short stories adapt theirselves to circumstances without any resistance. O, Young-Soo as a short story writer seems to hates the way of modern life which is filled with the struggle of existence and power games. So, natural and anti-civilized places are mainly the spacial settings of his works. To put it concretely, the protagonists of his works tend to avoid intentionally a situation of conflict. So they powerlessly give up their love. Also they live in hiding to nature-friendly places. In there, they persue the plant-oriented life style which are primitive vitality and community spirit. In short stories such as <Nami & Yeot Seller>, <Wild Grapes>, <Silgeori-Flower>, O, Young-Soo describes lyrically tragic events which man and woman loving each other must break up because of external factors like a situation of war or a opposition of parent. The main cause of their farewell is that male protagonists do not show a active attitudes or a frank confession. Also they adapt theirselves to circumstances without any resistance. <The Seaside Village> and <A Story of Eunaetgol> are short stories which describe the life of characters with the community spirit and the primitive vitality. In these stories, most characters lean toward fatalism and show the instinct of preservation of the species. Also, there is the health of primitive life which seeks the harmony between others and me, or human and nature. In conclusion, the works of O, Young-Soo create the aesthetics of lyric and adaptation through the plant-oriented imagination.

소설과 영화의 서사기법 비교 연구 : 이범선의 소설 과 유현목 감독의 영화 을 중심으로

구수경(Soo-kyung, Koo) 어문연구학회 2009 어문연구 Vol.61 No.-

The object of this thesis is to study the narrative technique between Bum-sun, Lee's novel The Aimless Bullet and Hyon-mok, Yu's film The Aimless Bullet. This is to examine the difference of expressive methods and aesthetic characteristics between literature as a language art and film as an image art. The novel The Aimless Bullet and the film The Aimless Bullet are common to show realistically postwar actuality which is filled with poverty and social absurd through the tragedy of a family in 1950s. But the novel The Aimless Bullet and the film The Aimless Bullet are common to show realistically postwar actuality which is filed with poverty and social absurd through the tragedy of a family in 1950s. But the novel The Aimless Bullet is focused on describing generally postwar characters who have gotten pains in the aftermath of the war. So Chul-ho's family gets into a serious frustration and loss between the happiness of prewar life and the unhappiness of postwar life. The novelist Bum-sun, Lee used narrative techniques such as the creation of typical characters, the expression of desperate situation through sensuous imagery, and the conflict of moral values through dialogue of characters in order to maximize the feeling of despair in pessimistic actuality. The film The Aimless Bullet is focused on the wandering of postwar young people and their social resistance. Also their unhappiness result from the corrupt society which is filled with poverty and injustice. Young people of the day confront pessimistic actuality with two types of method. Some young people select subjective death. Another young people select immoral doing or ruined life as a resistance toward actuality. The point of these types is all the self-abandonment and negative doing. The director Hyon-mok, Yu tests original narrative techniques such as the indirect expression of core events, the creation of special meaning through montage of shots, and the effective uses of symbolic motif and foreshadowing in order to visualize the tragic life of postwar young people.

최명익 소설의 서사기법 연구

구수경(Soo Kyung Koo) 한국현대소설학회 2001 현대소설연구 Vol.- No.15

The object of this thesis is to look into the narrative technique peculiar to Choi, Myung-ik`s psychological novels. He seeks the various narrative techniques to show objectively inner conflict or mental instability of the protagonist. First of all, there are characters of three types in his novels. The protagonist is mostly the intellectual to lose the will to live, and to be desperate. Moreover, there are the characters who have the ambition and the aim in life, and the characters who are self-destructive like a barmaid or an opium addict. His novels also show the plot that centers around inner conflict of the protagonist. Therefore, contents of the novel chiefly consist of the stream of consciousness and the recalling of the past, not the external events. In his novels, we find the stream of consciousness through free association. It is a technique that presents diverse mental states, thoughts, and recollections in the protagonist`s mind. Also, inner conflict of the protagonist and the change of his thought objectively are presented by inner monologue. The dialogue between characters is presented by indirect speech, or included in narrative sentences. The indirect speech functions to summarize the events of past or the contents of dialogue. In conclusion, Choi, Myung-ik is the novelist who shapes the complicated mental condition of an intellectual through the stream of consciousness and inner conflict.

김성한 소설에 나타난 현실 풍자의 기법 연구

구수경(Soo-Kyung Koo) 어문연구학회 2005 어문연구 Vol.49 No.-

This paper aims to look into techniques which satirize modern society in Seong-han Kim's novels. In order to awaken the reader to a distance between existing actuality and becoming actuality, Seong-han Kim uses various satirical devices such as allegory, parody, irony, ridicule, and sardonic. These techniques make the reader keep up a psychological distance from fictional world. Therefore the reader get to read his novels with calmly and rational attitude. Also the reader can not help decoding by himself a situation which the writer creates to bring out a ridicule, a contempt, a attack and a sneer. If he doesn't find out the writer's intention rightly, because he can not sneer or despise at the problematic character of novel. In Seong-han Kim's novel, the object of satire is characters who are immoral, shameless, and snobbish. We can not find a desirable change in their action or mind. They didn't suggest which way to take, but make us get angry about a unjust world. In conclusion, Seong-han Kim is the representative writer in 1950s who criticize the pathologic aspect of modern society with various techniques of satire.

영화 〈여자, 정혜〉와 〈한공주〉 비교 연구

구수경(Koo, Soo Kyung) 원광대학교 인문학연구소 2017 열린정신 인문학연구 Vol.18 No.1

본 연구는 성폭력을 모티프로 하고 있는 영화 〈여자, 정혜〉와 〈한공주〉를 대상으로 두 영화의 표현방식 및 주제 형상화의 기법을 비교, 고찰하고 있다. 두 영화에서 성폭력을 당한 여주인공의 현실은 상당한 차이를 보인다. 〈여자, 정혜〉에서 정혜는 열세 살 때 당한 성폭행 사실을 혼자만의 비밀로 간직한다. 하지만 어른이 된 지금도 그 때의 정신적 상처로인해 외부와의 접촉을 두려워하며 불행하게 살고 있다. 반면에 〈한공주〉에서 아직 종결되지 않은 집단성폭행 사건의 피해자인 공주는 성폭력의 상처와 함께 여성피해자를 단죄하는 사회의 폭력적인 시선으로 인해 이중적으로 유린되고 있다. 두 영화의 결말은 주인공들이 자기식의 출구를 찾아가는 모습을 보여준다. 〈여자, 정혜〉는 오랫동안 자신의 감정을 억압하며 살아온 정혜가 조금씩 자신의 감정과 의사를 표현하는 행위를 시도함으로써 과거의 상처에서 벗어나고 있다. 〈한공주〉의 경우 성폭력 피해자를 오히려 죄인처럼 취급하는 사회의 냉대와 폭력적인 시선에 내몰린 공주는 수영을 배워 투신했던 한강에서 헤엄쳐 나왔듯이 자신의 방식으로 삶을 새롭게 만들어갈 것임을 암시하고 있다. 두 영화는 모두 과거와 현실의 몽타주라는 편집의 미학이 돋보인다. 〈여자, 정혜〉는 치유에 초점을 둔 편집과 핸드-헬드 카메라에 의한 근접 촬영을 통해 주인공을 위무하는 관찰자적 시선을 창출하는 데 성공하고 있다. 〈한공주〉 역시 공주의 현재의 삶 사이사이에 과거의 사건과 환상 신을 거칠게 삽입하는 몽타주기법을 통해 의미를 구축한다. 또한 유사한 장면이 과거와 현재에 반복되는 중첩구조를 보여주는데, 이것은 공주가 반복되는 상황에서 어떻게 행복과 불행 사이를 오가는지를 드러내는 데 초점을 맞추고 있다. 이처럼 두 영화에서 성폭력을 당한 피해여성의 대응방식과 이를 바라보는 감독의 관점은 차이가 있다. 〈여자, 정혜〉는 정혜라는 한 여성이 과거의 상처에서 벗어나는 치유의 과정을 통해 기다림의 미덕과 침묵의 미학을 강조한다. 반면에 〈한공주〉는 공주에게 가해지는 외부의 폭력적인 관점들을 부각시킴으로써 그녀를 둘러싼 현실에 대한 비판과 자성을 끌어내고 있다. The object of this thesis is to compare the narrative strategy between the two films “A Woman, Jung-Hae” and “Han Gong-Ju”. The objective is to examine the difference of expressive methods and aesthetic characteristics in these films which is based on sexual violence. In these films, the life of the female characters who suffered sexual violence is clearly distinct. “A Woman, Jung-Hae” describes the life of Jung-Hae, a woman who is unhappy in the present because of the memory of being raped in the past. She kept the memory of being raped to herself. The film shows how her old wound has a bad influence on Jung-Hae"s present life. On the other hand, in the film “Han Gong-Ju,” Gong-ju is a victim of multiple sexual violence which has not yet been judged. She was suffered both from the shock of sexual violence and from the partial point of view of a male-dominated society. The last scenes of these two films describe protagonists, who improve life in their own way. “A Woman, Jung-Hae,” focuses on the inner change of Jung-Hae who tries to be friends with the world through the healing processes of her emotional wounds. In particular, the film, “A Woman, Jung-Hae” expresses the theme well through cinematic techniques such as montage, hand-held camera photography, and extreme arrangement of shots. “Han Gong-Ju” focuses on the self-awareness of Gong-ju who realizes the absurdity of society. “Han Gong-Ju” uses the montage technique, which inserts a past scene or fantasy scene in the present scenes. This film also depicts a duplicated structure which shows motives in the past that were revived in the present. This means that the life of Gong-ju was unfortunately influenced by the environment and people who surrounded her. “A Woman, Jung-Hae” takes a pitiful emotion out of audiences by focusing on the protagonist’s daily life, which is full of loneliness and fear. On the other hand, “Hang Gong-Ju” imparts criticism on society and requires a self-reflection out of audiences by focusing on the unfair dealing of society with a victim of sexual violence.

박범신 문학의 연원(淵源)과 자아탐색의 서사

구수경(Soo Kyung Koo) 한국현대소설학회 2015 현대소설연구 Vol.- No.60

This thesis is a study on the symbolic motif and narrative technique which is found in Bum-shin, Park’s sequence novel A Wagon that a White Cow is Pulling. In this novel, Bum-shin, Park seeks various narrative strategy in order to express mental agony and self-examination of the protagonist. As concrete examples, there are the mention of time background based on the end of his writing career, the narrative of self-searching and family, the use of the various genre such as fantastic story, colloquial style, epistolary novel and meta-fiction. In Bum-shin, Park’s sequence novel, the existential agony and mental change of the protagonist as a writer who ended his writing career is expressed through the symbols of the space such as temple, hometown, the top of the mountain, the isolate house under the mountain, and the Baikal Lake. The protagonist also leaves time travel to the past in order to search the origin of the life which gave birth to the literature of pessimistic tendency and vagrant habits in this sequence novel. Throughout this process of self-searching, the protagonist begins to pursues the life of pacification and communication instead of the life of loneliness and vagrancy. In conclusion, Bum-shin, Park’s sequence novel A Wagon that a White Cow is Pulling is the work which describes the process of seeking for new style of life and literature.

1950년대 전후소설의 서사기법 연구

구수경 국어국문학회 2004 국어국문학 Vol.- No.136

The object of this thesis is to look into the narrative technique and inner form that rising writers had mainly used in 1950s novels. The 1950s novels include a motif that is directly or indirectly connected with war. Because the war is the absurdest situation that man can experience. Postwar novels is also created by modernistic methods that destroy the literary convention. First of all, we mostly come in contact with crippled characters who are described by a single sensuous image in postwar novels. Moreover, there are abnormal relations between man and woman which destroy the existing ethical virtue. They symbolize the period of postwar that lose the order and value of normal life. The unstable inner mind of the protagonist is also presented by the stream of consciousness through the free association. It is a technique that objectively presents different mental states, thoughts, and recollections. It leads to the literary form that consist of the loose plot and the spatial order of time. In postwar novels, we find the plural points of view which variously illuminate an event. Also, the outer or inner conflict of the protagonist is objectively presented through dialogue, action, or inner monologue. In conclusion, postwar novels in 1950s show the common feature which novelized the war experience. On the order hand, it is expressed by creative methods that is experimental and various.

「無情」의 敍事技法의 近代性

具秀卿 建陽大學校 1992 建陽論叢 Vol.- No.1