韓國文學批評에 나타난 描寫論 硏究 = Studies on the theories of the description shown in Korean literature criticism

다국어 초록 (Multilingual Abstract)

This thesis is aiming at studying the theories of the description shown in Korean literature criticism diachronically, and overviewing newly the history of Korean literature criticism through the retrospective inspection of them. It covers the criticism from the beginning of the modern novels to the last years of the invasion of Japanese over Korea (1915~1940).
Description is based on representation of reality. Thus, as the description does not exist to ornament rhetorically, we have to consider both the described reality in the work and how that reality is described.
When Dae-Jin Baek introduced the Naturalistic novels for the first time in Korea in 1915, he mentioned that we should describe the dark side of life in an unreserved and a straightforward way. In 1916, Kwang-soo Lee insisted that the best description should be describing the best materials realistically, as if one is 'actually witnessing' it or describing 'closest to the truth'.
In chapter Ⅱ, Ⅰ examined the aspects and the meanings of the criticisms which considered were the most important ones in the history of criticism in five categories since Dae-Jin Baek and Kwang-soo Lee once mentioned about description.
The theory of description in a subjective perspective: With the starting of the modern novels and the growing interest in the theory of novels, Dong-In Kim organized a theory focused on the speaker in the novel and his power. This is called the first point of view description. He thought limiting the description to only one person's thinking and what he sees in a novel created the unity in the novel.
The theory of description in a teleological perspective: In the reaction to the plot and the emotion of the characters being too proletariately radical in the early proletarian novels, Gi-Jin Kim and Young-Hee Park suggested a new alternative. Especially Gi-Jin Kim advocated the teleological description that ensures the reality in a novel, while Young-Hee Park objected to excessive description because she thought description as individualistic taste of the bourgeois.
The theory of description in an objective perspective: With the intention to embrace both the socialistic realism and bourgeois literary circles, Chul Baek suggested to limit the description only to human beings. However, as Chul Baek asserted that the nature described in the piece was existing for human beings, he was in a conflict with other KAPF critics who attached a great importance to the reality.
The theory of description in a methodological perspective: 'Nalgae' ('The Wings') and 'Chunbyunpungkyung' ('The Scenary Along the Stream') were published in 1936. They were the model of both the stream of consciousness and the novel of manners. Jae-Suh Choi and Hwa Lim analyzed them in ways of describing. Whereas Jae-Suh Choi accepted these two tendances as an 'objective attitude and a method of description, Hwa Lim thoroughly opposed to describe the stream of consciousness. Lim also pointed out that the descriptive way of manners was a challenge to overcome.
The theory of description in a theoretical perspective: After KAPF disintegrated, Nam-Chun Kim who was seeking for a creative methodology of realism presented a definite method in which he divided the description into typical characters, typical circumstances and a total reality. Furthermore, he planned the theory of description as a fundamental one. Particularly, he analyzed the novels of Balzac systematically between 1939~1940. The one he focused on the most was the 'The Spirit of Intense Description' by Balzac.
This thesis was projected to investigate why the role of description has reduced to a narrow meaning of rhetoric. In contrast, during the first half of the twentieth century, discussions and arguments about description were progressed in many different views. Therefore, I reflected on the theories that I analyzed in the body paragraphs in chapter III. Six problems which were revealed as follows; 1) Among the critics of that time, there were no compromised definition of description. They described depending on their own theories or common senses. 2) The critics of that time didn't figure out the positive side of naturalistic description but they had a very negative view of it. 3) Because most of the critics criticized novels of consciousness except Jae-Suh Choi, the stream of consciousness and a world view had not been evaluated as they deserve. 4) Realistic writers regarded novels of manners as a challenging object to overcome, but only to fail at last. 5) Although the theories of description was theoretically critical and argument-oriented most of the times, there was such a few element in actual criticism for our Korean works. 6) As a result of examining all of the five theories as a means of described 'reality' as well as describing 'format' of that reality, I concluded that critics no longer examine the forms of novels under the last moments of Japanese invasion by giving up the present reality. Hence, the theory of description has no longer been evolved.

목차 (Table of Contents)

• 목차 = ⅰ
• Ⅰ. 서론 = 1
• 1. 연구 목적 = 1
• 2. 연구사 검토 = 4
• 3. 연구 방법 = 10
• Ⅱ. 묘사론의 양상과 의의 = 25
• 1. 주체론적 관점 = 30
• 1-1. 소설원론과 묘사 = 30
• 1-2. 묘사 주체의 일원화 = 35
• 2. 목적론적 관점 = 45
• 2-1. 형식론과 묘사 = 45
• 2-2. 내용론과 묘사 = 55
• 3. 대상론적 관점 = 60
• 3-1. 인간묘사와 자연묘사 = 60
• 3-2. 산 인간 묘사 = 66
• 4. 방법론적 관점 = 71
• 4-1. 심리묘사와 세태묘사 = 71
• 4-2. 묘사의 수법과 방법 = 80
• 5. 원리론적 관점 = 91
• 5-1. 전형적 성격과 환경 묘사 = 91
• 5-2. 총체적 현실 묘사 = 96
• Ⅲ. 묘사론의 반성적 고찰 = 107
• Ⅳ. 결론 = 117
• 참고문헌 = 121
• Abstract = 129