2000년대 한국 단편소설에 나타난 가르시아 마르께스 소설의 마술과 환상 -박민규, 함정임, 박형서의 단편소설을 중심으로-

함정임 서울대학교 라틴아메리카연구소 2014 이베로아메리카硏究 Vol.25 No.2

This study intertextually examinedGabrielGarcíaMárquez’s characterpresentation method, creation technique, and stylistic characteristics asobserved in Korean short novels from the 2000s. For this purpose, the novelswere classified into three creation methodology categories, which are ‘name,names – multiple reappearance of the same proper name’, ‘poetic resonance ofmagical time and fantasy’, and ‘content and face ofmemory – wish and extensionofGabrielGarcíaMárquez style’. Themultiple reappearance of the same propername is found in regard to two proper names, Jose Arcadio and AurelianoBuendia, appearing in One Hundred Years of Solitude, one of Gabriel GarcíaMárquez’s representative long and short novels. In the story, seventeen of thecharacters are called same by these names. Min-gyu Park’s Bolivar, whichcaricatures the falsehood of humans and the irony of history happening throughthemediumof the proper name Bolivar at a village in Bolivia of South America inthe mid 20th century, shows a variation on Gabriel García Márquez’s techniqueof multiple appearance of the same proper name. Gabriel García Márquez’sshort novels are found to form two strata: Kafkaesque fantasy narratives withstrong poetic resonance arising from highly condensed symbolism withoutnoticeable outline, and traditional narratives of colloquial style. Jeung-imHam’searly work First Love and another novel White Night published in the 2000s arein a correlative relation with fantasy narratives in Gabriel García Márquez’s shortnovel in terms of the foreshadowing plot, juxtaposition of the real and the surreal, Park’s short novels are implicated more deeply with Borges than with GabrielGarcía Márquez in the aspect of creation methodology, but at the same time areconnected implicitly to Gabriel García Márquez’s colloquial characteristic. Theconvention of an old lady’s natural oral sense and style is found in the two writers’styles. In Hyung-seo Park’s short novels Bus Stop, You and Village and aNon-boring Dream, Gabriel García Márquez’s above-mentioned friendlycolloquial style and poetic use of time are conspicuous. 본 논문은 2000년대 한국 단편소설 현장에 나타난 가르시아 마르께스 소설의 마술과 환상을 바탕으로 인물 제시 방법과 창작 기법, 문체적 특징을 점검한다. 이를 위해 본 논문은 세가지 창작방법론의 범주로 분류하여 개진한다. ‘이름, 이름들-동일 고유명 복수 재등장 기법’,‘마술의 시간과 환상의 시적 운용’, ‘기억의 내용과 표정-가르시아 마르께스 문체의 기원과 확장’이 그것이다. 동일 고유명 복수 등장 기법은 가르시아 마르께스의 장단편 소설들 중 대표적으로 『백 년의 고독』에 등장하는 두 고유명(固有名) 호세 아르까디오와 아우렐리아노 부엔디아에서 확인할 수 있다. 이 소설 전체 인물 중 17명이 동일 이름으로 불리고 있는 것은 주목을 요한다. 20세기 중반 남미 볼리비아의 한 마을을 무대로 볼리바르라는 고유명을 매개로 벌어지는 인간 군상의 허위와 역사의 아이러니를 희화화해서 보여주는 박민규의 「볼리바르」는 가르시아 마르께스의 동일 고유명 복수 등장 기법의 변형으로 볼 수 있다. 가르시아 마르께스의 단편들은 대략적으로 두 가지 층위를 이루고 있다. 뚜렷한 줄거리 없이 고도의 상징으로 응축되어 시적 울림이 강한 카프카적인 환상 서사의 면모와 구어체의 전통 서사적인 면모가 그것이다. 함정임의 초기 작품을 비롯하여 2000년대 발표된 단편소설들은 이야기의 복선 구도와 현실과 초현실의 병치, 기이한 사건 전개와 상징의 추구 측면에서 가르시아 마르께스의 단편소설이 거느린 환상서사와 호응 관계를 형성한다. 박형서의 단편소설 대부분은 창작방법론적인 측면에서 가르시아 마르께스보다는 보르헤스에 깊이 연루되어 있다. 그런데 문체적인 측면에서는 가르시아 마르께스의 구어체적 특징과 내밀하게 연결되어 있다. 할머니의 자연스러운 구술감각과 방식을 체득한 공통점이 두 작가의 문체를 통해 확인된다. 박형서의 단편 「정류장」이나「너와 마을과 지루하지 않은 꿈」등은 앞서 언급한 가르시아 마르께스의 친근한 구어체적 특징과 시간의 시적인 운용을 잘 드러내고 있다.

서부산 서사원형을 매개로 한 서사 창작 연구

함정임 한국문예창작학회 2017 한국문예창작 Vol.16 No.3

This study will systematically examine the process of exploring and creating the narrative archetype of the Western Busan. Western Busan refers to Sasang-gu, Saha-gu, Gangseo-gu and Buk-gu which are located in the west side of Busan. It is composed of river and ocean, estuary and port, mountain and island in terms of natural environment, and has industrial characteristics that form the historicity of the refuge capital and massive industrial complex as the irrigation system. The works in Korean novel literature that made the Western Busan of the space of novel are representative of Cho Myeong-hui’s 「The Nakdong River」 (1927), Kim Jeong-han’s 「The Story of the Sandbar」(1966) and Lee Mun-yeol’s 「Estuary」(1981). The novels created in the background of the 2010s are Ham Jeung-im’s 「Archeology of Memory」(2012) and Kim eon-su’s 「Estuary」(2013). Compared to the geographic terrain placeness, the historicity, and the specificity as an industrial area of Western Busan, it is extremely rare to have objectified into a space of novel. This researcher paid attention to this point, from 2011 to 2017, carried out “Novel Creation Seminar” for the Western Busan of the Nakdong River estuary and port, the Daldongnae(poor hillside village) that formed in the era of refuge, industrial zone created in the industrialization era and the Eulsuk island Eco Center which has been transformed into an ecological space, etc. In the process, 100 creations were produced. This study examines the narrative form of the Western Busan of the world with the works of the established writers such as Kim Jung-han, Lee mun-yeol, and etc, with the works produced in the “Novel Creation Seminar”, and check out the winning works from “the Sandbar literary awards”, which has been implemented since 2015. Through this study, analyzes the geographic terrain characteristics, allteglichkeit, the narrative archetype linked to the documentary heritage and cultural heritage of the Western Busan are fictionalized in some contents and form, it is divided into four categories to check what implies each meaning and possibility. The first is the “Imagination of the estuary beyond the border”, the 7 creative works including Lee mun-yeol and Kim eon-su’s background in the Nakdong River estuary, and the second is ‘The narrative archetype and transformation of the sand’, the 2 creative works inspired by Kim Jeonghan’s 「The Story of the Sandbar」, the third is the “Ami-dong and Gamcheon-dong, Archeology of the Daldongnae(poor hillside village)”, the 20 creative works with 「The Archeology of Memory」by Ham Jeungim which based on the Daldongnae(poor hillside village) formed in the era of refuge, and the fourth is “The dream of the post-industrial ecocommunity”, the 3 other creative works with 「trifoliate orange tree house 146」will examine. The aspect of expressing of the narrative by the young narrative subjects presented with the works of the established writers will work as the power of new narrative creation in the 21st century. 본 연구는 서부산권 서사 원형을 탐색하고, 창작화하는 과정을 체계적으로 고찰한다. 서부산은 부산 서쪽에 자리잡은 사상구・사하구・강서구・북구를 가리킨다. 자연 환경적인 측면으로는 강과 바다, 하구와 포구, 산과 섬으로 이루어져 있고, 피란기 수도로서의 역사성과 대규모 공단지대를 형성했던 산업적인 특징을 가지고 있다. 한국 소설 문학에서 서부산권을 소설공간으로 삼은 작품은 조명희의 「낙동강」(1927), 김정한의 「모래톱 이야기」(1966), 그리고 이문열의 「하구」(1981)가 대표적이다. 2010년대 이곳을 배경으로 창작된 소설로는 함정임의 「기억의 고고학」(2012), 김언수의 「하구」 (2013)가 있다. 서부산권의 지리 지형적 장소성과 역사성, 그리고 산업지대로서의 특수성에 비하여 소설 공간으로 대상화된 것은 극히 미미하다. 본 연구자는 이러한 점을 주목하여, 2011년부터 2017년까지 낙동강 하구와 포구, 피란기에형성된 달동네, 산업화시대에 조성된 공단지대, 생태 공간으로 거듭난 을숙도 에코센터 등 서부산권을 대상으로 소설창작세미나 강좌를 진행했고, 그과정에 100편 가까운 창작품이 생산되었다. 본 연구는 서부산권의 서사 형상을 김정한, 이문열 등의 기성작가의 작품들과 함께 소설창작세미나 강좌에서 생산된 학생들의 창작품들, 그리고 2015년부터 사하구청에서 전국 공모 형태로 시행하고 있는 사하 ‘모래톱문학상’의 수상작들을 한자리에 모아 점검한다. 이를 통해 서부산권의 지리 지형적 특성과 일상성, 기록유산과문화유산에 연계된 서사 원형들이 어떤 내용과 형식으로 소설화되고, 어떤의미와 전망을 내포하는지 네 가지 범주로 나누어 각각의 양상을 점검한다. 첫 번째는 ‘경계 너머, 하구의 상상력’으로 낙동강 하구를 배경으로 한 이문열과 김언수의 「하구」를 비롯, 7편의 창작품을 고찰한다. 두 번째는 ‘모래의 서사 원형과 변형’으로 김정한의 「모래톱 이야기」를 매개로 한 2편의 창작품을 점검한다. 세 번째는 ‘아미동과 감천동, 달동네의 고고학’으로 피란기에 형성된 달동네를 무대로 한 함정임의 「기억의 고고학」과 20편의 창작품을 분석한다. 네 번째는 ‘탈산업 에코 공동체의 꿈’으로 김제인의 「탱자나무 집 146번지 앞」 외 3편의 창작품을 고찰한다. 본 연구는 기성 작가의 작품과 학생 창작자의 습작품을 모두 망라하여 대상화한다. 지금까지 부산과 서부산권을 무대로 형상화한 소설과 연구 현황이 매우 저조하고, 연구는 동일한 작가의 작품에 집중적이고도 반복적으로진행되어 온 것을 한계로 지적한다. 이러한 한계에서 벗어나기 위해 본 연구는 1920년대에서 1980년대 초까지 생산된 소수의 기성 작가 소설들에서시야를 전환하여 지금 이곳의 젊은 서사 창작 주체들이 포착한 장소와 이야기를 모두 한자리에 올려놓고 살펴봄으로써 미래 서부산권의 서사 창작 확장성을 도모한다.

파리에 새기고 온 추억

함정임 샘터사 2016 월간 샘터 Vol.561 No.-

소설_그의 즐겨찾기

함정임 새얼문화재단 2000 황해문화 Vol.29 No.-

콩트: 상하이여 영원하라

함정임 사회발전연구소 1988 한국인 Vol.17 No.5

「베니스에서의 죽음」, 토마스 만 소설에서 루키노 비스콘티 영화로의 이행(移行)-만연체와 롱테이크 기법을 통한 미의식 표출 양상

함정임 한국비교문학회 2007 比較文學 Vol.0 No.42

Death in Venice: Transition from Thomas Mann’s Novel to Luchino Visconti’s Movie- Aspects of Aesthetic Consciousness Expression through the Prolix Style and the Technique of Long-take

아담의 사과

함정임 사회발전연구소 1994 한국인 Vol.13 No.2

떠남에서 얻는 편안함 혹은 또 다른 삶의 유희

함정임,Ham, Jeong-Im 대한출판문화협회 2004 출판저널 Vol.344 No.-

제4의 조국을 향한 예술가의 도정- 제임스 조이스의 탈식민화 양상

함정임 한국비교문학회 2008 比較文學 Vol.0 No.45

The objective of the present study is to review colonial literati’s pattern of decolonization based on Irish writer James Joyce and his novels. For this purpose, the present researcher first made geographical, national, historical and emotional approaches to how Ireland located in the edge of Europe was portrayed and how the liminality was transcended, and then illuminated writer James Joyce’s identity as an artist in the peculiar situation of colonialism and his characteristic way paved by novels. Ireland has tragic history under the rule of neighboring Britain for nearly 800 years in the past, and it has lost its national language Gaelic for around 200 years since the 18th century. In the painful historic realities, however, Ireland is ironically known as a treasure house of world literature in the 20th century. This fact is supported by Nobel Prize of Literature winners George Bernard Shaw, Oscar Wilde, William Butler Yeats, Seamus Heaney and Samuel Beckett as well as James Joyce who pioneered an unprecedented area in the 20th century’s history of novels through Ulysses. Their works were distributed as world literature because they were written in English or a third language rather than in the Goidelic language, and for this reason, they have long met readers throughout the world not as Irish literature but as English literature. They represent the irony of the complicated and subtle fate of the writers whose were born native Irish or British Irish and thus whose identities were classified into pure Irish, Irish British, and British Irish. James Joyce, who criticized Dubliners’ life and consciousness so sharply through his novels that the books were forbidden to be published in Dublin, invokes only Ireland and Irish people (may be reduced to Dublin and Dubliners) in his novels, which were his 4th Fatherland (A Portrait of the Artist as a Young Man, Dubliners and Ulysses). In case of James Joyce who left his homeland and novelized only Ireland and Irish, his novels can be regarded as the sublimation of ‘Irishism’ transcending the colonial homeland. As the language for his writing, James Joyce chose English, the language of the British Empire, rather than his native language Goidelic. Although he wrote as a colonial writer and in colonial language English, he used English as a weapon to attack English literature, and restored his homeland Ireland in literature through overcoming the boundary of English literature. At the same time, he rewrote the world history of literature. The present study examined the national and literary rites of passage that Ireland, which was the poorest country in Europe and was despised as ‘White Black,’ had to go through until it cast off the yoke of long colonial rule by the English Dynasties and then the British Empire and stood alone as an independent strong country, and illuminated James Joyce’s novels, which transcended native Irish literature and rose high in the world history of literature in the bilingual environment, a bridle on colonial literati, from the viewpoint of the pattern of decolonization. The objective of the present study is to review colonial literati’s pattern of decolonization based on Irish writer James Joyce and his novels. For this purpose, the present researcher first made geographical, national, historical and emotional approaches to how Ireland located in the edge of Europe was portrayed and how the liminality was transcended, and then illuminated writer James Joyce’s identity as an artist in the peculiar situation of colonialism and his characteristic way paved by novels. Ireland has tragic history under the rule of neighboring Britain for nearly 800 years in the past, and it has lost its national language Gaelic for around 200 years since the 18th century. In the painful historic realities, however, Ireland is ironically known as a treasure house of world literature in the 20th century. This fact is supported by Nobel Prize of Literature winners George Bernard Shaw, Oscar Wilde, William Butler Yeats, Seamus Heaney and Samuel Beckett as well as James Joyce who pioneered an unprecedented area in the 20th century’s history of novels through Ulysses. Their works were distributed as world literature because they were written in English or a third language rather than in the Goidelic language, and for this reason, they have long met readers throughout the world not as Irish literature but as English literature. They represent the irony of the complicated and subtle fate of the writers whose were born native Irish or British Irish and thus whose identities were classified into pure Irish, Irish British, and British Irish. James Joyce, who criticized Dubliners’ life and consciousness so sharply through his novels that the books were forbidden to be published in Dublin, invokes only Ireland and Irish people (may be reduced to Dublin and Dubliners) in his novels, which were his 4th Fatherland (A Portrait of the Artist as a Young Man, Dubliners and Ulysses). In case of James Joyce who left his homeland and novelized only Ireland and Irish, his novels can be regarded as the sublimation of ‘Irishism’ transcending the colonial homeland. As the language for his writing, James Joyce chose English, the language of the British Empire, rather than his native language Goidelic. Although he wrote as a colonial writer and in colonial language English, he used English as a weapon to attack English literature, and restored his homeland Ireland in literature through overcoming the boundary of English literature. At the same time, he rewrote the world history of literature. The present study examined the national and literary rites of passage that Ireland, which was the poorest country in Europe and was despised as ‘White Black,’ had to go through until it cast off the yoke of long colonial rule by the English Dynasties and then the British Empire and stood alone as an independent strong country, and illuminated James Joyce’s novels, which transcended native Irish literature and rose high in the world history of literature in the bilingual environment, a bridle on colonial literati, from the viewpoint of the pattern of decolonization.

2000년대 한국 소설의 생태학적 고찰 - 한강・편혜영・박형서・김태용의 소설을 중심으로

함정임 한국문예창작학회 2019 한국문예창작 Vol.18 No.2

This theme will be an opportunity to see from Han Gang, Pyun Hey- Young, Park Hung-Sue, and Kim Tae-yong’s novels a scene of ecology that intensely breathes in Korean young novels, which are produced despite the holistic global crisis in the 2000s, and to check the present and future of Korean novels through this. As has been broadly verified, the ecological crisis originated from the course of modernization. The progression oriented industrialization and its driving force, scientific technology are products of the reason, which is separated from the body. Modernity represents the rationality based on the reason and the view of world concentrating on the human being. As modern literature generally realizes such a system of the modern in content and form, the ecological and the modern literary crises form a weird community sharing a common destiny. The human’s blind attachment to modernization brings about an ecological end, which means the end of nature, and of the world. Not to mention humans, history, and literature, there will have been nothing left. The world that the past literature supported with imagination will not gain energy, and then endangered Homo Oecologicuses will float on the gloomy and ruinous earth. From the last century’s novels that were created by writers like Yeom Sangseop, O Yeong-su, Jo Se-hi, Lee Mun-gu, Kim Won-il, and Yun Humyeong etc., we can see such aspects in which the great ideologies progressed world-historically and ecological elements in industrialization adaptively percolate. On the other hand, in the 21st century’s novels created by young Korean writers including Baek Minseok, Han Gang, Cheon Un-yeong, Phun Hey-Young etc., ecology works characteristically in tandem with the fragmented and itemized subject matters that they intend to. This is especially prominent in novels by the young writers? Han Gang, Pyun Hey-Young, Park Hung-Sue, and Kim Tae-yong. Han Gang dreams of the ecological metamorphosis, Pyun Hey-Young concentrates the destruction of the human and nature, and their grotesque transformations with cruel hard?gore techniques, Park Hung-Sue and Kim Tae-yong use the method of paranoia and fantasy. The novel, which has breathed together with the mankind so far, cannot be satisfied with the function of entertainment is that the 21st century’s young Korean writers including Han Gang, Pyun Hey-Young, Park Hung-Sue, and Kim Tae-yong are connecting themselves with ecology with powerful vital energies that overthrow the ethos of modernization while creating new aesthetics of the novel now.