'너머'의 시학 : 생일(生日)외 30편

강영은 동국대학교 2021 국내석사

《어린이》연구 : 1920년대 아동문학 작가와 독자의 관계를 중심으로

김세리 동국대학교 2005 국내석사

This writing is to be wished to examine the relation between writers and readers through the process that have investigated juvenile literature work that was inserted《child》during early 1920s. Therefore, I have wished to observe the special communication method of juvenile literature from the most important special quality of composing juvenile literature. The literary peculiarity of juvenile literature is detected clearly in communication mode, and the peculiarity of this communication method is an inner primary element of juvenile literature because we consider that it is a main cause that how the relation between a sender and a listener is established to concept of juvenile literature. If we imagine children readers and define written texts are the only juvenile literature texts, production of juvenile literature should be restricted by the propensity of the consumption. That's the reason juvenile literature became more reader-directed than other literature genres. Writer's imagination about the peculiar personality of reader controls the production and the consumption of juvenile literature and propensity of communication that is always argued on it. In this article, I believe that the important factor of composing juvenile literature is in communication way, and wish to clear how it has been established and what has influenced on juvenile literature literary style. The writers of the early 1920s pictured the juvenile's mind as innocence and naivety, and it included that their unique inclination that children and adults were totally different. This point of view put the writers away from readers and they changed their method of treating readers. And the writers recognized children readers' peculiarity and could find suitable speaking form. 'Story' was having the meaning of 'Tell' strongly in juvenile literature of the 1920s, this was created through consciousness that form of relation between a sender and a listener in juvenile literature differs with adult literature. Special method of telling a story is an oral narration. Specially, Bangjeonghwan emphasized that 'Telling' is more important means than 'Get to be read'. It means that an oral narration was emphasizing at that time and 'talking' form was preferred to a lettered text. Therefore, 'writing' action that could show the writer's personality in juvenile literature was pushed out by 'talking' action. In juvenile literature, 'talking' action means that the focus is put on the listener. Now we can see juvenile literature texts of 《child》 take an oral narration as a important frame unlike other literature texts. 'haetseupnida' shows the will that standardizes the form of 'an oral narration'. 'haetseupnida' is distinguished with low ranked genre of other juvenile literature and it makes an fairy tale distinguished with other genres. The reason that the writer use 'haetseupnida' is they think the write must give the child reader impression that seems to tell a story. Now we can believe 'haetseupnida' has colloquialism differently with other genres and it reflects circumstance of 'Oral narration'. 'haetseupnida' even has a meaning of respect with the meaning of child respect. Now, 'haetseupnida' has a secure position as a customary ending of a word in the fairy tale.

젓가락 행진곡 외 2편

전방하 동국대학교 2005 국내석사

This work is the growth story for children. I wish children are blessed with healthy life and become one in the story without regard to the difference between rich and poor, grade or growing environment. In the first children’s story called ‘chopsticks march’, the main character is a poor body named Seung Joon who lives in a small room of a house back street of market. He shows his best under the given environment trying to cope with the difficult life. Also Hyun Jung who is the antagonist of this story is a rich girl having a house in this town. She always wants to win against Seung Joon who plays the piano very well. So she never allows him to play her piano as Seung Joon does not have the piano. She also cruelly asks him question why he plays the piano. At the same time, she thinks she is a bad girl. Therefore, she asks mother’s permission to play the piano with Seung Joon. Hyung Jung plays Chopsticks march (the duet concert for two) with seung Joon. Second, ‘I’m not a poop’ is the story about Soo Youn’s family who lives in the suburbs of city. Soo Youn became a class leader in the new semester. However, Young Chae whose father manages the private academy makes cynical remarks that she will put away the poop like her father when she grows up. After hearing that sarcastic word from her, Soo Youn hit young Chae causing the trouble. Soo youn meets her father on the way home after the school and cries showing the maturity process of her from a child to a girl. One day, she asks father a question whether he feels dirty when she saw her father rubs the cow’s poop fertilizing the soil. Then father answers that poop grows the plant and we are eating the plant everyday so we are the poop. Before the school sports day, Soo Youn and her classmates clean the flower garden together. Then, her father sent the cow’s poop for the fertilizer. With that poop, Pil Gyu made fun of Young Chae and children’s laugh spreads all over the playground. This word represents this story. With this story, we can feel happiness as we work that we want thru the environmentally friendly image and father who really loves cows. Also this story shows that human will go back to the earth and is one with the nature. The last children’s story is called ‘mother of mother.’ There is such a maternal grandmother but this story tells the case that family has not interchanged with paternal grandmother or maternal grandmother as the family faced the difficulties for several years. When the leading character, Jung Hee was young, her family was bankrupted. So her maternal grandmother who has not met for several years visited her house. It’s because Jung Hee’s family got a rental apartment. However, Jung Hee rejected to sleep with her grandmother saying her grandmother smells then she was scolded. Jung Hee’s mother told her family history that grandmother gave birth to her mother when grandmother was 50 years old and now she is 90 years old, and she has so many children. Due to the notion of preferring a son to a daughter, her mother was named to be ‘Mal Sook’ (meaning of last daughter), mother was a laughingstock and she was ashamed of her grandmother. Also, mother implied that she will be a grandmother of Jung Hee’s daughter. So mother starts to do a volunteer activity with Jung Hee in the old people’s care center. After finishing volunteer work, Jung Hee promises her mother that she will take care of her mother. This story makes us aware of the forgotten natural fact. Mother will be a grandmother and always takes care of me with a great and limitless love. Children’s story is a daily life story. All events happened in the story can happened to anyone else. We can realize the importance of daily life in a small event. Also, I once felt shamed myself when I found out the image of adult thru my child who is a small teacher of me. Whenever I feel that, I write down the children’s story. Showing shamed image and the reflection, I would like to tell the grown people thru the eyes of children.

<황금 광(狂) 시대> 外 2편

최우영 동국대학교 2006 국내석사

The writer intended to describe the modern people who are losing their identities by being immersed in post-capitalism society, through the above three works. That is, the writer tired to satirize the prevailing state of modern society through groups of people, who have an absurd illusion that a value that can be pursued in the current situation is only the rise of social status only by accumulating money, or who become integral parts of the current regime as their only choice at the dead-end situation of bankruptcy, or who have a will to resist the current world in their own way but are blocked by hindrances soon and accustomed to the reality. 'Anything is acceptable for money' - This can be seen as a slogan that symbolizes the Pariakapitalismus. Its idea started from <the Goose that lays the golden eggs>, which is one of Aesop's Fables. What if a person gives birth to golden dung? Central figures of <Golden Craziness Era, Hwanggeum Gwang Sidae> , 'I' and Kyung Mi, have both opposite sides and identical features. Contrary to 'I', who had an ugly look, Kyung Mi was a pretty and refined woman. By contrast, 'I' was a person who lacked sociality due to an appearance complex. However, as 'I' started to discharge 'golden dung', the relationship of 'I' and Kyung Mi, who were house mates, started to change. The writer wanted to describe the desire and conflict around this unknown mass. Also, the writer concentrated on describing how the person is changing as he/she starts discharging golden dung, that is, the writer focused on selfishness imminent in the human real nature. Through this, the writer tried to satirize the human's worship of the material god, which is prevalent in the capitalistic society, and the human who is nothing but a tool that creates goods. <Kebab, dominates the world> is basically based on the two motives, <Cheoyonga> and <Ssanghwajeom>. <Kebab, dominates the world> borrowed the basic structure or image from these two works, but planned the parody in the direction that can disclose a critical sense on the modern society. To Sang Hyuck, who was engrossed in online games, the reality was not the world, where he has been alive while he was distressed with troubles and breathed, but the online world, where he is advancing to dominate while being contact with people whom he never met directly. The person who made Sang Hyuck return to the reality again from the virtual world was Jung Soo, who was a shaman. Jung Soo had 'meat allergy' so he originally could not eat Kebab containing poisoning Z-ingredients. However, he was too powerless a shaman to heal his wife and deteriorating world. The current world became overgrown and stronger to the extent that could not be dominated by a specific small number of people. The writer does not merely make a conclusion that individuals cannot help being compliant in the overgrown social structure. Through this, the writer intended to satirize the despotism of huge capital funds and the form of petty bourgeois who were compliant with their realities helplessly and tried to ring an alarm even dimly to most of people(including the writer) who are accepting the capitalism's base without criticism. Through <Salyeori Salyeoriratda Cheongsane Salyeoriratda>, this writer wanted to describe a situation where miracles occur to the people who are in the corner in their lives, just like a speaker of <Cheongsanbyeolgok>, which is Corea's ballad. Numerous credit delinquencies who were created by the capitalistic society, did they cause to be credit delinquencies by themselves by excessive desires or were they led forcibly to such states helplessly? As a matter of course, each situation is different. However, the writer came to describe the people who were driven to the corner of lives due to the situation that they didn't intend. Finally, in order for the credit delinquencies to survive, they have to become part of the capitalistic society while being compliant with the bridle of money. The writer intended to represent such a reality according to the image and theme of <Cheongsanbyeolgok>. Finally, 'I' come to live performing music as a deer in the amusement park as compensation for repayment of my debt. Through this, the writer tried to describe the form of the petty bourgeois, who cannot help living by being adapted to the capitalistic society helplessly. Through the above three works, the writer intended to satirize the form of the petty bourgeois who have to live accommodated to the modern capitalistic society. They realize that the world has something wrong or they don't recognize it at all, but all of them are being immersed in the reality little by little. As a conclusion, these works implies a huge irony. By showing groups of people who are being immersed in the reality, these works tried to criticize the present world even dimly by suggesting their tragic lives and asking about what the people who live in the current world should do in order to live.

1930년대 후반 장편소설의 일상 재현 양상 연구 : 「불연속선」, 「사랑의 수족관」, 「화상보」를 중심으로

박형준 동국대학교 2006 국내석사

This paper has been written in order to analyze the aspects of reproducing daily life and the meaning of everyday life and also explicate accomplishments in the history of literature centering around three novels clearly showing the meaning of daily activities in the literary works among the novels written in the second half of the 1930s─Yeom Sang-seop's "Line of Discontinuity," Kim Nam-cheon's "Aquarium of Loving" and Yu Jin-o's "Hwasangbo." As everyday activities in the novels of the latter half of the 1930s were recognized as a contradictory meaning to a special life prescribed by "Grand Narratives" and "Ideological Discourse" of the novels in the earlier days, they have a particular value. While daily life in the novels of the times when literature was planned by enlightenment and idea was regarded as a valueless and nonessential domain, an ideal and ideological life was considered basic and far superior. Everyday life in the novels during the second half of the 1930s, however, was recognized as not a substance formed with idea and thought but as a fundamental basis of given life and the structure displaying the essential part of the contemporary life and the principles to dominate this. Individual life of the people was organized within the everyday life, and it functions as the scene of actual life, a system and rhythm of the time to dominate a personal life and the progress of history. In addition, it was reproduced as a phenomenal world that displayed the reality as the inherent domain of life and as a certain method, which cannot be summarized by thought and idea, cannot be manipulated subjectively and be divided into objective standards. The daily life, which began to be dealt with in earnest under the special experience of the literature history in the second half of the 1930s when suppression by the imperial Japan got stronger, did not stay in the level just materializing individual experiences. It was so because everyday life beyond the method explaining a world by ideology and proposing outlook was formed through close observation and description on the "contemporary life" as a time and space of the days where the essential and concrete experience of life and the individuals were living. To bring daily activities objectively into the base of materializing novels under the difficult social circumstances of reproducing an ideological position was recognized as not an escape from the social reality but a method to explore the reality of the days and also a tool to secure concreteness of literary works. This was also a reason that daily life, by conveying the individual aspect if life and the universal aspect of common social life, told that it had contemporary and historical aspects and had to note a theme called everyday life. In this context, describing daily activities in a novel is, after all, to prescribe a society for producing everyday life, that is, the nature of the society where characters in the literary work is living. The appearance of daily life in the novels in the second half of the 1930s was shown as a result that writers under the environment of the days had difficulties of embodying the ideal harmonizing with reality into the literary works, and that the outlook for ideal life reproduced thus far lost its effectiveness. In other words, when undergoing literary bending by ideological suppression, or not being able to accept the imperial theory pushed by Japan like fascism or Orientalism, most of writers opted for entering into reality and then began to reflect themselves and strengthen new volition within the reality. The reproduction of everyday life in the novels also progressed in significant relation with journalism. As the publication space of the novels in the second half of the 1930s was chiefly newspaper media of the times, the genre nature of novels was prescribed in line with the commercialism of journalism in the days. The newspaper in the latter half of the 1930s when commercialism was actively progressing played a role as the public media to take the function that enabled a cultural commodity called novel to be easily accessible by the general public, and the novels posted in the newspapers for attracting readers had to deal with daily and ordinary contents, or ones to draw interests through those. But the writers' gaze that moved their focus to themselves and daily life around them because of the unavoidable pressure of the days and the commercialism of journalism did not stay just in vulgar daily activities but captured the essential meaning structure of life deeply residing in the base of daily life of themselves and thus could more closely grasp the reality controling their everyday life and through this, could present the basis that prescribes the character of the reality in the literary works. While they could not conceive a reality-changing life that conveyed idea and outlook through exploring everyday life as a subject of pursuing life, they secured a foundation to find part of colonial life which Koreans in a colonial country suffered beyond their control and reflect it into the literary works and thereby sublate this. In this respect, the daily life reproduced through the three novels, the subject of analysis in this paper─"Line of Discontinuity," "Aquarium of Loving" and "Hwasangbo"─can be said as having the significance of the days. Furthermore, the everyday life reproduced in literary works has its significance in that it functions as a channel of understanding actual reality and also realistically illuminates the reality of the Joseon society sinking in the logic of contradictory life structure and fascism produced by the colonial system. Daily life is reproduced in the three novels: modern city daily activities of the colonial state in "Line of Discontinuity," the daily life infiltrated by the imperial Japan's rules ideology and rules in "Aquarium of Loving," and individuals ruining by the situations of the days in "Hwasangbo." This can be said to have come from the gaze of the writers to look up the daily life of the colonial Joseon being permeated by the logic of the imperial Japan, above anything else, and the awareness of the writers not losing the critical point of view on the reality. They had selected the method to raise fundamental problems on the colonial reality by reproducing the everyday life of the days prevalent with the Japanese logic rather than materializing a special method of life amid the reality of the ever increasing ideological suppression. The novels not only clearly illuminate the life and society of the days by reproducing daily life in the literary works but also provide a prism that can view the days of the late 1930s and the perverted colonial reality.

억압된 원시적 충동의 기호 : 「온라인 아내」외

이국하 동국대학교 2006 국내석사

We can say that literature is the outcome of unconsciousness and the action of self-treatment of inferior complex. I want to express my novel writing as the sign or sublimation of oppressed primitive impulse under unconsciousness. The sublimation means the transformation of energy into beneficial method that the instinct impulse of unconsciousness that gets social constraint can be accepted socially. If the literature of western medieval was the aspect of moral demand and religious interpretation, it is drawing the disease status and contradiction of human mind and body in modern literature. Freud says this phenomena is through the unconsciousness of human that the authors already have discovered. If the universal sentiment of human being collapse to the morality or religion, it is shown as the similar aspect with the pathological status of the human, and it is that he/she finds the oppressed truth. Also, the oppressed psychology doesn't disappear but move and shake continuously in the unconsciousness, then is projected to the dream well and comes to give forth while condensed into the form of metaphor. The reason why I chose the novel is for giving forth the oppressed desire through the literature similar to inner structure with the dream and for illuminating and interpreting the provocative things of the world which touch my brain duct. As Lukacs saw the novel as 'problematic personal relics', my view of novel is on the same line with it. So, my writing can be summarized as the sign of primitive desire that wasn't able to be solved and oppressed. Next, we are to say about my creative action and catharsis. As most of the artistic works are the signs of primitive desire inside the unconsciousness of the author, my creative activity also can be said as the mechanism of compensation about the oppressed desire. Subtly disguising the pleasance principle to act as they desire, we may see it as the action rationalizing to the real principle that stipulates the basic instinct. It may not be too much to say that the essence is in the catharsis that transforms and purifies the original desire like this. As Byron, the poet of England, said that 'the eruption of a volcano is the catharsis of the oppressed earth,' my writing is like a sort of 'clearing exorcism' that unties the tied thing in the unconsciousness. At last, I am to mention the literature of the future I intend shortly. The present age is the age when media is the message. In this age when it is said as the crisis of literature sometimes, I think we must not live in peace by the analogue sense any more to survive as an author. The literature which started from oral literature is being communicated through internet. The excuse one cannot write because there is no paper to present his work and elitism of the literature will not be understood. Already, many authors are serializing their works on online, and are communicating by digital of the two-way age when the author and the reader give and take the influence. Like this, setting to the reading taste of the readers may be a new grope of literature. I also want to write the composition that purifies the potential desire of the reader as well as me myself while devising the changing literary environment. It is the beginning of my novel writing at last. I remind the Buddhist sermon that said 'Waste yourself after taking yourself.' It is the truth not to be interwoven in anything. As we came to know the rhythm and tone of the novel, only to pioneer the novel with the natural voice of a writer is left. Fear and tremble cross over. Setting 'one meaning for one thing' by Flaubert as the guidance, I am to walk the given road of my novel while swearing that I won't treat the syllable negligently, not even a single one.

염상섭의 「만세전」 연구 : 식민지 지식인의 근대적 각성 과정 고찰

이정순 동국대학교 2006 국내석사

「Mansejeon」is a literary work where Lee In-hwa looks back upon what he suffered on his journey home setting in the winter of 1918, the preceding year of the 3.1 Movement as the title, which means 'before cheering' in English, says. Thus, the winter was like the night before the 3.1 Movement, which is an implied meaning of this title,「Mansejeon」. The purpose of Yeom Sang-sup changing its title into「Mansejeon」from「Myoji(Graveyard)」entitled when he published this story in ≪New Living Magazine≫ was to emphasize the meaning of rebirth caused by self-awakening of Lee In-hwa more than 'a grave' meaning that the whole Choseon was infested with maggots and to stress 'warm spring' which would drive out dark winter 'before cheering'. Studies on Yeom Sang-sup and his works are as massive as there are more than 250 articles, of which studies on 「Mansejeon」and 「Samdae」 accounted for many percentages. These studies have been continued. In particular, the reason studies on 「Mansejeon」have been continued is that it is possible to interpret it diversely thanks to its deep layers of meanings. Regarding the main narrative structure of「Mansejeon」, Lee In-hwa, a naive academic, who were forced to marry early when he was 13 years old, escaped to Japan at the age of 15 years, and enjoyed modern civilization in the capital of Japan for 7 years, saw, heard and suffered on his journey home after receiving a telegram saying his wife was in a critical condition. This researcher intended to analyze this work paying attention to the point that Lee In-hwa would not been awakened as an intellectual of the colonized country or a modern person through a single journey. Lee In-hwa had returned to Choseon several times while studying abroad, but he underwent a change of heart on the journey home in the year before the 3.1 Movement occurred. Based on the fact, it can be inferred that modern civilization and knowledge accumulated while studying aborad were immanent in his mind and resulted in being awakened as a modern at a time as if it exploded. From this perspective, Lee In-hwa's journey can be viewed as 'a course of growth' and this study intended to focus on the course. 「Mansejeon」mainly suggests social actuality of "Choseon" under the rule of Japanese Imperialism, which the main character observed on his way home rather than it pursues diverse human relationship. Thus, it is estimated to succeed in representing Korean social conditions just before the 3.1 Movement above fictional ups and downs and complicated human relationship. To analyze「Mansejeon」, this thesis reviewed the concept of modernity and definition of intellectuals. Centering around the changes in his mind, this thesis also examined his journey from Chapter Ⅰ where he received a telegram saying his wife was seriously ill to Chapter Ⅸ where he realized the dawn of rebirth while sending a letter to Jeong-ja, a Japanese woman, and returned to Tokyo. Certainly, he was an intellectual who lived in the colonial age, but it is expected that the course of identifying what kind of intellectuals he belonged to and what effects his feature which grew and changed through experience on his way home on his consciousness of rebirth will be meaningful. In addition, this study will be judged to contribute to interpreting layers of meanings of the prologue and the epilogue of 「Mansejeon」. 「Mansejeon」showed a switch of new self-recognition and history from 'the winter' of 1918, social conditions of Choseon 'before' cheering, and a dark 'grave' to coming 'spring' 'after' cheering, and 'rebirth'. In this respect, 「Mansejeon」lays its meaning on the point that it gave possibility of consciousness of the age which should be aimed at, not on the respect that it showed the social conditions of Choseon just before the 3.1 Movement. This study could identify that Lee In-hwa's journey was not simple trip or observation but a course of growth where ego gets awakened as chapters change. However, this study has limitations in that a psychological analysis of Lee In-hwa was not conducted.

윤대녕 소설에 나타난 불교적 상상력 연구

유영미 동국대학교 2006 국내석사

The main theme of the novel of Yoon Dae Nyung shows the reflection about the existence through the pattern of travel. This traveling of inside searching for the true ego intends the eternity and ideal world, evading from the reality. The Buddhist reasoning shown at his novel reveals as the circular structure, and this circulation can be the creation, extinction and replay motif of rotation or living creature. Also, the Buddhist imagination has the aspect of circulation, and it is juxtaposed through the sweetfish, etc that comes back to their mother's stream. Next, he dug into the problem of emptiness and loss of karma, the problem of life and death according to karma. By the lesson of Buddhism, all the pain, sorrow, meeting and separating which the humans experience in the world are from karma, not by chance. Living, aging, illness and death and joy, anger, sorrow and pleasure which have put the human life of the individual human being together come from the karma of which the inevitability is implied seeing from the aspect of causationism, and there is nothing by chance. The characters of the novel of Yoon Dae Nyung who try to find out the essence of the existence by heading for the road while not rooting into the reality attempt to find out the origins that are bent from the present civilization, compared to the city, cf and consumption. This may be the same with the situation of the shepard who is to search the true ego on the "ten pictures of Zen philosophy(shibwoodo)" which Zen priest Gwakam drew. Also, we can point out some homology with the "existence and time" of Heideger who had set the "road" as his philosophical assignment. The characters of the novel of Yoon Dae Nyung tries to evade from the limited situation of human being on their own by heading to the road. To the characters, reality is the desert and the place where relations cross over and the place which awakens the sterility. Heading the road continuously while bearing their thoughts somewhere shows the origin of the humans who are in the course toward the origin of poem of the existence. This pattern to find out the essence can be the continuous motion for the humans to search for the acknowledgement and real freedom, not the escape from the real life. The characters of his novel don't recognize the frivolous real life as it is, but see it while making it ideal. To the characters who are anxious to the other world, not this world, as long as they have the will to intend utopia, paradise and eternity, the real life cannot help but be submerged into lamentation, and left as a tiresome space. The characters of the novel of Yoon Dae Nyung search for the desert, wander around the temple, or go to the sea. Here, the desert may be a substantial approach, but the urban space itself transforms into the desert. The temple is juxtaposed as the place that is the target of eternity or mental reasoning tacitly and the place that shows the way to self-exploration. The sea is the place of source of living creature and the place that restores primitiveness and mythical sacrifice to the reality. In his novel, the male speaker(the first person) attempts to make relations with the women he met accidently. But, it ends with the crossed over relations all the time, and the pain and sense of forfeiture may show the instability that has to live with imperfectness and agony of the human being here. The origin or origin of the poem for which the characters in the novel of Yoon Dae Nyung search is the hope toward eternity and is the utopia that the protagonist longs for who dreams the escape to the mythical world.

李文烈의 藝術家小說 硏究 : 「들소」, 「금시조」, 「시인」을 중심으로

김현애 동국대학교 2006 국내석사

I examined Lee Moon Yeol's literary works that might be categorized as the artisticnovels based upon the concepts pioneered by Marcuse in order to find out the main elements in the formation of an independent artist in the context of the artistic novel. The artistic novel has an origin in Bildungsroman of Germany. With a novelist or other artist being a leading character of the novel, it describes the internal conflicts and mental growth that the leading character goes through, and the process of spiritual awakening under the surrounding circumstances faced by the leading character. But every novel cannot be categorized as an artistic one only because the leading character is an artist. A novel is worthy of an artistic one when a leading character builds up the strong individualityin its own ways, a leading character shows individual efforts and strong wills for the perfection of self, and a leading character represents the unique and peculiar ways of living. While struggling with the surrounding circumstances, an individual artist attempts to be eventually reconciled with the grand-affirmation. In accordance with the aspiration on how to overcome the conflict and pains of the real world with artistic conscience, Marcuse implied that there are two phases of expressions, romantic artistic novel and realistic-objective artistic novel. I also studied the relationship of Lee Moon Yeols'artistic novels in connection with the advent of the artistic novels under the Korean situations. While inheriting the traditions of Yeiinjeon (예인전) in the history of Korean novels, Lee Moon Yeol's artistic novels contain their own individuality. Especially, the power of discrimination of his artistic novels is very distinguished compared with other artistic novels in the following respects. l His artistic novels focus on the artistic efforts to settle the conflicts between the art and the living in the real world, which is recognized as main background and subject. l They raise incessantly the problems relating to the true nature of creation. l They scrutinize persistently the problems of each individual in relation to the society of the present age throughthe sense of subjectivism. In his artistic novels, Lee Moon Yeol mentions consistently one subject with a variety of novelistic techniques. In his three works, he criticizes stubbornly and repeatedly the problems in relation to art and power, politics, ideology, ethics and learning, which are the main causes of an artist's conflicts. He raises lots of questions on the tide of the insensible society where any violence and madness made in the name of a noble cause and justice were disregarded under the political situations of 1970s and 1980s in Korea. But, it is peculiar that the objects of criticism implied in his novels are warnings and precautions on the uniformity and extremity, a characteristic of 'people'. In other words, his novels do not contain a kind of novelistic formula that the ruling class would become a hostile group without any specific causes after classifying the ruling class as a group of transcendental sinners. Likewise, he does not give the people an indulgence unconditionally on their crimes and follies simply because they are the people. In a series of Lee Moon Yeol's artistic novels, these two classes are criticized in 'aesthetic aspects of balance and harmony'. In this way, through the leading character such as an artist in his novels, he picks up the sensitive problems of the people in a society and he scrutinizes further an individual's problems that could be forgotten in the course of in-depth discussions on nation, politics and society. He also expresses clearly that the art should be the art itself. His expression like this signifies his judgment that the literary works should have their own originality and the sense of self-control being separated from the realities. In this sense, he does not question the links between the art and the realities of life, or the limits of the realities in the art works. Even though his artistic novels does not focus on the tragic subjects such as 5.18 Democratic Movement in Kwangju in 1980s, labor problems, Korean War and the territorial division of Korea, he describes the significance of a private life of an individual. This embodies lots of implications that the issue of the individual himself or herself is dealt with in the same weight like that of a political situation. After all, in a series of his artistic novels, Lee Moon Yeol understands that the art has a meaning in its own indigenousvalues. This indicates his viewpoint that if the art is used for other purposes than the purpose of the art itself, it is not genuine. To some artists, the pureness of the art should be a value to be conserved and maintained at the risk of their life. This devotion to the sense of self-control of the art brought the development of the art as more specializedand expert-wise area. As indicated in the history of the Korean art, it is very meaningful that the commitmentto the pureness of the art was a main element in the development of the art itself or the various changes thereof. In his artisticnovels, Lee Moon Yeol implies the pluralistic ideologies of his viewpoint on the art through the antagonistic relationship. Based on his own study on the relations between power & art, the hostility between the exploiting class and the exploited class, the participation of the art in the needs of the times and the commitmentto the pure value of the art, he tries to express the variety of ideologies and describe plainly the evil practices caused therein such as injustice and oppression of an individual. The intention to organize such antagonistic structure is not to judge the divided ideology or the superiority & inferiority of the viewpoints of the art, but to find a solution in the direction of co-existence as well as the acknowledgement of the relatively different positions in the search of the values. It is just the presentation of various problems that he makes through 'aesthetics of balance and harmony'expressed in-depth in his artistic novels. As we examined so far, 'He' in 'Deulso (Wild Ox)' supportsthat the art should be the art itself aiming at the perfection of line and color while freeing from the art for power or all tribe. 'Gojuk' in 'Kumsijo (Garuda)' seeks for the originality of the art through the escape from the art as a method for the cultivation of the mind. The leading character in 'Shiin(Poet)'also aims at the art as the art itself by contradicting the art for power and the art for revolution of the reality. In particular, in the three works, ' the art for the art itself' should not be used as a tool for political power or the interest of some groups ('Deulso'). And it shows that when an ideology or a thought is institutionalized, it can be used as a tool for oppression. In 'Kumsijo' and 'Shiin', Lee Moon Yeol revives the perfection of beauty in the stage of the single nature with the escaped leading character leaving all oppressions behind through lots of wandering. This is compared with the so-called 'the art for the life'. In Lee Moon Yeol's viewpoints of literature and art, it is clear that the art should have its originality and the art should not be involved in or affiliated with other areas.

인간 소외와 탈출 욕망 : 검은 장갑을 낀 피앙세 외 2편

한혜정 동국대학교 문화예술대학원 2007 국내석사

As I am absorbed in writing a novel, I am likely to overcome technical skill or methodology to some extent. However, it was nothing but shell that is completely empty inside. Although characters, spaces and incidents that I created provide realistic emotion, they couldn't always draw decisive emotions or a sympathetic. It was so shameful and irritating of me to write only common stories except narration of events. I read a lot of books and saw movies recommended by several authors, but my writing skill has not been changed. At that time, I always heard the same comments about my novel every estimation. It's too dried and objective, so there isn't no room for empathy. I tried to do my best, for I want to write a novel that is wet, subjective and easy to take empathy. But my co-workers working together appreciated that it was just a different attempt comparing to existing works. Contrary to my expectation, I went up finals in Shinchoon, in the state that I didn't overcome the problems of my novel. The comment is like followings; she had excellent delicate sense and narrating ability but had troubles to reflect the weight of life in her novel. For a moment, I went around memorizing this comment like a sutra. From then, the goal about the novels has been how much burden I have to carry and how to write novels so that I can feel the weight of life. On reflection, I meant just to study a novel. Of course, there was some problems in my writing method, for I considered a novel as learning, although I neglect my study now. Still, the problems are the biggest obstacle and something to overcome in writing. It's even fortunate that I can find solution to such problems in <Making a novelist of 'Me'> written by Oe Kenjaburo like followings; A novelist is a man who is willing to talk about his secret in the inner. Once he starts to talk, he boldly continues to talk about the stories to the end even in some way. After reading this, I realized that I wasn't impertinent and didn't talk about my secret when I wrote a novel. Now, something to do is to express myself and be bold like a brazenface. However, it's not likely to be easy. In three novels of <A fiance in black gloves>, <A golden fish and bean sprouts> and <Summer day>, I made efforts to describe isolation from others and a desire for escape from reality. The novel of <A finance in black gloves> is that an isolated little girl gets along with a 30's stranger to get out of her poor environment. Her parents who aren't able to protect a little one like her are an object of escape to the girl. She finds a connected link to the world with the help of the guy who treated her careful and believes that she can get out of isolation. That's why she only follows the man and relies all of her life on him. However, the man has another thought. He often feels her as a woman and sometimes has a thought to realize it. Because he has moral and conscience, he can just resist an impulse. I constructed this story to look into the course that daily life of the man is destroyed by her isolation and loneliness and sleepwalking as a morbid symptom. The man's fancy in the beginning of a novel brings in conclusion obtained from the result of accidental goodness. He regards her as a sexual object by instinctive craving, but only controls himself. Unless Miss. Cha played a role to solve instinct of a man, his desire would be bigger and bigger day by day. In the section, Miss. Cha is not a character who is simply in three-cornered relation between a girl and a man, which effects on the background to reveal double desires of a man. The man is waiting for decisive moment when the woman responds to him in the state that he threw a pray to Miss. Cha before. He can be a normal person and sometimes coarsely use others to fill his own desire. As a good-natured or bad-natured man can be absolutely either good or bad in the manner of expression of his behavior, he is also such a character. If such a man doesn't have any desire to a woman, he may be hypocritical. Even if so, it's impossible to explain such a desire in a right manner. This novel shockingly describes the end from hypocrisy and ambition of a man, which is for showing that a sense of betrayal an isolated girl felt was so heavy. In < A golden fish and bean sprouts>, a hero is a middle-aged man who lets golden fish go quietly, loafing around. Getting out of the job, I lead a life without any will. My pastime is to observe a woman in a driver's restaurant across the street in the spare time and let it go, and my goal is to make a pond in the recent. I lost my family of the fire and experienced flinty of the world and reality during my childhood. I have made an effort to remember my own mission all the times and thought that it is the best way. However, unlike my willingness, my body is forced to catch my ankle working hard. Finally, I submitted my resignation by demand of my wife and mother-in-law, considering it as a short rest. Creating this novel, I can see that the part that a hero gets water torture by conflicting with father-in-law is the most important. I intended to say that everyone is isolated in some way these days, by describing that both of them have desire wishing to escape from daily life, opposed father-in- law who is old and active in everything to 'I' who am sick and tired of everything in spite of youth, although they look different. 'Letting golden fish go' is not much special as something to be done in all secrecy. However, after swallowing golden fish, I began to let it go, which is considered meaningful. A hero's mind of letting it go has some implications in which he would feel happy by identifying him with a golden fish and won't loaf around for ever. I don't manage to live without my will, but I am just in a long rest. I can see that I , a hero, make the decision that I will soon stop taking a rest through the time of fancy of making a pond. My powerlessness of daily life is that of contemporary person that can't look for real peacefulness by being pressed with work and rest. It may be impossible to take a perfect rest for those who are worried how to take a rest during the work, or how to work during the rest. On the other hand, the hero gets a chance to escape from powerlessness, dreaming of making a pond, like the saying that it's time to stop, while it's time to run. Yo-won, a heroin in <A summer day>, is a reckless lady who doesn't have any measure of the future as well as a concept of economy. She suggests trial marriage for money to Hee-won who is unemployed and loses the sense of reality. It's extremely deplorable to observe the ways Yo-won and Hee-min spend time from the beginning to the end of the novel. However, I strived to make their life normal on purpose in their behavior. I see that wandering and roaming at the middle of summer is their privilege. There are tow groups; one group goes only for the job. Another has a part time job, wasting his youth like Yo-won and Hee-min. The common feature of the two groups is inclined to only a part. Especially, entrance examination for the job following the exam for university makes us not be able to live various life. In the sight of an author, in fact, a number of young people in former unlike Yo-won and Hee-min can lead to the crisis of the middle age, by easily passing over something to have to experience at their youth. These days, an adulterous relationship of middle-aged people causes in compensation, feeling much more a sense of futility and the loss in the middle age, by wasting time clinging to get a job in competitive society, at the time when they should feel true life in person. She leads to bust-up as proposing trial marriage to ex-boy friend without firm confidence of it. She suggests it to Hee-Min and is waiting for his reply. He recognizes well that it is overexertion. So, unlike her ex-boy friend, he explains it to her and suggest that we have enough time and a chance to judge it for ourselves. At the longest day of a year, they spend time playing much mischief helpless for their life, loafing around. They should have made the summer the most beautiful day, so they look contemptible. However, in a whole life, we can't be busy and diligent all the times and I intended to describe that the time when looks meaningless can be worthy. Three works above still have troubles that I have been worried during all the writing. It's that all of them have little of the weight of life, loose stories and don't have any special events and complications. I seriously feel my poor ability as an author. I will continue to strive to raise my own talents to write a good novel, pouring a lot of time and passion focused on these points.