창작 소설의 평가 기준 연구 -시점 활용을 중심으로- = A Study on the Critical Methods of Creative Writing Theories -Focused on Point of View-

다국어 초록 (Multilingual Abstract)

This paper aims at providing a framework for evaluating point of view from the standpoint of creative writing theory, and at analysing works using this framework.
Reading works by a critical method based on creative writing theory is a reading including both synthetic reading as a reader and analytic reading as a writer. The synthetic evaluating standard is ‘Unity.' And the analytic evaluating standards are ‘preciseness', ‘congruty' and ‘affinity'.
In terms of unity, ‘Is the story told interestingly?' and ‘Is the theme well exposed?' must be investigated. The analaytic evaluating elements of the former can be ‘Is there one point of view at one scene?', 'Are the voices of different narrators or POV characters distinctive?' (preciseness), 'Is there anything described by either the narrator or POV character that can't been seen or felt?', 'Does the voice go well with the narrator or POV character?'(congruity), ' Has the voice of narrator or POV character individuality?’, ' Doesn't the I-narrator focus too much on himself?', 'Is there any unnatural author intrusion in the third person?‘(affinity).
The analytic evaluating elements of the latter can be ‘Was the story well told?’, 'Have the perspectives of different narrators or POV characters quite differentiated?’(precision), 'Is the attitude of the narrator or POV character clearly displayed?'(congruity), 'Are the thinking and feelings of the narrator or POV character naturally changed?'(affinity).
With the framework above, the point of view in “Hwajang(Cremation/Makeup) written by Kim Hun is analysed. This story is interestingly told in a I-narrator viewpoint with two different voices: 'I in reality' describing his wife's body calmly and objectively, and 'I in dreaming' describing a young lady's body introspectively, deliberately and emotionally.
Representing the vanishing body, the former voice stares at 'impossibility of life'. And the latter's voice is eager to 'calling name', showing the yearning and hunger and thirst for vitality. These two voices are paralleled in a counterpoint structure, and synthesized in a introspective style at the climax of the story, revealing effectively the theme 'impossibility of life and unreachable name calling.'
This study can be useful for fiction writing lessons. For student-writers it can be a standard for evaluating and revising their own writing. Furthermore this study may be a step toward developing fiction writing theories.

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