李文烈의 藝術家小說 硏究 : 「들소」, 「금시조」, 「시인」을 중심으로 = A Study of the artistic novels by Lee Moon Yeol's: Centered on "DeulSo (Wild Ox)", "Shiin (Poet)", Kumsijo (Garuda)"

다국어 초록 (Multilingual Abstract)

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.

목차 (Table of Contents)

• Ⅰ. 서론 = 1
• 1. 연구 목적 = 1
• 2. 연구사 검토 및 문제 제기 = 3
• 3. 연구 방법 및 범위 = 10
• Ⅱ. 본론 = 12
• 1. 예술가소설의 개념과 등장 배경 = 12
• (1) 예술가소설의 개념 = 12
• (2) 예술가소설의 등장 배경 = 15
• 2. 생활과 예술의 분열과 그 갈등 극복 양상 = 19
• (1) 예술가로서의 자각과 운명의식: 「들소」 = 19
• (가) 예술과 권력의 갈등 = 20
• (나) 예술의 실현을 위한 근원적 삶의 추구 = 25
• (2) 예술가 의식의 형상화: 「금시조」 = 27
• (가) 전통적 예술관과 근대적 예술관의 갈등 = 27
• (나) 상호 가치 인정을 통한 예술의 실현 = 33
• (3) 시적 정신과의 만남: 「시인」 = 36
• (가) 사회 체제와의 갈등 = 38
• (나) 자연을 통한 예술의 실현 = 41
• Ⅲ. 결론 = 49
• 참고문헌 = 51
• Abstract = 54