차이들의 우주적 네트워크 ― 2000년대 한국소설의 패러다임 = Universal Network of Differences ― the paradigm of Korean novels in the 2000s

다국어 초록 (Multilingual Abstract)

There are no further efforts to make an interpretation of Korean novels in the 2000s than merely assessing how much the novels are shallow. Recent novels are 'displayed' as the texts of postmodernism research that just focuses on deconstruction or fusion in conjunction with massmedia or popular culture marked by fantasy, drama or the Internet, and there are few attempts to make 'research' on the philosophical depth of the texts. However, Park Min-gyu and Kim Ae-ran who entrench themselves as a new generation in the Korean literary world in the 2000s don't simply show an extraordinary and marvelous imagination in their novels. There are ample signs of ethics and communication with others in their works that tried to create harmony between absolutely different things by linking their meanings in a diverse and bold manner such as using a metaphor.
Dichotomy that was extremely prevailing in early modern times indicates that 'I' am different from 'you.' The problem was that it disapproved of the differences instead of accepting them. If 'the differences' could be understood as a matter of interval between people or between geographic regions, it could be said that Kim Ae-ran and Park Min-gyu bridged the interval and spoke to mutually separated others. They had a narrative will to link different things, and described the coexistence of every subject matter in the world without being restricted by time and space. And they pursued a mix-up of different species and desired to understand the subjective and relative differences of people and things. It should be noted here that the ways of linking the differences in their novels are like a metaphor that bridges different meanings and different images. A metaphor is the primary attribute of language signs, and people's perception is built on a metaphor in a broad sense. Truth is not absolute but always depends on human understanding that is structurized in a metaphorical manner. In the current age, no truth is absolute, and there is no fixed, absolute standpoint. The fact that the languages of today's novels are connected regardless of time, space, tribes and attributes could be explained in that context.
Meanings are found here and there between the nets of metaphors. A metaphor is a secret way by which one is bound to accept a difference. Ultimately, that makes up the 21st century's paradigm that values diversity, break down barriers and leads to co-living. Today's world is overly fragmented, and there is no idea how to link the fragments. Due to the pervasive dichotomous ideology in the literary world, giant narration was rampant in the 1980s, and the 1990s focused on quotodiennete. In the 2000s, Korean novels are on the verge of connecting the fragmented world. Man's life is basically built on relationship with others. Esteem for the diversity of life and communication are mandatory in this age, and there are infinite things, such as other species or the unknown space, which we have to understand in the future. It's needed to set our sights higher by thinking from the perspective of the universe, and a future academic paradigm built on that perspective is to interpret novels by utilizing one's humane imagination and by centering around what problems the novels pose. Novels should be in pursuit of totality through network, not one geared toward creating a particular mythology.

다국어 초록 (Multilingual Abstract)

There are no further efforts to make an interpretation of Korean novels in the 2000s than merely assessing how much the novels are shallow. Recent novels are 'displayed' as the texts of postmodernism research that just focuses on deconstruction or fusion in conjunction with massmedia or popular culture marked by fantasy, drama or the Internet, and there are few attempts to make 'research' on the philosophical depth of the texts. However, Park Min-gyu and Kim Ae-ran who entrench themselves as a new generation in the Korean literary world in the 2000s don't simply show an extraordinary and marvelous imagination in their novels. There are ample signs of ethics and communication with others in their works that tried to create harmony between absolutely different things by linking their meanings in a diverse and bold manner such as using a metaphor.
Dichotomy that was extremely prevailing in early modern times indicates that 'I' am different from 'you.' The problem was that it disapproved of the differences instead of accepting them. If 'the differences' could be understood as a matter of interval between people or between geographic regions, it could be said that Kim Ae-ran and Park Min-gyu bridged the interval and spoke to mutually separated others. They had a narrative will to link different things, and described the coexistence of every subject matter in the world without being restricted by time and space. And they pursued a mix-up of different species and desired to understand the subjective and relative differences of people and things. It should be noted here that the ways of linking the differences in their novels are like a metaphor that bridges different meanings and different images. A metaphor is the primary attribute of language signs, and people's perception is built on a metaphor in a broad sense. Truth is not absolute but always depends on human understanding that is structurized in a metaphorical manner. In the current age, no truth is absolute, and there is no fixed, absolute standpoint. The fact that the languages of today's novels are connected regardless of time, space, tribes and attributes could be explained in that context.
Meanings are found here and there between the nets of metaphors. A metaphor is a secret way by which one is bound to accept a difference. Ultimately, that makes up the 21st century's paradigm that values diversity, break down barriers and leads to co-living. Today's world is overly fragmented, and there is no idea how to link the fragments. Due to the pervasive dichotomous ideology in the literary world, giant narration was rampant in the 1980s, and the 1990s focused on quotodiennete. In the 2000s, Korean novels are on the verge of connecting the fragmented world. Man's life is basically built on relationship with others. Esteem for the diversity of life and communication are mandatory in this age, and there are infinite things, such as other species or the unknown space, which we have to understand in the future. It's needed to set our sights higher by thinking from the perspective of the universe, and a future academic paradigm built on that perspective is to interpret novels by utilizing one's humane imagination and by centering around what problems the novels pose. Novels should be in pursuit of totality through network, not one geared toward creating a particular mythology.

참고문헌 (Reference)

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19 이진경, "노마디즘" 휴머니스트 2002