한국 근대 소설에 나타난 시선의 문제 - 이광수, 이상, 김승옥의 소설을 중심으로 -
A Study Examines the Issues of the Subject and the Narrative Perspective in Modern Korean Novels - Focusing on the Novels of Lee Gwang Su, Lee Sang, and Kim Seung Ok
This study examines the issues of the subject and the perspective in modern Korean novels focusing on the works of Gwangsu Lee, Sang Lee, and Seungok Kim. The perspective of these novels is defined as a duality. Initially, the scene exposes the subject of the story to be observed by the world around him (passive subject), but later, the subject reappears as an autonomous entity (active subject). The subjects of Lee Gwang Su's novels are viewed as those who need to realize the truth. Ingeneral, voyeuristic scenes are provided in advance for realization, implying that the subjects of these novels gain subjecthood from voyeuristic scenes. The subjects of Lee Gwang Su's works fail to prevent the misconduct of their wife or lover and arrive late at the scene of infidelity (Mujeong, Heuk). These outcomes indicate that the voyeuristic perspective is a prerequisite of the realization process of the subjects of novels. The subjects of Lee Sang's novels are unhealthy ones. The sick body of these subjects is an “obstacle” or a “mystery.” The reason why the subjects of Lee Sang's works do not feel any fascination or pain for their lover's infidelity is because the scene is seen by a larger third person, who unifies the body and spirit of the subject (Nalgae, Bongbyeolgi). He becomes the subject only when his lover takes care of him, that is, when he becomes a child. The subjects of Kim Seung Ok's novels are also like children, but the perspective of a larger third person is not provided in these works. These subjects experience difficulties finding significance in the world because the given scenes are experienced as trauma. Dreadful incidents, such as rape or fornication, fail to be meaningful for the subjects (Life Practice, Winter 1964 in Seoul). The subjects cannot but tremble with fear and suffer from aphasia. Indulgence in trivial details also reveals the trial of finding significance from meaningless details.
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