장편『안개의 肖像』의 잡지 연재본과 단행본 간의 간극 고찰 (The study of the gap between the version serialized in the magazine and the book version of The Portrait of Fog)

서지정보

· 발행기관 : 한국어문학회
· 수록지 정보 : 어문학 / 131호 / 267 ~ 295페이지
· 저자명 : 안미영

초록

The study of the gap between the version serialized in the magazine and the book version of The Portrait of Fog

This study took note of the gap between the version serialized in the magazine and the book version of The Portrait of Fog. This work was serialized in women’s monthly magazine Women’s Life from 1969 to 1970, and then its book version was published in 1973. At that time, writer Ku Hye‐yeong was working as a reporter for Women’s Life. In order to examine the characteristics of the serialized version, this study sorted out and analyzed Ku Hye‐yeong’s articles carried in Women’s Life during the period from the late 1960s to 1970. From the articles contributed by Ku Hye‐yeong, we could be inferred housewives’ ethics promoted by magazine Women’s Life in those days. The issues of the magazine in those days took First Lady Yook Yeong‐soo as a role model of Korean housewives and suggested it as housewives’ ethics to support the husband, to manage home, and to be concerned over national security.
Novel The Portrait of Fog serialized in the magazine depicted love and parting of a young man and woman throughout the work in consideration of the appreciation taste of the readers who were housewives, and its later part suggested anti‐communist ideology with the Korean War as its background. While the serialized version lacked in theme consciousness and the degree of completion was markedly low, the book version had reinforced theme consciousness and showed consciousness of history. Having a young socialist as the hero of the story, most of all, the writer threw her effort in character creation, and criticized totalitarianism flooding in the left and right wings of the liberation space. Moreover, she revealed the writer’s negative view of socialism through the young socialist’s tragic end.
What is more, the book version was more skillful than the serialized version in dealing with housewives’ ethics suggested by Women’s Life. In the work, the socialism‐oriented male character’s death was presented as a sacrifice of immature ideology, but the socialism‐oriented female character’s death was treated as a punishment upon a licentious woman who abandoned her husband and family. The author criticized totalitarianism of both the leftist and rightist powers in the liberation space, but solidified negation of socialism and impressed firmly housewives’ ethics suggested by the magazine by adding the label ‘socialist’ to the female character who abandoned the husband and home.

영어초록

The study of the gap between the version serialized in the magazine and the book version of The Portrait of Fog

This study took note of the gap between the version serialized in the magazine and the book version of The Portrait of Fog. This work was serialized in women’s monthly magazine Women’s Life from 1969 to 1970, and then its book version was published in 1973. At that time, writer Ku Hye‐yeong was working as a reporter for Women’s Life. In order to examine the characteristics of the serialized version, this study sorted out and analyzed Ku Hye‐yeong’s articles carried in Women’s Life during the period from the late 1960s to 1970. From the articles contributed by Ku Hye‐yeong, we could be inferred housewives’ ethics promoted by magazine Women’s Life in those days. The issues of the magazine in those days took First Lady Yook Yeong‐soo as a role model of Korean housewives and suggested it as housewives’ ethics to support the husband, to manage home, and to be concerned over national security.
Novel The Portrait of Fog serialized in the magazine depicted love and parting of a young man and woman throughout the work in consideration of the appreciation taste of the readers who were housewives, and its later part suggested anti‐communist ideology with the Korean War as its background. While the serialized version lacked in theme consciousness and the degree of completion was markedly low, the book version had reinforced theme consciousness and showed consciousness of history. Having a young socialist as the hero of the story, most of all, the writer threw her effort in character creation, and criticized totalitarianism flooding in the left and right wings of the liberation space. Moreover, she revealed the writer’s negative view of socialism through the young socialist’s tragic end.
What is more, the book version was more skillful than the serialized version in dealing with housewives’ ethics suggested by Women’s Life. In the work, the socialism‐oriented male character’s death was presented as a sacrifice of immature ideology, but the socialism‐oriented female character’s death was treated as a punishment upon a licentious woman who abandoned her husband and family. The author criticized totalitarianism of both the leftist and rightist powers in the liberation space, but solidified negation of socialism and impressed firmly housewives’ ethics suggested by the magazine by adding the label ‘socialist’ to the female character who abandoned the husband and home.

참고자료

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