공지영 소설 『별들의 들판』의 화자 담론 연구 ―‘별들의 들판’ 1～6을 중심으로 (A study on the Narrator Discourse of The Field of the Stars by Gong, Ji-young :Focusing on 「The Field of the Stars」 series 1-6)

서지정보

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초록

‘The Field of the Stars’ series in Gong's novel ‘The Field of the Stars’ not only views 70-80s in terms of 2000s, it's also the product of writer's private desire to interpret the hardships of parents generation by overlapping them onto the lives of current generations. Though, as some pointed out, this series might reproduce the melodramatic elements and tautological description inherent in her earlier novels, it has some implication in that beyond the frame of generation and period it embodies time and history of the past through her distinctive narration.
Narratic aspects in the text may be characterized by the commingling of the public narrator, the private narrator and the focalizer. While the public narrator, represented by the writer-character, does the functions to drive the entire text, the private narrator, a being chained to the extensity inherent in ‘Germany’ and ‘Korea’, reflects narrative function. On the other hand, the focalizer who feels and perceives everything is subject to both ‘public and private narrator’, and serves to more reflect public narrator's position characteristic of writer-character now and that of private narrator characteristic of fictional characters in the text and again, as things go.
On the other hand, the writer works as an extratext narrator to shout to the extrafictional world with the aim of communicating with the audiences. Presuming that the extrafictional voice may be “the vehicle that the writer could use the most immediately”, this strategy would be viewed as the product of writer's deliberate discourse to interweave the lives of past character and those of the present.
This multi-facet narrator strategy may reveal the writer Gong's perception that ‘Berlin’-fictitious place in the text-is co-existent in the present beyond the time. In other words, the four Berlin - ‘Berlin in the text’, ‘Berlin as a proper noun’, ‘Berlin that the writer contemplates’ and the ‘Berlin embodied through the audiences' practice of reading’ - exist as a cognominal multiple cities extending the extensity. This would be interpreted as the product of writer's private desire to view the past and present as a united world, not dividend one.
Characters represented in the text are all like the ‘star’ that appeared in ‘Field’, the stage of life. The sentiments awakened by ‘Berlin’ and ‘Diaspora’ shown in the characters prodoxically represent the questions of present life. “Time has gone and nobody can repair it, but one thing we can do. That's Remembering, Don't Forgetting, whether remembering the wound, Choosing it”(‘The Field of the Stars’ -Berliners 6, p.248). This monologue of the heroine Su-yeon's may reveal some cross-sections of narrative's essence, in addition to the writer's message that life is Remembering, Don't Forgetting, and Choosing it.

영어초록

‘The Field of the Stars’ series in Gong's novel ‘The Field of the Stars’ not only views 70-80s in terms of 2000s, it's also the product of writer's private desire to interpret the hardships of parents generation by overlapping them onto the lives of current generations. Though, as some pointed out, this series might reproduce the melodramatic elements and tautological description inherent in her earlier novels, it has some implication in that beyond the frame of generation and period it embodies time and history of the past through her distinctive narration.
Narratic aspects in the text may be characterized by the commingling of the public narrator, the private narrator and the focalizer. While the public narrator, represented by the writer-character, does the functions to drive the entire text, the private narrator, a being chained to the extensity inherent in ‘Germany’ and ‘Korea’, reflects narrative function. On the other hand, the focalizer who feels and perceives everything is subject to both ‘public and private narrator’, and serves to more reflect public narrator's position characteristic of writer-character now and that of private narrator characteristic of fictional characters in the text and again, as things go.
On the other hand, the writer works as an extratext narrator to shout to the extrafictional world with the aim of communicating with the audiences. Presuming that the extrafictional voice may be “the vehicle that the writer could use the most immediately”, this strategy would be viewed as the product of writer's deliberate discourse to interweave the lives of past character and those of the present.
This multi-facet narrator strategy may reveal the writer Gong's perception that ‘Berlin’-fictitious place in the text-is co-existent in the present beyond the time. In other words, the four Berlin - ‘Berlin in the text’, ‘Berlin as a proper noun’, ‘Berlin that the writer contemplates’ and the ‘Berlin embodied through the audiences' practice of reading’ - exist as a cognominal multiple cities extending the extensity. This would be interpreted as the product of writer's private desire to view the past and present as a united world, not dividend one.
Characters represented in the text are all like the ‘star’ that appeared in ‘Field’, the stage of life. The sentiments awakened by ‘Berlin’ and ‘Diaspora’ shown in the characters prodoxically represent the questions of present life. “Time has gone and nobody can repair it, but one thing we can do. That's Remembering, Don't Forgetting, whether remembering the wound, Choosing it”(‘The Field of the Stars’ -Berliners 6, p.248). This monologue of the heroine Su-yeon's may reveal some cross-sections of narrative's essence, in addition to the writer's message that life is Remembering, Don't Forgetting, and Choosing it.

참고자료

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