로맨스 소설에 나타난 '아름다운 몸'의 도전과 한계 - 김경화의 『성형 신데렐라』를 중심으로 (Challenges and Umits of Beautiful BOOy in Romance Stories - Focusing on andere/fa Makeover)

서지정보

· 발행기관 : 영주어문학회
· 수록지 정보 : 영주어문 / 15권 / 191 ~ 220페이지
· 저자명 : 최미진

초록

'The IJU11Xlse of this paper is to explore an original romance story
Cinderella Makeooer by comparing its narrative rmde of body to
conventions and corrnmmication methods of traditional romance stories.
In Cinderella Makeover, a 'plastic surgery' that the heroine Lee Yu-jin
underwent was created as a new incident and internal and external
conflicts from the iocident were at the heart of its narrative.
First of all, Lee, Yu-jin had a 'procedure' through an U.S. reality
television program 'Becorring Cinderella, and the story is a parody of
the whole process of <Becoming Cinderella>, which is a Korean version
of the U.S. reality program aired by Donga TV. Participation in the
show and production format were similar, but selection process and
broadcasting format were represented in rrnre dramatic and touching
ways. It was not, however, free from the dominant ideology of
patriarchal consumption-obsessed capitalism Nevertheless, the story
squarely made such realities public, allowing readers to redefine the
reality they face and to try to fix it.
Next, the post-surgery life and love of Lee, Yu-jin is described based
on the physical capital of being an artificial beauty, employing the
pre-surgery story as a referential narrative strategy. First, the story
tells about the journey of how Lee, Yu-jin achieved her dream of
becoming a singer after the makeover. In this process, her physical
capital of being a beauty through a plastic surgery not only strengthens
220 / ~?Oi ~ Ai115~ (::r03. 2)
her self-efficacy and but represents the expanded scope of economic
capital and social capital. Second, her love story with Rogan was
described through this physical capital, which is following the
conventional methods of creating and enjoying romance stories.
Lastly, as seen in its title, plastic surgeries were represented as a
'passage' for Lee Yu-jin to become a Cinderella in three aspects. First,
the superficial 'passage' is just another success story of the medical
procedure, but it also brings attention to her confusing self-identity that
resulted from the procedure. Second, her physical capital gives her an
easy access to the 'passage' of becoming a singer, but, at the sarre
tirre, it serves as a critical obstacle to her career. Third, her makeover
becomes a decisive hurdle in the 'passage' to a marriage, but the story
also displays how she successfully overcomes the difficulties. Regarding
this 'passage', the male character Rogan takes the initiative as is shown
in most of the romance stories. Their love can be characterized by a
combination of passionate and romantic love. The various aspects of
these 'passages' have a specific narrative technique in common by
which readers can emphasize with the characters and they can be
imrrersed in and moved by the story. The 'passage' of Cinderella,
however, is not a happy-ending like other successful stories of plastic
surgeries, so it is highly likely that readers may not be swayed by one
dominating interpretation of the story.

영어초록

'The IJU11Xlse of this paper is to explore an original romance story
Cinderella Makeooer by comparing its narrative rmde of body to
conventions and corrnmmication methods of traditional romance stories.
In Cinderella Makeover, a 'plastic surgery' that the heroine Lee Yu-jin
underwent was created as a new incident and internal and external
conflicts from the iocident were at the heart of its narrative.
First of all, Lee, Yu-jin had a 'procedure' through an U.S. reality
television program 'Becorring Cinderella, and the story is a parody of
the whole process of <Becoming Cinderella>, which is a Korean version
of the U.S. reality program aired by Donga TV. Participation in the
show and production format were similar, but selection process and
broadcasting format were represented in rrnre dramatic and touching
ways. It was not, however, free from the dominant ideology of
patriarchal consumption-obsessed capitalism Nevertheless, the story
squarely made such realities public, allowing readers to redefine the
reality they face and to try to fix it.
Next, the post-surgery life and love of Lee, Yu-jin is described based
on the physical capital of being an artificial beauty, employing the
pre-surgery story as a referential narrative strategy. First, the story
tells about the journey of how Lee, Yu-jin achieved her dream of
becoming a singer after the makeover. In this process, her physical
capital of being a beauty through a plastic surgery not only strengthens
220 / ~?Oi ~ Ai115~ (::r03. 2)
her self-efficacy and but represents the expanded scope of economic
capital and social capital. Second, her love story with Rogan was
described through this physical capital, which is following the
conventional methods of creating and enjoying romance stories.
Lastly, as seen in its title, plastic surgeries were represented as a
'passage' for Lee Yu-jin to become a Cinderella in three aspects. First,
the superficial 'passage' is just another success story of the medical
procedure, but it also brings attention to her confusing self-identity that
resulted from the procedure. Second, her physical capital gives her an
easy access to the 'passage' of becoming a singer, but, at the sarre
tirre, it serves as a critical obstacle to her career. Third, her makeover
becomes a decisive hurdle in the 'passage' to a marriage, but the story
also displays how she successfully overcomes the difficulties. Regarding
this 'passage', the male character Rogan takes the initiative as is shown
in most of the romance stories. Their love can be characterized by a
combination of passionate and romantic love. The various aspects of
these 'passages' have a specific narrative technique in common by
which readers can emphasize with the characters and they can be
imrrersed in and moved by the story. The 'passage' of Cinderella,
however, is not a happy-ending like other successful stories of plastic
surgeries, so it is highly likely that readers may not be swayed by one
dominating interpretation of the story.

참고자료

· 없음