‘고향’이라는 미정형의 기호 ― 1980년대 김현 비평의 전개 과정과 숨은 원리 ― (‘Hometown’, its Undetermined Sign ― Development and implied principle in 1980’s Kim Hyun Criticism ―)

서지정보

· 발행기관 : 전북대학교 인문학연구소
· 수록지 정보 : 건지인문학 / 17호 / 279 ~ 332페이지
· 저자명 : 한순미

초록

Hometown shown in Kim Hyun Criticism is not limited to his actual hometown only. The hometown in his criticism implies more than a specific place, showing the images with different context. It is a certain place which raises a critical question at the intersection point of various hometowns including the writer’s actual hometown as a subject for analysis, the hometown as a background of work, and the character’s hometown.
Gwangju in May 1980 had a decisive effect on his criticism to get sharper in “his historical point of view” compared to his criticism before 1980. Since Gwangju Democratic Uprising, he set ‘the hometown’ as his subject of discussion, drastically exploring “the meaning of violence” and “the root of desire.” The hometown in his criticism in 1980’s appears as different context and meanings.
His study on the meaning of violence drastically made since 1980 has been led to the analysis of internal experience of art.
In the process, he saw the desire wriggling out of the violent world in Namdo Sori. Sori is what allows to let out of the world of violence which totally destroys and damages to human life, that is, the hometown as the space where art exists.
As shown above, the hometown shown in Kim Hyun Criticism has been getting close to hometown in Namdo since Gwangju in 1980. But, we can not define the hometown in his criticism as a single image or meaning. The hometown(s) exists in the process of building and constructing a new world, destroyingand destructing the existing world. It is why we call the hometown still alive in Kim Hyun Criticism as ‘Undetermined Sign.’

영어초록

Hometown shown in Kim Hyun Criticism is not limited to his actual hometown only. The hometown in his criticism implies more than a specific place, showing the images with different context. It is a certain place which raises a critical question at the intersection point of various hometowns including the writer’s actual hometown as a subject for analysis, the hometown as a background of work, and the character’s hometown.
Gwangju in May 1980 had a decisive effect on his criticism to get sharper in “his historical point of view” compared to his criticism before 1980. Since Gwangju Democratic Uprising, he set ‘the hometown’ as his subject of discussion, drastically exploring “the meaning of violence” and “the root of desire.” The hometown in his criticism in 1980’s appears as different context and meanings.
His study on the meaning of violence drastically made since 1980 has been led to the analysis of internal experience of art.
In the process, he saw the desire wriggling out of the violent world in Namdo Sori. Sori is what allows to let out of the world of violence which totally destroys and damages to human life, that is, the hometown as the space where art exists.
As shown above, the hometown shown in Kim Hyun Criticism has been getting close to hometown in Namdo since Gwangju in 1980. But, we can not define the hometown in his criticism as a single image or meaning. The hometown(s) exists in the process of building and constructing a new world, destroyingand destructing the existing world. It is why we call the hometown still alive in Kim Hyun Criticism as ‘Undetermined Sign.’

참고자료

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