윤후명 소설의 서사구조적 특질 (A Study on the Narrative Structures of Yun Hu-Myeong’s Novels)

서지정보

· 발행기관 : 한국언어문학교육학회
· 수록지 정보 : 한어문교육 / 38권 / 303 ~ 328페이지
· 저자명 : 이미림

초록

here are not many previous studies on the literature of Yun Hu-myeong, a novelist of medium standing, despite its qualitative and quantitative accumulation. The publication of complete collection of his works raises a need for full-blown research and interest in his works. Characterized by self-reflectivity, self-search and destruction of legitimate narrative, his novels are in the basic structure of travel/digression narrative. Travel narrative is a proper literary device to present the topics of political and economic suppression and poverty as well as the existential anxiety, human alienation and existential fear through situations in which wandering and roaming is inevitable. The events that offered causes of departing and wandering in the early modern and modern history of Korea were put in the foreground in his novels with no specific information provided about the characters, which was his narrative strategy for poetic and metaphorical embodiment. In his novels, the male protagonists go on a journey beyond time and space repeatedly, establish their self-identity through a deviation with female others they encounter during their travel, and meet ethnic Koreans living in China, ethnic Koreans in Russia, Korean workers in Hawaii, North Korean defectors, and North Koreans. They also explore their origins and identities by introducing individuals they can relate to and historical figures in the Korean history. Having sex with women and living together with them is a conceptual device to signify their otherness. Such existential reflection and fundamental search of theirs are combined with migration and multicultural phenomena, thus having them win the sympathy and universality by encountering Korean migrants and moving from self-identity to Korean identity to share the collective memories. Travel fantasy narrative is a core narrative unit of Yun’s literature and proper way of depiction for the floating era of nomadism, containing historical and conceptual internal travel in it as well as geographical and physical travel.
Digression destroys the legitimate narrative by moving away from the main plot, but it is an effective technique for artistry and provocative originality as an allegory and metaphorical form to return to the original theme. In his novels, the main characters try to have a distance from themselves as well as the Korean reality and do an existential and philosophical self-examination about life, love, and death by telling bits of stories from ancient or primitive history, mythology and tales and introducing the stories of people they meet during travel. Abrupt retrieval of memories helps to identify people to be remembered with things to be associated with, and digression contributes to an encounter with the shadow or persona of a main character. The travel and digression narrative structure consistently found in his works reflects a reflective topic that life is the continuance and repetition of coincidence and contingency and in a fragmented and splitting structure rather than an organic and causal one. The spontaneous insertion of digression is Yun’s depiction strategy to make the familiar unfamiliar and highlight artistry by returning to the thematic consciousness. It is also one of basic narrative units and literary features of his works. Travel and digression, which make frequent appearances his novels and short stories, are depicted in independent and fragmented ways and in pursuit of becoming others through a distance from a self. Telling strange and unfamiliar things and stories with signs and images, Yun’s literature explores self, race, and root in a non-representative, anti-realistic narrative and thus has experimental and rhizome features.

영어초록

here are not many previous studies on the literature of Yun Hu-myeong, a novelist of medium standing, despite its qualitative and quantitative accumulation. The publication of complete collection of his works raises a need for full-blown research and interest in his works. Characterized by self-reflectivity, self-search and destruction of legitimate narrative, his novels are in the basic structure of travel/digression narrative. Travel narrative is a proper literary device to present the topics of political and economic suppression and poverty as well as the existential anxiety, human alienation and existential fear through situations in which wandering and roaming is inevitable. The events that offered causes of departing and wandering in the early modern and modern history of Korea were put in the foreground in his novels with no specific information provided about the characters, which was his narrative strategy for poetic and metaphorical embodiment. In his novels, the male protagonists go on a journey beyond time and space repeatedly, establish their self-identity through a deviation with female others they encounter during their travel, and meet ethnic Koreans living in China, ethnic Koreans in Russia, Korean workers in Hawaii, North Korean defectors, and North Koreans. They also explore their origins and identities by introducing individuals they can relate to and historical figures in the Korean history. Having sex with women and living together with them is a conceptual device to signify their otherness. Such existential reflection and fundamental search of theirs are combined with migration and multicultural phenomena, thus having them win the sympathy and universality by encountering Korean migrants and moving from self-identity to Korean identity to share the collective memories. Travel fantasy narrative is a core narrative unit of Yun’s literature and proper way of depiction for the floating era of nomadism, containing historical and conceptual internal travel in it as well as geographical and physical travel.
Digression destroys the legitimate narrative by moving away from the main plot, but it is an effective technique for artistry and provocative originality as an allegory and metaphorical form to return to the original theme. In his novels, the main characters try to have a distance from themselves as well as the Korean reality and do an existential and philosophical self-examination about life, love, and death by telling bits of stories from ancient or primitive history, mythology and tales and introducing the stories of people they meet during travel. Abrupt retrieval of memories helps to identify people to be remembered with things to be associated with, and digression contributes to an encounter with the shadow or persona of a main character. The travel and digression narrative structure consistently found in his works reflects a reflective topic that life is the continuance and repetition of coincidence and contingency and in a fragmented and splitting structure rather than an organic and causal one. The spontaneous insertion of digression is Yun’s depiction strategy to make the familiar unfamiliar and highlight artistry by returning to the thematic consciousness. It is also one of basic narrative units and literary features of his works. Travel and digression, which make frequent appearances his novels and short stories, are depicted in independent and fragmented ways and in pursuit of becoming others through a distance from a self. Telling strange and unfamiliar things and stories with signs and images, Yun’s literature explores self, race, and root in a non-representative, anti-realistic narrative and thus has experimental and rhizome features.

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