최인훈 소설에서의 비극의 변용 소설 회색인 서유기

목차

우리 소설에서의 비극의 변용과 생성
―최인훈의 {회색인}·{서유기}를 중심으로
1. 머리말
2. 혁명의 비극을 넘어서
3. 총체는 총화가 아니다
4. 기억의 비극
5. 맺음말
참고문헌


*한글97

본문내용

, an encounter between philosophy and literature. Therefore, the problem, accommodation and transformation of tragedy in his works can't be equivalent with the problem of displacement or transcription in the Western tragic literature. Of course, it is not true for us not to detect the trace of the Western tragic literature in the novel serials dealing with in this paper. But it is unreasonable to confirm the mutual relationship for giving and taking with such a trace. We would rather take notice of the process of novels that a tragedy is transformed into a world view and sensibility than others. The his works discussed in this paper don't embody the vision of Western tragedy but do embody the growth of other tragic literature achieved by one of the great Korean writers. The tragic vision suggested from his novel serials is as follows:
The tragedy of hero, Dok-go Jun that the writer's own aspects for him seem to be reflected considerably starts at the point that he can't be happy with merely political view. It is fate for the cursed people with prohibited desires heading for conquering all difficulties of life. His tragic view for world isn't the inevitable pessimism caused by the learned's the way of thinking against the development of history. It is a kind of discord spirit that the next step after universal step such as the development of history, again causing problems in the "I" therefore it isn't guaranteed ultimately to easygoing compromise with world.
The more political senses of id ologues for suggesting ideologic proposal or the pursuit of historic consciousness are deepened, the sexual experience in the childhood is emphasized repeatedly by intermittent repetition. Dok-go Jun's tragedy is caused by a persistent denial to temporary identity and clear pursuit for his own fate. When he denies intentionally identity for one side, his identity can't be a definite whole for the sum total and all objects, except for fate, turn into strangers. Thus the Dok-go Jun's truth, 'fate' exists in the ways of absence and negation in the world just like 'hidden god'. We can understand his tragedy clearly at last by reinterpreting the childhood and summer that he really wished to reach. To Dok-go Jun, the childhood is a kind of remembrance on the principles of pleasure revived completely by fulfilling the dream, an unconscious wish. That is the reflection of utopia. The degradation to childhood means, precisely speaking, the tragic intention as an unattainable dream. Therefore, remembrance on the childhood supporting the principles of pleasure with an overturn power for the realities of life is the problem that can never be limited to an mental external wound. Dok-go Jun, never go back to his childhood but lives in impossible ways not to abandon his dream, might be said as the one hero of Korean tragedy that the transformation of western tragic literature can never imitate.
⊙필자 연락처
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최인훈 소설,   비극의 변용,   회색인,   서유기