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이문구 소설의 서술 구조 ― 연작소설을 중심으로-On Discourse Structure of the Short Stories by Lee Moon-gu

Other Titles
On Discourse Structure of the Short Stories by Lee Moon-gu
Authors
최시한
Issue Date
Sep-2008
Publisher
한국문학이론과비평학회
Keywords
서술; 작자-서술자; 전; 반영자 서술; 회귀 구성; 장면 중심 서술; discourse; narration; author-narrator; biography; reflector narration; recurrence plot; scenic narration; discourse; narration; author-narrator; biography; reflector narration; recurrence plot; scenic narration
Citation
한국문학이론과 비평, v.12, no.3, pp.57 - 84
Journal Title
한국문학이론과 비평
Volume
12
Number
3
Start Page
57
End Page
84
URI
https://scholarworks.sookmyung.ac.kr/handle/2020.sw.sookmyung/7826
ISSN
1598-3501
Abstract
Short stories by Lee Moon-gu are discoursed in narrative situation which narrator is not distinguished from author. We can say that the subject of narration who was named author-narrator on this paper discourses sovereignly in spoken language like a storyteller. The narrative situation which basically doesn't care about separation of fictitious world or doesn't establish fictitious narrative situation separatively was not changed to the style of narrative situation of novel. However, on the other hand, we can say that such a narrative situation exists, because the author refused the change consciously. Also, this narrative situation was strengthened and became ideologically firm, because it inherited mind for narration and form from biography. Author-narrators of short stories by Lee Moon-gu are basically descriptors and also storytellers at the same time, and they have very near relations to the author. All of roman cycles which are worked on this paper are a collection of biography. The posture of a scholar of author-narrator and his accurate narration of author-narrator which is about life of common people show its peak on series in 『Kwanchon Supil (Essays in Kwanchon)』, but they have a problems that are exposure of premodern ideology and flat specific. Lee Moon-gu overcomes these problems through reflector narration, scenic narration, recurrence plot and so on. His such an overcoming is formed through that he limited a little bit function of author-narrator and his attitude as a storyteller rises to the surface strengthening scenic and humor. Also, his such an overcoming was tried intensively on series in 『Uri Dongne (Our Town)』and series in 'Namu (tree)' and he obtained the desired results. As a result, the esthetic form that short stories by Lee Moon-gu attained is 'spatial novel' that strengthens spatiality with extention of conversation scene, recurrence plot and form of series. Short stories by Lee Moon-gu show the mixed problems that Korean history of modern narrative has faced. 'Strange' aspect that works by Lee Moon-gu bring into relief brings to our attention how we have been negligent of what kind of form Korean novel has to have and which form Korean novel has. Lee Moon-gu exposes that Korean novel gave up being a subject being swept away by ranging waves of modernizing and Westernization, through that he refused that he is 'other' in his own tradition for narrative. It is as important as that his works show the life of common people that is deprived of sovereign and colonized.
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