김남천 후기 단편에 나타난 내면갈등의 변모양상 : 창작집 『麥』을 중심으로

초록

In this article, late short stories of Kim Nam-Cho˘n have been explained based on his work『Maek』. Six short stories collected in this work, late works of pre-liberation distinguished from his earlier works, have showed the confrontation-aspect between the author and reality under oppression of Japen, and the process of depth and breakup of his inner conflict. <Saengil-cho˘n Nal>, <Kyong yong> and <Maek> show that how tightly the author's dual self-agony and conflict confront each other, and especially it is chracteristic that his will against reality has been reflected on female characters. Whereas <Nogojili Ujijinda>, <Odi> and <Ku˘lim>, compared with the above works, have showed the past-recollection of escape from reality and the retwin as a petit bourgeois without the internal conflict aspect resulted in the confrontation with reality. Through these two types of works, it needs to be noted that Kim Nam-cho˘n's late works have showed the charge-aspect like a parabola based on <Maek> as the peak. This gets more certain, if works written down in『Maek』are considered on the order of description, and if such late works as <Du˘ngbul> are considered. In terms of the following description order of six works, <Saengil-cho˘n Nal>, <Nogojili Ujijinda>, <Kyong yong>, <Maek>, <Ku˘lim> and <Odi>, the author's reality-recognition and the change of his conflict aspect draw a curved line. In <Saengil-cho˘n Nal>the simple will of confrontation with reality realized by 'So˘bun' ends self-torture, whereas in <Kyong yong> and <Maek> the self-reflection and the will of reality-confrontation of the female character, 'Choi Mu-Kyong', form critical viewpoint on the basis of theory and idea. Also, beyond So˘bun's emotional level, the will toward future has been expressed, and the author's consciousness to resist and to endure can be read. However 'Incho' in <Saengil-cho˘n Nal>, 'Lee Kwan-hyong' in <Kyong yong> and <Maek>, and 'Kim Kye-son' in <Odi> express another group of center characters belonging to the intellectual class. Their appearance can be called the aspect of reality-confrontation by the contemporary converts including the author himself. 'Incho' is the prototype of intellectual, as an outsider, assuming the attitude of an onlooker. By 'Lee Kwan-hyong' criticism on converts and internal cenflict have been emphasized, and intellectuals' nihilistic behaviour on reality has been a little overcome. But in <Ku˘lim> and <Odi>, intellectuals' appearance, that is, the complete retirement to the past and the home town, the escape from reality and the loss of the will of reality-confrontation, have been described. In <Du˘ngbul> printed later than <Odi>, the vestige of losers who have compromized with reality and struggled to live has been showed. AS stated above, if understanding the change aspect of Kim Nam-cho˘n's late works in terms of the reality-confrontation, and the depth and breakup of internal conflict, we can understand completely <Maek> which estimates the result of his late works. So to speak, in the point that Kim Nam-cho˘n's internal self-conflict has been confronted tightly through the developing porcess, reaching to <Maek>, contra-discussion on his late works, i.e., the narrow discussion that they gave undue value to 'Choi Mu-kyong' and 'Lee Kwan-hyong', can be blocked.