지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
This paper aims to study the early novels of Yeom Sang-seop. For this purpose, I analysed one of his essays named “Individuality and Art”. By this analysis, I tried to make clear developing process from ‘early trilogy’(It’s a calling for his A green frog in the laboratory, Dark night, and The new year’s eve en bloc) to Before long live. And I also tried to make an inner order of them. “Individuality and Art” mainly shows Yeom Sang-seop’s conceptual thinking of self and individuality. He insisted that self should be awakened and individuality be expressed. In his this words the one points toward objectivity the other subjectivity. Yeom Sang-seop’s novel writing was progressed in relation with this thinking.
A green frog in the laboratory features a closed description of subject calling ‘confession form’ by existing studies. The confession form can be accepted as an adequate term to designate Yeom Sang-seop’s unique style which was appeared by transforming of a systemic apparatus of Japanese modern literature. Contemporary Japanese writers had internal fact to confess but Yeom didn’t have. He imitated a systemic apparatus of Japanese modern literature about inside and confession in the state of absence of internal fact to confess. As a result of that, he became to narrate ’mood of speaker’ instead of internal fact which was absent. Such a narrative style is actualized as a structure of mood’s journey in A green frog in the laboratory. Dark night is free from the narration of mood by a separation between speaker and focus. The perception of speaker is limited by focalizer and the inside of focalizer becomes object to speaker. Mutual control between speaker and focalizer causes self-reflection as a cognitive effect. In The new year’s eve, the speaker who doesn’t accord to writer confesses her inside through epistolary style. That confession is a secondhand narration in the viewpoint of Yeom Sang-sup as writer. Epistolary style acts like a means for secondhand narration. As attempting objectification the inside in Dark night and attempting secondhand narration through epistolary style in The new year’s eve, Yeom Sang-seop shows a movement which leaves from confession form. His novel writing which started from subjectivity, gradually progresses to objectivity. Before long live is a consequence which integrates methodology of ‘early trilogy’. A structure of journey, self-reflection and secondhand narration meet in Before long live and yield a progressive development.
Besides, the course from early trilogy to Before long live could be named as process of embodiment to the insistence which is manifested in 「Individuality and Art」. Yeom Sang-seop attempted theoretically to harmonize subject with object but he failed in that essay. He accomplished the integration between subject and object through novel writing which was impossible in conceptual thinking. Therefore Before long live is a fruit which attains to the state of transcendental conception.
A green frog in the laboratory features a closed description of subject calling ‘confession form’ by existing studies. The confession form can be accepted as an adequate term to designate Yeom Sang-seop’s unique style which was appeared by transforming of a systemic apparatus of Japanese modern literature. Contemporary Japanese writers had internal fact to confess but Yeom didn’t have. He imitated a systemic apparatus of Japanese modern literature about inside and confession in the state of absence of internal fact to confess. As a result of that, he became to narrate ’mood of speaker’ instead of internal fact which was absent. Such a narrative style is actualized as a structure of mood’s journey in A green frog in the laboratory. Dark night is free from the narration of mood by a separation between speaker and focus. The perception of speaker is limited by focalizer and the inside of focalizer becomes object to speaker. Mutual control between speaker and focalizer causes self-reflection as a cognitive effect. In The new year’s eve, the speaker who doesn’t accord to writer confesses her inside through epistolary style. That confession is a secondhand narration in the viewpoint of Yeom Sang-sup as writer. Epistolary style acts like a means for secondhand narration. As attempting objectification the inside in Dark night and attempting secondhand narration through epistolary style in The new year’s eve, Yeom Sang-seop shows a movement which leaves from confession form. His novel writing which started from subjectivity, gradually progresses to objectivity. Before long live is a consequence which integrates methodology of ‘early trilogy’. A structure of journey, self-reflection and secondhand narration meet in Before long live and yield a progressive development.
Besides, the course from early trilogy to Before long live could be named as process of embodiment to the insistence which is manifested in 「Individuality and Art」. Yeom Sang-seop attempted theoretically to harmonize subject with object but he failed in that essay. He accomplished the integration between subject and object through novel writing which was impossible in conceptual thinking. Therefore Before long live is a fruit which attains to the state of transcendental conception.
목차
1. 서론
2. 내면 고백체와 기분의 여로
3. 자기반성과 타자 서술
4. 인식의 여로
5. 결론
참고문헌
영어 초록
참고문헌 (9)
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