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 specifically went through the process of three types of focalization coming true in the novels of Choi Myeong-ik listed on Jang Sam I Sa . The introduction of the work was more focused on because the process, in which the frame of the narration and the imagination of the readers is combined, begins at the very beginning of the writing.
4 out of 6 works was about “internal focalization", taking a considerably big portion. In these cases, usually the seperated consciousness of a learned man is the focalizer, then a learned woman who is similar to the focalizer and a snobbish man who is different from the focalizer are the sub-focalizer. However, in cases like 〈Rainy Road〉, 〈Paradox〉, 〈A man with no characteristics〉 where the narrator does not exist with the characters, the indifferent attitude of the focalizers were turning into willingness. Also, when the narrator existed with the characters as of heterodiegestic internal focalization in 〈Interrogation〉, in the midst of the influence of the object of focalization, the possibility of the focalizers seperated consciousness combining was shown. This shows the gradual change in the consciousness of the author.
In the first stories of each, 〈Spring and the new road〉 as of zero focalization, and 〈Jang Sam I Sa〉 as of homodiegetic external focalization, the learned focalizer is gone, or his proportion has diminished considerably. And women arose as the main object of focalization, and their sadness or will to live on due to the suppressing circumstances was more focused on. These are only 2 of the many, but they held great importance because they showed a significant change of the author himself.
Thus, Choi Myeong-ik was showing how learned people looked into themselves effectively through internal focalization, and at the same time used zero focalization and external focalization to show women's sadness and strong will to survive. Through this, we can know that Choi Myeong-ik is choosing appropriate focalization to show his purpose of writing in order to achieve great success in literature.
4 out of 6 works was about “internal focalization", taking a considerably big portion. In these cases, usually the seperated consciousness of a learned man is the focalizer, then a learned woman who is similar to the focalizer and a snobbish man who is different from the focalizer are the sub-focalizer. However, in cases like 〈Rainy Road〉, 〈Paradox〉, 〈A man with no characteristics〉 where the narrator does not exist with the characters, the indifferent attitude of the focalizers were turning into willingness. Also, when the narrator existed with the characters as of heterodiegestic internal focalization in 〈Interrogation〉, in the midst of the influence of the object of focalization, the possibility of the focalizers seperated consciousness combining was shown. This shows the gradual change in the consciousness of the author.
In the first stories of each, 〈Spring and the new road〉 as of zero focalization, and 〈Jang Sam I Sa〉 as of homodiegetic external focalization, the learned focalizer is gone, or his proportion has diminished considerably. And women arose as the main object of focalization, and their sadness or will to live on due to the suppressing circumstances was more focused on. These are only 2 of the many, but they held great importance because they showed a significant change of the author himself.
Thus, Choi Myeong-ik was showing how learned people looked into themselves effectively through internal focalization, and at the same time used zero focalization and external focalization to show women's sadness and strong will to survive. Through this, we can know that Choi Myeong-ik is choosing appropriate focalization to show his purpose of writing in order to achieve great success in literature.
목차
Ⅰ. 머리말
Ⅱ. ‘내적 초점화’를 통한 지식인의 자기 성찰
Ⅲ. ‘제로 초점화’를 통한 민중 여성의 비애 폭로
Ⅳ. ‘외적 초점화’를 통한 민중 여성의 생존 의지 부각
Ⅴ. 맺음말
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UCI(KEPA) : I410-ECN-0101-2010-710-002277410