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초록· 키워드
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This study took note of the gap between the version serialized in the magazine and the book version of The Portrait of Fog. This work was serialized in women’s monthly magazine Women’s Life from 1969 to 1970, and then its book version was published in 1973. At that time, writer Ku Hye yeong was working as a reporter for Women’s Life. In order to examine the characteristics of the serialized version, this study sorted out and analyzed Ku Hye‐yeong’s articles carried in Women’s Life during the period from the late 1960s to 1970. From the articles contributed by Ku Hye‐yeong, we could be inferred housewives’ ethics promoted by magazine Women’s Life in those days. The issues of the magazine in those days took First Lady Yook Yeong‐soo as a role model of Korean housewives and suggested it as housewives’ ethics to support the husband, to manage home, and to be concerned over national security.
Novel The Portrait of Fog serialized in the magazine depicted love and parting of a young man and woman throughout the work in consideration of the appreciation taste of the readers who were housewives, and its later part suggested anti‐communist ideology with the Korean War as its background. While the serialized version lacked in theme consciousness and the degree of completion was markedly low, the book version had reinforced theme consciousness and showed consciousness of history. Having a young socialist as the hero of the story, most of all, the writer threw her effort in character creation, and criticized totalitarianism flooding in the left and right wings of the liberation space. Moreover, she revealed the writer’s negative view of socialism through the young socialist’s tragic end.
What is more, the book version was more skillful than the serialized version in dealing with housewives’ ethics suggested by Women’s Life. In the work, the socialism‐oriented male character’s death was presented as a sacrifice of immature ideology, but the socialism‐oriented female character’s death was treated as a punishment upon a licentious woman who abandoned her husband and family. The author criticized totalitarianism of both the leftist and rightist powers in the liberation space, but solidified negation of socialism and impressed firmly housewives’ ethics suggested by the magazine by adding the label ‘socialist’ to the female character who abandoned the husband and home.
Novel The Portrait of Fog serialized in the magazine depicted love and parting of a young man and woman throughout the work in consideration of the appreciation taste of the readers who were housewives, and its later part suggested anti‐communist ideology with the Korean War as its background. While the serialized version lacked in theme consciousness and the degree of completion was markedly low, the book version had reinforced theme consciousness and showed consciousness of history. Having a young socialist as the hero of the story, most of all, the writer threw her effort in character creation, and criticized totalitarianism flooding in the left and right wings of the liberation space. Moreover, she revealed the writer’s negative view of socialism through the young socialist’s tragic end.
What is more, the book version was more skillful than the serialized version in dealing with housewives’ ethics suggested by Women’s Life. In the work, the socialism‐oriented male character’s death was presented as a sacrifice of immature ideology, but the socialism‐oriented female character’s death was treated as a punishment upon a licentious woman who abandoned her husband and family. The author criticized totalitarianism of both the leftist and rightist powers in the liberation space, but solidified negation of socialism and impressed firmly housewives’ ethics suggested by the magazine by adding the label ‘socialist’ to the female character who abandoned the husband and home.
목차
1. 서론
2. 1970년대 전후(前後) 『주부생활』에 나타난 주부(主婦)의 윤리
3. 연재본 『안개의 肖像』 : 청춘남녀의 사랑과 이별
4. 단행본 『안개의 肖像』 : 해방공간과 한국전쟁에 대한 탐구
5. 결론
참고문헌
[Abstract]
참고문헌 (9)
참고문헌 신청
주부생활, 동아일보, 신천지
구혜영, 안개의 肖像, 삼성출판사, 1973.
강진호, ｢분단현실의 자기화와 주체적 극복 의지｣, 1970년대 문학연구, 소명출판, 2000, 42∼64쪽.
장미경, ｢1960∼70년대 가정주부(아내)의 형성과 젠더정치 : 여원, 주 부생활 잡지 담론을 중심으로｣, 사회과학연구 제15집1호, 서강 대학교 사회과학연구소, 2007. 2, 142∼182쪽.
이정숙, ｢‘개발주의서사’의 ‘성－섹슈얼리티’에 대한 ‘혐오－연민’－이문 구의 장한몽과 윤흥길의 묵시의 바다를 중심으로｣, 여성문 학연구 제36호, 여성문학학회, 2015.12, 63∼90쪽.
구혜영, 안개의 肖像, 삼성출판사, 1973.
강진호, ｢분단현실의 자기화와 주체적 극복 의지｣, 1970년대 문학연구, 소명출판, 2000, 42∼64쪽.
장미경, ｢1960∼70년대 가정주부(아내)의 형성과 젠더정치 : 여원, 주 부생활 잡지 담론을 중심으로｣, 사회과학연구 제15집1호, 서강 대학교 사회과학연구소, 2007. 2, 142∼182쪽.
이정숙, ｢‘개발주의서사’의 ‘성－섹슈얼리티’에 대한 ‘혐오－연민’－이문 구의 장한몽과 윤흥길의 묵시의 바다를 중심으로｣, 여성문 학연구 제36호, 여성문학학회, 2015.12, 63∼90쪽.
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UCI(KEPA) : I410-ECN-0101-2016-810-002792860