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It's so hard to read Lee, Sang's novels. In most cases, the general grammar of writing is often ignored. And the symbolisms in the narratives are so complicated that an analytical understanding of them is a hard task. We cannot easily discern the so called objective meanings. Accordingly the argument on his works is a knotty problem.
However it seems that most problems derive from the dogmatic idea of substantial meaning. Premising substantial meaning, we cannot read between lines in texts especially in literary texts. In order to understand the literary texts as it should, we should free ourselves from the obsession of objective meaning. According to the phenomenology or hermeneutics the meaning of literary text should be understood as a kind of constitutive notion. As a matter of fact 'meaning'(Bedeutung in German) is not suitable. Instead 'sense'(Sinn in German) is employed.
I inspect Nalgae(The Wing), the most famous but debatable novel Lee, Sang ever wrote. Nalgae demands reader's interactive response for 'making senses' or 'filling gaps'. Especially the consciousness of space is revealed in this narrative. Actually in understanding Nalgae the arguments on narrative space are inevitable. Following C. D. Malmgren, "radical disruption of story or compositional space necessarily implicates the reader in narrative management; it creates a writerly text whose reader becomes an active producer, not a passive consumer, of both meaning and structure." The problems relative to the narrative space is not only limited to the narratival space(erzahlte Raum) but also to the narrational space(Erzahlraum).
In Nalgae the dynamics of narrative situations(Erzahlsituationen) is so remarkable. As it were, the first person narrator(Ich-Erzahler) is not correspondent to the empirical subject, so the indeterminacy of narrative is revealed, and the reliability of narrator is open to doubt. The narrative situation is distorted and the roles of reader would be increased.
Its spatial form is the symbolical projected space, a type of narrative space, refers to the space described by the inverse perspective entirely. So to speak, it is applied to the narratives with the wholly different shapes to the objective ones. It reveals the aspects of the spatial shapes newly interpreted and created in the process of the character's consciousness. In this case, the narrative situations are frequently controlled by the first person narrators, so the narrator's territories may be reduced and reader's ones shall be expanded relatively. Moreover, a level of the hermeneutic space in which readers reside should be constituted. Conclusively, it can be evaluated that these narratives involve the narrative spatiality in a substantial sense.
However it seems that most problems derive from the dogmatic idea of substantial meaning. Premising substantial meaning, we cannot read between lines in texts especially in literary texts. In order to understand the literary texts as it should, we should free ourselves from the obsession of objective meaning. According to the phenomenology or hermeneutics the meaning of literary text should be understood as a kind of constitutive notion. As a matter of fact 'meaning'(Bedeutung in German) is not suitable. Instead 'sense'(Sinn in German) is employed.
I inspect Nalgae(The Wing), the most famous but debatable novel Lee, Sang ever wrote. Nalgae demands reader's interactive response for 'making senses' or 'filling gaps'. Especially the consciousness of space is revealed in this narrative. Actually in understanding Nalgae the arguments on narrative space are inevitable. Following C. D. Malmgren, "radical disruption of story or compositional space necessarily implicates the reader in narrative management; it creates a writerly text whose reader becomes an active producer, not a passive consumer, of both meaning and structure." The problems relative to the narrative space is not only limited to the narratival space(erzahlte Raum) but also to the narrational space(Erzahlraum).
In Nalgae the dynamics of narrative situations(Erzahlsituationen) is so remarkable. As it were, the first person narrator(Ich-Erzahler) is not correspondent to the empirical subject, so the indeterminacy of narrative is revealed, and the reliability of narrator is open to doubt. The narrative situation is distorted and the roles of reader would be increased.
Its spatial form is the symbolical projected space, a type of narrative space, refers to the space described by the inverse perspective entirely. So to speak, it is applied to the narratives with the wholly different shapes to the objective ones. It reveals the aspects of the spatial shapes newly interpreted and created in the process of the character's consciousness. In this case, the narrative situations are frequently controlled by the first person narrators, so the narrator's territories may be reduced and reader's ones shall be expanded relatively. Moreover, a level of the hermeneutic space in which readers reside should be constituted. Conclusively, it can be evaluated that these narratives involve the narrative spatiality in a substantial sense.
목차
1. 문제와 단서
2. 공간 형상과 역학
3. 공간 구도
4. 지평
Abstract
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