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No one would hesitate to select Hong Sung-Won as an energetic writer in korea's literary world. Hong Sung-won, who has claimed himself to be a professional writer since his early age demonstrated a vigorous performance in many of his novels. The depth of his literary activities can be well abridged by his long time fellow and literature critique, Kim Byoung-Ik. "Writer Hong Sung-won is a novel factory", he remarks witfully. As much as his enormous creations, Hong Sung-won's ideology throughout his work refuses to allow narrow thinking and out of the ordinary life. Moreover, he prefers humble honesty over untruthful authority and tries to view the world as it really is rather than the image it reflects.
One can easily notice the common item among his extensive literary works that began in his early years, which is the 'Maritime'. Quoting back from what he has said for himself, 'One Line, Two Colors', the maritime is described and respected beyond its simplicity as the birthplace of various lives and events. It possesses asnenergy within that cannot be observed externally and intercrosses the borderlines of real life and fiction, unites positivity with negativity, and overcomes adversity which prevails in reality. Writer Hong Sung-Won often comes up with paradoxical expression(but). There is a direct connection between maritime and paradoxical expression which Hong Sung-won considered as literary principle.
This research traces the routes of the maritime in a variety of his novels arranged in chronological order, on how differently it has been described. The novels supplied as evidence are Seabird Watting for the Sun, Nothing Left but Salty Sweat, and Traveling Southern Islands. In result, Seabird Watting for the Sun was a novel which described the maritime as a space within our desire where one would wish to be defeated triumphantly, maintaining the solemnity of existence. In Nothing left but Salty Sweat, the maritime is a reconciliatory atmosphere where untrusted people acknowledge each other and recover faith and trust. Also, Traveling Southern Islands, a novel about water pollution and ordinary history concepts of seamen and sailors, projects a space where we correct our misconceptions and misunderstandings regarding the ocean. Although the images that writer Hong Sung-won portrays in his work are limited and restrained, the curiosity towards the mysterious maritime of a writer since his youth formed a suitable image.
Writing about the maritime over the past 40 years, looking over Hong Sung-Won's work since his first work until now might be a meaningful way to pull down the boundary of simplicity across the maritime. In conclusion, from the aspects of the Korean literary society, Hong Sung-Won's work shows various life patterns and colors. Our invisible lives dwelling in the maritime are revealed in the novels by adding his crude experiences from the maritime.
One can easily notice the common item among his extensive literary works that began in his early years, which is the 'Maritime'. Quoting back from what he has said for himself, 'One Line, Two Colors', the maritime is described and respected beyond its simplicity as the birthplace of various lives and events. It possesses asnenergy within that cannot be observed externally and intercrosses the borderlines of real life and fiction, unites positivity with negativity, and overcomes adversity which prevails in reality. Writer Hong Sung-Won often comes up with paradoxical expression(but). There is a direct connection between maritime and paradoxical expression which Hong Sung-won considered as literary principle.
This research traces the routes of the maritime in a variety of his novels arranged in chronological order, on how differently it has been described. The novels supplied as evidence are Seabird Watting for the Sun, Nothing Left but Salty Sweat, and Traveling Southern Islands. In result, Seabird Watting for the Sun was a novel which described the maritime as a space within our desire where one would wish to be defeated triumphantly, maintaining the solemnity of existence. In Nothing left but Salty Sweat, the maritime is a reconciliatory atmosphere where untrusted people acknowledge each other and recover faith and trust. Also, Traveling Southern Islands, a novel about water pollution and ordinary history concepts of seamen and sailors, projects a space where we correct our misconceptions and misunderstandings regarding the ocean. Although the images that writer Hong Sung-won portrays in his work are limited and restrained, the curiosity towards the mysterious maritime of a writer since his youth formed a suitable image.
Writing about the maritime over the past 40 years, looking over Hong Sung-Won's work since his first work until now might be a meaningful way to pull down the boundary of simplicity across the maritime. In conclusion, from the aspects of the Korean literary society, Hong Sung-Won's work shows various life patterns and colors. Our invisible lives dwelling in the maritime are revealed in the novels by adding his crude experiences from the maritime.
목차
1. 문제 제기
2. 이주와 정주의 삶과 문학
3. 선 하나, 색상 둘 : 실제의 바다와 재현된 바다
4. 맺음말 : 바다, 그 단순성의 미학을 넘어
〈인용문헌〉
〈Abstract〉
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