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
Family romance in Choi In-hun’s novels is mainly based on a story of a foster child that has been left on one’s doorstep. He is rather a modernist pursuing new forms of novels than one denying tradition. His novels are mainly concerned about reality of life. Accordingly, even when he introduces fantasy, he places importance on an attempt to improve a system rather than on an ambition to overthrow the system. It can be said that he is a unique writer who shows a thorough realist’s character and a modernist's one at the same time.
Choi In-hun is similar to ‘Novelist Gubo’, who was attached to old things. His post-colonialistic viewpoint forms the basis of his thoughts. His awareness of Japan and the United States is based on the viewpoint. In addition, he considers Buddhist love and mercy rather than Christian salvation and love, which originates from his intention to suggest that we live relying on the root of Oriental spirit.
His eager desire for systemization is another feature of nostalgia for a father. As for Choi In-hun, a father is a person who promotes an ideal world and pursues the order of the world. Accordingly, such a father is rather a subject of nostalgia than one he has to overcome. Since a father is not perfect in reality of life, however, a stepfather always exists and a matter of overcoming the stepfather appears in his novels. This drives a desire for one’s real father.
If Choi In-hun’s novels are approached focused on the family romance, it appears in ‘The Duman River’, his first work. In this book, he shows a sign that family ideology would be internalized and broken. In ‘The Square’, ‘A Grey Man’, and ‘Seoyugi(A Journey to the West)’, experiences of losing the world transformed the family romance. The absence of his real father strengthens his desire for systemization, and ‘something like sisters’ behavior’ is also transformed. In ‘A Typhoon’ and ‘Hwadu’, self-awareness to overcome the sense of losing the world is expressed as the extension of the family romance. Likewise, the changes in the world of his novels remind us of Zeraffa’s saying that ‘a novel is the first art which views human beings’ meaning in a historical and social way’.
Choi In-hun is similar to ‘Novelist Gubo’, who was attached to old things. His post-colonialistic viewpoint forms the basis of his thoughts. His awareness of Japan and the United States is based on the viewpoint. In addition, he considers Buddhist love and mercy rather than Christian salvation and love, which originates from his intention to suggest that we live relying on the root of Oriental spirit.
His eager desire for systemization is another feature of nostalgia for a father. As for Choi In-hun, a father is a person who promotes an ideal world and pursues the order of the world. Accordingly, such a father is rather a subject of nostalgia than one he has to overcome. Since a father is not perfect in reality of life, however, a stepfather always exists and a matter of overcoming the stepfather appears in his novels. This drives a desire for one’s real father.
If Choi In-hun’s novels are approached focused on the family romance, it appears in ‘The Duman River’, his first work. In this book, he shows a sign that family ideology would be internalized and broken. In ‘The Square’, ‘A Grey Man’, and ‘Seoyugi(A Journey to the West)’, experiences of losing the world transformed the family romance. The absence of his real father strengthens his desire for systemization, and ‘something like sisters’ behavior’ is also transformed. In ‘A Typhoon’ and ‘Hwadu’, self-awareness to overcome the sense of losing the world is expressed as the extension of the family romance. Likewise, the changes in the world of his novels remind us of Zeraffa’s saying that ‘a novel is the first art which views human beings’ meaning in a historical and social way’.
목차
1. 머리말
2. 가족 이데올로기의 내면화와 균열의 징후
3. 세계상실의 체험과 왜곡된 가족의 표상
4. 세계상실의 극복과 가족의 확장
5. 맺음말
참고문헌
[Abstract]
참고문헌 (7)
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