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Focusing on the relationship between time structure and consciousness, this study is designed to examine Hwang Sun-won＇s short novel, <Tomorrow>. Hwang develops this story according to the chronological time which flows from the present to the future. We can find that he uses both reminiscent narrative and prospective narrative at the same time in the story, and all of the anecdotes are closely related to the main story. Although the story develops in a lineal way, from the past to the present and to the future, we can find so-called artificial time order narrative is also used in the story. While the story develops in the natural time order, Hwang dramatizes the past by revealing the consciousness of the character in reminiscences. The consciousness is characterized by the fact that it has its objects, among which things in the past are certain. Therefore, it is necessary to note that Hwang often claims reminis-cences or dreams when he dramatizes overlapping of consciousnesses. To roughly explain the relationship between time and ideology is based on the fact that views of the time depend on views of the world. There are some examples that explain this with borrowed conceptions from Greek Myths. Despite not being exactly corresponded to the following conception, when the past is emphasized, we can name it Apollonian time. In this case, the time reasonably completed is the matter. Time absorbed into the present is symbolized by Dionysus. The view of the time that foresees the future is Promethean view. When a story is told with focusing its view on the future, it becomes prophetic. However, a novel is less prophetic than any other literary genres; therefore, in a novel, it is not desirable to emphasize the future excessively because to do so might damage the unique characteristic of the genre of novel. With these arguments, we can interpret the future dramatized in Tomorrow in a more abstruse way. The problem is what romanticism is in a novel. Romanticism is premised on the duality of the world. Romanticism is characterized by pursuing an ideal in seeing the reality as something to overcome. But this characteristic of romanticism opposes the idea that novel should participate in the present. With this, to pursue romanticism in seeking aesthetically perfect state by giving up the romanticism might be a paradoxical methodology of novel. Each of the characteristic of romanticism and of novel persists through the restraint of not adapting the future vision to the real world. In this point, Tomorrow is s work that persists aesthetics by aesthetic restraint.
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UCI(KEPA) : I410-ECN-0101-2017-810-000973698