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현진건 소설의 패러디 작품 연구

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Alternative Title
The study of the Parody work by Hyun Jin Geon's novels : from the「The poor wife」 written by Eun Hee Keong and 「The society recommending love」by No Hee Jun
Abstract
오늘날 패러디는 탈중심주의 원리로서 문학뿐만 아니라 예술, 문화, 사회 전반의 경계를 넘나들며 나타난다. 20세기 초 신비평과 러시아 형식주의는 실체론을 중심으로 진행되었던 기존 문학 연구를, 관계론으로 전환하는 계기를 마련하였다. 오늘날 문학 텍스트는 현실을 재현하는 독자적 산물이라기보다는, '다른 텍스트들과 맺고 있는 관계' 속에서 인식되는 것이라고 보았다. 이 시점에서 텍스트간의 관계가 중요시되고, 모방성과 반복성(서구의 근대적 예술관은 독창성과 창조성이 토대가 된 낭만주의적 예술 원리가 지배적이었다.)이 문학 창출의 근간을 이루는 새로운 미감으로 패러디가 떠오른 것은 당연한 결과라 하겠다.
패러디는 단지 서양문화 전통 혹은 포스트모더니즘 시학의 논의 속에서만 언급될 수 있는 표현양식은 아니다. '패러디'가 포스트모더니즘이라는 서구 사조의 유입과 더불어 회자되기는 했으나, 동서양을 막론하고 존재해왔던, 문화 수용 및 창작의 근본 원리 가운데 하나였다. 우리나라에서 패러디는 1990년대 이후 패러디와 그 유사 형식으로서의 패스티쉬가 '포스트모던 기법인가, 표절인가'라는 논쟁을 중심으로 대중적 관심이 촉발되었다.
패러디의 가치는 그 의도와 방법이 어떠한 미적 효과를 획득했느냐, 그 미적 효과에 의해 어떠한 의미를 생성했느냐에 의해 좌우된다. 이 연구에서는 현진건 소설의 패러디 작품인 은희경의「빈처」와 노희준의 「사랑 권하는 사회」를 바흐친의 '대화주의'를 원용하여 분석하고, 두 패러디 소설이 보여주는 독자적인 문학성을 확인해 보고자 하였다. 특히 원텍스트에 대한 패러디스트의 태도(모방적·비판적)에 따라 두 작품의 분석에 차이를 두었다. 여성작가에 의해 재창조된 은희경의「빈처」는 모방적 패러디의 입장에서, 소통의 단절 때문에 나타나는 주인공의 소외와 정신적 결핍을 시점과 플롯에서 원텍스트와 차이를 두고 패러디하였다. 노희준의「사랑 권하는 사회」는 비판적 패러디의 입장에서, 작품 외적으로는 원텍스트와의 패러디 관계를 쉽게 발견할 수 없을 정도로 상이한 작품처럼 느껴진다. 하지만 작품 내적으로 살펴보면, 모든 갈등의 원인이 나를 둘러 싼 사회로부터 연유한다는 점에서 원텍스트와 독자들에게 비판적 거리를 두게 하고 있음을 알게 되며 '카니발적 패러디'에 해당한다. 두 작품을 통해 현진건의 단편소설이 성(性)이 다른 작가의 창작의도와 내용·구조면에서 어떤 '차이'를 두고 '반복'했느냐에 따라, 원텍스트와는 다른 새로운 작품으로 재창조될 수 있음을 확인할 수 있을 것이다.
이 연구는 패러디와 '대화주의'를 연계하여 설명함으로써, 패러디에 대한 기존의 협소한 담론인식의 틀을 확장하기 위해 노력하였고, 그에 따른 성과를 얻을 수 있었다. 이는 패러디가 문학 내에서 과거와 현재를 아우르면서 새로운 형식적․문학적 효과까지도 획득할 수 있다는 가능성을 보여준 것이다. 패러디에 대해 그동안 끊임없이 제기되어 온 의문(작가와 작품의 고유성 문제와 패러디가 문학의 새로운 창조 양식이 될 수 있는가의 문제)들을 뛰어넘고, 시공을 초월하는 패러디 작품의 문학성을 확인하는 작업이 될 것이다. 아울러 다양한 형식적 실험과 문학적 효과로써 독자적 가치를 인정받는 패러디 작품들의 출현으로, 문학의 영역이 더욱 풍부해지기를 기대한다.
As a fundamental of decentralism, Parody is found not only in literature but also in any kind of art, culture or society. The New Criticism and Russian Formalism in the early 20th century were key stones in literary researches which once focused on substantialism that finally transferred to relationalism by the two trends. They believed that text should be perceived in 'the context with other texts in a literature' rather than an independent outcome from the reflection of reality. Therefore, when the relationship among texts became important, the paradigm of Parody formulated by imitation and repetition created as a natural consequence.
Parody is not just expressed in western cultural heritages or postmodernism poetry. 'Parody' is one of principles in creation of literature or in cultural understanding over the West and the East, albeit it became popular when postmodernism as a western ideology was introduced. In Korea, parody prompted public attention since 1990's when parody and pastiche the similar pattern of parody became controversial over if it is 'postmodern pattern or plagiarism'.
The value of parody is evaluated by the aesthetic effect from an author's intention and method, and the creativity of the aesthetic effect. In this context, this paper analyzes two parody nobles, Eun HeeKyung's 「The poor wife」, and No HeeJun's 「The society recommending love」 originally written by Hyun JinGeon quoting Bakhtin's 'dialogism', and identifies unique literary value of them. Especially, based on the parodist's attitude(imitation, criticism) for original text, the two parody nobles are analyzed differently.
「The poor wife」, parodied by woman writer Eun HeeKyung is differentiated from original text in plot and view point. The protagonist of the new novel feels alienated and spiritual deficiency due to the absence of communication, which is different from the original novel. In line with critical parody, No HeeJun's 「The society recommending love」 is too similar to identify a disparity from the original text in its structure. However in context, all causes of conflicts come from society around 'me' and it makes critical distance from the original text and readers belonging to 'carnival parody'. From the two parody novels, it is possible to assure that the original novels written by Hyun JinGeon can be reinvented by 'different' intention, contents, structure, and gender in 'repetition'.
This paper tries to extend the boundary of debate on parody literature by explaining the 'parody' along with 'Dialogism', and achieved successful outcome. It proves the parody in literature is possible to achieve new formulate and literate effects across the past and present. In addition, it is an experiment over persistent questions if parody can be a creative method in literature within the original work's indigenous, and ultimately found the value of parody.
Author(s)
채송아
Issued Date
2010
Awarded Date
2010. 8
Type
Dissertation
URI
http://dcoll.jejunu.ac.kr/jsp/common/DcLoOrgPer.jsp?sItemId=000000005046
Alternative Author(s)
Chae, Song-A
Affiliation
제주대학교 교육대학원
Department
교육대학원 국어교육
Advisor
문성숙
Table Of Contents
목 차

Ⅰ. 序 論 ······················································································1
1. 연구의 필요성 ·······································································1
2. 선행 연구 검토 ······································································4
3. 연구 방법 ················································································8

Ⅱ. 패러디의 이해 ······································································13
1. 패러디의 개념 ·······································································13
2. 패러디의 범주 ·······································································19

Ⅲ. 패러디 소설의 분석 ··························································22
1. 원텍스트의 의의 ··································································22
2. 은희경의 「빈처」································································23
1) 패러디 소설의 서사 구조와 시점 ·····································24
2) 패러디 소설의 인물 ···························································33
3) 패러디 소설의 모티프와 주제 ··········································34
4) 패러디 소설의 소외 양상 ··················································39
5) 다시 만난 빈처 ···································································42
3. 노희준의 「사랑 권하는 사회」·········································43
1) 패러디 소설의 서사 구조와 시점 ·····································44
2) 패러디 소설의 인물 ···························································55
3) 패러디 소설의 모티프와 주제 ···········································57
4) 패러디 소설의 시대적 배경 ···············································60
5) 불편한 진실 ··········································································63

Ⅳ. 結 論 ························································································64
·····················································································66
··············································································71
················································································74
Degree
Master
Publisher
제주대학교 교육대학원
Citation
채송아. (2010). 현진건 소설의 패러디 작품 연구
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