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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학위논문
- 저자정보
- 지도교수
- 이장욱
- 발행연도
- 2023
- 저작권
- 동국대학교 논문은 저작권에 의해 보호받습니다.
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The purpose of this paper is to study the fantasy of Korean short stories since the 2000s, focusing on Hwang Jeong-eun, Gu Byeong-mo, and Yun I-hyeong. Current Korean society has various chronic problems such as labor instability, polarization of income, and hatred of others due to the tendency to blindly pursue efficiency and performance after government lead modernization and industrialization. The critical mind of these problems is implied in many authors’ works, but among them, Hwang Jeong-eun, Gu Byeong-mo, and Yun I-hyeong’s stories are noticeable because they embody their point of views in the unique way which often uses fantasy.
In Hwang Jeong-eun’s stories, the city is described as the place of redevelopment and reconstruction projects and slum. People who can’t participate in social reproduction and economic activities become anonymous and forgotten. In the stories, they appear as ghostly beings that wander around the city in an ambiguous state that can’t be clearly defined at the boundary between life and death. In addition, in Hwang Jeong-eun’s stories, the characters don’t feel great fear nor confusion when they face fantastic events, but rather accept them calmly. This strange attitude comes from the awareness of the logic of capital and efficiency that governs the modern society, and the fantastic event is nothing but a reminder of the exclusion and violence that this logic inevitably creates. In this way, fantasy doesn’t cause fatal cracks in the world surrounding the characters, but rather reveals the absurdity of reality through characters whose emotions are erased.
In Gu Byeong-mo’s stories, individual workers often suffer from many labor problems and excessive competition caused by modernization, industrialization and neoliberal reform handled with more haste than caution. The fact that the disasters in the stories clearly reveal the current situation of Korean society without reshaping the world can be interpreted as a call for discussing problems at the fundamental level. Also, adopting and varying folk tales and fairy tales is an important feature of Gu Byeong-mo’s stories, in which the variation is made by twisting the lessons and happy ending of the existing stories and digging into the hidden ideology and violence. Gu Byeong-mo’s works break up and reinterpret the existing narrative that is based on moral and Christian concepts of good and evil in a modern way.
In Yun I-hyeong’s stories, the characters experience division in various ways like mentally, physically and technically and it’s caused by the system of capitalism and the dilemma of a Hyper-connected society. In the stories, division is considered as a pathological symptom that must be fixed and eliminated from the society based on the principle of modernity, but it also serves as an opportunity for the character to express one’s own pain and witness the absurdity of the world that has not been recognized. In addition, the combination of fantasy and scientific imagination in Yun I-hyeong’s stories can be interpreted in the context of posthumanism that aims to escape from the dualistic thinking and homocentrism. The stories don’t lean on the optimistic outlook for science nor fragmentary setting of remodeling a part of the body. The meaning of posthumanity is realized by the characters’ choices and willingness to cut off exploitation by modern hierarchies and capital.
As Hwang Jeong-eun, Gu Byeong-mo, and Yun I-hyeong’s stories show, fantasy doesn’t merely works as a playful means of escaping reality, but gives people who are neglected and exposes the absurdity of current society. The significance of fantasy can be confirmed in that it is combined with the author’s point of view and closely relates to the reality and provides another literary experiences.
In Hwang Jeong-eun’s stories, the city is described as the place of redevelopment and reconstruction projects and slum. People who can’t participate in social reproduction and economic activities become anonymous and forgotten. In the stories, they appear as ghostly beings that wander around the city in an ambiguous state that can’t be clearly defined at the boundary between life and death. In addition, in Hwang Jeong-eun’s stories, the characters don’t feel great fear nor confusion when they face fantastic events, but rather accept them calmly. This strange attitude comes from the awareness of the logic of capital and efficiency that governs the modern society, and the fantastic event is nothing but a reminder of the exclusion and violence that this logic inevitably creates. In this way, fantasy doesn’t cause fatal cracks in the world surrounding the characters, but rather reveals the absurdity of reality through characters whose emotions are erased.
In Gu Byeong-mo’s stories, individual workers often suffer from many labor problems and excessive competition caused by modernization, industrialization and neoliberal reform handled with more haste than caution. The fact that the disasters in the stories clearly reveal the current situation of Korean society without reshaping the world can be interpreted as a call for discussing problems at the fundamental level. Also, adopting and varying folk tales and fairy tales is an important feature of Gu Byeong-mo’s stories, in which the variation is made by twisting the lessons and happy ending of the existing stories and digging into the hidden ideology and violence. Gu Byeong-mo’s works break up and reinterpret the existing narrative that is based on moral and Christian concepts of good and evil in a modern way.
In Yun I-hyeong’s stories, the characters experience division in various ways like mentally, physically and technically and it’s caused by the system of capitalism and the dilemma of a Hyper-connected society. In the stories, division is considered as a pathological symptom that must be fixed and eliminated from the society based on the principle of modernity, but it also serves as an opportunity for the character to express one’s own pain and witness the absurdity of the world that has not been recognized. In addition, the combination of fantasy and scientific imagination in Yun I-hyeong’s stories can be interpreted in the context of posthumanism that aims to escape from the dualistic thinking and homocentrism. The stories don’t lean on the optimistic outlook for science nor fragmentary setting of remodeling a part of the body. The meaning of posthumanity is realized by the characters’ choices and willingness to cut off exploitation by modern hierarchies and capital.
As Hwang Jeong-eun, Gu Byeong-mo, and Yun I-hyeong’s stories show, fantasy doesn’t merely works as a playful means of escaping reality, but gives people who are neglected and exposes the absurdity of current society. The significance of fantasy can be confirmed in that it is combined with the author’s point of view and closely relates to the reality and provides another literary experiences.
목차
- 제1장 서론 1제1절 연구의 목적 1제2절 연구사 검토 3제3절 연구 방법 21제2장 본론 24제1절 도시 공간의 유령적 존재와 소거된 감정: 황정은의 경우 241. 도시 공간의 유령적 존재 242. 일상화된 환상과 소거된 감정 36제2절 한국형 재난의 재현과 민담·동화 서사의 차용 및 변주: 구병모의 경우 481. 한국형 재난의 재현 482. 민담과 동화 서사의 차용 및 변주 62제3절 분열된 주체와 포스트휴먼적 상상력: 윤이형의 경우 791. 소외된 주체와 분열의 증상 792. 포스트휴먼적 상상력 90제3장 결론 105참고문헌 109ABSTRACT 117
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