초록 열기/닫기 버튼
양귀자의『원미동 사람들』은 연작소설이라는 장르의 지평을 한 단계 높였다고 평가할 만한 독특한 구성원리를 실험하고 있는 연작소설이다. 그러나 지금까지의 연구에서『원미동 사람들』의 연작소설로서의 성격이나 특징에 대해서는 깊이 있게 논의된 바가 없다. 본고에서는 ‘부분 뒤에 오는 전체성’이라는 들뢰즈의 개념을 차용하여『원미동 사람들』의 연작 형식을 분석하고, 그 뒤에 숨겨진 독특한 작동방식을 설명하고자 한다. 그 과정에서『원미동 사람들』의 연작소설로서의 통일성에 균열을 일으키는 작품으로 평가되기 쉬운 「한계령」이 사실은 이 연작소설에 통일성을 부여하는 핵심적인 작품이라는 점을 밝히고, 그 의미를 형식적, 내용적 측면에서 분석하고자 한다.
Yang Gwija’s The People of Wonmindong is a sequence novel that employs a very unique structure, experimenting on the possibilities of the sequential novel as a genre. However, the unique structure that The People of Wonmindong shows as a sequence novel has never been analyzed in depth in previous studies of this novel, or of sequence novels in general. This paper analyzes the structure of this sequence novel using Deleuze’s concept of ‘subsequent unity,’ unity or totality that is produced afterwards, as a result. By employing this concept of ‘subsequent unity’ to decipher the unique mechanism of The People of Wonmindong as a sequence novel, this paper was able to show that “Hangyeryeong,” which had previously been criticized for being included in the compilation of The People of Wonmindong, is actually the most essential work within the sequence novel as a whole. Thus this paper analyzes in depth the structural importance of “Hangyeryeong” as a part of the sequence novel as a whole, as well as examining in length, the importance of its content.
키워드열기/닫기 버튼
sequence novel, ‘subsequent unity’, sign, ‘search for truth’, autobiographic novel, afterwardness
