본고에서는 손창섭의 장편 <인간교실>에 나타난 시선의 이중 구조와 그 의미를 살펴보고자 한다. 1964년에 완성된 이 작품에서는 타자와 관계 맺기를 시도하는 인물들이 등장하여 ‘맨 얼굴’을 통해 내면에 숨겨진 무의식적 욕망을 드러내고자 한다. 이때 인물들의 훔쳐보는 시선에는, 욕망하지만 소유할 수 없는 신비로운 대상을 은밀히 바라봐야만 하는 고통의 반복이 내재되어 있다. 여기에는 금기가 내재되어 있기에, 대상을 보는 시선 속에 환상을 담을 수밖에 없다. 반면에 감시하는 시선에는 주체를 도덕적이고 윤리적인 자아로 만들고자 하는 의미가 내포되어 있다. 이는 무서운 타자의 응시로 작용해 주체가 상징계에서 적절한 관계를 유지하는 데에 어려움을 갖도록 만들기도 한다. 끝으로 본고의 가치는 <인간교실> 분석을 통해 손창섭의 작품세계를 1960년대까지 확장한 데서 찾을 수 있겠다. 대부분의 논자들이 손창섭의 1960년대 장편들을 순수문학의 ‘주변’으로 치부해버렸는데, 인간의 욕망은 시대를 초월한다고 할 수 있는바, 따라서 1960년대의 작품분석이 병행되어야만 손창섭 해석의 스펙트럼은 확장될 것이고, 한국문학사에서의 위치와 작품세계의 독창성도 구축될 것이다.

In this article, I try to study the meaning and the Dual-structure of eye in Shon, Chang-sup's A Classroom of Human Beings. In this text, written in 1964, we can find some characters who try to make relationships with Others intend to express their unconscious desires hidden inside through ‘bare faces.’ At this moment, the repetition of the pain which they just have to see secretly what they desire is inherent in the peeping eyes of the characters. Because of the taboo, you can put fantasy into the eye that looks objects. On the other hand, there is a meaning of trying to make Subject a moral and ethical ego in the watching eye. Sometimes, this makes Subject difficult to keep a proper relationship in the Symbolic working as a gaze of the scary Other. Finally, we can find the significance of this article at the extension of the work of Shon, Chan-sup up to the 1960s. Most of the debaters considered the long pieces of Shon, Chan-sup as ‘side’ of pure literature. However, because we can say that the desire cut across eras, the spectrum of studying Shon, Chang-sup would be extended when we break the boundary of 1950s. Also, that will change its place in the history of Korean literature and will renew its literary originality.

In this article, I try to study the meaning and the Dual-structure of eye in Shon, Chang-sup's A Classroom of Human Beings. In this text, written in 1964, we can find some characters who try to make relationships with Others intend to express their unconscious desires hidden inside through ‘bare faces.’ At this moment, the repetition of the pain which they just have to see secretly what they desire is inherent in the peeping eyes of the characters. Because of the taboo, you can put fantasy into the eye that looks objects. On the other hand, there is a meaning of trying to make Subject a moral and ethical ego in the watching eye. Sometimes, this makes Subject difficult to keep a proper relationship in the Symbolic working as a gaze of the scary Other. Finally, we can find the significance of this article at the extension of the work of Shon, Chan-sup up to the 1960s. Most of the debaters considered the long pieces of Shon, Chan-sup as ‘side’ of pure literature. However, because we can say that the desire cut across eras, the spectrum of studying Shon, Chang-sup would be extended when we break the boundary of 1950s. Also, that will change its place in the history of Korean literature and will renew its literary originality.

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eye, gaze, repetition, desire, the law, order