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논문검색

이광수 소설의 ‘시선 주체’ 와 문학사적 의미 —『무정』을 중심으로

원문정보

‘Subjects of gaze’ in Lee, Gwang Soo’s novels and the significance in the aspect of literary history

이광호

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초록

영어

This paper attempts to understand the different location of the modernity unveiling itself in a conflicting way between the enlightened discourse and the texts in novels, analyzing the modern subjects in “Moojeong” or analyzing the modern subjects in “Moojeong” by limiting them to the problem of “gazing subject”. Lee, Gwang Soo materializes “gazing method” in the modern epistemology learned in his novel in a literary way, and reproduces and transforms the behaviors of figures and the events to images, configuring space and time based on logics. What this paper focuses on is the problematic emergence of a new subject of gaze between the infinite narrative authority and the status of a narrator as an enlightened subject. A birth of a subject of gaze as a voyeur represented as the gaze of a figure Lee, Hyeong Sik, is implicated in the problem of modernity, which highlights the modern narrative form where the problem of gaze and focusing emerge in full scale and one aspect of visual media perception, and unveils another modern problem, the politics of male gaze simultaneously. The antinomy resulted from the subject of male gaze, Hyeong Sik’s making women the object of sexual spectacle can be an aesthetic location which shows the antinomy which fails to separate the ideology in the past from the new ethics surrounding romaic and noble love. Reconstructing memories based on panoramic gaze is the borrowing of ‘a form of motion picture’, showing modern gaze structure of visual media facilitating the gazing of reality with transparent and direct gaze. The reconstruction of panoramic memories shows a narrative ability to summarize and reconstruct the past based on the gaze structure of the subject of present perception. Memories reveal themselves as ‘visual spectacle’ reconstructed based on present gaze rather than have the authority of identity as the origin of the present. The gaze structure of the subject of narration with a sense of the chosen people and a sense of superiority about Chosun people under the Japanese ruling in ‘“Moojeong” has the limitations in revealing the duality and the dynamism of modernity. It is natural that the enlightened passion for ‘people’ and ‘community’ shown by the public discourse in “Moojeong” has the similarity with ‘imperial gaze’ on Chosun’s reality from ‘outside’. Combined with the appropriateness that the life of Chosun under the Japanese ruling can be rescued by the civilization of an empire, the ideology of ‘modern nation-state’ as the expansion of modern subject is structurally intertwined with the externality of the gaze on the people of a colonized country. In the last scene of this novel, all the conflicts are resolved at once and ended with a hope for new civilization, yet it is ideological way to stitch up the contradictory location of the modern subject in this novel. Accepting being called ‘nation’, an imagined community and obeying ‘state’ without any doubt about symbolic order and institutional power imported from an empire, this novel turns away from the self-contradiction and the inherent division in which ‘nation’ and ‘state’ are the origin of oppression, not the liberation of subjects. The irony of the subjects in “Moojeong” is the subjects which cannot realize the duality of ‘colony/modernity’ cannot think of the colonialism with a critical mind from the ideology of an empire calling themselves and the aesthetic location shows the contradiction most sharply. Paradoxically speaking, the contradictory attitudes of the subjects of gaze in this novel towards women and a community can be an important location of the aesthetic modernity in this novel. What is unveiled in “Moojeong” is not the complete accomplishment of enlightened subjects and modern subjects, but the contradictions between the subject of male gaze and patriotic subjects, and the contradiction between imperial gaze and communal subjects. This is a place which shows the aesthetic political limitations of “Moojeong” clearly and is a place in which the antinomical modernity of “Moojeong” in which the complete accomplishment of the enlightened ideology is frustrated and the personal desire rises. Thinking of “Moojeong” as a point that makes the flesh of modern novels not as enlightened remarks, this contradiction and irony construct the aesthetic modernity of “Moojeong” in a paradoxical way. The self-calling “”Moojeong” mourning the world for ages” in the last sentence of “Moojeong” can be referred to as false of enlightened subjects which do see through how deeply the relics of the past and the colonialism are rooted in the discourse of subjects, yet the personal desire of modern people start this falsehood. “Moojeong” can be referred to as a text of the predicament of literary subjects which can neither become enlightened subjects in complete signification, nor the transparent observers, nor the candid speakers of personal desire. The modern subjects of “Moojeong” accomplish the enlightened narration in a way of concealing the contradictions and conflicts with its such huge ideology rather than takes the risk of perceiving the falsehood of the stereotyped ideology and the contradictions surrounding the issues relating to ‘love’ and ‘nations’ and reconstructing them, so the modern subjects of “Moojeong” become incomplete and contradictory. Nevertheless the modernity shown by the subjects of gaze in “Moojeong” is a location of personal desire revealed in different ways beyond the world of the enlightened communal ideology and the tragic fate. The subjects of gaze in “Moojeong” is problematic in that it reveals ‘the placement of desire’ unveiling itself between enlightened locutionary behaviors. This is a space the place to reveal the principle of identity with a flesh of a novel, not with ethical appropriateness. The fissure between the enlightened ideology unveiling itself in the problems of the subjects of gaze and the embodiment of fictional language reveals the self-contradiction of modern ideology in the direction different from the intention of the author, Lee, Gwang Soo, and this is the paradoxical achievement of the aesthetic modernity of “Moojeong”. The achievement pertains to the dynamics of the texts “Moojeong” as a certain origin propelling Korean modern literature rather than to the literary achievement of Lee, Gwang Soo. The literary prestige of “Moojeong” is not the system of discourse, the national enlightenment, yet is realized by the falsehood and the betrayal of texts derailing from that. The modernity as contradiction of “Moojeong” serves a literary momentum towards the aesthetic modernity when the literary autonomy of post-enlightenment by Kim, Dong In and the self-reflective gaze of observer by Yeom, Dong Seop emerge. This is the mediating significance of the texts ‘Moojeong” which is different from the novels in the 1920s and the n ovels in the time of enlightenment.

목차

1. 문제 제기
 2. 남성 관음자와 파노라마적 시선
 3. 공동체적 주체와 제국의 시선
 4. 결론–『무정』의 미적 근대성
 참고문헌
 Abstract

저자정보

  • 이광호 Lee, Kwang-Ho. 서울예대 교수

참고문헌

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