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영어

The complete collection of Yun Hoo-myeong's literary works was recently published. Many of his works are in a narrative structure of depicting a middle-aged man's journey in daily life. In the collection, Volume 1 Gangreung and Volume 7 The Love of Gangreung suggest that the final destination of his journey is his hometown Gangreung. In the middle of the war in the 1950s, the protagonist was not protected along with his young mother and was not able to protect Sehwa, who was his next door neighbor and first love. His sense of guilt and guilty conscience was depicted with Imdang-dong of Gangreung, Gaeksamun, Catholic Church of Imdang-dong, breakwaters, and the East Sea in the background and stopped him from returning to his hometown. Taking a detour to distant places along distant roads in a distant future, he visited the sea of Gangreung to scatter his mother's ashes and faced his wounds including the death of his father and Sehwa, remarriage of his mother, and loss of his hometown. Imdang-dong and the sea, which keep the memory and oblivion of the war intact, are the origin and archetypal space of Yun's literature. He adopted a travel narrative structure because he did not have his placeness and identity confirmed and failed to settle down. His doubt and question about the cause of his father's death are connected to his own honor and identity. Driven by the sense of distance from his mother and separation from Sehwa by death, he failed to obtain a position of identity, subject, and patriarch throughout his life and continued to live as a divided nomad. In his hometown, which he had traced through photographs, the protagonist did not have his proof of existence confirmed and found the changed hometown strange, unfamiliar, and uncomfortable. His childhood hometown, which used to force silence and secrecy upon him, changed into awkward and changed Gangreung where he failed in self-affirmation. Despite all this, however, he tried to be a member of his hometown community containing the local sentiment, culture, and archetypes. His inner consciousness and position were represented by Gaeksamun, which was an accommodation facility in Joseon, Jinttobaegi, the pole in a new shape, the tiger that was the background of the Dano Festival, the tree and stone motifs, the story of a maiden grabbed by the tiger, Lady Suro and the old man Gyeonwoo in Heonhwaga, the rope in the traditional fairy tale The Dried Persimmon and The Tiger, Dano Festival of Gangreung, the Gwanno Mask Play, and the Coffee Festival. The geographical and climatic features of Gangreung including a northeasterly wind, a chill breeze in the flowering season, heaving waves, and sea winds were metaphors of local residents' fate, wounds, suffering and grief. Such soul foods as the Pacific spiny lumpsucker, the Pacific saury, and the potato made a contribution to his search for his identity. Given that previous studies on Yun's literature focused on his works as travel novels, expanded thematic consciousness would be secured in his works from a perspective of war or scar novels. Wandering and roaming in his literature were based on violence and wounds represented by war disasters in which the modern mechanism operated and the tiger found in premodern myths.

한국어

최근 전집을 출간한 윤후명 문학은 중년남성이 떠도는 일상을 그린 여행구조를 즐겨 사용하 는데, 그 여행의 종착지가 작가의 고향이라는 판단이 일단 1권 『강릉』, 7권 『강릉의 사랑』과 같은 제목에서 비롯된다. 1950년대 전쟁 중인 주인공은 강릉시 임당동, 객사문, 임당동성당, 방파제, 동해바다를 배경으로 자신과 젊은 어머니가 보호받지 못했고, 첫사랑인 옆집소녀 세화를 보호하지 못한 죄의식과 죄책감에 사로잡혀 고향에 돌아가지 못한다. 먼 길, 먼 훗날 먼 곳을 돌아 어머니의 유골을 갖고 귀향한 강릉바다는 친부와 세화의 죽음, 모친의 재혼, 고향상실 등 상처와 대면하는 곳이다. 전쟁 기억이 고스란히 남아있는 임당동과 바다는 윤후명 문학의 배경이자 원형적 공간이다. 윤후명 소설의 여행서사구조는 장소감과 정체성을 확인받지 못해 정착하지 못하기 때문이며 친부의 사망 원인에 대한 의혹과 의문은 자신의 명예와 정체성과 연관된다. 모친과의 거리감과 첫사랑과의 사별은 동일자, 주체, 가부장의 위치를 획득하지 못한 주인공을 분열적 노마드로 살아가게 한다. 고향 마을에서 존재증명을 확인받지 못한 주인공은 자본주의적 공간으로 변질된 고향이 낯설고 불편하다. 침묵과 비밀을 강요했던 고향은 어색하고 생경한 강릉으로 바뀌어 자아확인에 실패하지만, 주인공은 지역정서, 지역문화, 지역원형을 지닌 공동체 구성원을 갈망하며 정착을 꿈꾼다. 조선시대 손님의 숙소였던 객사문, 마을을 수호하는 진또배기, 솟대의 새 형상, 단오제의 배경인 호랑이, 나무, 돌 모티프, 호랑이에게 물려간 처녀이 야기, <헌화가>의 수로부인과 견우노옹, 전래동화 <곶감과 호랑이>의 동아줄, 강릉단오제, 관노가면놀이, 커피축제 등은 주인공의 내면의식과 자신의 처지를 내포하고, 높새바람, 꽃샘바 람, 너울성 파도, 바닷바람 등의 지형과 기후적 특색은 지역민의 운명과 상처, 고난과 슬픔을 비유하며 도치, 꽁치, 양미리, 감자, 곰취 등의 고향음식은 정체성을 찾는데 기여한다. 기존연구 가 여행소설적 측면에 주목했다면 전쟁소설, 상흔소설적 관점에서 바라볼 때 확장된 주제의식이 확보될 것이다. 본고는 윤후명 문학의 방황과 떠돎이 근대메커니즘이 작동하는 전쟁재난과 전근 대 설화 속 존재인 호랑이로 표상되는 폭력과 상처에 근거하고 있음을 규명하였다.