지각의 서사화

Abstract

The purpose of this thesis is to discuss how Kim Dong-In realized his theory through his creative writing. Kim Dong-In has been known as a novelist, but he had another face as a critic. He wrote not only novels but also critical essays from which his theory of novel could be drawn out. In a word, Kim Dong-In's theory of novel could be understood as a developing process of the technique called manipulating marionettes. The providence of God is so secret and elaborate that the world is seemed as a self-regulating whole. The technique called manipulating marionettes which aims at such a state in the novel, orders novelist to satisfy double demands that realize his/her intention at maximum level and conceal it perfectly. Kim Dong-In chose the method of focalization as a way to control characters in his novel. When focalization is mediated between novelist and characters, novelist can realizes his/her intention with concealing it. If the methodology which can be divided by existence or nonexistence of focalization and its position in the wok is used freely, characters can be manipulated like marionettes. Kim Dong-In's attitude toward realism was also situated in the context of the technique of manipulating marionettes. Kim Dong-In differed from those who saw realism as representation of reality in that he thought realism as effect of the technique. He thought that the effect of realism results from universal logic which is made with the methodology of focalization in the work. The reality in Kim Dong-In's Theory of Novel did not proceed to perception but was created by perception. My discussion on Kim Dong-In's The sorrow of the Weak and Hey, Flimsy Heart is grounded on such an understanding. Focalization of narrative discourse has two agents of which one is focalizer, another is focalized. Elizabeth who plays the heroin in The sorrow of the Weak, and K who the hero in Hey, Flimsy Heart, act as focalizer and focalized in those novels. Focalizer and focalized in those novels have an effect to make reality and then make narrative proceed. In other word, perception act as event on the level of narrative. Such a phenomenon could be named as the narrativization of perception. But Kim Dong-In's method which used perception achieved a limited succession in those novels. His ability as a novelist was insufficient to achieve the aim of the technique of manipulating marionettes. His relation to the technique may be expressed as 'mirror stage' in Lacan's terminology. After this phase, Kim Dong-in would search for another way to increase the practical capability of the technique.