The ways which Kim Seung-ok established the subjecthood in his novels are classified into these three chronotope by the meanings of the story based on the war and the city life; chronotope 'in a closet', chronotope 'on the road' and chronotope 'on a doorsill'. The subjects in the 1960s got disillusi...
The ways which Kim Seung-ok established the subjecthood in his novels are classified into these three chronotope by the meanings of the story based on the war and the city life; chronotope 'in a closet', chronotope 'on the road' and chronotope 'on a doorsill'. The subjects in the 1960s got disillusioned at the city on which they were based for existence due to alienation, loneliness and lifelessness. As a result, they decided to 'return to their old homes' for themselves. The novels related with this home-coming are An Pocket Book of Illusion, A Life Practice and Travel Sketches on Moojin. All of them have the structure of frame in common. That is, they are structured in the way that after heroes experienced the life in Seoul, they returned to their old homes, or recollected their homes. The characters are skeptical about the established moral principles, reflect themselves and feel their sins. The subjective ego keeping this consciousness in his mind Just shows the antagonism between the inner world of self and the external world of ease. Both worlds sublate to gain an advantage over each other and don't have an influence upon each other, Therefore, chronotope in his childhood is 'the one in a closet' that is formed in closed and confined space. This chronotope in 'a closet' owes its origin to the formation of the negative subject that dramatically escapes from Oedipus complex through 'patricide, with internalizing the war experience in his father's absence in the 1950s. The characters who have grown up as the unrested subjects leave home either to study or 'to understand their sisters', and leave for Seoul. A road makes a meeting and is made by a meeting. So to speak, 'a road' is not a process to look for the essence but a process to make a moaning. I examined what the characters met and identified in chronotope 'on the road' which was expressed in Seoul, in Winter, 1964, in the Fashion of the 1960s and In Order Understand My Sister. In three novels, the industrialized city in the 1960s was a space where there were misunderstandings one another and loneliness was widespread by capitalism. Individuals was confronted with the corrupted world derived from capitalism 'on the road', without having any connection with other people. This is the image of the subject in the 1960s. We can say that chronotopes both 'in a closet' and 'on the road' have nothing to do with a healthy subject. A closet is in poor health in that it is isolated from reality and is in confinement. Chronotope on the road is the one in which a subject leads only a wandering life forever. The characters in Kim's novels don't get over a doorsill which runs through the future at the end of 'the closet' and on 'the road'. It comes to relate with the absence of the future. That is the reason why we can get over a doorsill only in the world with the future prospect. Even so, we cannot regress to the previous world. Kim's characters wandered without returning or crossing, and came to prefer to death or endure the corrupted world in a corrupted way. The theme which Kim Seung-ok stood for in his novels was ultimately 'the absence of the alternative'. There was not any alternative in Seoul, in Winter, 1964. The characters insisted that Seoul would remain as a corrupted and alienated city as it was. Even though thirty years have passed, it is true that Seoul remains corrupted and alienated as it is. In short, in the 1960s' society, the issue establishing the subjecthood is related with both a moral crisis resulted from a war experience and a materialistic value and a sense of alienation existed in the industrialized city in the 1960s. I consider that disorder of the standard and the absence of moral value make the critical situation that threatens self-preservation and the principle of identity. I argue that the city in the 1960s where warriors returned also can be considered in an extension of the critical situation. In the city of the 1960s, that people considered the material value as high leaded to the bankruptcy of their characters, and urbanization made us alienate one another. In fact, these problems is integrated into 'an moral crisis'. As a result, in this perspective, Kim Seung-ok considered the period of the 1960s as the situation beyond our capacity so that it could not make a healthy subject as a hero of our history and world, that is, a character who has his positive identity in our society.
The ways which Kim Seung-ok established the subjecthood in his novels are classified into these three chronotope by the meanings of the story based on the war and the city life; chronotope 'in a closet', chronotope 'on the road' and chronotope 'on a doorsill'. The subjects in the 1960s got disillusioned at the city on which they were based for existence due to alienation, loneliness and lifelessness. As a result, they decided to 'return to their old homes' for themselves. The novels related with this home-coming are An Pocket Book of Illusion, A Life Practice and Travel Sketches on Moojin. All of them have the structure of frame in common. That is, they are structured in the way that after heroes experienced the life in Seoul, they returned to their old homes, or recollected their homes. The characters are skeptical about the established moral principles, reflect themselves and feel their sins. The subjective ego keeping this consciousness in his mind Just shows the antagonism between the inner world of self and the external world of ease. Both worlds sublate to gain an advantage over each other and don't have an influence upon each other, Therefore, chronotope in his childhood is 'the one in a closet' that is formed in closed and confined space. This chronotope in 'a closet' owes its origin to the formation of the negative subject that dramatically escapes from Oedipus complex through 'patricide, with internalizing the war experience in his father's absence in the 1950s. The characters who have grown up as the unrested subjects leave home either to study or 'to understand their sisters', and leave for Seoul. A road makes a meeting and is made by a meeting. So to speak, 'a road' is not a process to look for the essence but a process to make a moaning. I examined what the characters met and identified in chronotope 'on the road' which was expressed in Seoul, in Winter, 1964, in the Fashion of the 1960s and In Order Understand My Sister. In three novels, the industrialized city in the 1960s was a space where there were misunderstandings one another and loneliness was widespread by capitalism. Individuals was confronted with the corrupted world derived from capitalism 'on the road', without having any connection with other people. This is the image of the subject in the 1960s. We can say that chronotopes both 'in a closet' and 'on the road' have nothing to do with a healthy subject. A closet is in poor health in that it is isolated from reality and is in confinement. Chronotope on the road is the one in which a subject leads only a wandering life forever. The characters in Kim's novels don't get over a doorsill which runs through the future at the end of 'the closet' and on 'the road'. It comes to relate with the absence of the future. That is the reason why we can get over a doorsill only in the world with the future prospect. Even so, we cannot regress to the previous world. Kim's characters wandered without returning or crossing, and came to prefer to death or endure the corrupted world in a corrupted way. The theme which Kim Seung-ok stood for in his novels was ultimately 'the absence of the alternative'. There was not any alternative in Seoul, in Winter, 1964. The characters insisted that Seoul would remain as a corrupted and alienated city as it was. Even though thirty years have passed, it is true that Seoul remains corrupted and alienated as it is. In short, in the 1960s' society, the issue establishing the subjecthood is related with both a moral crisis resulted from a war experience and a materialistic value and a sense of alienation existed in the industrialized city in the 1960s. I consider that disorder of the standard and the absence of moral value make the critical situation that threatens self-preservation and the principle of identity. I argue that the city in the 1960s where warriors returned also can be considered in an extension of the critical situation. In the city of the 1960s, that people considered the material value as high leaded to the bankruptcy of their characters, and urbanization made us alienate one another. In fact, these problems is integrated into 'an moral crisis'. As a result, in this perspective, Kim Seung-ok considered the period of the 1960s as the situation beyond our capacity so that it could not make a healthy subject as a hero of our history and world, that is, a character who has his positive identity in our society.
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