This paper deals with patterns and features of narrations found in the first-person novels of Kim So-Jin, which may be summed up as follows: In his first-person narration, there used to be 'I that experiences' and 'I that narrates it', and there is a timely gap between both. The former of the two se...
This paper deals with patterns and features of narrations found in the first-person novels of Kim So-Jin, which may be summed up as follows: In his first-person narration, there used to be 'I that experiences' and 'I that narrates it', and there is a timely gap between both. The former of the two separated timely with each other may be called as experiencing I and the latter as narrating I. 「The thief of a bicycle」 is a story dramatizing the current life of narrating I in a context in which the present of narrating I is juxtaposed with the past of experiencing I. In 「on the way to Yongdugak pavilion」, narration is dictated in the form of reflection on the past by narrating 'I' who has climbed on Yongdugak pavilion. The focus is given to pre-experience of experiencing 'I' who developed fear of mother and, at the same time, came to be obsessed with longing for her. The nrration in 「ill-fated sexdigitist elder brother」 is characterized in describing the encounter of experiencing 'I' as observer with the elder brother Gwangsu as hero in a chronological sequence. As a whole, narrating I is prevalent in the first-person novels of Kim So-Jin. Among the three novels, 「the thief of a bicycle」 might be more likely to comply with the mode of experiencing I, while 「ill-fated sexdigitist elder brother」 seems more likely to take narrating I as form of story telling. From the perceptional as well as emotional viewpoint, it may be said that 'I', the first-person experiencing self, in 「the thief of a bicycle」 perceives 'father' as the object of narration from within. In this novel, internal monologues are much significantly expressed. In the meantime, in 「on the way to Yongdugak pavilion」, narrating I perceives of infers other objects being observed from without in a sort of modal expression. Eventually, however, 'I' seem to be assimilated into the sentiment of mother as a major figure being narrated. In 「ill-fated sexdigitist elder brother」, the first-person experiencing 'I' perceives the elder brother Gwangsu and village people as objects to be observed from without using modal expressions, while narrating 'I' is linked with readers from the standpoint of story teller. The narrative features of all of Kim So-Jin's novels might lie in rich use of Korean vocabulary and characteristic description In 「members of Jang Seok-Jo's family」 which features living aspects of the villages nestling under hills of Miari in Seoul in the 1970s, a pre-experiencing space of the writer, the narrater employs humorous languages comprising such worldly expressions an dialects, colloquialism, and swearwords to depict the characters of the story with a nice and warm manner. The first-person novel of Kim So-Jin unfolds the story in such form that the full-grown 'I' of the present recalls pre-experiences fo the past. The experiencing I in his childhood is reflected in the life of the present narrating I from his retrospecting viewpoint. This is why the intervention of narrating I is significantly seen and dialogues of all characters in the experiencing space of the past tend to become indirectly exchanged. Moreover, Kim So-Jin's novels are expecially characteristic in reenacting the lives of poor grassroots by means of abundant Korean vocabulary and witty literary style.
This paper deals with patterns and features of narrations found in the first-person novels of Kim So-Jin, which may be summed up as follows: In his first-person narration, there used to be 'I that experiences' and 'I that narrates it', and there is a timely gap between both. The former of the two separated timely with each other may be called as experiencing I and the latter as narrating I. 「The thief of a bicycle」 is a story dramatizing the current life of narrating I in a context in which the present of narrating I is juxtaposed with the past of experiencing I. In 「on the way to Yongdugak pavilion」, narration is dictated in the form of reflection on the past by narrating 'I' who has climbed on Yongdugak pavilion. The focus is given to pre-experience of experiencing 'I' who developed fear of mother and, at the same time, came to be obsessed with longing for her. The nrration in 「ill-fated sexdigitist elder brother」 is characterized in describing the encounter of experiencing 'I' as observer with the elder brother Gwangsu as hero in a chronological sequence. As a whole, narrating I is prevalent in the first-person novels of Kim So-Jin. Among the three novels, 「the thief of a bicycle」 might be more likely to comply with the mode of experiencing I, while 「ill-fated sexdigitist elder brother」 seems more likely to take narrating I as form of story telling. From the perceptional as well as emotional viewpoint, it may be said that 'I', the first-person experiencing self, in 「the thief of a bicycle」 perceives 'father' as the object of narration from within. In this novel, internal monologues are much significantly expressed. In the meantime, in 「on the way to Yongdugak pavilion」, narrating I perceives of infers other objects being observed from without in a sort of modal expression. Eventually, however, 'I' seem to be assimilated into the sentiment of mother as a major figure being narrated. In 「ill-fated sexdigitist elder brother」, the first-person experiencing 'I' perceives the elder brother Gwangsu and village people as objects to be observed from without using modal expressions, while narrating 'I' is linked with readers from the standpoint of story teller. The narrative features of all of Kim So-Jin's novels might lie in rich use of Korean vocabulary and characteristic description In 「members of Jang Seok-Jo's family」 which features living aspects of the villages nestling under hills of Miari in Seoul in the 1970s, a pre-experiencing space of the writer, the narrater employs humorous languages comprising such worldly expressions an dialects, colloquialism, and swearwords to depict the characters of the story with a nice and warm manner. The first-person novel of Kim So-Jin unfolds the story in such form that the full-grown 'I' of the present recalls pre-experiences fo the past. The experiencing I in his childhood is reflected in the life of the present narrating I from his retrospecting viewpoint. This is why the intervention of narrating I is significantly seen and dialogues of all characters in the experiencing space of the past tend to become indirectly exchanged. Moreover, Kim So-Jin's novels are expecially characteristic in reenacting the lives of poor grassroots by means of abundant Korean vocabulary and witty literary style.
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