일인칭 서술에서의 회상의 시학과 영화에서의 변이: 소설 『책 읽어주는 남자』와 영화 <더 리더—책 읽어주는 남자>를 중심으로 (The Poetics of Retrospection Which Is Narrated by the First Person Narrator and Its Adaptation: Der Vorleser and The Reader)

서지정보

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· 저자명 : 이채원

초록

The fiction conveying the story of past by the first person narrator has particular poetics. In this case, an event which is witnessed and experienced by the character in childhood is narrated by the adult narrator’s reflective voice. So the poetics of retrospection would be an important narrative device. That is, there would be re-views and re-experiences inevitably, and this would be interpretation and valuation of the event. Therefore, it towards complete meaning and clearness of interpretation. And the audibility of adult narrator’s voice would be expended.
In film, there is no narrator’s intermediation which transmits the event of past and mentions of characters. This is a decided factor which makes different esthetics and theme. Also the viewpoint shot in film is different from the first person narration in fiction. While the first person narrator controls over the whole narrative in fiction, the first person narrator becomes one of characters which is focused by camera in film. The audiences of film is affected by this change.
This paper intends to examine an aspect of the variation by analyzing Der Vorleser by Bernhard Schlink and The Reader by Stephen David Daldry. Der Vorleser is composed of a typical retrospective narration and contains a long story time which extends over almost forty years. It tells the story of the Holocaust through the love story between a woman who had been a guard of the Nazis and a boy who was fifteen years old. It is narrated by the first person narrator. So the first person narrator’s monologue reveals scars of the epoch, the Holocaust. The Reader intends to express passage of a long time and emotions of characters without voice over narration. So the relative importance occupying the first person, Michael is reduced but Hannah who was a guard of the Nazis comes up rise on the surface of the narrative in film. As the result, though both Der Vorleser and The Reader have a same story and a same theme, the influences on reader’s receptions become different. While the first person narrator’s linguistic narration requests to be sharing self and pursues the complete meaning, the composition and completion of meanings attribute to the audience’s portion in film.

영어초록

The fiction conveying the story of past by the first person narrator has particular poetics. In this case, an event which is witnessed and experienced by the character in childhood is narrated by the adult narrator’s reflective voice. So the poetics of retrospection would be an important narrative device. That is, there would be re-views and re-experiences inevitably, and this would be interpretation and valuation of the event. Therefore, it towards complete meaning and clearness of interpretation. And the audibility of adult narrator’s voice would be expended.
In film, there is no narrator’s intermediation which transmits the event of past and mentions of characters. This is a decided factor which makes different esthetics and theme. Also the viewpoint shot in film is different from the first person narration in fiction. While the first person narrator controls over the whole narrative in fiction, the first person narrator becomes one of characters which is focused by camera in film. The audiences of film is affected by this change.
This paper intends to examine an aspect of the variation by analyzing Der Vorleser by Bernhard Schlink and The Reader by Stephen David Daldry. Der Vorleser is composed of a typical retrospective narration and contains a long story time which extends over almost forty years. It tells the story of the Holocaust through the love story between a woman who had been a guard of the Nazis and a boy who was fifteen years old. It is narrated by the first person narrator. So the first person narrator’s monologue reveals scars of the epoch, the Holocaust. The Reader intends to express passage of a long time and emotions of characters without voice over narration. So the relative importance occupying the first person, Michael is reduced but Hannah who was a guard of the Nazis comes up rise on the surface of the narrative in film. As the result, though both Der Vorleser and The Reader have a same story and a same theme, the influences on reader’s receptions become different. While the first person narrator’s linguistic narration requests to be sharing self and pursues the complete meaning, the composition and completion of meanings attribute to the audience’s portion in film.

참고자료

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