여성캐릭터의 양가성 –廉想涉의 1920-30년대 小說을 中心으로– (The Ambivalence of Female Characters’ Desires –Focusing on Yum Sang-sup’s novels in the 1920s and 1930s–)

서지정보

· 발행기관 : 한국어문교육연구회
· 수록지 정보 : 어문연구(語文硏究) / 51권 / 1호 / 107 ~ 133페이지
· 저자명 : 김정진

초록

김정진, 2023, 여성캐릭터의 양가성, 어문연구, 197 : 107~133 본고에서는 염상섭의 1920-30년대 작품의 주요 여성 캐릭터의 특징이 양가성에 의해 형상화되었다는 논의를 진행하였다. 『除夜』의 최정인의 무리한 욕망의 실천, 『해바라기』의 영희가 보여준 전 애인 무덤으로 간 신혼여행 그리고 『二心』의 박춘경의 문란한 성욕과 자살 등의 사건들은 당대 사회 여성으로서의 일탈적 삶을 형상화한 것이다. 그녀들은 가부장에 의해 축출되거나 결혼을 강제당하는 딸로서 전근대적인 가치관 앞에서 저항하는 캐릭터들이다. 그녀들은 이상과 현실의 양립하기 어려운 문제를 양가적 입장으로 돌파하고자 한다. 그때 개성을 주장하던 염상섭의 입장은 그녀들의 방종을 양가적으로 형상화했다고 할 수 있다.
한편 신여성 출신으로 욕망의 화신이라고 할 수 있는 여성 캐릭터들은 상당량 살인자로 등장한다. 이때 작가는 개성의 문제를 빙자한 극한의 이기적 욕망의 양가적 상황을 비참한 결말로 여성캐릭터를 성격화하였다. 개성적 투지로 당대의 현실에 맞서는 캐릭터 형상화와 그것을 어떤 입장에서 바라보는가 하는 작가의 입장을 추론하는 것은 廉想涉 小說에 대한 새로운 해석 시도로 평가될 수 있다.

영어초록

Most of the female characters examined here pursued double values that were damaged in the so-called fallen world. In the work, the characters’ self- interested and valuable views turned them ambivalent. The dual values and the anachronism of the truth created duality, which caused friction with other characters.
People are changed in production through their relationships with each other, and the fundamental cause is triggered by their duality. Such a clue became an important factor in turning the character’s dual conflict into duality in the entire narrative.
In that sense, Choi Jeong-in’s suicide in New Year’s Eve is the end of a contradictory situation, and the entire narrative of her suffering while enduring an incompatible situation can be said to be the content of artistic creation with a tragic novel structure embodied in ambivalence.
The ambivalent situation of Choi Yong-hee in Sunflower, which cannot coexist, is her marriage to the good old groom Sun-taek, and her life carrying her lingering attachment to her deceased ex-lover Hong Soo-sam, which lies at the base of it. In the end, there is no choice but to drive her tragically.
Chun-kyung in “Isim” finds her marital relationship disrupted due to her husband Chang-ho’s infidelity and her own sexual desire; with such ambivalence, she leads an anxious and painful life, and the relationship is repeated with Cunningham. Park Chun-gyung’s ambivalent desire is portrayed in her works as the coexistence of corruption and reflection. It is because the character is intersperse with her sexual desire to deny her reality and her reality-first desire to pursue money.
The reality is that the stronger the desire for money, the greater the degree of corruption. Humans’ submission to money is proportional to their inner desire. Chun-gyung in “Isim” recognized that she was enslaved to sex and money, but when ethical regrets came into play, she rather boldly pursued a life of desperation as a slave to money and sex. The episodes of ambivalent composition in the story with the ending of suicide can be said to be Yeom Sang-sup’s typical expression of the life of a modern woman at the time.
On the contrary, female characters with ambivalent personalities appearing in Yum Sang-sup’s early and middle novels were set up as murderers in important events in the novels. Although the murderer type is not the main character in the story, he is connected to the main character and commits murder as a part of expressing his ambivalent desire in a very important case. The representative characters are Jeong Maria in Love and Sin, Kim Suk-jeong in Gwang-bun, and Suwon-jip in Three Generations.
This shows the fierce aspect of the new creative world that embodied the lives of women of the time in the most tragic and individualistic way, rather than the fact that the writer Yum Sang-sup hated new women or possessed a sense of the difficult times under the Japanese colonial era.

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