『천변풍경』의 비교문학적 연구

• 영문명: A Comparative Study on Cheonbyunpoonggyong and Vieille France
• 발행기관: 구보학회
• 저자명: 안숙원(Ahn, Sook Won)
• 간행물 정보: 『구보학보』1집, 121~137쪽, 전체 17쪽
• 주제분류: 어문학 > 문학
• 파일형태: PDF
• 발행일자: 2006.12.26

국문 초록

본고는 『천변풍경』(1936)의 창작 비밀의 단서를 찾아보고자 불란서 작가 R. M. 뒤 가르(Roger Martin du Gard)의 『Vieille France』(1933)와 비교, 검토한 것이다. 비교 가능성은 ① 두 작품 모두 근대화, 도시화에 밀려난 청계천 하층민이나 불란서 시골사람들의 삶을 형상화함으로써 자국의 1930년대를 대표하는 세태소설이이라는 점, ② 서사시학적 측면에서 초점화를 통한 보다/듣다의 서술방식, ③ 몽타주와 같은 영화적 기법을 차용한 점, ④ 청계천/모뻬루 마을이란 서사공간이 전경화된 점, ⑤ 주제면에서 보통사람들의 속물적인 일상을 스케치한 점 따위에서 발견된다. 더구나 뒤 가르는 박태원처럼 구두점과 언어의 조탁에 매우 예민한 작가라는 것도 지적하고 싶다. 게다가 일본에선 『Vieille France』가 불란서에서 발표된 그 해 이미 번역, 소개되었다는 사실을 덧붙일 수 있다. 두 작가와 작품의 유사성을 실증적으로 검증하기 위해서는 영향의 수수관계가 물어져야 하고 이 때 뒤 가르의 전신자로서 일본이 중요하다고 생각되지만 영향과 원천의 명백한 서지를 발견하지 못한 현재로선 실증적 탐구에 한계가 있으며 대신 본고는 『천변풍경』과 『Vieille France』의 작품 내재적 형식원리를 비교해 본 것이다.

영문 초록

I have comparatively examined Cheonbyunpoonggyong(『천변풍경』, 1936) written by Park, Tae-Won and Vieille France(1933) of Roger Martin du Gard. They have something in common with each other. Both are as follows: ① The two texts are typical novels of social conditions of their nations, which describe the lower class who lived around Cheonggyecheon in Seoul and Maupeyrou of the French countryside expelled by the modern- ization, and urbanization in the 1930s. ② The point of views of these discourses depend on focalization through the character’s seeing/hearing. ③ They applied cinematographical techniques like montage, camera-eye, simultaneity, and others. ④ They foregrounded the narrative spaces (Cheonggyecheon of Seoul and Maupeyrou in French contrasting with the metropolitan) which revealed a collage of all sorts of patchworks. ⑤ They wrote about the snobbish everydayness of the ordinary people on the thematic dimension. ⑥ They used mainly present tense for the syntax. ⑦ Vieille France was published in the author’s country in 1933 and translated in Japanase in Tokyo in the same year. Here, I’ve tried to notice the Japanese impact on Korean Literature during the Colonial period. Park, a would-be a writer, was an active receiver of Western Literature through Japan which was a transmetteur from the Occident. Maybe, I guess Park would have read du Gard’s texts. Du Gard was one of the most popular European novelists in Japan at that time. He had been awarded the Nobel Prize for Literature in 1937. Park and his freinds (who were Korean modernists in the 1930s and joined ‘Guinhoe’ meaning nine members meeting.) could fluently speak Japanese. Park absolutely went to study to Japan. Whereever Park was in Seoul or Japan, it was really no problrm. That’s why he could read and write Japanese without inconvenience. His biography tells about it. Besides, du Gard as well as Park, was very sensitive to elaborate language and they used punctuation marks in their writings. Even though the difference of the story time of Cheonbyunpoonggyong and Vieille France is one year/one day, neither of these time-signifiants are any dominant factors of the texts, nor do they change the characters and the plot. There is’nt any special year, or special day in them. They only reminded us of the repeated, old-fashioned everydayness of Seoulity in Cheonggyecheon and French countrymen in Maupeyrou. The former was about Cheonbyun (omitted Cheonggyecheon) residence which began from the spring to the next spring. The latter was what the postman Jouaneau saw and heard from morning till evening when he visited every house to delivery the mail. Then, the texts shows us that ordinary people’s lives are much similar, though, Asia and Europe are a long distance apart. I think the compara- tive study between these two texts will contribute to the understanding of Korean Literature of the world

목차

Ⅰ. 박태원과 R. M. 뒤 가르의 영향 수수(授受) 관계

Ⅱ. 『천변풍경』과 『Vieille France』의 비교

Ⅲ. 맺음말

참고문헌

초록

키워드

비교문학 박태원 R. M 뒤 가르 『천변풍경』 『Vieille France』 천변 모뻬루마을 몽타주 시네마토그라피 세태소설 일상성 반복성 속물성 Comparative Literature Park Tae-Won R. M du Gard a novel of social condition Cheonbyunpoonggyong Vieille France snobbery repetition everydayness Cheonggyecheon Maupeyrou cinematography