박태원 소설의 서술 기법 연구 : 영화적 기법을 중심으로

기본 정보

본제목

박태원 소설의 서술 기법 연구 : 영화적 기법을 중심으로

부제목

-

대등제목

-

국가구분

국내

생산일자

2002-**-**

언어

-

크기(mm)

-

페이지

115

ISBN/ISSN

-

판차

-

마스터파일

-

생산자

이윤진 (우석대학교 대학원 국어국문학과 현대문학전공 박사 논문 저자)

내용

(논문요약)[목적] 본고에서는 먼저 소설문학과 영화가 갖는 구조적 관계를 규명하고 나아가 박태원의 초기소설에 나타난 영화적 기법을 서술적 차원에서 고찰하고자 한다. (영문초록)[영문초록] This study is to examine the meaning of Park Tae-Won's novels from the view of novel history because the aspects of film description technique in his novels contributed to the development of Korean modern novels in 1930s. As is generally known, Korean modern novels and films have been developed by interactions not by isolation of each genre. It is a reflection on the practice that Korean modern novels have been treated within the area of literature and is also a new discussion about novel (literature) research requiring that novel is treated within the general area of culture. Novel and movie have the commonness in their descriptiveness. Story composed of events to be developed and characters as the subject of an event are common to two genres. The descriptiveness based on story makes the communication of these two genres possible. However, novel and movie are different genres as the difference of their media. Above all, the former uses language as its media in imitating the reality, but the latter makes use of an image with camera. There is an area which cannot be passed over between tow genres, that is the river of language. In the case of novel, it imitates the reality, but it cannot be like movie. Language can only imitate language. Then can novel show the reality by what means? It is through the dialogues between characters. The process from direct to indirect narration in the novel means the level of showing. Narrator's intervention acts with the narration. From this viewpoint, Park Tae-Won has the open eyes of commonness and difference between two genres compared to any other writers in this time. Environment of his birthplace, literary group of Guinhoi, literary movement of modernism and film mood in 1930s made more profitable environment for him in introducing the film technique to his novels. Two novels examined in this study have the characteristics of typification of internal psychology approaching an object by narrator and that of depicting the prevailing state of society observing the object from outside. Though such a feature was expressed by language, it can be highlighted only under a fixed influence of film technique. The film techniques such as 'Montage' and 'Camera-eye' are found in his other novels as well as his two novels discussed and he applied these film techniques to his works consistently. Montage technique which makes time a space, 'current' experience a view and practices synchronization of non-synchronization with text, method of 'the study of modern social phenomena' and use of 'camera-eye' following introduction of attitude observing and recording things from observer's position might be a unavoidable way of novel survival of the modern human aspect and landscape. Conversely, 「A day of novelist Gu Bo」 and 「Riverside Landscape」 depict the modern world most compared to any other writers at that time and it could be possible because these used film techniques which are considered as an absolute novelty. Problem is that these novels require the advance and retreat of narrator (「A day of novelist Gu Bo」) and narrator's retreat (「Riverside Landscape」) which are not found in any novels in those days. It means that a narrator's one-sided lead on description is not possible any more from the literary environment in 1930s with the weakening of trend literature. Park Tae-Won's novels through the acceptance of film technique were very experimental, but from the viewpoint of communication between novel and film up to date since then, it was a great initial explosive of the modern change of Korean novels.

목차

목차

목차 Abstract = ⅰ Ⅰ 서론 = 1 1. 문제제기 = 1 2. 연구사 개관 = 2 3. 연구 방법 = 5 Ⅱ. 박태원 소설의 배경 = 7 1. 전기적 고찰 = 7 2. 구인회의 자장 = 13 3. 근대소설과 근대영화의 교섭 = 21 Ⅲ. 소설에 있어서의 영화적 기법 = 36 1. 몽타주 (montage) = 36 2. 카메라의 눈 (camera eye) = 41 3. 시간과 공간 = 46 Ⅳ. 영화적 서술 기법의 양상 = 51 1.「소설가 구보씨의 일일」의 서술기법 = 51 1) 현재와 과거의 교차 = 51 2) 내부시점의 지속 = 56 3) 구심적(폐쇄적) 구조 = 66 2.「천변풍경」의 서술기법 = 72 1) 공간과 공간의 병치 = 72 2) 외부시점의 전개 = 83 3) 원심적 구조 = 97 Ⅴ. 영화적 서술 기법의 소설사적 의의 = 106 Ⅵ. 결론 = 109 참고문헌 = 113

소장정보 1