양귀자 소설 연구 : 90년대 이후 소설의 변모 양상을 중심으로

Abstract

ABSTRACT

A study on Yang, Gui Ja's novel - focusing on the transfiguring aspect of novels in 1990s -

Yang Kye-Suk Advisor : Prof. Heong-Jug Kim Ph.D. Major in Physics Edication Graduate School of Education, Chosun University

While communist bloc of Eastern Europe was collapsed, Korean literary world met extensive changes in 1990s. Epic novels whose background is Korean modern history with lots of difficulties all through the 1980s or realism novels whose subject is conflicts between individual and society were mainly written by male writers, so an epoch was marked in Korean history of novels. And then, It is within bounds to say that 1990s started with feminism novels of female writers. Most of female writers who worked actively treated problems women in similar generation experienced in novels as writers in 30s, who attended university in 1980s. Among them, Gong, Ji Young, Shin, Kyung Sook, Yang, Gui Ja, etc. are representative female writers forming the group of bestseller writers in 1990s. Yang, Gui Ja who is an objective writer of this research had found hopes continuously in joys and sorrows of urban people from 1970s to 1980s. She presented short novels in early stage, but lots of them are not known to people. After works of Roman-cycle,『Wonmi-dong people』, which became famous, she concentrated on long novels by getting out of short novels. After 1990s, the changes of writing focused on long novels rather than short novels and novels adding fantastic, unrealistic and tale atmosphere were mainly written by deferring creation of realism novels. In『Hidden flower』presented in 1992, a writer changed the direction of work for the rapidly changed world situation. The changes were tried by long novels,『I hope what is forbidden to me.』presented in same year,『Love of thousand years』in 1995 and『Contradiction』in 1998. While all of three works became best-sellers, Yang, Gui Ja distinguished herself as 'a writer of popular novel'. Nevertheless, in『Contradiction』which is a work in the latter part of 1990s, the desire which was often appeared in novels written in the first half of 1990s was not controlled. Sometimes, it was judged and reflected. Therefore, it's necessary to put off the simple interpretation that Yang, Gui Ja's literary in 1990s succeeded in cutting literary in 1980s completely or became popular novels. Existing researchers mainly selects cutting dichotomy, but this research denies the attitude and intends to analyze Yang, Gui Ja's long novels in 1990s, which didn't be the subject of existing researchers more concretely. The purposes of this research are to consider the aspect of continuousness and examine full account of Yang, Gui Ja's literary in 1990s concretely while discussing the world of Yang, Gui Ja's novels in 1990s from the standpoint of cutting. First of all, in the chapter Ⅱ, several discourses on Korean literary presented after 1990s were examined and Korean literary's characteristics of 1990s, which became the background of Yang, Gui Ja's literary after 1990s, were examined. In the chapter Ⅲ, the characteristics of Yang, Gui Ja's literary in 1990s, ‘embodiment of women's desire’, ‘introduction of fantastic factor’, ‘Exploration of human's two-sided characteristics’, etc, will be drawn by analysis on each work. Therefore, in this chapter, differences and similarities between Yang, Gui Ja's previous works and Yang Gui Ja's works in 1990s will be thoroughly examined and limitations of Yang, Gui Ja's works will be discussed.