기록문화가 형성한 소설담론 공간의 리얼리티

Reality on the Discourse of Fiction Formed by the Records Culture: Focusing on “the Symposium Sponsored by Shincho” and “the Symposium Sponsored by Choseonmundan”

この研究は韓国と日本で新しい小説方法論の探求が起きた1920年代を中心に、既成文壇と新進作家グループでの談論が実証的に集積された｢合評会｣という記録形式に注目する。そして、この｢合評会｣を小説方法論の談論トポス(topos)として規定し、その特質を明らかにしようと試みた。方法的には｢合評会｣という文字化されたテクスト記録から｢誰が記録しているのか｣に注目し、3人称と1人称の問題を｢事実｣と｢フィクション｣の混在として置換することで、1920年代の韓国と日本の｢小説方法論に対するパラダイムシフト｣を考察した。その結果、日本の近代小説は｢ありのままに描く｣の矛盾を目の当たりにすることで、実況中継者としての語り手の｢事実｣が構築できた。そして、韓国の近代小説は現実の世界からフィクションの世界を眺められる小説家の認識を基に｢フィクション｣を軸にする｢事実｣の小説方法が構築された。

This study focuses on the 1920s, when the exploration of new novel methodologies took place in Korea and Japan. And the record format of “the symposium” in which discourses exchanged between established literary circles and groups of emerging artists were integrated, was considered. In addition, this joint review was defined as the discourse of “topos” of the novel methodology and attempted to clarify its characteristics. First of all, the researcher started with the question of ‘who is recording’ that a written text record, “the symposium”. And then, the problem of the third person and the first person was replaced in terms of a mixture of ‘fact’ and ‘fiction’, and the ‘paradigm shift of novel’s methodology’ between Korea and Japan in the 1920s was considered. As a result, Japanese modern novels confirmed the impossibility of ‘translating reality as it is’ and was able to establish a viewpoint as a live broadcaster. On the other hand, modern Korean novels have established a novel method that gives the ‘fact’ nature of ‘fiction’ based on the novelist’s perception of looking at the fiction world in the real world.