박완서의 장편소설에 나타난 음식의 문학적 재현과 의미

초록

This study set out to investigate the patterns of connections between the social environment and women's self-consciousness in Park Wan-seo's novels based on the literary reproductions of foods in her works. Recognizing that the writer approached her writing from the viewpoint of women's lives from her debut work in 1970 to her last novel encompassing life after the Korean War, modernity, and industrialization process, the study focused on food culture, which was the most important in a microscopic approach. As the Korean society evolved through the Korean War, industrialization in the 1970s, and postcapitalism in the 1990s, women changed to take the initiative in their lives and embody their identity. In Park's novels, food represented characters' survival instinct during the Korean War and also displayed their humanitas and human love. The new middle class emerged in the environment of rapid industrialization and urbanization in the 1970s, and Park embodied the secular desire, duality, and snobbery of the middle class with food. Her characters criticize the secular tendency of the middle class and reflect on themselves through abundant food and their taste that had been tamed. Entering the 1990s, women's gender consciousness began to be clear in the postcapitalist society. Women expressed their lives and sexual desire through cooking. In her works with an autobiographical tendency published in the 1990s, Park talked about her nostalgia for her childhood and longing for her mother through the food culture. Her diverse food discourses in her novels can be compressed in four major meanings. Some of her patterns overlap among her works, and the study focused on the meanings highlighted by the writer. The first group includes Namok, A Thirsty Season, We Were Warm during the Winter, and Was the Mountain Really There? They show the value orientation of humanitas while revealing survival instinct. The second group includes A Shaky Afternoon and A Year of Bad Harvest for the City, which depict secure desire and the yearning of "pure love era." The third group depicts her nostalgia for her hometown and longing for her mother, which is strong in her novels with an autobiographical tendency. The group includes Who Ate Up All the Shinga and Was the Mountain Really There? The last group includes Namok, A Standing Lady, A Very Old Joke, and The Man's House, which embody gender consciousness and identity through food. Armed with her remarkable ability of describing daily life, Park implements a narrative strategy through food. The findings of the study demonstrate that food and the food culture not only showed the lives of women, but also had huge impacts on her novels of manners and embodiment of dailiness that characterize her works.

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