구활자본 소설에 나타난 ‘가정담론’의 대중미학적 원리

초록

This thesis studied ‘home discourse’ from a premise that Old-type Printed Novel published in early 1910 was created in accordance with Popular aesthetic principles. In 1910’ was age that a king who called the highest point for family romance didn’t exist officially or whole national/ethnical image, in other words, Collective Memory, which can be possible to alternate to this didn’t form. It was necessity that Old-type Printed Novel was interested in home discourse in early 1910’ when based on two points both social changes that was changing from a large family system focused on ‘Family Crest’ to on ‘Home’ and loss of a King/a Nation, but Family romance couldn’t be appeared and just be representation as a state that desired it. Also, in that time, it is the same reason why it had popular aesthetic principles that is Melodramatic narrative structure, but only treats a conflict between characters, not bring into relief goodness and viciousness as the factor of conflict. In early 1910’, it is not the principles of ‘now-here’ or future, but the principles of the past, in other words, traditional ethic as filial piety and fidelity that searched common central dogma to unity empirical sense with playing a role like social collective memory in the empty place of a nation/ ethnic in Old-type printed novel. That emotional state which is defeat and the loss as the loss of a nation and keeps something even if it is sacrifice was transformed easily to emotional state which inclines toward a father or a husband in Family Crest. Therefore, in early 1910’, woman was a hero, the role of man or a father was secondary in Old-type printed novel. Also, as resistance of popular epic against confusion of a standard of value and absence repeats and revives conventional structure between good and evil, it is stitching up confused situation to call traditional epic as filial piety and fidelity.

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