韓少功소설을 통해 본 예술적 의미로서의 현대성 고찰

Abstract

This paper aims to examine the characteristics of ‘modernity’ demonstrated in Han Shao Gong’s novel 『爸爸爸』(1985) and 『女女女』(1986) from an artistic perspective. As Han Shao Gong’s novels achieved the name of novel with philosophical principles, his works have been studied with the thesis of ‘philosophical thinking.’ However, there have been limitations in explaining his literary world solely with philosophical thinking as his works are of explorations with literature, history and philosophy integrated. As to theory of art, an art historian Jo Junggeol (2012) stated “Modernism mentioned on philosophy refers to modern philosophical ideologies and it is a notion of common noun. Modernism in art, however, is used as a stylistic name like terms such as romanticism, realism and impressionism.” In other words, he regarded modernity in art as something that should be distinctive from a common noun. Starting from the aforementioned issues, this paper is to distinguish the two novels in perspective of art theory and to discuss styles applicable on them. First, this paper suggests ‘superficiality’ of modernism, ‘parody’ and ‘representation’ of neorealism and ‘coincidence’ demonstrated on existentialism as characteristics of ‘modernity.’ Those modernity characteristics shown on Han Shao Gong’s novel were to express ‘how’ instead of ‘what’ Literary expressions embodied by Han Shao Gong were the results from actively embracing Chinese contemporary literature and public demands.