<헤어질 결심>에 나타난 대립적 이분법과 아이러니와 번역

Abstract

The paper examines the notion of irony and its literary effects, and then considers the opposite dichotomy of the film, Decision to Leave, which is a mountain and sea story between a man and a woman, in terms of characters, objects, props, settings, and OST. It also analyzes the paradoxes and ironies that arise from the fissure between the opposing dichotomies in the film’s framework, lines, and plot. Director Park Chan-wook expands irony from a lowly, playful device to a metaphorical and paradoxical relationship between language and situation, and between author and reader, as opposed to viewing art as a heavy and serious theory like American writers in new criticism, including T. S. Eliot. The tensions, paradoxes, and contradictions that emerge from the signifier and the signified of various individuals and objects “finally” disclose the fateful inconsistency of human existence and seem to balance the two opposing elements. Due to their dichotomous properties, the Korean words “coincidence” and “upright” have a paradoxical impact, and materials such as whiskey and jellyfish appear to contribute to this effect. The contrast between red, which represents death, violence, and separation, and blue-green, which represents love, interest, and meeting, also plays a part in the film’s atmosphere. As the film is divided into its first and second sections, it can be compared to several opposing groups, such as mountains and seas, Seorae and Haejun, Suwan and Yeonsu, and Ki Dosu and Im Hoshin, thereby creating structural irony. Rather than simply being placed in a dualistic opposition, Decision to Leave elaborately discloses the truth paradoxically by combining opposing elements in a single object or expression, such as Park’s reference to it being both an investigation and a romance simultaneously. The director and screenwriter appear to meticulously arrange characters, materials, setting, and dialogue, resulting in a dense and substantial film.