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Double Notes by ‘I’ and ‘Another I’: Focusing on Into the Unfamiliar Time by Yi Inseong and Soul Mountain by Gao Xingjian

  • The Journal of Chinese Cultural Studies
  • 2016, (32), pp.1-26
  • DOI : 10.18212/cccs.2016..32.001
  • Publisher : The Society For Chinese Cultural Studies
  • Research Area : Humanities > Chinese Language and Literature > Chinese Literature > Chinese Culture
  • Published : May 30, 2016

이영구 1 Do im Bae 1

1한국외국어대학교

Accredited

ABSTRACT

This paper compares and analyzes the journeys for their existences of ‘I’ and ‘another I’ through the descriptors of ‘I’, ‘You’, and ‘He’ in Soul Mountain (Gao Xingjian, China) and Into the Unfamiliar Time (Yi Inseong, Korea). Transfers of persons which appear in Into the Unfamiliar Time and Soul Mountain are the intended strategy of the writers which indicates the a cognitive splitting beginning from a question about an existence of an Individual. Both Yi Inseong and Gao Xingjian gave their attentions to the internal world of ‘Me’ and the existence of the external world looking at the internal world and its views, which show themselves as the fragmented and distorted descriptors of ‘I’, ‘You’, and ‘He’ in the works. It was the result from constant asking about his own existence, which are ‘I’ constantly identifying its own existence and ‘another I’ raising questions and prying about the ‘I’ existence in absurd society. In Soul Mountain and Into the Unfamiliar Time, they peels off the external barks one by one covering the truths and lies. The former did it through the intellectual journey of ‘I’ as an intelligent who had lived in a harsh and difficult society and history and the spiritual journey of ‘another I’, or ‘You’. The latter did it through a bitter self-autopsy by ‘another I’- ‘He’ and ‘I’, a young guy who in vain opposed to absurd Korean reality and society but was inevitably bound to them. The two authors showed modern selves and existences trapped in dilemmas and chaos of distortion and distortion and twisting and twisting, like in a mirror room, through the double narratives by ‘I’ and ‘another I’.

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