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A Study on the kim ae-ran’s literary changes in the aspect of Family motif

  • DONAM OHMUNHAK
  • Abbr : 돈암
  • 2018, 33(), pp.65~98
  • DOI : 10.17056/donam.2018.33..65
  • Publisher : The Donam Language & Literature
  • Research Area : Humanities > Korean Language and Literature > Korean Literature > History of Korean Literature
  • Published : June 30, 2018

Seo eun-kyoung 1

1연세대학교

Candidate

ABSTRACT

Young writer kim ae-ran is loved by both critics and the public, which is a rare feat. Making a debut in 2003 with novels focusing on the poverty and the income disparity of IMF generations, kim ae-ran’s spectrums are widening to shed a light on the dark side of the world that we live in. Here we have focused on kim ae-ran’s literary changes, especially how her literary world changes through the family motif and her writing style. This article looks at the glaring characteristics of kim ae-ran’s novels at a perspective of ‘the birth of a storyteller.’ In her novel, a vacant father is a dead words, a trace of life, and a novelistic imagination that continues to revive ‘me,’ the speaker. On the other hand, a mother is the main agent of the narrative, continuation of life, and the expansion of words. The mother in kim ae-ran’s novel is not just someone’s mother, but the ‘mother’ of all living things. The speaker condolences the world by using the words of the ‘mother’ which conveys a natural vitality. The stories of minorities in kim ae-ran’s novels are the expansion of views that started from a poor family. The speaker herself is reborn into an origin of existence and a storyteller, and goes from a story of a family, to a story of another stranger, and then to an imaginary world of a novel. The stories that come from the young speaker is not only a growth story of an individual, but a novelistic time and a societal imagination built by a storyteller. She transforms an image of an oppressive father into an imaginary being, and thus the newly built novelistic ego, that is born through the mother, starts firing at the world as a storyteller. That story is an extension of a ‘family’ and a motivation to move toward a conscience at other people. kim ae-ran’s novelistic footsteps support these notions. kim ae-ran’s recent novels have a variety of characters and a bigger world. Her early novels were full of humor and imagination, but now is not the time for laughter, and she directly faces the structural problems of our world. The problems we have now are not solved through an imaginary story. The simple and exact sentences and the weight of her literary world tells us that once we have looked through other’s sorrows, then we can truly identify with the hardships.

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