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Changing Representative-regime and the Place of Novel - Meaning of acceptance of narrative shamanist song in Hwang Sok-yong's “Bari”-

  • Journal of Korean Literature
  • 2018, (37), pp.31-68
  • DOI : 10.52723/JKL.37.031
  • Publisher : The Society Of Korean Literature
  • Research Area : Humanities > Korean Language and Literature
  • Received : March 31, 2018
  • Accepted : May 10, 2018
  • Published : May 31, 2018

Yoo Sung Hwan 1

1대전대학교

Accredited

ABSTRACT

This paper intends to suggest the meaning of accepting “Princess Bari” from the “Bari” of Hwang Sok-yong in the more macro-context of the long-term change of the representative-regime from the 1980s to the 2000s. The acceptance of narrative shamanist songs in Hwang Sok-yong's works such as “Bari” is often thought to be a project of the 2000s. However, it dates back to the 1980s in fact. Hwang Seok-young's interest in narrative shamanist songs in the 1980s is closely related to the changes in the representative-regime that began in the 1980s, when the belief that the experience of others could be mediated by a single language and perspective of the narrator began to be questioned. There was a need for a new way to represent the experience of the other in accordance with the changing process of the representative-regime. In “Bari”, narrative spaces, which allows the experience of the other to be performed directly without mediation of narrator, can be created by structuring the narrative discourse by using shaman as narrative device. It can be regarded as an attempt to newly establish the place of the novel in crisis in the process of change of the representative-regime that has been continuing and deepening since the 1980s until now.

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