A study on the meaning of residential space as the center of events in Son Chang-seop’s novels

Abstract

The purpose of this study is to examine the residential space where the works of Son Chang-seop, a representative artist of the 1950s, were created. In the previous research, the space appearing in Son Chang-seop’s novels, especially the housing space, is drawn as a gloomy and shady space or a ‘immortal space’ in relation to the characters, and the 'house' in Son Chang-seop’s novel is “not a space for rest, but a place for psychiatric Humans who have been damaged under a microscope are drawn as a borderline that responds to light, or as a place where patients who have no will to live saw their last life.” The spaces in Son Chang-seop’s works do not consistently remain simple spaces, but serve as a starting point and central background for an event to occur in each space. In particular, when Son Chang-seop’s works are divided into early (1950's) and late (mid-to-late 1960's), unlike the description of the space in the early days, the perception changes in the latter period. The most representative example is 『Road』(1969). can hear On the other hand, the spaces in Son Chang-seop’s novels symbolize the postwar Korea. There are similarities between the people living in Korean society at the time, where the scars of war remain intact, and the characters staying in the spaces of Son Chang-seop’s novels. In addition to the existing discussions, this study examines that the spaces appearing in Son Chang-seop’s works do not merely play a role of supporting the characters’ inner world, but act as ‘the center of the narrative’ that actively intervenes in the narrative of the work. Furthermore, I would like to examine the relationship between the post-war Korean society, the space in Son Chang-seop’s novels, and the characters living in that space.