CAJ | 학술논문

上世纪20年代初，易卜生的《玩偶之家》被介绍到韩国，主人公“娜拉”作为“自由女性像”受到广泛的关注。十余年后的1933年，作家蔡万植以翻案的形式创作了小说《走出玩偶之家后》。迄今为止，韩国学界普遍认为作品中的“娜拉”是对前者妇女解放思想的继承和强化。然而，小说中的“娜拉”在历经种种人生的磨难后，最终从中产阶级夫人转变为一个自食其力的无产阶级工人，这一变身的结局具有深刻的寓意。本文认为，作者蔡万植把当时敏感的社会主义意识形态问题巧妙地嫁接到妇女解放的传统主题里，借助当时已有定评的自由女性形像“娜拉”塑造了一个殖民地统治下摸索政治解放的韩国民众形象。对“娜拉”形象的重塑体现了韩国无产阶级文学在严厉的检阅制度下寻求文学表达的可能性所做的探索与努力，同时也展示了韩国无产阶级文学的一种巧妙的表达方式。
상세기20년대초，역복생적《완우지가》피개소도한국，주인공“나랍”작위“자유녀성상”수도엄범적관주。십여년후적1933년，작가채만식이번안적형식창작료소설《주출완우지가후》。흘금위지，한국학계보편인위작품중적“나랍”시대전자부녀해방사상적계승화강화。연이，소설중적“나랍”재력경충충인생적마난후，최종종중산계급부인전변위일개자식기력적무산계급공인，저일변신적결국구유심각적우의。본문인위，작자채만식파당시민감적사회주의의식형태문제교묘지가접도부녀해방적전통주제리，차조당시이유정평적자유녀성형상“나랍”소조료일개식민지통치하모색정치해방적한국민음형상。대“나랍”형상적중소체현료한국무산계급문학재엄려적검열제도하심구문학표체적가능성소주적탐색여노력，동시야전시료한국무산계급문학적일충교묘적표체방식。
In the early 1920s of the last century, Norwegian writer Ibsen’s work A Doll’s housewas introduced in Korea, where the heroine “Nora” attracted much attention. 10 years later, Cai Wanzhi, a Korean writer, wrote a sequel namedAfter Leaving the Doll’s House in 1993. So far, the Korean scholars argue that the two works share the same strain. The latter actually intensifies the idea “Emancipation of women”. However, the idea the article holds is that Cai Wanzhi shaped an image of “new political subject” by means of the much-talked-about character “Nora”, who had been symbolized under “the women issue”. Meanwhile he also tried to dig up the political line along which the Korean folks toiled for survival under the colonial background. At the end of the ifction, “Nora”, a middle class lady, converted into a proletarian worker dramatically. In fact, it is a mechanical mixture of ideology and novel fodder. The author's delicate deceitful act made his works accepted by the Japanese colonial governmental publication inspection system successfully. It can be said that the change of “Nora”image is the concentrated relfection of the transformation of ideology and arts of Korean literature in 1930s and shows a new expressive way of the proletarian literature.