“娜拉”形象的重塑在韩国无产阶级文学中的作用——论蔡万植的《走出玩偶之家后》  

The Role on the Refounding of Nora's Image in South Korea Proletarian Literature——A Study on Cai Wanzhi's After Leaving The Doll's House

作　　者：苑英奕 

机构地区：[1]大连外国语大学韩国语系,辽宁大连116044

出　　处：《东北亚外语研究》2015年第2期41-46,共6页Foreign Language Research in Northeast Asia

基　　金：辽宁省教育厅人文社会科学研究项目"冷战中期韩国‘民众文学’比较研究"(W2013180)的阶段性成果

摘　　要：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。In the early 1920s of the last century, Norwegian writer Ibsen＇s work A Doll＇s house was introduced in Korea, where the heroine ＂Nora＂ attracted much attention, 10 years later, Cai Wanzhi, a Korean writer, wrote a sequel named After 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 fiction, ＂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 reflection of the transformation of ideology and arts of Korean literature in 1930s and shows a new expressive way of the proletarian literature.

关 键 词：“娜拉” 《走出玩偶之家后》 无产阶级文学 韩国文学 蔡万植 

分 类 号：I106[文学—世界文学]