이 글의 目的은 <斷層> 同人 小說의 플롯 構成과 敍述 技法의 特性을 검토하여 그 이데올로기적 전제를 밝히는 데 있다. 그 결과〈斷層> 同人 소설에서 인물이 直面한 葛藤 狀況은 현실에 대한 無知에서가 아니라, 현실의 俗惡性을 예리하게 간파한 知識人으로서의 良心과 自意識에서 야기된다는 점에서 〈斷層〉 同人 小說에 전면화된 현실 부정 논리가 공허하거나 막연한 논리가 아니라, 현실 底邊의 俗惡性에 대한 부정임을 확인할 수 있었다. 따라서 〈斷層〉 同人 小說의 이데올로기적 전제는 道德的 · 質的 價値에 대한 憤慣，즉 ‘健全性에의 希求’에 대한 期待値라 할 수 있다. 그런 맥락에서〈斷層〉同人 小說의 이데올로기를, 기존 논의대로 당대의 지배 이데올로기의 受動的 反映 내지 安協과 順應의 態度로 간주하기보다는, 그 지배 이데올로기에 대한 抵抗과 應戰의 불가피한 방식으로 이해하려는 轉向的 視角이 요구된다.

The purpose of this essay is to examine techniques of narration, and the plotting in fictional narratives which is included in a magazine ‘Dan-Cheung(dislocation)’. In Korean literary history, psychological fiction(PF) is characterized by the description of incompotence and escaptism in inner life of the intellectuals. From a realistic view, literary work have to be the mimesis of the real. But PF is centered on inner life{including the unconsciousness), not actual or external world. Story consist of events in a time sequence. Plot, in a traditional sense, is involved in rearranging in a causal relation the elements of a story in time order. In this rearrangement, repetition as a retelling from the standpoint of the end. Thus, narration as reporting and representing is not the exact transmisson of story, but the process of retelling and reconstructing it. A certain elements of story are concealed and get blocked by this process. Narrator as the source of information in a narrative, controls information, of ingredients in the story by his/her own intention. But in his narration as a report, all information of story is not given to the reader. As a result, many gaps is produced in a text, and the degree of authority or reliability of narrator is broken down up to a certain point. It shows that behind the narrator stands an ideology which has interpellated him/her, A fair definition of this ideology is (a consensus view of reality, or natural and inevitable way of reading reality. Narrator, under* the control of the ideology, gives a value and a meaning to events which he relates. In this respect, PF in 1930,s is called literature of anxiety’, should be worthy of note. In fact, narrator and characters in PF, attempt to contain their anxieties from which the opposition of their circumstance arises. The containment of anxiety relates to the repetition, since repeating a something familiarizes it, makes it safe. Works of the staff of magazine < Dan-Cheung > - Yu Hang-Lim, Lee Hui-Chang? Gu Yion-Muk etc ― are promised on a ideological assumption of the reincorporation into reality. It relates to the distinction in a ideological assumption on which they have grounded Narrative fiction is not the mimesis of reality, but the mimesis of a way of seeing, and of reading or telling reality. Thus, fictional world is reflected on a way of thinking―a natural and dominant ideology of the age. In order to advance this study, we will be examine the historical and social context of the age, in which PF have produced.