??? ?? ? ???? ?? ¡ª???? ??? ?? ? ??? ???? (The Opaque Subject in the Audible World ¡ªFocusing on Kim Dong-in¡¯s ¡®Barely Opening the Eyes¡¯¡ª)

? ?? ???? ?? ??? ???? ??? ??? ??? ??? ??? ? ?? ??? ?? ???? ??? ???? ????? ??. ??????? ???? ?? ??? ???? ??? ??? ??? ????, ? ???? ?????? ??? ? ???? ?? ??? ??? ????? ????. ??? ???? ???? ?? ?? ???? ???? ????, ??? ??? ???? ?????? ??? ?????? ??? ????? ??.
??? ????? ????, ?? ? ???? ??? ?? ??? ??? ??? ??? ??? ??? ???? ?????. ??, ??? ?? ? ??(1923)? ??? ??, ?? ???? ????? ??? ??? ???? ??, ??, ??? ??? ?????. ??? ??? ?? ???? ???? ???? ????? ????? ??. ???? ???? ??? ???? ?? ????? ??? ??? ????? ??? ????. ??? ? ???? ??? ???? ???? ???? ??? ????? ????? ???? ?? ¡®?? ??¡¯? ??? ?????. ?? ??? ?? ???? ??? ???, ??? ??? ?? ? ???? ???? ??? ??? ??? ?? ????. ???, ??? ?? ? ??? 1920?? ?? ??? ????? ?????? ??? ??? ?? ??? ??? ??? ?????? ??? ??? ??? ??? ? ??? ??? ????.

This article aims to explore the portrayal of modern self and romantic art in Kim Dong-in¡¯s early novels from an auditory perspective. In Korean literary history, Kim Dong-in is recognized as a figure who established the autonomy and aesthetics of modern literature, grounded in a romantic subject with self-identity. However, his novels also contain elements that are divergent from this interpretation, which could be a result of both conscious creative activity and unconscious formation.
Under this problem consciousness, this paper particularly examines the representation of the Daedong River in Kim Dong-in¡¯s early works, focusing on the environment of sound. Specifically, it centers on ¡®Barely Opening the Eyes¡¯ (1923), comparing it with other novels to investigate the relationship between song, nature, and self in Kim Dong-in¡¯s literature. This also extends to actively interpreting scenes that go beyond the aesthetic modernity pursued by the author. While Kim Dong-in concentrated on transforming community songs, like the Seodo folk songs, into modern art, the process of representing the otherness of the gisaeng, who are the consumers of this music, shapes a ¡®listening subject¡¯ that does not reduce to the author¡¯s literary view or individualism. This represents a unique character in Kim Dong-in¡¯s literature, portraying an individual who attentively listens to the world and others¡¯ words, incorporating instances of otherness as part of the self. In conclusion, ¡®Barely Opening the Eyes¡¯ presents the form and ethical meaning of an auditory subject during the early 1920s, a period dominated by the discourse and literary representation of a visually-oriented, self-identical modern subject.