朴泰远的文学受到广泛的关注，正是因为他创作了韩国现代派小说的重要代表作。朴泰远一直强调文学本身的自律性和艺术性，对忽视文学的形式价值而侧重于政治性的思想理念的无产阶级文学不屑一顾。同时，他充分认识到文学的美学价值之重要性，在自己的作品创作中大胆运用崭新而多样化的叙述方式，以此对文学的形象化和艺术性增强做出了巨大的贡献。因此，他被誉为二十世纪三十年代韩国现代主义小说发展道路上的先驱。他的作品从个别人物的内心碰撞，到客观现实的多种矛盾及民众生活的现实状况，不断扩展着其叙述对象。本论文紧紧围绕上述几种特点，要以朴泰远现代派小说代表作《小说家仇甫氏的一日》和《川边风景》为主要研究对象，详细考察作者的创作意识和其独特的叙述手法，最终阐明朴泰远文学创作的叙述美学特征。 为了更为确切的把握朴泰远文学创作的全貌，首先梳理了上个世纪30年代韩国现代主义文学所具有的总体特征。特征包括文学形式的多样性、自意识反映、意识流手法、电影表现手法 等。作品《小说家仇甫氏的一日》通过对人物内心世界前后变化的生动描述，塑造了一个因不能适应殖民化的现实环境而苦恼、彷徨的朝鲜知识分子形象。这一形象的塑造过程，便是以第三人称的视角，把主人公仇甫的内心为全部焦点的不间断叙述流程。为了有效地表现出人物心灵世界变化的共时性，作者把电影表现手法中常见的over-lap和montage（蒙太奇）这两种手法，运用到了作品创作当中，以此体现了他接受现代派小说叙述模式的立场。《川边风景》一改前期小说作品所固有的分段式叙述方法，却通过叙述五十多个穿插式小故事的崭新叙述方法，展现出了川边在一年多的时间内所发生的一切。《川边风景》中我们可以领略到作者是如何通过picaresque结构特征、城市居民的日常生活、叙述的外化、camera-eye（镜头视角）、空间蒙太奇、川边的象征意义等要素，对时代现状做出反应并进行描述。特别是借用电影的“镜头视角”手法，作者的主观意识几乎不露马脚，却给读者如实地展现出了城市贫民的生存现状。据此可以肯定的是，川边这一特殊的生存空间，就是二十世纪三十年代殖民统治下的整个朝鲜半岛的缩影。如果说《小说家仇甫氏的一日》主要运用了主人公的意识流变的时间蒙太奇，相比之下《川边风景》则通过并列展示在不同空间所发生的多种事件，即运用空间蒙太奇的手法，客观地展现了当时社会不同人物的不同生活现状以及城市生活的缩略图。简而言之，《小说家仇甫氏的一日》对城市的观察是从外部和表面观察转向为人物自省的内部观察，而《川边风景》不仅从外部观察了城市，而且深入到了其内部。这不得不说是作家思想的扩大和发展。朴泰远是一位借助文体和手法的自我创新，致力于构建独特作品世界的作家。他从以往的以情节的依次展开为主的传统小说创作模式中脱离出来，最终成功地构筑了跨越时空的立体式作品模式。以一丝不苟的创作姿态，不断推出崭新的作品面貌，更是他一贯的创作作风。

Tae-won Park, though having gone to the North, has always been considered as an important writer in Korean literary history, which is due to his unique literary world. He contributed to the development of art-form through focussing on the autonomy of the literature and consequently the narrative act more than the object of the narrative. The topic of this present dissertation is the analysis of the aethetic effect of the organic relation between the object of narrative and the narrative act. This dissertation will deal with all his works to explain the aethetic nature of Park’s literaty world. His literary world begins with the exploration of the individual human being through the objective ananlysis of the real world and winds up with writing about the life of common people. This dissertation will show how Park represented his expanding theme. In “A Day of novelist Ku Bo”, the narration gets weaker as the antagonist’s inner world is more emphasized than dramatic narrative events. The antagonist’s inner world is emphasized by the way of assimilation and dissimilation of a narrator and a focus-subject, such as extermination or intervention of distance between the nattator and the character, etc, rather than conflict or confrontation of behaviors. Because the narrator who seemed to develop the narration by inner focus from the character’s viewpoint, secretly regulates the distance between him and the character, the novel constructs narrative features combined with the first person and the third person, with the voice of the character and the narrator and with the subjectivity and the objectivity. It is a narrative attitude combining self-pity with self-criticism, and extermination of the subjective distance with keeping of the objective distance. The new experimental technique of the modern narration is making time of space. Park Tae Won pursed to make time of space in the novel, out of the convention important in traditional novels. In “A Day of novelist Ku Bo”, making time of space is experimented on narrative techniques, union or parallel of the past and the present beyond the line. Another experimental technique is an embodiment of aesthetic realization. The modernology presenting the process of the creation, the stream of consciousness, and the cinernatization etc. are accepted into the creation of novel and enlarge and deepen the novel field. “the Cheonbyun Scenety”describes directively the grassroots’s daily lives who are living in inconsistent realitiea of life of the cities which are civilizing in 1930s. So this is in contract with “A Day of novelist Ku Bo ” Narrator’s perspective is directed toward the objective actual world, transcending the subjective, self-conscious world. Park exposes the socialmalaise or structural contradiction of the undeveloped society. Many-layered narratives, multiple perspectives are employed in order to show the actual objective world without any intrusion of subjective consciousness. The author, Park Tae Won, describes daily lives and mentalities of various characters, which are described as transition period between modern and premodern ages,by using Montage unit(a kind of narrative structure techniques). Describing scenety of ‘Cheonbyun’ like photographing with camera, he could show us the effectiveness of directness. This was revealed as two point. One is he could reflect the prevailing state of the city, the other is he could show us ‘Scenery of desire’of ‘Cheonbyun’ which wriggled in the inside of change of the prevailing state and imitated the prevailing state, or provoked change of prevailing state. These results were turned out by the symbolic main body, who was perfectly out of the imaginative world, was keeping the dominant symbolic order and objective distance. Conclusively, Tae-Won Park rejected the conventional narrative method of chronological order and succeeded in constructing the visual and spatial art form. In addition, he tried various art forms with sincere craftmanship. Therefore his significancy in literary history cannot be denied.