This study is aimed to examine the political unconscious and historical sense, which is shown in the novels by Choi In-Hoon. For the purpose, three kinds of psycho-analytic symptoms that are frequently found in his novels are analyzed, based on the assumption that the novels by Choi In-Hoon contain political points of view of the Korean society in the 1960s.
First, the structures of interpellation and mis-recognition that are found frequently in the novels are analyzed. The role of interpellation is to enable the main character in the novels to be subject in the Symbolic. However, this interpellation can be possible only by the structure of mis-recognition. The structure of mis-recognition is one that anyone who is there at the very moment can be object of interpellation. No matter how he is appropriate, recognition is realized. These structures of interpellation and mis-recognition play a role to disclose the absurdity of the Symbolic, showing that the Symbolic is based on the mis-recognition, regardless of existence of subject.
Second, the structure of repetition-compulsion is analyzed. It is easily shown the various aspects of repetition-compulsion in the novels by Choi In-Hoon. They reveal the principles to retroactively minimize the negative effects of traumatic experience. Also, the structure of repetition shows a life to be without any noticeable changes, despite changes in space-time. It implies that life and history point to repetition and continuance, not to progress and development.
Third and last, the nostalgia for identity of the Imaginary is analyzed. It is the nostalgia for identity of the Imaginary that reveals ultimately through the structures of mis-recognition and repetition in Choi, In-Hoon's novels. The Symbolic in the novels is absurd, because it is sustained by mis-recognition, and thus life in the Symbolic is the same repetition of structures. The negative thought of the Symbolic leads to nostalgia for identity of the Imaginary which is represented by love and revolution. While it may be power to criticize negative today sometimes, however, the nostalgia for identity before corruption may be lead to more retroactive and negative historical consciousness. This is the reason why the novels by Choi In-Hoon have a tendency to back to the past, not open to future.
The results from analysis above show that a nostalgia for the identity of the Imaginary exists behind political unconsciousness and/or sense of history and the nostalgia have dual meanings, a critic to the Symbolic and a regression to the Imaginary.