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논문검색은 역시 페이퍼서치

국제어문검색

Korean Language and Literature in International Context


  • - 주제 : 어문학분야 > 국문학
  • - 성격 : 학술지
  • - 간기: 계간
  • - 국내 등재 : KCI 등재
  • - 해외 등재 : -
  • - ISSN : 1225-1216
  • - 간행물명 변경 사항 :
논문제목
수록 범위 : 32권 0호 (2004)

지명 요소 `량(梁)`의 형태와 의미

김정우 ( Kim Jeong-woo )
5,900
초록보기
This paper has two main purposes; firstly, to ascertain the Korean indigenous morpheme of Sino-Korean word `梁`, and secondly, to grasp its meaning. Its indigenous morpheme is ascertained as `·돓`. It was alternated with /tok/~/to/ before Late Middle Korean period, which resembled that of `돓(stone)`. It could be thought that the two words had some original relationship with each other. Its meaning is understood as [a door] and [an important place or position]. This set of meaning belongs to one same semantic category. Furthermore, its meaning could be derived from that of a word `돓`, [stone]. Therefore, the four kinds of meaning, i.e. [stone], [a door], [an important place], and [gutter] belongs to one same semantic category. The above aspect of morphological similarity and semantic relation suggests the possibility of the lexical differentiation by tonemes before Middle Korean period.
7,800
초록보기
This article suggests that part of `jil(叱)` in Hyang-ga described a existent verb, `si-`, on the basis of the fact that `jil(叱)` can be read as `*si`. To verify the suggestion, the construction of `eumjilda(音叱多/□□ i)` in Hyang-ga and Gugyeol were systematically investigated. From this study, it could be seen that `eumjilda(音叱多)` in Hyang-ga and `eumjilda(□□ i)` in Seokdok Gugyeol realized the existent meaning as well as the obligatory meaning. In addition, for the `eumjilda(音叱多)` and `eumjilda(□□ i)`, the existent meaning was realized by `jil(叱/□)`, not `eum(音/□)`. This fact implies that the `jil(叱)` was grammaticalized from a existent verb, `si-`. Therefore, the `*si` is the phonetic value of `jil(叱)` in `eumjilda(音叱多/□□i)`. In addition, the reliable bases were investigated that the formation of `s` resulted from the drop of a vowel, `i`, from `*si` which was a phonetic value of `jil(叱)`. In this article, four bases are suggested. First, Jiseop Sino-Korean which represented the genitive was changed. Second, there were some words showing that `s` in some stem-final of the 15th century was originally formed from `*si`. Third, there was no words having [si] sound beyond the second syllable with the exception of honorific prefinal ending in the 15th century. Last, there was a phonetic basis that the `i` drop from `si` was highly possible. When `i` is combined with `s`, the vowel is voiceless and formant is weakened, due to the aspiration of `s`.
6,700
초록보기
This paper looked through the framework and the meaning of < Tobacco song > in 『Complete works of Korean Oral Literature(한국구비 문학대계)』. < Tobacco song > is composed of `question and answering about introduction of tobacco`, `growing tobacco`, `making pipe tobacco` and `impression of smoking`. `Question and answering about introduction of tobacco`, `growing tobacco`, and `making pipe tobacco` is a process for understanding an object called tobacco. < Tobacco song > is made up of sequential process to know an object, and each expression of < Tobacco song > depends on experience of singers. Experience is one of singers to farm or singers` literary one. Singers have seen to make songs on the basis of experience and the framework of < Tobacco song >. Desire for knowing an object originates from interest about an object. Interest about an object comes up at `impression of smoking`, excitement of smoking in < Tobacco song > is `lightening heaviness of life`. Exactly excitement of smoking raises desire for understanding tobacco and is reason for enjoying songs. But, image to communicate through `impression of smoking` enlarged to `lighting that a body grows dim`, `lightening heaviness of life`, and `an action for escaping from heaviness of life`. The meaning network is structurized on the basis of variety experience. There are songs in < Tobacco song >, that are followed the words of song of `make him son-in-low` and `calling Okdanchun` being continued on `impression of smoking`. < Tobacco song >`s construction that is included the words of song of `make him son-in-low` and `calling Okdanchun` is able to be account for a metaphoric thinking system. < Tobacco song > is constructed on connecting rings of images between the tobacco in < Tobacco song > and the words of song of `make him son-in-low` and `calling Okdanchun`. Namely, a metaphoric thinking system that structurizes the meaning network through the chaining takes part in the framework of folk song.

<제망매가>, 회향의 노래

신영명 ( Shin Young-myoung )
6,300
초록보기
This study aims to identify the basic characteristics of `Ode to the Deceased Sister`. The study on `Ode to the Deceased Sister` has been largely conducted from the perspective of the cherishing the memory of a deceased person. The Ode, however, includes the aspect of asceticism as well. This paper also aims to change the traditional practice of study to some extent by adding an ascetic aspect to the nature of `Ode to the Deceased Sister`. To achieve such goal, this paper pays attention to the two items as follows. The first one is interpreting the difficult word “CHAHILYIGYEON(次?伊遣)”, and the second one is the nature of the ritual for the deceased. That is, “CHAHILYIGYEON” is interpreted as “isolate someone”, and the ritual for the deceased has the aspect not only of cherishing the memory of a deceased person but also of the meditative concentration. Based on this new interpretation, the meaning of the Ode can be explained in the following way. `Ode to the Deceased Sister` deals with the issue of death. That is, its topic is the sister on the verge of death, but it tells the transcendence of the pain from death. In this context, `Ode to the Deceased Sister` is a song of relief. But the relief is based on the participation in the death of the sister. Through this participation, the storyteller goes through the meditative concentration procedure and prays to obtain the enlightenment that transcends the boundary of life and death. The enlightenment transcending the boundary of life and death, however, can have a true meaning only when it leads to the paradoxical enlightenment that there is no subject, object and the action itself of enlightenment. This true enlightenment out of the so called enlightenment is referred to as returning the result of good actions to the empty enlightenment(菩提廻向). The relief of the sister can be truly realized via this enlightenment. In this context, the paradise resides at the return of one`s merit to enlightenment in stead of some other place. Therefore, we can call `Ode to the Deceased Sister` as a song of returning one`s merit to others.
6,800
초록보기
According to W. Iser, the text by author is turned into a piece of work only by the reader`s involvement. Text itself has the structure of inducing the readers and helps the readers get the big picture. In the case of Cheoyoung Danjang Part Ⅰ, the structure of poem renders the readers get frustrated. By this frustration, the structure of the poem is parallel to the dual description in the poetic narration. The images in the poem by the dual description exist spatially losing its the meaning of united time. By the parallel, these images remain equally important without any relation to the contiguous meaning. Readers make a constant effort of grasping the meaning through repetitive reading. If the speaker of this poem is recognized Cheoyoung, readers take the content of this poem as that of a tale Cheoyoung, not as the one of reality. Thus, all the images in the poem cohere as the images of a clear deprivation of Cheoyoung. These images also show the flowing mythical world with flexibility and can be experienced through reading. The liberation of consciousness can be unique beauty what Kim, Chun-sue`s poem has to offer. After all, ironically, the poem devoid of sense and meaning by Kim, Chun-sue can be powerful to the readers. The pleasure of creating the meaning, and the possibility of creation is a great joy of reading his poem.

오규원 시의 아이러니와 실존성의 상관관계 연구

박선영 ( Park Sun-young )
7,200
초록보기
The purpose of this study is to understand aesthetic world view of divided world describing irony among Oh, Kyu-Won`s poems. He tried to write experimental poems that kept objective distance between contradiction and decay of 70~80s industrial capitalistic society. As his strategic writing pattern on poems, the principle of dissimilarity is described as an irony that describes divided world with speaker`s two different views. In addition, this study is aimed to understand the relationship between existentiality and irony on his poems. In the chapter 2, Oh, Kyu-Won reflects existential self by standing unreal mask through ironic thinking speculation. He awakes real identity by digging into self-consciousness as a poet and essential problems about `death`. Even though he used timid losers on the surface of his poems, the truth of real identity is dissimulated on the behind of his poems. In the chapter 3, Oh, Kyu-Won introduces `advertising poems` by escaping from stereotype of poetry and by judging corrupted political and social reality of present with spoiled languages. He might want to criticize corrupted capitalistic society by parodying words of corrupted commercial advertising that includes false desire and hypocrisy. By doing so, he wanted to look for existential self. In short, Oh, Kyu-Won tried to secure truth of identity and world by ridiculing false self and by satirize corrupted present severely.

최인훈의 『서유기』 고찰 ― 패러디와 탈식민주의를 중심으로

김미영 ( Kim Mi-young )
7,300
초록보기
This study investigated the structure of the hybrid parodies and post-colonial features of The Seoyugi by Choi, In-hun. The diverse patterns of the parodies can be summed up as follows; in the superficial aspects, it is changing the traveling structure found in the Odyssey by Homer and Xi You Ji by Wu Cheng-en into the spiral pattern. From the internal perspective, it is apparent that the critical mind of the times is revealed in the work by setting up the background in the underworld such as the one from The Divine Comedy by Dante and Wonsaengmongyurok by Im Je. And in the aspects of the details, it shows the accumulated mosaic writing style by adopting several classical works for parody. The hybrid parodies of The Seoyugi are related to the author Choi, In-hun`s post-colonial writing style. By making Dok Go-jun time travel into the past in the fantasy world, he offers the chance for the character to encounter his trauma and get rid of it. And the delayed narrative development in the spiral traveling structure creates the opportunities for him to meet great figures in the modern history and listen to their positions and ideologies at that time. This implies that the damaged subjecthood of an individual can be recovered only after the individual`s trauma and the national trauma are cured at the same time. Furthermore, it is evident how the author tries the post-colonial writing to overcome the nation`s colonial history. It is Choi, In-hun`s capacity as a writer that made it possible to integrate the Odyssey, The Divine Comedy, Xi You Ji and Mongyurok into one work. Despite its difficulty in reading, you will be able to appreciate The Seoyugi to your satisfaction if you consider the narrative structure and the author`s literary views. And the work won`t remain one of the most difficult ones any longer.

서구 연애론의 유입과 수용 양상

이화형 ( Lee Hwa-hyung ) , 유진월 ( Yoo Jin-wol )
6,600
초록보기
The love had special meaning in the period of the colony. The love got a modern justice of free individual which is the consciousness. It rejected the early marriage style to be for a while a normal marriage style. It rejected the compulsive marriage to pay no regard to the mind of the individual. The love investigated mass as the symbol of the treason. It was the new culture and the new morality of persons influenced by the new education. Therefore it was progressive. It was not the problem of the woman and man of personal dimension. It had the part which must discuss socially. Therefore the love theory of a theorist of Western Europe and writers was important. The magazines to be new media of a modern times civilization introduced new theory. Especially Ellen Key, Kollontai and Ibsen were very important. The basic concepts of the free love and the freedom of love in the theory of Ellen Key were not distinguished. The consolidation of two meaning was accepted to the free love. And only the theory of love among her thoughts was accepted. The free love which she insists is ended finally to the theory of motherhood. Therefore Cho Sun in that time accepted her thought affirmatively. The theory of Kollontai was accepted with a socialism idea. Her thought was the proletarian, progressive and radical view of love. On the other hand, the theory was criticized as immoral, extreme and unhealthy theory of love. Henrik Ibsen was emphasized as the feminist than the writer. Nora in < The home of a doll > raised the recognition about the human rights of women. His feminism had an influence on the implementation of free love. The free love in these thoughts had influenced to the woman. Men regarded this thought as the basis of the freed love and accepted. And they assumed a critical attitude towards love of women strongly. Big distance was in a man and woman literary work and discourse. From now on the reception of the thought of Western Europe must be studied much more. Man and woman, idea and reality, discourse and work, thought and practice. The comparison must analyze the items. Then we will know well the selection and exclusion, the reception and change in western thoughts.

친일희곡의 극작술 연구―연극경연대회 작품상 수상작을 중심으로

김명화 ( Kim Myung-hwa )
7,000
초록보기
This paper examines the dramaturgy of the dramas written in the period of Japanese colonial power on the Korean peninsula, and which followed and propagandized the Japanese system. Such disposition is considered `pro-Japanese` in Korea. Pro-Japanese dramas appeared when Japan`s imperial desire got into its stride since the late 1930s, especially during the early 1940s when the `Theatre Contest` took place three times in a row. This paper has studied the dramaturgy of the three dramas that were rewarded for the excellence in that Contest, “The Chinese Date Tree” by Ryu Chi-Jin, “History” by Song Young and “San-Ha-Yoo-Jung” by Kim Sung-Gu. Their works have particular significance not only because they disseminated Japan`s political ideology of the time, but also because they inherited them to an artistic level. Moreover, these dramatists participated actively in the Korean theatre and therefore it is assumed that their dramaturgies have greatly affected the thenceforth theater world of Korea. “The Chinese Date Tree”, the first won production of the theatre Contest, compares the small land of Korea and the wide land of Manchuria. It rationalizes the Japanese colonial system then and prevails upon the fact that Japan`s desire of imperialism would avail itself. The second won piece, “History”, grapples with the conflict and compromises between Korea`s tradition and Japan`s newly established policies. “San-Ha-Yoo-Jung”, the third rewarded piece of the Theatre Contest, lyrically presents the desirable figures of the public during wartime by showing cooperation among the people. Consolidating the characteristics of the three dramas while researching their dramaturgies, first, they appeal to the emotions of their familial organization. Second, the basic conflict of their work are the opposing opinions of the new and the old, in other words, the Korean tradition and the newly established Japanese structure are handled by different generations. Third, which includes the first and the second attributes, points out that the new system and the ideas ultimately win and are consumed in terms of familial emotions. However, individualism and liberalism, which were the characteristics of the modern western world, were rejected. Last, the modern qualities compared to the modern times of the West which rest upon individualism has very much of totalitarianism. Looking at these characteristics, they are closely related to the fact that Korea`s modern qualities could not help being distorted. This is because satire or the tragic nationalism that developed during the 1920s and the 1930s, which through the period refracted to become an enlightening totalitarianism, family-centrism, corresponds with the locus of the modern history of Korea.
초록보기
The main aim of this chapter is to clarify the cultural significance and impact of a Korean article concerning Irish drama and theatre that were written and published in 1935. Yoo, Chi-Jin`s `Sean O`Casey wa- Na: Naega Sasookhanun Naeoui Jakga (Sean O`Casey and I: The playwright who guided my way)` was one of the most significant articles for many reasons. At the start of the article, Yoo, did not hesitate to confess to Sean O`Casey`s influence on his plays. Considering Yoo, Chi-Jin was the central figure of the modern Korean theatre movement from the 1920s onward, it can therefore be said that O`Casey`s drama and his philosophy widely influenced the modern Korean theatre movement through Yoo, Chi-Jin, and this article providesclear evidence. Furthermore, Yoo, Chi-Jin regarded his plays as creative adaptations of O`Casey`s masterpieces rather than his own original work. He even revealed O`Casey`s influence on him more clearly by comparing the characters in his plays with those of O`Casey. The most significant point is that Yoo, Chi-Jin`s admiration for Sean O`Casey was not merely limited to his technical achievements but approached total intimacy with his work. In his autobiography, Yoo, confessed that he felt strong sympathy with O`Casey`s view of life, philosophy and even political ideology. Yoo, Chi-Jin found an ideal example of how to deal with nationalistic themes and how to dramatise a political creed in O`Casey`s drama. Despite its ceaseless effort, the modern Korean theatre movement in the early 1930s mainly appealed toa small group from the urban intelligentsia while not attracting the wide support the leaders had expected. Yoo, Chi-Jin accepted that the responsibility for this situation mainly belonged to the Korean dramatists who did not attract the audience through their drama. Yoo, Chi-Jin understood that most Korean dramatists had no concept of differentmethods of expression in the theatre such as acting, scenery and sound effects. This meant that theyput all their effort into writing plays and as a result the majority of the Korean dramatic texts were written without considering stage mechanisms. As a dramatist who had acting experience, Yoo, Chi-Jin emphasised the necessity of practical training for the Korean dramatists in order to produce successful drama. To Yoo, Chi-Jin, this was the most urgent task in the efforts to improve modern Korean theatre.
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