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논문검색은 역시 페이퍼서치

한국언어문화검색

Journal of Korean Language and Culture


  • - 주제 : 어문학분야 > 언어학
  • - 성격 : 학술지
  • - 간기: 연3회
  • - 국내 등재 : KCI 등재
  • - 해외 등재 : -
  • - ISSN : 1598-1576
  • - 간행물명 변경 사항 : 한양어문(~2001) → 한국언어문화(2001~)
논문제목
수록 범위 : 35권 0호 (2008)
초록보기
本文旨在探討東北淪陷前夕韓國小說對中國的認識。小說中人物形象可以說是小說的主體,因此探討對中國認識時中國人形象占據重要 的位置。小說的話者或作者在敍述過程中,注視他者,同時會表露出作者的某種身 影。小說背景爲異域時,作者的態度會更加突現。在這種互動的關系中,小說的話 者會站到決定者的地位。小說的話者幷不會隨意去敍述,타會受時間空間、頻度、 視角、身分以及成見的影響。小說中的話者在觀察他者時,根據自己的經驗、知識 體系以及價値觀去觀察,因此在諸多要素中話者的成見起著重要的作用。異國情調 以自身的文化背景爲基礎,會影響對他者行爲的敍述,但幷不是完全違背現實的純 粹想象物。他者形象因依?現實,因此不僅會影響到타的面貌,還隨着話者所處的 處境、視角、態度發生變化。 他者形象幷不是對現實他者的客觀描寫,而是作者人爲地"自我化"的形象。經過這 一過程創作的他者形象,會趨向否定和魅惑兩個方向。他者形象卽使蘊含了客觀內 容,還是"自我欲望"的投射物。他者形象一經形成就取得自主性的獨立地位,站到 象征他者的普遍性地位。文本的文字和他者的基本要素混淆,經曆從特殊到一般的 類推過程,成爲一個"套話"。 本文以小說出現中的中國人形的朝鮮爲背景的≪破産宣告≫;中朝邊境爲背景的 ≪馬賊≫;東北爲背景的≪三峰一家人≫ 硏究對象,在視差觀點變化的角度去硏 究韓國小說對中國的認識。 十九世紀二十年韓國小說的集體想象中中國的東北被描寫爲"受難和抵抗"的空間。 在東北這一空間裏中國地主和移居朝鮮人之間的敵對意識沒能化解,只在想象中以 暴力的形式得到解決。這種幻想性的解決方式沒能解決敵對意識,鞏固了"受難"意 識,煽動了排華運動。主要原因可以說是朝鮮的集體想象把東北看作沒有象征秩序 的"無主地"。 李光洙的≪三峰一家人≫ 中的主人公三峰一家人,幾經周折在東北安了家。三峰 却誤認爲是共産?,逃脫東北府追殺,組織“活貧?”殺富濟貧。他的這種行爲却被東北府所利用,成了排제朝鮮人的借口。對東北的這種小說化,破使二十年代“受難和抵抗”的集?想象發生變化,中國人形象急于鳥托邦形象。三峰的形象在東北府看來儼然是一副“共匪”馬賊形像,馬賊是東北背景小說的常客。接下來的兪振午小說≪馬賊≫以中朝邊界爲背景從反觀的視線描寫馬賊,作品的馬賊形象顚覆馬賊這一“套話”的內涵,也急于鳥托邦形象。相反,嚴興燮的≪破産宣告≫采用平壤爲背景刻畵華僑資本和民族資本的對立方式,揭發階級矛盾。這種方式巧遇當時東北府的排朝運動,重復和공固集?想象,急于意識形態想象。

신시(新詩)의 한국적 근대성 연구

이명연 ( Myoeng Yeon Lee )
7,500
초록보기
The modern time of Korea has the character which is a modern time of disruption. And Sinsi which appears in the time is the form or genre which shows the character of like this Our modern time very well. Therefore the fact that interpret like this Sinsi in form of `transition period` is cuts Sinsi with the eye of tradition and the eye of the Other(West Europe). And this brings about the result which does to make the actual features and meaning of Sinsi lose simultaneously. And Like this attitude is to make Sinsi with the `ghost` who exist only within the history of literary and to exist only short period. Therefore history of literary of meaning of Sinsi must seek from disruptiveness oneself of our modern time which the Sinsi shows. A external qualities of Sinsi are Crisis of poetry and song, A mixed style of writing Korean with Chinese characters and Agreement of number of sound of correspondence line of each stanza. And It shows a disruptiveness or mixture of tradition and modern time. First, Sinsi leads and the character as modern poetry a duplicity simultaneously the discontinuation which with the tradition which is Crisis of poetry and song is basic distinguishes with tradition of Korean poetry is immanent keeps. And destruction of tradition and succession as duplicity of Sinsi which is a does there to make be could be given role of the bridge meaning which is an existence which does from within the history of literary. To Sinsi with disruptive aspect of our modern time and being new, the will toward is being put in. And the problems of `nations`, `educations`, `enlightenments` two that are being put in the inside moving. Like this aspect from Sinsi inside appears concretely with two kind. It is to a external form and is a duplicity and the internal form and specially disruptiveness of poetic subject. The duplicity of external form disruptive aspect of our modern time, the namely model with becoming enemy, only will be able to emphasize the nation and a tradition reflects a point. And the disruptiveness of internal form is to our modern time and reflects the disruptiveness of modern subject. When trying to synthesize like this points, a meaning of history of literary which Sinsi shows finally does not make be only a possibility of seeking from this duplicity or disruptiveness inside. And we will lead and this there makes be a possibility which we will seek the quality and meaning of Sinsi as of `Korean modern poetry`. Succession and destruction of the tradition which the namely Sinsi shows, disruptiveness oneself which the poetic subject of the new at the time of shows Sinsi `Korean modern poetry` makes be a possibility of seeing in the genre(species) which is unique is from within our history of literary and makes do as a favor is a thing.
초록보기
本文旨在探討東北淪陷前夕韓國小說對中國的認識。小說中人物形象可以說是小說的主體,因此探討對中國認識時中國人形象占據重要 的位置。小說的話者或作者在敍述過程中,注視他者,同時會表露出作者的某種身 影。小說背景爲異域時,作者的態度會更加突現。在這種互動的關系中,小說的話 者會站到決定者的地位。小說的話者幷不會隨意去敍述,타會受時間空間、頻度、 視角、身分以及成見的影響。小說中的話者在觀察他者時,根據自己的經驗、知識 體系以及價値觀去觀察,因此在諸多要素中話者的成見起著重要的作用。異國情調 以自身的文化背景爲基礎,會影響對他者行爲的敍述,但幷不是完全違背現實的純 粹想象物。他者形象因依?現實,因此不僅會影響到타的面貌,還隨着話者所處的 處境、視角、態度發生變化。 他者形象幷不是對現實他者的客觀描寫,而是作者人爲地"自我化"的形象。經過這 一過程創作的他者形象,會趨向否定和魅惑兩個方向。他者形象卽使蘊含了客觀內 容,還是"自我欲望"的投射物。他者形象一經形成就取得自主性的獨立地位,站到 象征他者的普遍性地位。文本的文字和他者的基本要素混淆,經曆從特殊到一般的 類推過程,成爲一個"套話"。 本文以小說出現中的中國人形的朝鮮爲背景的≪破産宣告≫;中朝邊境爲背景的 ≪馬賊≫;東北爲背景的≪三峰一家人≫ 硏究對象,在視差觀點變化的角度去硏 究韓國小說對中國的認識。 十九世紀二十年韓國小說的集體想象中中國的東北被描寫爲"受難和抵抗"的空間。 在東北這一空間裏中國地主和移居朝鮮人之間的敵對意識沒能化解,只在想象中以 暴力的形式得到解決。這種幻想性的解決方式沒能解決敵對意識,鞏固了"受難"意 識,煽動了排華運動。主要原因可以說是朝鮮的集體想象把東北看作沒有象征秩序 的"無主地"。 李光洙的≪三峰一家人≫ 中的主人公三峰一家人,幾經周折在東北安了家。三峰 却誤認爲是共産?,逃脫東北府追殺,組織"活貧?"殺富濟貧。他的這種行爲却被東北府所利用,成了排제朝鮮人的借口。對東北的這種小說化,破使二十年代"受難和抵抗"的集?想象發生變化,中國人形象急于鳥托邦形象。三峰的形象在東北府看來儼然是一副"共匪"馬賊形像,馬賊是東北背景小說的常客。接下來的兪振午小說≪馬賊≫以中朝邊界爲背景從反觀的視線描寫馬賊,作品的馬賊形象顚覆馬賊這一"套話"的內涵,也急于鳥托邦形象。相反,嚴興燮的≪破産宣告≫采用平壤爲背景刻畵華僑資本和民族資本的對立方式,揭發階級矛盾。這種方式巧遇當時東北府的排朝運動,重復和공固集?想象,急于意識形態想象。

이좌훈(李左薰) 한시에 나타난 비애 의식 연구

박동욱 ( Dong Uk Park )
6,600
초록보기
Lee Jwa-hun(1753~1770) had the pen name of Yeonam. He had an extraordinary talent in writing poems as the fact that he wrote a poem when he was six years old shows. Unfortunately, he died at the age of 17. He left a book titled ≪Yeonam Yugo≫. His name appears frequently in the miscellanies of factionalists called Namin. Authors, who were deemed to be masters, took time to perform writings for him and to leave grave-stone inscriptions. The public ranked him as a great genius. He finished with his short life of 18 years while being famous for a prodigy. Researches on him have been rarely performed. In this study, a sense of sorrow had by Yeonam, who was a talented poet, was researched based on a book, ≪A Collection of Poems Written by Yeonam≫. He was a poet who showed the mysterious will of a life. The views seen by him were dreary; however, they were not all pessimistic. He expressed compassion and love for living things warmly more than any one. He died before suffering hardships and going through trials. He was unique in that he read the dark side of a life with an excellent insight rather than through many life experiences. His literary achievements were reviewed by focusing on his sense of sorrow. The results are as follows: First, he had obviously compassion and observation for human beings. He focused on the general public in his everyday life, and expressed the plain lives of people from all social positions. He observed the sufferings and difficulties of people with compassion from a very short distance. Secondly, his warm heart, which meant that sadness for the world was extended to animals and plants, is able to be felt. Maturity rather than innocence seeps through the poems of Lee Jwa-hun even if he wrote them when he was a teenager. Thus, his poems are dark and lonely rather than lively and bright. They focus on the dark side of a life rather than the bright side. Thirdly, transience that mismatched his age and that was felt during excursions to an old city can be felt as well. Through a space called Songdo, he saw the extermination of a history. From the downfall of a huge dynasty and its traces, Lee Jwa-hun realized keenly how an individual`s life was vain. There was a poet who led a short life and passed away in the latter period of the Chosun Dynasty. Fortunately, about 230 poems he wrote have remained in the form of a collection of poems. His fame as a genius and the assessment for him as a talented poet may be a praise for his extraordinary insight into aspects that cannot be seen by teenagers. I think that it is significant to restore the poems of a genius who died at a young age from the history of literature. Studies of his poems have not been performed yet in earnest. I hope that this study will lead to researches on him in a variety of aspects.

질문의 주제 전개 기능

김정선 ( Jung Sun Kim ) , 이필영 ( Phil Young Lee )
6,400
초록보기
The purpose of this study was to examine the contextual structure and aspects of questions in conversation that functioned as a means of thematic development. The core of conversation is what speakers talk about a particular theme through interaction, and a question plays different roles in that process. It`s found in this study that a question served as a means of thematic development, and in which contexts it performed that function was analyzed. A question developed a theme sometimes alone or sometimes along with statement or meta-speech act. When a theme was developed through a question, it was done in parallel with something else or was enriched. In the event of the parallel development of theme, several questions were often enumerated. In the event of the enrichment of theme, a speaker checked on what information the other person has while he or she developed the theme, or asked questions to attract the attention of the hearer. And the hearer used questions to make up for what the speaker had said or to ask for more information or explanation. When a theme was developed through a series of questions and answers, questions were asked based on answers about previous questions. Finally, the development of theme was interrupted when one responded by asking the same question that the other already asked or kept on asking different questions.

생태시학의 비판적 성찰과 동학사상의 네오휴머니즘적 가능성 고찰

홍용희 ( Yong Hee Hong )
6,200
초록보기
Critical introspection about destruction of global ecology should be concluded ultimately in method searching to ecology restoration and life value realization. In order to this, it is critical matter that we have to recover about human being and regulate status and role of mankind upright. The core distinction of depth ecology and social ecology which represent ecology discussed in western countries lies on cognitive problem about existence of mankind. While depth ecology emphasizes parallel relation between human and nature in the aspect of life community, social ecology put importance that the human are separate special cultural being(the 2nd nature, the 3rd nature)even man kind is natural being. The former rests on the basis of creature-centered ideology but the latter does not go far from human-centered ideology. The pivotal point to be pursued in ecology ideology requires regulation on mankind as cultural begin as well as continuance with nature. Ecological world view of Donghak ideology includes both human as cultural being which lacks depth ecology and social ecology and human as natural being and displays neo-humanism recognition securing worship of heaven-worship of mankind-worship of creature. It understands human and nature as divine creature serving heaven and cognize them not only as organic whole with internal circularity and relation but new mankind, neo-humanism, with ethnical responsibility and summon consciousness to restore life community. In this way, we can plan new methodology in concrete and practical practice about reality of ecological destruction.

한국전쟁기 북한시의 선동성 연구

김훈겸 ( Hoon Kyoum Kim )
6,900
초록보기
This study aims at finding out the character of the agitation in Poetry of North Korea During the Korean war which is from June 25th 1950 to July 27th 1953. After achieving independence from Japan, poets in North Korea starved for the unification between the two Koreas, struggling for the hegemony. In addition, they were willing to get involved in the Korean war. Kim Il-sung also demanded that poets should write inflammatory poetry, mentioning the mobility by poetry which means that poetry can result in take actions. Thus, they tried to create an image of `a hero` through poets. In the early days of the war, North Korean poets attains eminence in being fascinated by `violence`. In particular, hatred against the enemy -American Imperialism- turns into the praise for war machine. By instigating militarism and bellicosity, North Korean poets functions as Ideological State Apparatuses. In this respect, the sentimental aspect of Im Hwa`s poets was criticised aggressively by Ideology of the Future. However, North Korean soldiers longed for `living`. To them, `living` meant literally both physical energy to help them endure hardship and terror of the war and mental energy to go back to their normal lives after war. It means the sentimental aspects of Im Hwa`s poets attacked by critics played an important role not in `propaganda` but in `comforts` to soldiers. Neither South Korea nor North Korea is victorious in the Korean War. There should be only one winner; `war` itself. It could be impossible to heal the war wound through the study of literature. Neverthless, a researcher should continue to remind himself of `positioned subject`, trying to be placed in a different angle. I believe that the effort will lead us to a new subject including I and others.
6,300
초록보기
Nous posons ici une question de savoir si le mot 《sunjeong》 peut etre substitue pard`autre mot qui designe plus exactement notre objet de recherche. Puisque, le motsunjeong n`est pas un mot adequate afin de signifier ce genre du manhwa. Noustentons donc de situer la sentimentalite du sunjeong manhwa entre le romansentimental classique et le roman d`amour de grand consommation en France. Leroman sentimental est ne au 17e siecle, et disparu environs au premier moitie du 19esiecle. Le roman d`amour de grand consommation se forme lentement dans le romanpopuliare, et voit sa forme la plus complete avec la collection Harlequin en 1949.Malgre les differences de themes et de formes, un absolu de 《sentimentalite》 duroman sentimental, s`exercant au niveau du texte et du lecteur, est l`elementprimordial dans toutes les oeuvres placees sous le genre 《sentimental》. Depuis le 17esiecle jusqu`au debut du 19e siecle, beaucoup d`uvres representatives du romansentimentals ont ecrites par des femmes. Le monologue est une techniqueindispensable du roman sentimental afin de se rapprocher le lecteur et le personnage. Le roman d`amour d`aujourd`hui(la collection Harlequin est representative) reprend le《populaire》, qui a toujours ete present, moins lisiblement, dans le roman sentimentald`antan. L`ideologie sexiste y est cachee en renforcant la discrimination sexuelle enmeme temps que le roman repond aux attentes de la lectrice : fantasme sexuel etfantasme de l`amour. Le roman d`amour focalise exclusivement aux relationsamoureuses entre deux protagonistes bien que celles-ci ne soient qu`une des elementsdecrits dans le roman sentimental.Nous pouvons situer la sunjeong manhwa entre ces deux poles : le roman Harlequinet le roman sentimental classique. En tant que genre populaire, certains albums dusunjeong manhwa se rapprochent plus du premier. Cependant, d`autres albums traitentdavantage des luttes des hommes. A partir de lA, nous pouvons affirmer une affinitedu sunjeong manhwa avec le roman sentimental classique. S`il est vrai que dusunjeong manhwa ne sort pas facilement d`un graphisme tres codifie, nous pensonsque les dessinatrices parviendront A s`en liberer pour renouveler le genre.
초록보기
Cho Jung Park Je-ga was a poet who led new poetical style in 18th century. He became famous as a poet not only in Joseon Dynasty but also Chinese because of Hangekgunyonjib. The works of Hangekgunyonjib contained 100 poems of Cho Jung and a preface and comments of Lee Jo-won and Ban Jung-guin. Which are important clues understanding the real states of early Cho Jung`s poems. So this paper will classify comments of Hangekgunyonjib into Jungse(delicateness), Singi(the new and strangement), Chungah(purity) and Gogo(solitude and nobleness) and then examine the real states and his inside consciousness. First of all peculiarities of early Cho Jung`s poems are persistent concern about natural features and poetization of it. Another peculiarity is using several antiquities for circular expressing of his mind. Works of Chungah contained Cho Jung`s wish that he want to live frankly in nature free from looseness of the mundane world. He used antiquities dealing with a ancient person Ah Jung to describe the state of pure mind, natural features and people. In works of Singi, unique style of poetry getting out of existing pattern through unfamiliarity of schema or strange arrangement of words and fulfillment of mind. To complete a poetical style of need Chungah and Singi, there need delicate sight about things and natural features and sensible handwriting that can transcribe them into language. Jungse is the start point. It is a valuation on works which observed things carefully with sharp sight or indicated Cho Jung`s mind naturally and heartfully. Gogo is a valuation on works which showed lonely self beginning from limitation of a status system and active and conscious endeavor to escape that limitation. Cho Jung produced lonely and noble style using Gulwon and his work Eso. Although he wasn`t recognized in reality, this was the point revealed his pride with fluency.
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