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> 영주어문학회 > 영주어문 > 24권 0호


The Journal of Yeongju Language & Literature

  • - 주제 : 어문학분야 > 언어학
  • - 성격 : 학술지
  • - 간기: 연3회
  • - 국내 등재 : KCI 등재
  • - 해외 등재 : -
  • - ISSN : 1598-9011
  • - 간행물명 변경 사항 :
수록 범위 : 24권 0호 (2012)

글로컬리제이션, 혼방(混紡)적 상상력- "박상륭 심청이 - 남도3을 중심으로"

김학현 ( Hak Hyun Kim )
영주어문학회|영주어문  24권 0호, 2012 pp. 5-35 ( 총 31 pages)
The concept of Glocalizaton - a compound expression of global and local - is still undetermined. It can be interpreted as a meaning of subordination or as a meaning of resistance depending on what it intends. Moreover, it can suggest a sublation of confrontation and a mutual direction of reciprocal harmony. The root of the tale itself is however mixed, and it is a story. The regional features sympathize each other. It awakes a new truth and only sympathizing in it. It means that those become the material in mixed imagining. This paper studies corruption and falsehood of the concept of glocalizaton, and examines the direction of glocalization centering on the analysis of Park Sang-ryung`s Simcheongi - Namdo 3 as well as the general characteristics of his novels. This paper first reviews the direction of glocalization, investigates narrative meanings of Simcheongi within the passage of collaborative works of Namdo, and then explores Simcheongi within the microscopic perspectives. The argument to transform our tales into western myths can only be controversial per se. The categorical problem of the two concepts should be set aside because they can only be independent stories from the beginning. Accordingly, glocalization is only a direction for all activities of humans delving into literature or truth. Hence, our interest should be in the truth per se along with the methodology. This paper attempts to find the method by way of Park Sang-ryung`s Simcheongi.

제주문학의 글로컬리티, 그 미적 정치성 -제주어의 구술성과 문자성의 상호작용을 중심으로-

고명철 ( Myeong Cheo Ko )
영주어문학회|영주어문  24권 0호, 2012 pp. 37-63 ( 총 27 pages)
We are currently located in the era of eurocenterism, the gift of modern capitalism. In order to overcome this universial structure, I tend to focus on glocality, a widly acknowledged in jeju literature. Here, we should focus on the perspective of the interaction between jeju`s orality and literacy of text. I`m sure that the topic has a debatable nature. The main point is this: jeju literature`s unique ability of such interaction can not only shake the root of eurocentrism, but also blossom the flower of a whole new (post-) modern world. I expect an intense implosion as well as superficial cracks of eurocentrism. Here, this interaction does not pursue some kind of anthropocentrism where the only goal is to achieve happiness through high productivity. We have considered the sea only as the source of resources, and a necessary method for survival. Neither does this interaction pursue western feminism, where the diving women of jeju are treated as subjects of history by greatly emphasizing their value of labor. Their coexitence with the sea will open a new (post-) modern world, one we have neglected for a long time. The orality further blends with performance. This combination we call ``jeju oral performance``, which is seperated from ``oriental oral performance`` in terms of aesthetic politics. The flaws of the latter will be fulfilled by realizing the former. ``GUT POEM`` is a represantative example. It gurantees the aesthetic politics which pursues peaceful coexistence of living people and dead people through historic cleaning of resentiment, and coexistence ethos. In conclusion, the overcoming of eurocentrism and the foundation of new (post-)modern world will be acquired with the establishment of jeju`s glocality: the interaction between the orality of jeju language and the literacy of text.

김석희 소설 땅울림 에 나타난 독립적 자치주의

김동윤 ( Dong Yun Kim )
영주어문학회|영주어문  24권 0호, 2012 pp. 65-89 ( 총 25 pages)
This is to find the right glocality in the era of globalization by sheding light on autonomy in Kim Suk Hee`s novel, Rumbling Earth (1988). The summary is as follows: First, Jeju Island is the area that has had the tradition of autonomy based on community spirit in the historical situations that have developed since the past autonomous nation. Such tradition was expressed during the liberation period. There are two aspects of the Independence Movement behind the April 3rd Uprising waged for the building of the nation state in the cause of the objection to the establishment of a separate government: independence from the United States and independence from the central government. Second, Rumbling Earth is a frame story in which the speaker ``I`` narrate the articles Kim Jong Min wrote about Hyun Yong Jik. Three characters` roles are tightly woven. Hyun Yong Jik the one who experienced April 3rd Uprising and lived in the mountain for 36 years. Kim Jong Min is a reporter who is pessimistic about Jeju`s reality. I is the character who delve into the two people and find the meanings. Third, This work is very different from other novels about April 3rd Uprising in that Hyun Yong Jik goes into the mountain and dreams of building the Republic of Tamna. Its writer maximized Jeju community`s autonomy by setting the situation where punitive forces are executed in the name of Tamna and bringing in the community rite that started from respecting the minister of Tamna Dynasty. And this story speaks volumes that this issue is still meaningful by underlining that this issue is also in the same context of Jeju that is devastated under the cloak of tourism development. Readers can conjure up Lao-tzu`s political ideal, "Small Kingdom and Little People." This makes us think that it has a significant meaning in association with the value realization of glocality that draws attention these days. We can guess that the success of Jeju Self-Governing Province depends on whether its autonomy is fully realized.

설문대할망 설화 재고 -설문대할망과 오백장군 설화를 중심으로

현승환 ( Seung Hwan Hyun )
영주어문학회|영주어문  24권 0호, 2012 pp. 91-118 ( 총 28 pages)
The giant woman, Seolmundae Halmang, is the god who made Halla mountain and parasitic volcanoes. If a person is involved in forming the ground, the person is regarded as god. But the character of Seolmundae Halmang of jejudo as god is not clear. Generally, Seolmundae Halmang is a leading character of legend. But one time, she was a leading character of myth. It is because Saemyungju (who is a character of Songdangbonpuri which is a myth) and Seolmundae Halmang are recognized to be same character. That is, before the written word age, Seolmundae Halmang story had been handed down as myth. As time goes by, it was transformed to legend. Now, Seolmundae Harbang appears in Seolmundae Halmang story, and recreational contents are also added to Seolmundae Halmang story. For this reason, Seolmundae Halmang story has also the character of folktale. People`s thought about natural objects is reflected on folktale. So, in this writing, I tried to interpret the character of god which Seolmundae Halmang has from the death motif of Seolmundae Halmang and the motif of Seolmundae Halmang`s having given birth to Obaekjanggun. According to my interpretation, jejudo`s residents had the thought that land floats. So Seolmundae Halmang had to be drowned to death though she was tall. Obaekjanggun folktale and Seolmundae Halmang folktale are two different things. Obaekjanggun folktale has been handed down owing to Imjae`s having added legend of china to Youngsil fantastic rocks. There was a Buddhist temple which was called “Jonjaam” in korea era. So, now, at private sector, Obaekjanggun folktale is being handed down as “Obaekjanggun”, while, it is being handed down as “Obaeknahan” by Buddhists. Some of researchers transformed plots of Seolmundae Halmang story and Obaekjanggun story to draw the interest of readers. So, today, the early shape of stories disappeared, and only interesting contents are being handed down.

봄맞이 행사 “춘첩자”와 관련한 “세화”와 “연화”의 한 양상 연구

조만호 ( Man Hoe Cho )
영주어문학회|영주어문  24권 0호, 2012 pp. 119-159 ( 총 41 pages)
This discussion was evolved around the viewpoint that the performances of the New Year required norms to adapt to nature in the age of natural force when people perceived the flow of time according to changes to natural phenomena. It was based on the assumption that folk actions summarized as Sehwa歲畵and Yonhwa年畵, which originated in "Chuncheopja春帖子" performed at an event to welcome the spring or the onset of spring event of those performances of the New Year, were behavioral correlatives from a folk or anthropological perspective. The study also investigated the patterns of Sehwa and Yonhwa by developing the discussion with a focus on the chicken, tiger, peach, "sindo神茶", "ullu鬱壘", and "chonggu鐘?". The findings were as follows: First, the chicken paintings were developed in a direction of signifying the meanings of "dispelling evil spirits" and "praying for good luck." In a word, they conveyed the meaning of "Subokbuguidanammanse壽福富貴多男萬歲" Second, the peach paintings signify perennial youth and long life and also wish for rising in the world and gaining fame. They also seem to serve the purpose of dispelling evil spirits given that they were used in "Choeyoungsamo處容紗帽". Third, the tiger paintings moved from the function of dispelling evil spirits to that of praying for good luck. In the process, "the content of wishing for great achievement" was added in them. Some Yonhwas reveal the desire for much luck with fortune. Fourth, Chuncheopja started at an event of putting up two letters of "Ui and Chun(宜and 春)" and four letters of "Sin, Do, Ul, and Lu(神, ?, 鬱and壘) on the gate. It was the origin of Chunryeon春聯. In addition, so-called letter paintings were painted as Yonhwas. As the conceptions or compositions of "Sindoullu" were created, they began to show various patterns according to social and geographical conditions. Those findings indicate that such folk events as tying a chicken onto the gate with a reed cord, painting the chicken, peach tree, and tiger, and depicting the image of a deity have close connections with "Sindoullu." Those patterns developed in a direction of expanding symbolic significance as abstract gave birth to concrete, which in turn gave birth to abstract.

『환희기(幻戱記)』 재론(再論) -연암(燕巖)의 정치적 알레고리 (allegory) 분석의 일고(一考)

강혜종 ( Hye Jong Kang )
영주어문학회|영주어문  24권 0호, 2012 pp. 161-187 ( 총 27 pages)
This paper aims to examine Yeon-am`s political prospective through Hwanhuigi which is a writing of the description with a historical consideration of magic arts, based on the twenty kinds of magic arts which Yeon-am watched in Qing. Focusing on the structure and narrative style of Hwanhuigi which extends the attributes of magic arts to the power, this paper shows how to Yeon-am`s political allegory reveals the way of changing norm and the regime of upper class as situational justification for one`s selfish interests and desires and inspects the way of revealing a critical reflection ultimately. ?Yeolhailgi(熱河日記)?is not just a record of the experience through Yeonhaeng(燕行), but minutely organized writing with literary allegory and symbolic expression. Expecially, Hwanhuigi in ?Yeolhailgi?does not just describe magic arts as cultural object, but deals with them as a symbolic media for expression of his opinion about practical administrating for relieving people´s suffering. In Hwanhuigi, before and after the description of magic arts, the -the prelude of Hwanhuigi and -the epilogue of Hwanhuigi are edited. Enumerating the examples of magic arts, Yeon-am make reader reconsider the similarity of operating principle of magic arts connected with that of political situations, describing the transience of secular values through the change of phenomenon. In other words, Yeon-am criticizes the rampant situation of empty justification and intrigue like magic arts and urges to take practical attitude reform the reality in Hwanhuigi.

박영근의 『김미순전』에 나타난 들뢰즈적 “정동”의 연극성

박정근 ( Jeong Keun Park )
영주어문학회|영주어문  24권 0호, 2012 pp. 189-219 ( 총 31 pages)
Park Young-Keun has been evaluated as the first rate labour poet in Korea. He published Kim MiSoon Jeon which had unique elements such as epic poetry, Pansori, and Kim Jiha`s Damsi. In this long poem, the poet represents a female labourer who is innocent because of her lack of identity. She has strong desire for fashion, money and sex which are superficial elements of capitalistic society. She comes to be the victim of power that would cooperate with capital. Kwon Doga seduces her to play the role of fraktsiya. She dares to approach the leader of labor union, Walsun. She pretends to sacrifice for the union, by which she gets the trust of Walsun. Then, she steals the information of the union, which lets Walsun be prisoned. The poet tries to describe the situation objectively by using multi-viewpoints of Pansori. With this literary technique, he overcomes the literal weakness of dichotomy which has usually appeared in Labor poems. Park Young-Keun represents the characters of power, capital and laborers objectively by keeping distance, so that he can criticize even the members of labor union lacking in their own identities and strong will for reformation of society. However, the poet shows the reversal of MiSoon by having Deleuze`s good meeting which permits her spiritual transformation. She, in her fantasy or dream, meets her mother and Walsun, which leads her into repentance for her previous role as fraktsiya. From this motive, she rejects Kwondoga`s offer to play the immoral role. By discovering her transcendent change, the agent of power decides to kill her who knows too much about the conspiracy of power and capital. Experiencing the painful suffering given by the power, she would not surrender to it. Rather, she can get the complete freedom as a real labourer which can be evaluated as complete ``JeongDong`` of Deleuze.

영화 <축제>에 나타나는 한국의 장례의식(葬禮儀式)과 의미 고찰

이성준 ( Sung Jun Yi )
영주어문학회|영주어문  24권 0호, 2012 pp. 221-254 ( 총 34 pages)
Film "festivals" in Korea`s traditional funeral ceremony is clearly apparent. Subtitles by utilizing the name of the funeral and procedures, and disclosing the meaning, as well as Korea`s traditional funeral ceremony is to show the documentary technique. However, some rituals omitted results owing to the subject leads to a weakening, but a traditional funeral ceremony is faithfully reproduced. "Festivals" appears in the meaning of the funeral ceremony may be examined in three aspects. First, the Koreans` ideas about life and death, and filial piety is to reveal. Funeral rituals that make up the heart of filial piety as an element is inextricably bound to the example that there can be seen. Next, through funeral rituals to keep the community will be strengthened. This thing is fading in our society that increasingly makes sense in that it reproduces. Finally, through a funeral properties of the festive, and the chagrin of the explanation for the elimination of emotions, as well as the meaning of play is that ruminates. But these are things that take precedence over, through funeral rituals of Korea`s tradition and culture, ritual, and can see that may be revealed. It says about this subject and purpose of this study will do.

대전 문화예술교육의 현황과 개선방안 연구

김상열 ( Sang Youl Kim )
영주어문학회|영주어문  24권 0호, 2012 pp. 255-292 ( 총 38 pages)
Since the law to boost arts and culture education was enacted in 2005, the policy of arts and culture education has maintained the keynote to improve citizens` cultural life and to strengthen the national culture power in spite of several policy changes. But today we feel the need to discuss not only the policy direction and the method to choose the agenda, but also the policy development tailored to regional characteristics and its practical use. Today ``Korea Arts and Culture Education Service`` sets the agenda and takes charge of funding for arts and culture education while the ``metropolitan arts and culture education center`` and ``local arts and culture eudcation center`` assumes the role of putting the policy into action. This centralization of government had been effective in terms of the utility of agenda decision and facility of execution. But if the regional system is provided, this central system will disturb the flexibility of regional characteristic policy and, most of all, turn out having the limit in inducing citizens` voluntary participation. Therefore in order to solve the problem, we should discuss several questions. First, we have to determine the direction of the basic policy. Also We need to develop the program and build the infrastructure. This study is an attempt to solve this problem. In addition I will examine Daejeon arts and culture education, and I will suggest the direction for Daejeon arts and culture education.