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논문검색은 역시 페이퍼서치

세계문학비교연구검색

The Comparative Study of World Literature


  • - 주제 : 어문학분야 > 국문학
  • - 성격 : 학술지
  • - 간기: 계간
  • - 국내 등재 : KCI 등재
  • - 해외 등재 : -
  • - ISSN : 1226-6175
  • - 간행물명 변경 사항 :
논문제목
수록 범위 : 15권 0호 (2006)
7,700
초록보기
`East Asia` is already becoming a problem to be faced in the situation of cultural hybridity. In the other article, I tried to show that East Asia is required to cope with the double situations of inheriting the Western imperial desire towards East Asia and even its self-reflection on the one hand, and establishing the East Asian inherent tradition and history on the other. It is in this respect that we need to de-construct the East Asian origin and re-construct its new identity; here a new discourse of East Asia needs to be imagined not in the dimension of the dichotomy of Western empire and Eastern colony but in the critical analysis of the internal and external competitive aspects that the East Asian countries encountered in the process of constructing the modern nation-states. The aim of this work was to imagine the East Asian community, ultimately linked to seek the way towards the global co-existence by escaping from the trap of exclusive community that has been promoted by the West, and then by the nation-state-centered hegemony inside East Asia in the complicity relationship with the West. The imagination of a literature that East Asia`s nation-states hold in common is expected to contribute to that work insofar as East Asian literature allows itself to be directed towards the so-called universal literary-value. The practice of interpretation as a resistance against all kinds of homogeneity is the core instruction for this new figure of East Asian literature; indeed `literature` itself implies this kind of resistance. The reason why I discuss resistance is derived from the observation that we need to change the current situation of East Asia governed by the order of power to the future`s possible world achieved by the order of culture. I think that the comparative literature will be able to contribute to this enterprise. Here the comparative literature is no more the `particular` one born in the West and generated centered on it but rather should be the new one that asks where the general literary value is and what it is; in other word, the East Asian literature may become an engine for re-identifying the true `literature`. If the East Asian literature is possible, it is through the task of comparative literature that we should suggest newly; conversely, the task of comparative literature will be able to be describe on the possibility of the East Asian Literature. If we may say that literature is the form of life and the way of practicing it, and the community of literature is a procedure sustained by them, the East Asian literature may base itself as an appropriate reason for imagining the East Asian community. This is because `literature` questions incessantly about the identity of a community, and further the East Asian literature can be maintained by virtue of the authenticity of literature. The incessant questioning itself makes the identity of a community flexible and open to the Others so as to allow it to build up its own position. This work can be realized by de-constructing the binary opposition relationship between universality and particularity and re-constructing their relationship of mutual exchange. I strived to criticize the nationalism, including cultural nationalism, as a representation of exclusive power that disturbs the realization of that re-construction and to suggest the possibility of interpretation-practice as a strategy of resistance against homogeneity. More precisely, the objects of discussion in this paper are: 1) the situations of the study of comparative literature in the East Asian nations such as China, Japan and Korea, 2) the new interpretation of Choi Junghee`s Yakukcho as an example of resistance against the homogeneous structure, 3) the problem of unification of the written and spoken language, 4) the problem of cultural nationalism and cultural relativism. The ultimate aim is to pursue the East Asian literature as an example of realization of the true universal literary value emer
6,600
초록보기
This study at the when of anti-Japanese armament fight the "Song of Red Flag" which is loved to sing leads and the series where the flag treats the achievement of Kim Jong Il the work which 2000`s is created the reason which appears overwhelmingly in the "guide of immortality" and current meaning there is a objective which it reveals. The "Song of Red Flag" the is the Song of anti-Japanese revolutionist from North Korea. The anti-Japanese armament combative time Song of anti-Japanese revolutionist was created with means of thought culture. Song of Anti-Japanese revolutionist the "Literature for shaping chieftain figure," keeps the objective which is identical is a revolution traditional succession is succeeded, it is an art which is created. From like this side the "Song of Red Flag" insertion of the is a possibility of saying that it shows the reinforcement of revolution tradition more clearly, to the "Literature for shaping chieftain figure." The series from 1990 the "guide of immortality" in the center the work which until 2000 treats at march time and line military affairs of trouble "Kangkye spirit"(2002), "holding the bayonet"(2002), "the barrel"(2003) back 3 side depiction of the march of trouble it leads and the accommodating aspect and the "Song of Red Flag" of revolution tradition report and to observe the insertion aspect of the, to observe current meaning which at this song keeps from the "guide of immortality," the reporter they do. The possibility of seeing from the series is slogan anger "march of the trouble" which it is doing, at the "red flag Idea," at "military-first Idea," "gun barrel philosophy" the fact that it shows a meaning of the back and conduct essential points most symbol the "Song of Red Flag" is the from this current North Korea. The "Song of Red Flag" of the series insertion of the integrates their time psychiatry thought and it reflects with in literature it accommodates an existence strategy it is visible with effort.
7,000
초록보기
This paper, focusing on the protagonist Picaro`s pursuit of self-identity in a picaresque novel, a transitional genre to modern literature, compares Notes from the Underground, by the Russian author Dostoevsky, and Nalgae(Wings), by the Korean author Sang Lee. In so doing, a close examination will be made of Picaro`s self-identity and his quest for it, which later became the prototype echoed in the modern novel. In comparison with mainstream Western literature, Korea may have had many fewer picaresque novels throughout its literary history. When the country, however, was suffering under Japanese colonization, Korean modern novels were beginning to take shape, providing an opportunity for the emergence of a hotbed of picaresque novels - a genre of literature through which to express struggle against the oppressor and protection of the oppressed. Somewhat similar to Korea, Russia was also oppressed and humiliated in the process of modernization, and also became a fertile soil for picaresque novels. Thus, both countries seem to have had picturesque novels genre, if not quiet like those of the Western tradition. Picaro`s Notes from the Underground is of the very prototypical character that modern fiction writers often turn to when they write a picaresque story or fiction dealing with social evils and irrationality. The Picaro-like protagonists of both the novels of Dostoevsky and Sang Lee demonstrate what procedures they undergo in search of their self-consciousness, coming out from a closed space into the openness of freedom. Notes from the Underground, set in Petersburg, Russia`s capital in the 1840s through 1860s, talks about the issues of human reason and the logic of utilitarianism via a monologue of a solitary and critical visionary; Nalgae, with a setting of 1930s Seoul under the Japanese colonization government, deals with the problems of solitude in a large group and moral degradation, looking into the mentality of a person who is unsocial and eccentric, thereby suggesting experimention with a picaresque-style story. Picaro acts on his own volition, ignoring the wishes of others, but listening closely to the voice within him. Despite his confinement in a small underground cell, Picaro is firmly determined to move ahead for the release of his soul. Accordingly, the existential circumstances under which Picaro is placed are not only personal matters concerning Picaro himself but also a universal matter related to anybody living in a modern community. The language he speaks with every single part of his body is about progress in achieving humanism, overcoming discrimination, hope for liberty breaking away from the oppression of the hierarchical power, and a journey in search of true identity, shedding outdated tradition. Hearing what he has to say, we can understand his messages as the spirit of the times to reflect upon ourselves and renew our view of life. Consequently, by making a close observation of how we interpret Picaro, we can also reaffirm and recognize the prototype, leading us in the right direction as we live our lives.
6,400
초록보기
本文着重記述了新時期文壇中張潔, 張辛欣以及陳染三位女作家筆下的女主人公們在現代都市文明與自我世界極端對立當中的行動意識以及觀念形態. 其中, 張潔繼承了丁玲的女性意識以及思想觀念, 幷在這個基礎上讓自我世界與客觀世界保持距離, 從而進一步與其區別開來. 我們之所以把丁玲看做現代文學中女性文學的先驅, 嚴格地說, 不僅僅是因爲從저的筆端中流出的女性形象本身已經確保了女性充分的色彩與個性, 也是因爲저的女主人公們在現代文明中確立了自我世界, 就在這個基礎上저們自覺地認識到저們自身與世界有着不可分割的關系. 如察看以上所述的張潔, 張辛欣以及陳染的共通點, 也可以縮略成世界與自我之間的對立關係. 雖然三位作家都是從女性的立場來感受世界的, 然而저們各自的感想與表現出來的反應又稍稍有所不同. 具體地說, 雖然三個作家都在不約而同地爲女性在現代中國社會中的現實處境而苦惱, 張潔對現實社會的問題意識及問題提起方式却圍繞着這樣一些問題的揭露, 批判及對女性自身的覺醒爲中心的描寫, 因此저反映出來的內容大都有關女性對社會鬪爭, 促使社會革新對女性觀念的一種女性文學, 卽直接與强調女權的擁護及强調聯系在一起, 從而旣使저創作出有强烈個性的女性形象來, 但與現實世界對立中構築着女性自我的內面化了的世界的情況却幷不多見. 與此相比, 張辛欣注重突出問題的主人公, 把主人公的性格形象表現得更明顯, 更强烈, 更淋리盡致, 比起張潔筆下的主人公, 相對來說稍微確保了個人領域的存在空間乃至具體心態. 也就是說, 張潔在女性與世界相對立緊張的關係當中, 一味注重單方面的對立鬪爭, 而沒給主人公留下自我深思的餘地幷疏忽了對主人公心態的具體描會, 然而張辛欣則通過自我對社會價値的實現和對愛情的確認過程而與世界保持一定的距離, 進而自然而然地擴大了主人公立地的空間餘地. 而從陳染筆下的主人公們身上,我們可以不難發現出與此不同的諸多面貌. 現實世界中他人的不可고, 不可信, 尤其是現實生活規律及機制更强迫着저們逃避現實, 幷與此拒絶妥協, 從而進一步與之頑强對抗. 然而저們身處的現實空間和實際力量, 又使得저們對社會的反抗加深, 而這種反抗又相應地給저們帶來一些壓力, 限制和監視着저們的一擧一動. 就在這種自我與社會緊張對立的格局當中, 獨自構築和享有個人世界的自我才得以誕生, 這樣的自我從在某種意義上來看, 不僅表現出了女主人公頑强的, 主體的性格特微, 同時又反映了現實是社會的必然的産物而女性又是悲劇的犧牲者. 陳染筆下所描繪的無處立脚的自我, 無論是男性還是女性, 其實在現代社會中都是無法得以生存的. 從某種意義上可以說, 陳染的文學追求與文學的普遍主題和課題是聯系在一起的.

육일사(六一詞)에 반영된 세속성 고찰

홍병혜 ( Byung Hye Hong )
5,600
초록보기
《QuanSongCi》 contains 266 rhymes of Liu-yi Ci. Some of them are YaCi`s, and some of them are SuCi`s. We are focusing on SuCi. Liu-yi follows SuCi in his contents and forms. It is quite exceptional that Liu-yi as a highly ranked politician as well as literate his time, followed SuCi. The purpose of this article is to find out what Liu-yi tired out of SuCi`s vulgarism, and the what I found out is as follow. First, Liu-yi Ci`s vulgarism means author`s reflecting mentality. Second, Liu-yi Ci`s vulgarism means proximity to people. Third, Liu-yi Ci`s vulgarism means vitality. Therefore, Liu-yi put to use form of literature Ci exclusive of ShiWen as a tool to express author`s truth, at that time, contrast to his known image as high official writer, his planned to speak out vulgarism. Finally, thru Liu-yi Ci`s vulgarism, culture and vulgarism coexistence which is major characteristic of Ci`s can be identified, we can study his overall Ci literature. Above all, attempts made in this article can support deep understandings on historic backgrounds as well as writers` characteristics and their psychologics.

그림연극(Bildertheater)의 특징과 예술가들

김영아 ( Young Ah Kim )
7,200
초록보기
The various formats and the ways of expression in the contemporary play have been required. The Korean play we usually see is centered on the text. Bildertheater is one of the genres in the play that has focused on the visual message and various formats, making it distinguished from the previous genres just as today`s world is transformed into the form of communication in the visual way. Bildertheater as one of the play`s genre has been being developed into the contemporary play in Europe since 1970. Therefore, the definition of the concept and its classification is not clear yet. Because today`s society is changing in many different ways, the new culture and art are created, attracting the audience`s attention very quickly but disappearing very quickly, too. Today`s society is changing very quickly, audience`s taste and curiosity is changing gradually, and they are seeking for the new things continuously. The Bildertheater which corresponds to the digital days can reflect the various requests and voices with the change of the days. The audience is accustomed to the image, picture, and moving picture rather than to text through the computer and digital image. Therefore, the audience asks for the visual play with the image and imagination. Bildertheater is the genre to meet such an audience`s demand.
7,000
초록보기
Cette etude, visant au clair l`aspect sacre du Vide, a partir surtout des oeuvres poetiques de Jean Tardieu, commence par les reflexions sur la crise de l`esprit en Occident au tournant du 20e siecle. Si le vide etait vecu d`abord, par les poetes du 19e siecle comme Baudelaire et Mallarme, en tant qu`abime, a savoir l`espace vide laisse par les dieux disparus, il y a un tout autre vide, un Vide en majuscule(Bouddhisme Zen) qui apparait en tant que force creatrice du monde, et qui prend une place importante chez des poetes d`aujourd`hui, comme Henri Michaux et Jean Tardieu. D`ou vient ce changement de perspective? Pourra-t-on y lire une volonte chez des poetes occidentaux, de surmonter la crise(l`experience de l`abime) a l`appui d`une autre culture, du grand vide bouddhique? A partir de telles questions, nous avons retrace brievement les traits du Vide, et nous avons constate que celui-ci prend divers aspects, parfois meme contradictoires l`un a l`autre: si Jung considere le Vide comme un Etre matriciel d`ou surgissent tous les symboles d`union, Barthes comme le vide meme de tous les symboles. Et nous avons aussi remarque qu`avec Bachelard une perspective du Vide createur est possible. C`est dans cette perspective que nous abordons la poesie de Jean Tardieu pour voir comment le poete decouvre le Vide dans l`art pictural chinois(de Wang Wei) qui cherche a superposer la vision reelle et le Vide. Nous avons essaye de montrer, d`une part, un Imaginaire construit a partir du Vide(formule par le poete tantot comme "le Vide sauveur" ou "l`inepuisable Vide", tantot comme "Quelque chose d`autre" ou "l`Espace nocturne," "apportant, sans dieu ni dogme, une signification supplementaire, une revelation surnaturelle, a tous les actes, a tous les objets, a tous les etres."), et d`autre part, comment ce Vide, introduit dans ses pages d`ecriture, renouvelle le lieu d`ecriture jusque l`avenement d`une ecriture du Vide("langue du neant" selon le poete) d`ou resultent les 12 "poemes a voir". Cette etude s`acheve sur une lecture de cette poesie picturale consideree comme la somme concluante de l`art poetique de Tardieu, realisant enfin "le passage vers la delivrance" qui etait le theme majeur du poete depuis le debut de sa carriere poetique.
7,600
초록보기
The fantasy has undoubtedly expanded the literary horizon. Based on the assumption that reality is not accessible to irrational phenomena, the fantastic emerges as an alternative or preferred narrative mode. Especially fantasy is connected with metamorphosis, unbelievable adventures, spatial transmutations, temporal dislocations, etc. The violation and transgression of the laws of nature in a literary work makes us to hesitate before the fantastic effect being generated. Soviet literature was very much dominated by the normative definitions of realism. Fantasy and the fantastic was frowned upon and, for the most part, relegated to science fiction and children`s literature. But slowly at first in the 1960s and then more rapidly in the 1970s, this situation began to change. One of the notable trends of Soviet Fantasy is a literary subversion of official cultural ideology. In this vein, Bulgakov`s The Master and Margarita occupies a privileged status among Russian fantastic literature. It reflects the purely Russian conditions of the twenties and thirties - the housing crisis, the state-controlled economy, the early years of terror under Stalin. Bulgakov ridiculed Soviet literary circles, government powers, Philistinism of human routine, using fantastic elements and satirical allegories in The Mater and Margarita. The level of satire in The Master and Margarita is so strong that it led to early readings of the novel as a roman a clef, "a novel in which actual persons and events are presented under the guise of fiction." MASSOLIT is a thinly veiled version of the Russian Association of Proletarian Writers(RAPP), the predecessor of the Writer`s Union, so despised by Bulgakov and his close associates; the Griboedov is the House of Writers on Herzen Street; Peregelgino is the writers` colony of Peredelkino outside Moscow; the critic Latunsky is Leopold Averbakh, who trashed Bulgakov`s Diaboliada when it appeared I print; the poet Bezdomny`s name is chosen to remind readers of other "proletarian" poets who wrote under similar pseudonym, such as Demyan Bednyi. The Jerusalem chapters are presented as being narrated by Woland, dreamed by Ivan, and by Margarita from a fragment of the Master`s novel. The Jerusalem story may be defined as a historical novel. Bulgakov alters the gospels not simply to make them appear historically credible, but also to challenge the very validity of these sacred writing. In conclusion, the fantastic features in The Master and Margarita has a certain utilitarian appeal in the Soviet context. For fantasy of Bulgakov offers novelty and appeals to literary imagination of Soviet literary backgrounds.

이사벨 아옌데의 작품에 나타난 탈식민주의 페미니즘

권미선 ( Mi Sun Kwon )
6,400
초록보기
Lo que hoy se conoce como `teoria postcolonial` se consolido formalmente como area de investigacion y teorizacion. En el campo de la critica cultural y literaria, la teoria postcolonial supone un camino paralelo, cuyas convergencias y divergencias con la teoria feminista son de sumo interes ya que ambas teorias se refuerzan a la vez que sirven de critica entre si. Con la base de estas teorias de Feminismo y Postcolonialismo, aqui voy a analizar una triologia de Isabel Allende: La casa de los espiritus, Hija de la Fortuna, Retrato en Sepia. De este modo podemos observar no solo el desenmascaramiento de las narrativas culturales dominantes (patriarcado, capitalismo, humanismo, historia, religion) sino el entendimiento de las practicas esteticas y sociales desde las perspectivas de Feminismo y Postcolonialismo. Estas dos teorias han utilizado conceptos comunes para el analisis y de/construccion de las metanarrativas dominantes. Las protagonistas de estas tres obras no son pasivas ni debiles sino fuertes y activas que saben arreglarselas para abrir camino en sus vidas. Haciendo visibles a las mujeres y dotandolas de voz propia, Isabel Allende efectua los temas antes `prohibidos` como la sexualidad de la mujer, la denuncia de la opresion patriarcal, la busqueda de la identidad e incorpora la problematica tercermundista del colonialismo, del silencio ocasionado por la tortura politica, y de la violacion ecologica. Con esto espero aclarar el caracter singular del feminismo ataviado con el postcolonialismo de la literatura de Isabel Allende.

우나무노와 보르헤스의 인식론적 유사성과 차이

조민현 ( Min Hyun Cho )
6,100
초록보기
El pensamiento de Unamuno, a partir del "hombre de carne y hueso", asume un proceso de literalizacion, y las palabras se transportan a su sentido significante con el afan de captar la vida. Pero paradojicamente, por esta misma voluntad vitalizante, Unamuno sufrio la limitacion del universo de la palabra frente a la vida de carne y hueso. Asi, los fracasos por conjurar la realidad humana a traves de las palabras significan que los seres humanos no pueden entender el mundo directamente por medio del lenguaje. Como consecuencia se emana la necesidad de la renovacion de la forma novelistica y se abre el camino para superar la limitacion del lenguaje y del ser humano. Borges tambien reconoce una grieta insalvable entre la palabra y lo que esta designa en sus primeros escritos donde se hallan algunas influencias de la literatura unamuniana. Por tanto, a traves de la teoria del lenguaje de ambos escritores, encontramos semejanzas epistemologicas en su ontologia literaria. Ello se caracteriza por la forma de la duplicacion interior y la realidad como ficcion. En la epoca posterior de la literatura borgiana, en cambio, se muestra una diferencia epistemologica en comparacion con el modo en que Unamuno conceptualiza la inmortalidad mediante la literatura. Desde estas perspectivas, en el presente estudio indagamos acerca de las similitudes y diferencias epistemologicas entre Unamuno y Borges.
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