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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 : 18권 0호 (2007)
6,300
초록보기
When I introduced for the first time, I analyzed, Yongnyu Sulwha(龍女說話), Najungmibu Sulwha(螺中美婦說話), Namukkun gwa Sunnyu Sulwha(나무꾼과 仙女說話), Kyunu-Jiknyu Sulwha (牽牛織女說話), yoksinkumgi Sulwha(浴身禁忌說話), Bulsinhyunsin Sulwha (佛身現身說話), Kiu Sulwha(祈雨說話) etc. as the background Sulwhas of . But later I came to the conclusion that it was implausible and impossible for all those stories to be included and restructured into one story with totally new content and structure. Sulwha has been handed down as a type, but more commonly as a form of a motif disconnected from the type by oral tradition. Therefore, similar motifs found in two different stories do not guarantee the mutual connection of these two stories. I recently collected and analysed Yongjachilchong(龍子七塚) Sulwha, in which I found very similar structures and contents to those of . In this paper I try to find the affecting relations between and Yongjachilchong Sulwha under the assumption that the latter is the background Sulwha of the former. The motifs which are commonly included both in and Yongjachilchong Sulwha are not simple motifs but independent typical stories with complete structures. It is not because fragmental separate motifs in one story affects the other story, but because total types are adopted. includes some content which are not found in Yongjachilchong Sulwha, while the whole content of Yongjachilchong Sulwha are found in . So we assume that Yongjachilchong Sulwha had been adopted by , not vise versa and that Yongjachilchong Sulwha is the background Sulwha of . Further evidence can be found in the fact that these two stories show differences in novelistic complexity, logical development, human-oriented story development, and organic connections among stories.
6,100
초록보기
This paper will examine the development of the Modern Taiwanese poems. In particular, the paper will focus on identities of the immigrants who came from the Mainland to Taiwan. This study will also invite an exploration of the Taiwanese history colored by immigration, which is distinguished from the history of the Mainland. Therefore, I will study an overall Taiwanese history and the development process of the Modern Taiwanese poems first, and then will introduce and analyze nostalgic poems written by immigrants who came from the Mainland since 1949. Mostly, these poems were written during the period from the mid 1950s to the 1970s and made great contributions to the development of Modern Taiwanese poetry. Most poets came to Taiwan following the Nationalist Chinese Army led by General Chiang Kai-Shek in order to flee from the political chaos in the Mainland. They also went to the U.S. for their advanced study. Their migration experiences not only enriched their feelings particularly nostalgia for the homeland as diasporas but also had great influences in forming their identities. They missed lives in and culture of the Mainland when they were in Taiwan, but they also suffered from nostalgia for Taiwan when they were in the U.S. Their sorrow and solitude are fully melted in their poems. Hence, I try to understand Taiwanese cultural identity as diasporas further by studying these nostalgia poems, and this study will help to perceive the peculiarity of the Taiwanese history and culture.
초록보기
松山出身の安倍能成(1883~1966)は東京帝國大學哲學科を卒業後、ヨ一ロッパに留學を經て1926年、京城帝大哲學科の敎授として京城にやってきた。赴任當初はかつてギリシャの哲學家プラトンがアテネ市民と設話をしながら彼らを敎育したという逸話を例にとりながら、京城帝大の學生と對話を通して交流したいと話している。それほどに大きな期待を抱いて渡ってきた彼はまた、柳宗悅や淺川巧のような朝鮮に造詣が深い人物と交わりをもちながら、朝鮮各地を見て步いた。特に安倍は朝鮮の自然や文化、風俗に關心を持ち、のちに大阪朝日新聞に京城での生活に關するコラムを連載し、1932年にはこれらの文章を『靑丘雜記』という1冊の本にまとめている。『靑丘雜記』で安倍は``觀察者``の立場から當時の樣子を描寫するのみにとどめており、ここから本國の政治や植民地政策自體に對する批判については伺い知ることができない。しかしながら、京城に住む內地からの移住者の生活を、むやみに日本の文化を持ち입みそれを矮小化しているだけでなく、朝鮮の文化と混じり合っていないと批判的に見ている。つまり、內鮮融和や一體を叫びながらもほとんど進行していないのは內地からの移住者が朝鮮人に溶け입もうとしないためだとし、兩者間の間に今だ距離があることを指摘している。1920年代半ばからうち出されるようになったいわゆる文化政策は、兩者間の制度的な差別の解消を目的とした政策の延長線上にあり、その差別解消の必要性を當時の日本政府が感じるきっかけになったのが3.1運動であった。つまり日本側はこの運動が朝鮮人に對する差別扱いに起因するものと捉え、あらゆる面で差別待遇を改善していこうとしたのであった。そのためには內鮮融和が必要不可欠であった。京城帝大もまたこの內鮮融和路線の一環として設置された敎育機關であった。從って安倍もまたこの政策の遂行の一翼を단っていたといえる。しかしながら安倍は京城帝大で多くの學生と接しているうちに、兩者間の考え方の差異に氣づいたと思われる。日本側があまりに現實を見ていなかったということ、そして自らがつねに語っていた文化というものが植民地という現實では理論的に說得力を持たないことなど、理想と現實の間で노んだ末、朝鮮を離れることを決意する。結局彼と朝鮮人學生とのあいだには、プラトンとアテネ市民のような對話がうまく成立しなかったためだ。
6,200
초록보기
韓國と日本の傳統詩歌の流れをみると、いくつかの共通点が見られるが、まずは兩國ともに固有の定型詩歌の形式が數種あったこと、そしてその詩型は時代とともに短くなったことがあげられよう。また、それぞれ最後に成立した時調(45音節前後)と俳句(17音節)は、兩國における最短詩型の代表的傳統詩歌として、その熱氣に差はあるものの、今でもなお創作され續けていることである。本稿は、時調800余年、俳句500余年の長い歷史に光をあて、芭蕉を中心とした蕉門の連句と16、17世紀の朝鮮時代の時調を對象に、その創作と享受の現場に注目して、兩國の詩的コミュニケ一ションの樣相について對比し考察を試みたものである。そもそも時調と俳諧は、同時代の自然と人事、事物など身近なものを題材にして日常語でよんだ定型詩で、その當時幅廣い支持層をもっていた。また、時調は文學的な讀み物としてよりは音樂的公演物として享受されてきたし、連句は數人の連衆によって興行されていたことから、兩詩歌の創作と享受の場には集團的で遊戱的なパフォ一マンスの要素を見いだすことができる。しかしその方法はかなり異なる樣相を呈していることがわかる。まず、時調は、詩的表現として韓國語本來の線的表現である意味上の『單一焦点』をもって理性にうったえる構造をもつが、それが歌われるほどにより感性的なものに變化する。一方、連句の場合は、詩型だけでなく式目など高度に樣式化されたものがあり、連衆たちはそれぞれ詩的ペルソナになり、前句の意味をわざとずらせながら付句をつけていく中で、お互いに舞台の俳優のように演じながら感性的で非日常的な時間を악しむのである。以上のことから、『型』に拘束されることなく明るく自由にその享受層を層めていく韓國と、『型』を重んじながら連衆の和のもとに靜かにその享受層の底邊を廣めていく日本というように、異なる文化的傳統の一面をうかがうことができよう。

일본어판 학국문학사 연구 시론

서재곤
5,900
초록보기
日本語版「韓國文學史」には金台俊『朝鮮小說史』、金思燁 · 趙演鉉「韓國文學史」、金思燁「韓國文學史」、金東旭「韓國文學史」、卞宰洙『朝鮮文學史』、金允浩『物語朝鮮詩歌史』があった。金台俊『朝鮮小說史』は最初の本格的な韓國文學史である。それが平凡社の「東洋文庫」の一つとして選ばれて日本語に飜譯されたということは、この本が 持っている値が日本でも評眄されたことであろう。ただし、小說だけを硏究對象にしていることがネックである。次に、金思燁 · 趙演鉉「韓國文學史」は韓國文學のすべてのジャンルと時期が取り上げられており、ほかの文學史と違って、二人の執筆者が自分の傳門分野を단當している。金思燁「韓國文學史」は前者の中で、金が執筆した古典文學だけを別冊に分離したものである。金東旭「韓國文學史」は比較文學(文化)の觀点から書かれており、特に、パンソリ(판소리)の重要性に氣付 き、「謠物語」という新たなジャンルとして定義した。卞宰洙『朝鮮文學史』は1970年代の北朝鮮での文學史硏究の成果、つまり「主體思想」という社會主義文學觀によって書かれたもので、文化の主體として「人民」の存在を强調している。金允浩『物語朝鮮詩歌史』はタイトル通り、詩歌に關する簡單な說明と逸話を物語風に書いたものである。日本語版「韓國文學史」は70 · 80年代に出版されたもので最近刊行されたのはなかった。分量も一冊だけでシリ?ズものはなく、卞宰洙以外は現代文學を取り上げていない。だから、各傳門家が共同執筆した文學史シリ一ズの出版が望まれる。
5,800
초록보기
The Tale of Hungbu and Nolbu, one of the most well-known stories in Korea, shares many similarities with the Malaysian folktale Waja dan Wira, and its Indonesian counterpart Semangka Emas, from West Kalimantan. While written versions of the folktale of Hungbu and Nolbu have yet to be found, the story Hungbu-geon has been passed down over the years in the form of pansori, (the Korean opera), and novel. The story of Hungbu-geon is thought to have originated from one of four sources including Korean, a mixture of Korean and foreign, Mongolian, and Buddhist narratives. Japanese and Mongolian narratives include stories about good and evil brothers, of an animal returning favor, and of limitless treasure, and Malaysian and Indonesian folktales share all three themes and emphasise the reward of virtue and the punishment of vice, which make them the closest to the Korean tale. Both the Malaysian and Indonesian folktales share the common theme of a good person living together with others in a community, with the Malaysian focusing on respect for parents and brotherly love, whereas the Indonesian on the encouragement of social altruism by painting a negative picture of a selfish man. In fact, more specific similarities can be found between the Tale of Hungbu and Nolbu and its Malay counterparts, in particular, the animal returning a favor. The character in the Malaysian story takes care of a sparrow with a broken leg, just as Hungbu cares for a swallow with a similar injury, while the main character in the Indonesian tale nurses a sparrow with an injured lower back. The similarities continue in the things the animals bring to repay the kindness shown to them. In each tale, they display local color such as a seed from a papaya, a watermelon, and a gourd, respectively. All these folktales are grounded in the cultures of Malaysia and Indonesia, both of which rest on a foundation of Buddhist culture, which is itself rooted in Indian culture. Korean culture shares a similar mix of cultural influences and it seems almost self-evident that the origins of the folktale of Hungbu and Nolbu can be traced to Korea`s ancient Buddhist culture.
6,200
초록보기
Sam Shepard represents the voices of the white American low classes, who quest for their identity and fulfillment. Shepard`s characters are a stereotypical cast of American heroes: cowboys, rock stars, homesteaders, and mythical figures who face the psychological annihilation of identity. In order to find a real self-identity, each of them tries to find a new place by escaping from the world which now confines them. America is the world what Baudillard defines the hyper-real society in which images have the power over where the reality is absent. Especially the goals of mass-media such as Hollywood movies, television and magazine are to be hooked up to itself emphasizing their surface intensity and meaninglessness Shepard`s characters are helpless and paralyzed, and also are unable to distinguish between reality and fantasy. Shepard`s figure of ``the fatherhood`` living in his own fantasy world has a taste for alcohol and further, is addicted to drink. America as well as the past of America is produced items like Hollywood western movies without true or real stuff. Shepard tries to wake and shake the American audience who are indifferent to the others and the American past. All the characters on stage seem to have learned to live in a state of war and accept it as something quite normal. He reveals the history of blood and violence from the beginning of America such as killing and driving out Indians, oppressing African slaves and starting wars like Vietnam and Gulf Wars. Shepard makes the connection between war and male violence to prove its power and machismo as a successor to their father. In Shepard`s plays, blood relations hover like a curse over the sons` search for a true male identity. The only way to find an identity is to follow the role model of the father and the very identity can finally be accepted by the father as a worthy successor. To realize the reality of the American dream and the past, Shepard shows its most humble and terrible site of America and Americans. However, he strongly believes the hope for change by achieving the audiences` emotional movement and awakening. Shepard never gives up a promise of the future when the dark side of the reality in American history would be evaluated as a face of real America.

권정생과 조지 맥도널드 비교연구: 죽음을 넘어선 삶

천연희 ( Yeon Hee Cheon )
6,000
초록보기
This is a paper on the pragmatic application of the theory of A. Owen Aldridge`s parallel literary criticism to the comparison of Gwon Jeong-saeng and George MacDonald focusing on their main theme of death. The two writers do not share similarities in their cultural and historical background but they present a basis for comparative study in the sense that they have very important commonality in their concern of death. They write for the children and childlike adults and death is the main issue that inspired both of them. The solution to the dilemma for both writers is to be a living sacrifice for others unto death to help that they might obtain eternal life. This idea derives from and points toward two central themes, the fatherhood of God and the men`s salvation through the obedience of His Son, Jesus Christ. It is clear from their writings that our sacrificial death for our neighbor is to be modeled after that of Jesus, who became obedient unto death. In their stories to be dead is to be truly alive. And the dreamlike vision of life presented to the readers through their stories is a reflection of that eternal reality. That is as MacDonald`s favorite quote from Novalis; life is, or should be, a dream of a greater reality.

프랑수아 모리악과 욕망의 모방성

김모세 ( Mo Se Kim )
6,400
초록보기
Cette etude a pour objet d`analyser, a la lumiere de la theorie de Rene Girard, le probleme du conflit intime et celui de la violence dans les ceuvres de Francois Mauriac. Aux yeux de Mauriac, la souffrance de l`homme vient du ``desert de l`amour`` et du mal. Ces elements, chez notre auteur, prennent souvent la forme de l`isolement et de l`incommunicabilite des personnages. En chacun d`entre eux, l`etre le plus intime est toujours le lieu des multiples conflits. Et nous pouvons voir ce conflit et cette incommunicabilite, enfin, deboucher sur la violence reciproque. On dirait que le desir demesure est a la base des conflits figures dans les ceuvres mauriaciennes. Dans le monde mauriacien, l`homme ne voit pasdirectement l`objet de son desir. Son desir ne va pas directement a son objet. Il est detourne, au passage, donc, mediatise par le desir d`un tiers. Dans ce cas, le desir d`un sujet est renforce par celui des autres. D`ou nait l`indifferenciation entre le sujet et le modele qu`il suit. Car le sujet d`un desir mimetique attache de l`importance au regard d`autrui, au regard de son modele. Il se preoccupe de leur image saisie aux yeux des autres. En imitant le desir des autres, les personnages mauriaciens s`empechent mutuellement de satisfaire leur desir commun. L`objet qu`un sujet desire a l`exemple de son prochain, le prochain, lui aussi, entend le conserver, le reserver a son propre usage. Le desir de ce sujet sera contrecarre mais, au lieu de se resigner et de se deplacer vers un autre objet, il va se renforcer en imitant plus que jamais le desir de son modele. L`opposition exaspere le desir, l`imitation du desir prochain engendre la rivalite. Le surgissement d`un rival semble confirmer le bien-fonde du desir, la valeur immense de l`objet desire. A mesure que leur antagonisme s`aggrave, les antagonistes, paradoxalement, se ressemblent de plus en plus. Ils s`opposent d`autant plusimplacablement que leur opposition efface les differences reelles qui les separaient. Et puis, ils oublient l`objet de leur querelle et se retournent les uns contre les autres. C`est contre son rival mimetique que chacun s`acharne desormais. Selon Mauriac, pour mettre fin au cercle vicieux du conflit et decouvrir la vraie solution, il faut que chacun, emporte par le desir de se voir valorize par les autres, prenne conscience de sa realite, se regarde en face et soit mis a nu devant la grace de Dieu. Mauriac met l`accent sur le fait que la reconciliation et le salut chretien ne peuvent etre possibles qu`avec le repentir individuel. Dans le meme sens, la peinture du conflit, de la violence, donc, du mal est, pour lui, une necessite ineluctable. Elle marquee a la fois la servitude et la grandeur du romancier. Comme Pascal, Mauriac ne renie rien de l`homme. Il traverse tout l`homme pour atteindre Dieu. Car, seules, les ames qui ont connu la tentation sont vraiment vivantes, celles qui l`ont surmontee sont affermies dans la purete et la grandeur. Mauriac affirme dans toutes ses ceuvres que la connaissance de soi-meme peut mener a Dieu.

한국,루마니아 구비문학에 나타난 용,뱀의 양상

김정환 ( Jeong Hwan Kim )
6,600
초록보기
Mythological creatures possessing some or most of the characteristics typically associated with dragons and serpents are common throughout the world`s cultures. Dragons and serpents are often held to have major spiritual significance in various religions and cultures around the world. Although dragons occur commonly in legends all over the world, different cultures have perceived them differently. Dragons in the Far East are generally seen as benevolent, whereas European dragons are usually malevolent. Korean dragon, Yong, is accepted widely as symbols of royal authority, good luck and sacred soul in the folklore and the oral literature, and is also many times worshipped. It is considered as mythical rulers of weather, especially controlling the rain and the water, and is usually depicted as the guardians of flaming pearls. The symbol and the significance of the dragon have influence on the existence of community as the main motives in the fields of divination by configuration of the ground and the Sea God rituals. Being an apotheosized dragon, the serpent was also the subject of worship as a false god and Koreans believed that allegorical serpents can achieve good and evil through the legends or the folktales. In Romania, three kind of dragons can be remarked. First, ``Balaur`` is very similar to the occidental dragons, with fins and multiple heads, in the second place, ``Zmeu`` (derived from the name of the Slavic dragon, zmey, zmiy etc.) is a humanoid figure that can fly and breathe fire, and in the last place, being a unique female, ``Scorpia`` has three hesds and belches fire too. The aspects and the characteristics of dragons and serpents existing in the Romanian oral literature are different with their recognized features accepted in the popular belief. There is not any different view that dragons are the target of the elimination as malevolent beings, but the former (in the case of the dragons in literature) depends upon the direct reason like the accession to the throne for the hero, the latter being motivated by indirect reasons such as the overcoming of many difficulties (as drought, calamity etc.). In the case of the serpents, ``serpents inside the house`` are commonly in the Romanian oral literature and the other side, ``serpents in the wood(or field)`` in the popular believes. Romanian ``serpent inside the house`` has great notion of deity of one`s family as the Korean serpent, Gureongyi. Like a literary material, the serpent varies according to the literary genre. For example, in the folktales appear the ``serpents inside the house`` which offer a feeling of intimacy, on the other side, in the ballads appear differently the ``serpents in the wood(or field)`` which have the negative image and cause a hostility. In these days, dragons and serpents maintain as ever the tradition of several thousands of years as a representative literary theme and material, especially in the fantastic literature. Dragons (and serpents) are very popular characters without interruption in the worldwide literature and they have acted as mediators between the West and the East and between the Past and the Future.
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