글로버메뉴 바로가기 본문 바로가기 하단메뉴 바로가기

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 : 20권 0호 (2007)
초록보기
In the fields of comparative literature are included comparison literature with literature, literature with arts, and literature with literary theory. These are the basic fields of comparative literature emphasized by the international comparative literary societies such as, among others, International Comparative Literature Association(ICLA), Federation Internationale des Langues et Literatures Modernes(FILLM), and Knowledge, Creativity and Transformations of Societies(KCTOS). In comparing and investigating the relationship between French Symbolism(not symbolism) and Modern Korean Poetry, Taeseomunyesinbo (Western Literature and Arts) informs us various sources and examples in relation to the subject matter on Paul Verlaine`s "Chanson d`automne," which Eok Kim translated into Korean for the first time and retranslated it several times. Through his various translations of Verlaine`s "Chanson d`automne," Kim understood the importance of poetic musicality rather than poetic meaning, and he emphasized "De la musique avant toute chose" which is the first line of Verlaine`s "L`Art poetique." Verlainean poetic musicality leads Kim juxtapose French Symbolist cadences with those of Korean and he transforms traditional Korean cadences into modern styles. Kim`s efforts in recreating truly modern cadences can be found not only in his creative poems but also in the poetry of Sowol Kim, who is now generally accepted as one of the national poets. Hence it naturally follows that Eok Kim`s enthusiastic pursuits of Verlainean poetic musicality are inherited to the poetic language and rhythm of Sowel Kim during the 1920s. Another line of Verlaine`s influence on the modern Korean poetry is found in the poetry of Youngnang Kim, who is well known for his using the vernacular language of the southern part of Korea. With his statement that he was infatuated with Verlaine`s poetry, Kim made it clear that he was addicted to the Verlainean poetic musicality and he transformed it into his own poetic cadences. For the influence of Verlaine, I have compared one of Kim`s poems with Velaine`s "Il pleure dans mon coeur"; for the poetic musicality and rhythm I have analyzed Kim`s "Ecstatic Moonlight" in relation to Verlaine`s "Clair de lune." Kim`s enthusiasm of poetic musicality led him to realize the importance of traditional Korean music as well as the "Chokgi"(Spirit of Candlelight), not to lose the pure Korean mind during the period of foreign suppressions. Besides these three poets, there are various modern Korean poets whose trances tell us the footsepts of Verlaine`s poetic world: Seokwoo Hwang, Chongwha Park, Tongmyeong Kim, Mokwol Park, etc. With these discussions, I can tentatively conclude that the impact of Verlaine`s poetic musicality made those of modern Korean poets recognize not only the importance of recreating traditional Korean cadence in their poetry but also the necessity of developing truly Korean national language as well as vernacular for the poetic cadences.

우울과 몽상 -포스트-IMF 시대 한국소설의 표정들-

김영찬 ( Young Chan Kim )
6,000
초록보기
It is the commonsense of the loss that captures Korean fictions in 2000`s. At first, young writer`s literatures, in which jokes, lies, plays and daydreams develop themselves lightly are products of melancholy in the Post-IMF era. For all that, their cosmos of fictional imagination paradoxically shows the possibility of new fiction that cope with melancholy which they originate in. There are practice of imagination will to relieve and realize the value of minorities who pushed or been alienated voluntarily from the center, and are exploration for opening the space of new value. For example, new possibility of Yun Seonghee`s literary minimalism which has been grew in the soil of unhappiness and sorrow of minorities in this era, exists in that context. Her fictions allusively show us a point on which jokes and daydreams can meet subjective ethics that open the new way bearing and digesting the actual trauma, not remain in the self-sufficient microcosm which bury its head in the sand. And in that aspect, it is an interesting phenomenon that the change of Eun Heekyeong`s fictions which had been in the center of Korean literature in 1990`s are piled on the characteristic tendency of young writer`s fictions at that point. And in different way, Chung Jia and Yun Daenyeong`s fictions are developing their own literay exploration which can change the commonsense of the loss to the soil of possibility of new literature. Maybe the possibility of new Korean literature in Post-IMF era would come out from these various groping and exploration of fiction.
6,000
초록보기
This is a paper on examining about modern korean poetry scholars` understanding of Irony. For this work, five poetry books have been chosen as samples what have been evaluated to quote frequently. Several problems have been revealed as a result of investigation on them. There are different understanding, unclear explanation, misunderstanding of Irony among scholars. In these days, examination of Irony has been reduced in Korea compare to western countries. In this situation, this paper suggest that scholars have to study diachronically and examine closely of Irony because it will lessen misunderstanding what many scholars have done. Also this paper suggest scholars must have the open mind for understanding every writer and their period because Irony has been used to express new vision of arriving age. Futhermore, this paper contains several suggestions for revitalization of study on Irony. Modern korean poetry scholars who join to study of Irony must reveal clearly that where their understanding has come from originally. Also scholars have to pay attention to possibility on comparative studies relating to Irony`s diversity aspects. Moreover, scholars have to try examining modern korean poems in the sight of Irony and presenting the meaning they have. In the last, this paper contains a hope to contribute to revitalize studies of Irony and Irony`s application on modern korean poetry.

한국,루마니아 구비설화 비교연구의 일 측면

김정환 ( Jeong Hwan Kim )
7,000
초록보기
The oral literature is generally regarded as the mirror of one nation`s mentality, identity, mental world and cultural horizon and, simultaneously, it has also an important role instead of the history before the documentary literature. Especially, the field of oral tales among the various genres of the oral literature is considered one of the literary branches which comes easily in contact with people and is transmitted from generation to generation for a long time. If the oral verses were transmitted and spreaded by old musicians or traders, the oral proses(tales) come close to the masses through the intermediation of the storytellers. The legends and myths as subordinate positions of oral tales occupy generally limited spaces, nations or same language areas. Contrary to the legend or myth, we can meet frequently folk-tales (fairy tales, narratives or even epos) which have same themes or subjects under similar functions and structures between different tribes or nations. If the individuality of each folk-tales which have common consciousness and factor is due to the pluralistic evolution (development) theory, their universality could be fundamentally attributable to the result of transmission and diffusion. We come easily in contact with many similar kinds of oral literary works in aspects of subjects, themes, senses, motives, structures, forms etc. in the east-north Asian states, not to mention many countries of the East and the West. This phenomenon will be understood through the peculiar universality and the reciprocal influences of the oral narrations, folklore outputs and their texts. We can find some similar subjects, themes, motives, functions and structures of Korean oral literary works also in the Romanian oral literary works. In this paper I selected each three folk-tales of Korea and Romania as comparative cases. As for the methodology I referred to the Aarne-Thompson`s classification and V. Propp`s morphology of the folk-tale. This attempt of comparative studies will have a critical and important significance to observe the universality and individuality of both countries` oral literature which have different languages and cultures. Moreover, this will also represent a valuable experiment to observe the possibility of the limitation and the overcoming of the comparative studies not only between Korea and Romania but also in addition between the East and the West.
5,800
초록보기
Mientras que la proporcion que ocupa la poblacion vieja esta en aumento, el envejecimiento de la misma se acelera y los problemas referentes a la vejez adquieren cada vez mas peso en la sociedad actual. Estos problemas se ponen de relieve no solo en los ambitos academicos como psicologia, economia, medicina, sociologia, etc., sino tambien en las cuestiones extra-academicas como la calidad de vida, condiciones ambientales, descomposicion familiar, etc.. Con este interes social en aumento, las cuestiones de vejez se estan tratando activamente en las obras literarias de hoy. Sin embargo, en la literatura clasica, no aparecen casi nunca los viejos. Aun cuando si lo hiciera en ocasiones escasas, solo desempenan de padres viejos o de ermitano, papeles sin importancia. Esto es por que la proporcion de la poblacion vieja no era tan importante como ahora, ademas de que el mencionar de tales cuestiones era algo prohibitivo en aquella epoca. Se ha observado tanto la pasion sexual como la psicologia de los viejos de las sociedades del siglo XVII a traves de dos protagonistas viejos de obras: El Celoso Extremeno y El Sueno de las nueve nubes. Estas obras clasicas y ejemplares del siglo XVII, una de Corea y otra de Espana, nos muestran sobre el pensamiento sexual de los viejos de la epoca. Aunque las personas de una misma epoca, que compartieron determinadas experiencias historicas, pudieran tener algo en comun en cuanto a las percepciones generales de valor y de vida y a las actitudes sociales, la evaluacion o percepcion social sobre la pasion sexual se diferia de una a otra. A causa de la diferencia cultural entre Oriente y Occidente, los dos protagonistas satisficieron de maneras muy diferentes sus necesidades sexuales. El unico punto en comun entre dos obras de diferente contexto especial es el temporal: siglo XVII. A parte de que estas dos sociedades eran demasiado diferentes en aspecto tanto espacial como cultural, no hubo ningun intercambio cultural ni influencia interactiva. Es dificil encontrar alguna universalidad o coincidencia entre dos obras. Por lo que el comparer estas dos, podria convertirse en una tarea de enumerar las diferencias de dos culturas diferentes. En cambio, lo que pudo confirmarse por medio de esta articulo es que la expresion del sentimiento mas universal: el amor de vejez, tampoco puede estar nunca libre de la cultura dominadora. Ni el punto de vista de la sociedad, ni la expresion literaria puede estar libre de la situacion contemporanea. Al final, la vida de vejez dentro de la literatura tambien es la ejecucion cultural que se entromete en la realidad. Todo esto se debe intentar a explicar bajo los contextos siguientes: la estructura social de la epoca, condiciones ambientales determinadas. Con estos contextos, la reaccion y aceptacion de vejez puede explicarse como un resultado cultural. El hombre es un complejo de distintas ideas socio-politicas. Esto significa que todos los hombres sienten, piensan y actuan como uno mas de todos, desde el punto de vista personal y social. Por lo tanto, lo que se cree que es un problema simple y personal es un resultado estructural producido dentro de un gran marco: sociedad y cultura.
6,000
초록보기
一般認爲中國龍是中華民族的特産。這種說法或許對,或許不對。如果僅限于龍的誕生地而討論,這種說法當然是正確不過的。不過,如果將思考範圍擴展到龍的觀念,這種說法就不見得准確。中國人對龍的觀念形成過程中,我們不能不考慮印度龍的影響因素。從歷史記載或考古遺迹看,中國龍的誕生比印度的要早的多,而且各種資料證明中國龍傳到印度后,對印度龍的形成有決定性的作用。然而,隨着佛敎東傳至中國,印度龍信仰也隨之傳入。中國人引進印度佛敎龍信仰幷加以改造,最終形成自己的龍信仰。中國人的龍觀念中,中國固有的道敎成分與印度的佛敎成分混合在一起。例如:在空中沸騰如云,與天人溝通的龍是中國原有宗敎道敎中的形象,而作爲祁雨的直接對象的龍,則是印度佛敎思想影響的結果。古代敦煌石窟保留了一些這種佛道混合性格的龍的印迹。本論文是以敦煌石窟的壁?和文獻爲考察点,來討論古代敦煌人的龍觀念及其來源。
초록보기
芥川龍之介(1892~1927)の文學創作に現われた芸術至上主義というのは今まで<狂人>と<愚人>が芸術、もしくは宗敎の理想鄕を獲得する過程にあったと思われる。つまり、彼の文學創作は作品の中に現われた非日常的な世界から得た<刹那の感動>と<恍惚とした法悅の輝き>を通して狂人と愚人が超人と聖人へ昇華する、いわば芸術至上主義への飛翔を見事に表現したことである。しかし、1919年以後このような芸術至上主義には變化が生じてくる。なぜならば、今まで彼の作品に現われた主人公の狂人と愚人が普通の人間(常人)に變わっていくからである。ということは、これから彼の作品で常人の目にも芸術至上的な世界 - <刹那の感動>と<恍惚とした法悅の輝き> - が現われることを意味しており、その出發ともいえる作品が「龍」である。すなわち、作品「龍」に現われた芥川の文學創作の變化とは、まず、主人公が非人間的な人物から普通の人物に變わったこと、そして作品の素材においても非日常的な素材を求めたのではなく、日常生活における人間的なものを求め始めたことである。その後芥川は1922年からいわゆる<保吉物語>という作品を本格的に書き始めた。これは<堀川保吉>を主人公として日常世界における作家自分の?驗を描いた一種の私小說的な作品であり、その內容も普通の人人の人間的な<刹那の感動>が描かれている。しかし、このような芥川の文學創作の變化は最初から日常世界の<疲勞と倦怠>に쇄されていた。なぜならば、彼の芸術至上主義は彼もまた日常世界への回歸を意味することで、言い換えれば、初期芸術至上主義に現われた狂人から超人へ、そしてエゴイズムの世界から自由世界への飛翔したこと臥、その下降によってまたしも狂人へ、そしてエゴイズムの世界へ戾ってしまったからである。したがって、芥川の文學創作の變化、つまり芸術至上主義は結果的に下降ではなく墜落の始まりであったと言える、これは彼自身が語ったように<人工の翼>(「ある阿?の一生」)をつけて空を自由に飛んでいくが、結局太陽の光で人工の翼が溶けてしまい、海へ墜落する結果をもたらしたのである。
6,300
초록보기
Tuesdays with Morrie, which is composed of fourteen discussions between Mitch Albom, a sports reporter and Morrie Schartz, a retired professor dying of amyotrophic lateral sclerosis (ALS), is a moving novel based on fact, and it helps a reader reconsider the significance of life and death. As a literary text, this book comprises diverse narratives such as everyday conversations, authorial narratives, news reports and broadcasting comments, diary entries and lectures, which are employed to weave dialogical narrative structures expressing the tensions between the past and the present, spirit and material, sense and reason, the interior and the exterior of human consciousness, and the languages and psyche of Morrie, Mitch and other characters. Such characteristics as a literary text also leads a reader to the ethics in the book, which can be compared with some aphorisms of the ancient Chinese ethical philosophy-"benevolence," "righteousness," "courtesy," and "virtue," for example. For, as we read the memoirs of an old professor, who has lived in the center of the world culture and history as an intellectual, being reminiscent of his life so far, considering others through the mirror of his own life, and trying to give lessons about the future state of the world and its culture, we can clearly realize that it cannot be confined to a mere personal memoir. In brief, in his aphorisms that he has uttered during the discussions with his former pupil, Mitch Albom for fourteen weeks, Morrie asserts that people in contemporary society should be able to control themselves among all the positive and negative elements in the present world, recover the mutual relationships between Self and Other based on understanding and true love, and then pursue a new world, in which both Self and Other can exist and prosper together. And his lesson is not different from the teachings of ancient Chinese philosophers, emphasizing the "self-sacrifice to preserve the virtue complete(殺身成仁)"
6,900
초록보기
Die vorliegende Untersuchung zielt darauf ab, einen Vergleich zwischen der volkstumlichen Auffuhrungskunst Pansori in Korea und dem Bankelsang als eine Urform des erzahlenden Liedes in Deutschland formal und kulturphanomenal anzustellen. Der Bankelsang, der seit dem 17. Jahrhundert von umherziehenden Schaustellern und Jahrmarktsangern auf einer Bank stehend vorgetragen wurde, war eine lebendige, darstellende Volkspoesie in Deutschland. Er wurde ublicherweise von einer Dreleier und einer das Geschehen illustrierenden Bildtafel begleitet. Mit einer bekannten volkstumlichen Melodie singt der Vortragende seine Lieder, die meistens den Zuhorern sensationelle Vorfalle, Naturkatastrophen, Unglucke und Verbrechen, seltener politisch-historische Ereignisse berichten. Der Bankelsang wie auch die Moritat ist jedoch heute weitergehend in Vergessenheit geraten und seit den fruhen dreiβiger Jahren des letzten Jahrhunderts verschwunden. Pansori gehort auch zur koreanischen volkstumlichen Auffuhungskunst. Spatestens im 17. Jahrhundert tritt Pansori das Erb des uberlieferten darstellenden Epos an. Der Pansorisanger tragt seine lange erzahlende Lieder dem Publikum (Zuhorer bzw. Zuschauer) vor. An der Auffuhrung nimmt auch ein Trommler mit einer traditionellen Trommel teil, wobei der Sanger die Zuge einer theateralischen Darstellung tragt. Manchmal verstarkt der Trommler schreiend durch Empfindungsworte wie O!, Ach!, Ja! Das Vortragene. Das Publikum wird durch gleiche Zwischenruf ebenfalls zu einem Teil der Auffuhrung. In diesen beiden volkstumlichen Auffuhrungen finden sich die unterschiedlichen kulturellen Merkmale: Pansori halt Stimme und Ton des Sangers fur wichtig, der Bankelsang Wort und Inhalt. Man konnte daraus schlieβen, dass die koreanische Kultur gefuhlsbetont und empfindsam und die deutsche Kultur vernunftig und denkerisch. Der kuturelle Unterschied zwischen beiden Inszenierungsformen liegt auch in Beteiligung und Reaktion des Publikums. Das Publikum nimmt beim Pansori meistens direkt an der Auffurung teil. Dagegen fuhrt der Sanger die Vorfuhrung beim Bankelsang, wobei das Publikum nur als Zuschauer oder Zuhorer agiert. Pansori ist also eine Kunstform, in der die gemeinsame, gefuhlmaβige, spielerische, naturorientierte, mundliche, traditionale und gegenseitig abhangige Kultur gut wiedergegeben wird. Der deutsche Bankelsang hat auch seine eigenen kulturellen Mermale: vernuftig, menschenorientiert, individuell, schriftlich bzw. bildlich und reformativ.
초록보기
《За миллиард лет до конца света》Стругацких является важным произведением не только в художественном мире самих писателей но и в истории русской научной фантастики. Также это произведение можно признать образцом мидкульт-литературы, которая стала доминирующим течением в современной русской литературе. Исходя из современной оценки статуса Стругацких в русской литературе, из анализа структуры и содержания данного произведения, можно рассматривать Стругацких в качестве представителей русской мидкульт-литературы. В данной работе подробно проанализированы особенности этого произведения как массового и элитарного одновременно. Прежде всего, с позиции массовой литературы рассмотрены элементы научной фантастики (космическая опера), структура детектива, элементы сказки, а также роль в произведении ?героя из масс?. Затем, с точки зрения элитарной литературы рассмотрены традиции русской фантастической и сатирической литературы 19 века и антиутопическая тема этого произведения. В заключении делается вывод о том, что в произведении 《За миллиард лет до конца света》осуществляется гармоничная связь между массовым и элитарным, и, следовательно, может быть признано образцом современной русской мидкульт-литературы.
1 2 >