글로버메뉴 바로가기 본문 바로가기 하단메뉴 바로가기

논문검색은 역시 페이퍼서치


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 :
수록 범위 : 22권 0호 (2008)
Kim Sung Han`s novels were classified into two groups in this paper. One could be said as works of reflecting colonial experiences under Empire Japan, and the other could be said as works of borrowing allegory from the western mythology and history. The former represent Empire Japan and the colonized Korean using certain power by trusting Japan`s power as the cruel and unethical. In situation of post-Korea war, this representation is resulted from crisis consciousness that unethical logic of the colonial and the colonized was only replaced by the power relation of ruler and subject in the 1950s society. Regarded as position of the strong in the world ruled by logic of power, being of Japan or pro-Japanese is entirely otherized from ethical view. Kim`s western centralistic universality or worldness appears in novels of borrowing allegory from western mythology and history. Borrowing "the western" in the level of contents and forms, Kim tried to appropriate synchronous "worldness" to himself, and moreover pursued for identifying with it. But the concerete history that the western nations were also the imperialist founder become erased under the premise of "the western=universality". He repeated to get to the only principle that the logic of power rules world is the universal truth transcending times, though Kim Sung-Han didn`t abandon certain intention for enlightenment and adhered ethicality as superior value to anything. As a result, his novels` world exposed nihilism forcefully because he couldn`t tolerate world lacking in ethicality. Kim Sung Han`s novels in the 1950s show strange coexistence of intention for enlightenment and nihilism.
What feminists bring into question in mind-body dualism is that women have been associated with the body as a depreciated item. In the western philosophical tradition that view males as transcendental conscious subjects and relate females to the inherent body, women have been in the lower status with the deprivation of their right to be equal. This mind-body dualism, which have been associated with male-female dualism, leads to the depreciation of women. Consequently, it is important to disconstruct mind-body dualism in order to recover women`s rights. This study aims to compare writing by Isabel Allende, who stands for the Latin American Feminism, with writing by Yun Jeongmo, who as a Korean writer is estimated to have incarnated social and ethnical questions in her novels. For a while women`s writing has been criticized for being focused only on exploration of women`s self-consciousness with subsidence in their families and private areas. However, these two writers free themselves from the criticism of women writers` writing. Since 1982 when the House of the Spirits was published, Allende have depicted Latin American society in the space of the novel. Through the Reins and Mom`s Name was Josenppi, Yun Jeongmo have devoted herself to revealing the lives of women treated as an existence of deprivation and castration in the contradictive structures of the history and society beyond private areas. Yun Jeongmo and Allende pay attention to the body of women. Especially, they show that the body is the first tool of the lower-class women for facing the reality, which leads to the impairment of the body. As it were, in the paternalistic system following the modern powers of imperialism, capitalistic power and paternal society, the body of women becomes the target of the male powers` oppressions on women; furthermore, women in the third world suffer from extreme body impairment. However, the virtue of the writers is not to reveal women`s impaired feminity, but to endow women with their positive identity by attempting to recover from impaired feminity. These two writers in common think of the recovery of the feminity as the recovery of the nature. When women`s womb and body is a metonym of the earth and nature, the impairment of women`s body is identical to the devastating process of exploiting the nature in an discriminate way by imperialism, scientism, and industrialization. The body is a field in which multiple codes including gender, race, class, generation, etc. are carved. When the body is the place where desire is manifested and emotion is housed by choosing the roles of feminity as well as the place where subjectivity is molded and the experience of oppression is carved, it represents the fundamental materiality of the subject. Women`s body as multiple codes is an important key word in Yun Jeongmo`s and Allende`s works.
『千家詩』是明淸兩代最流行的蒙學讀本之一, 故歷來就有"三百千千"(『三字經』, 『百家姓』, 『千字文』, 『千家詩』)的說法, 由此可見, 타在傳播傳統文化方面曾經起過不可忽視的作用. 『千家詩』所收作品, 都是五七言絶句和律詩, 且絶大多數是唐宋詩人的名篇, 此些詩作題材豊富, 篇幅短小, 文字淺顯, 易於記誦, 在編排上亦?有特點, 因而歷來爲人們所喜愛, 得以長期流傳而不衰, 至今仍有其生命力.『千家詩』是一本旣通俗, 又流行極廣的詩集, 由於各地坊間輾轉傳刻,且坊間刻書缺乏其他圖書的査對, 又無專家學者的校勘考證, 以致造成許多錯誤, 如詩題的刪減更改, 作者姓名的誤植或錯刻, 或不容名氏而用字號, 詩句文字的出入或有改異.本論文主要是以書本的編纂過程與所收作品的作家署名問題爲中心來探討『千家詩』了. 探討『千家詩』所收作品本身的主題與藝術特徵是日後有待執行的課題. 當前不只是沒有硏究『千家詩』的碩·博士學位論文, 就是連一本短篇的『千家詩』論文也沒有的韓國學界上, 希望本論文成爲『千家詩』硏究環境的一個基石.

공자(孔子)의 시예악론(詩禮樂論)

문승용 ( Seung Yong Moon )
The point of Confucius(552~479B.C.)`s poetics was the "accomplishments and solid qualities are equally blended(文質彬彬)", and intended to realize his ideal, run the country well and give the people peace and security. To be exact, he did not recognize art for art`s sake. However he also emphasized the art and literature`s role for realizing his ideal. So Confucius said "It is by the Odes that the mind is aroused. It is by the Rules of Propriety that the character is established. It is from Music that the finish is received.(興於詩, 立於禮, 成於樂.)" According to ZhuXi(朱熹)`explanatory notes of the Song dynasty(宋), it represented that three steps of cultivating true gentleman`s morality. But this explanation was a little simple. In my estimation, this sentence represented many deep meanings. For example, we have to study mutual relations of poetry and the propriety(禮), poetry and music(樂). These common determined goal was the moral training(修身), govern a family(齊家), ruling a nation(治國) and ruling over the whole country(平天下). Confucius regarded poetry, the propriety and music as the vehicle of the Great Harmony society(大同社會). In addition to what is called forming a kind of trinity(詩禮樂) in the art and literature of the Confucian scholar.
作品「蜃氣樓」の時間的、空間的背景に現われた<無氣味>はまさしく死であった。同時に、それは芥川自ら自分の日常世界に圍まれた死を告げていると言えよう。1926年頃、芥川は佐佐木茂索宛に「多事、多難、多憂、蛇のやうに冬眠したい」(1926, 9, 16)や「鴉片エキス、ホミカ、下劑、ヴエロナアル- 藥を食つて生きてゐるやうだ」(1926, 12, 2)と書いているように、當時彼は1926年から1927年自殺するまでの約二年の間、いわば死の世界の中で生きていたと言えよう。そして、このような死の世界で彼自らできることは「唯發狂か自殺か」(「或阿?の一生」、<49 剝製の白鳥>·全集9·p. 336)であった。實際芥川は「羅生門」を始め、自分の決められた運命、すなわち實母ふくの遺傳による死から逃れるために文學創作を通した藝術至上主義を追求してきた。それは虛構世界に登場した狂人や愚人が藝術的な感激(あるいは、宗敎的な昇華)によって超人や聖人として永遠なる生を得たように、自分も日常世界で狂人による死ではなく、天才による生を求めようとしたのである。しかし、1926年に發表した「点鬼簿」では自分が狂人の子であると告白している。ということは、この告白こそ今まで追求してきた藝術至上主義の終焉を意味すると同時に、自分も實母ふくのようにいつか狂人で死んでしまうという運命を受け入れているのである。勿論「羅生門」以前の作品からもこのような死の世界が現われている。しかし、初期作品(1909∼1915,4)に現われている死は幼い芥川にとって抽象的·感傷的·抒情的なことであった。それに反して後期作品(1926,10∼1927,7)に現われている死は實質的·現實的·具體的に變わっていく。したがって、そういう意味で「蜃氣樓」を中心に1927年に書かれた作品の中では彼の日常世界に圍まれた死が<無氣味>の實體としてこれから近づく自分の運命をそのまま告白した作品であると言える。
This paper aims to re-examine "A Painful Case," one of the 15 short stories in James Joyce`s Dubliners and attempts to reconsider the theme of paralysis, which is the main issue of the book as a whole. The life of James Duffy, the hero of this short story, will be reinterpreted from the viewpoint of "Ren(仁)" meaning sympathetic generosity, one of the main philosophical concepts of Pre-Chin Dynasty Confucianism. Confucius maintains in his book the Analectics that his principle is comprised of one main stream, which is "Zhong-shu(忠恕)." He expounds that the concept of Zhong-shu is related to two Chinese letters, "Zhong (忠)" and "Shu(恕)," which respectively mean "Doing one`s best for others` sake, even though it requires personal sacrifice" and "Doing to others as one wants others to do oneself, putting oneself in other`s shoes." The significance of using the principles of Eastern philosophy in interpreting a literary work written in English lies in that readers can reconsider the problems of individualism, egocentrism and the subsequent lack of communication and alienation, which are both the characteristics and the problems of the modern world. For such reconsideration will help them compare the attitudes of the East and the West towards those issues and find a new solution to the matters based on the harmony of the physical and the spiritual realms. Thus, in the light of the concept of "Zhong-shu," the reader of "A Painful Case" can recognize the causes and the present state of the paralytic life of James Duffy and Emily Sinico, the main characters in the story. Then they can find the theme of "being sincere to one`s self and others" and "mutual understanding based on sympathy" which are hidden in the author`s style of revelation of the present situation of "dear dirty Dublin" and the rebuke on the city and its people.
Pour notre etude, il faut d`abord decouvrir le monde de la fable de Boileau. On se demande pourquoi Boileau compose deux fables bien qu`il ne s`interesse guere a la fable. On suppose qu`il lance un defi a La Fontaine, maitre du genre. La Fontaine refuse de retourner au monde moral, sec et severe de la fable esopique. Il cherche a polir et orner a sa maniere originale l`heritage antique. Mais Boileau n`apprecie pas la fable de La Fontaine. Il la trouve bavarde et prolixe. Il voit dans la brievete la premiere loi de l`apologue. La fable decorative de La Fontaine lui parait plutot languissante. Premier exemple: dans sa fable, La Mort et le Bucheron, La Fontaine essaie de suivre le modele esopique. Cependant, la fable de La Fontaine se revele encore prolixe par rapport a celle de Boileau. Alors que La Fontaine accorde douze vers pour la description malheureuse du bucheron, Boileau ne se contente que de cinq vers. Ce n`est pas description, mais l`action du heros qui importe a Boileau. Second exemple: dans sa fable, L`Huitre et les Plaideurs, La Fontaine se concentre sur la dispute entre deux voyageurs et il accorde douze vers pour la decorer. En revanche, le conflit est resume en une seule phrase. En conclusion, Boileau, en theoricien, insiste sur la fidelite a la norme traditionnelle du genre, pour ainsi dire la moralite, La Fontaine, en praticien, veut orner son oeuvre pour la gaiete de la fable. Et ce disaccord se manifeste avant tout par la brievete.
Die vorliegende Arbeit untersucht die Wechselbeziehung von Text und Bild, d.h. Schriftbilder und Bilderschriften in der Literatur und Malerei. Unsere Wahrnehmung ist von Wort-Bild-Verhaltnissen durch eine jahrhundertelange Unterordnung des Bildes unter den Text nachhaltig gepragt worden. Aber nach den kunstlerischen Avantgarden zu Beginn des Jahrhunderts wird die Instanz des Autors radikal in Frage gestellt, der Sprache ein Eigenleben verleihen. An die Stelle des Konvergenzstrebens im Mit- und Gegeneinander von Bild und Text tritt nun ein neues Verhaltnis, in dem beide als gleichberechtigte Partner begriffen werden. Divergenz wird nicht mehr als Ausdruck von Rivalitat begriffen, die letztlich einzuschmelzen ist, sondern als Vielfalt der Moglichkeiten, die sich gegenseitig dynamisieren. Einige Autoren wollen durch den experimentellen Umgang mit Text und Bild zeigen, wie die ambivalente Spannung zwischen den zwei Medien neue Bedeutungen stiftet, wie die Vermischung der Formen von Textualtat und Visualitat unerwartete Bilder schafft und immer neue Subjekte und Subjektivitaten stiftet. Ihre Arbeiten verweigern strukturell eine identifikatorische traditionelle Leseart. Das Subjekt, die Sprache, der Sinn-alles wird hinterfragt, auseinandermontiert und wieder zusammengebaut. Der Sinn entsteht aus dem vorhandenen (Buchstaben-)Material, ist nicht festgelegt. Die Unmoglichkeit, eine klare Grenze innerhalb des Textes oder der Zeichnung, zwischen Sprache und Bild, zwischen Sinn und Symbol zu ziehen, irritiert herkommliche Seh- und Lesearten. Text und Bild entwickeln eine eigene Welt, treten in immer wieder neue Beziehungen zueinander. Sie transformieren, verschieben oder erganzen sich.
Jindrich Horejsi`s first collection of poetry Music in the Square (Hudba na namesti; 1921) is one of the first Czech Proletarian poetry with Josef Hora`s collection Working Day (Pracujici den; 1920). Horejsi`s first collection has many characteristics of Czech Proletarian poetry such as the contrast between the rich and the poor, the exploitation of the proletariat by bourgeoisie, suffering of the proletariat and the proletariat`s class consciousness, collectivism and solidarity among the working class, and belief in the better future and social revolution. These proletarian subjects are introduced into the lyric poems like "Spiders of the City" (Pavouci mesta), "The Game room" (Herna), "Verse" (Verse), "The Street" (Ulice), "Music in the Square". The second collection The Coral Necklace (Koralovy nahrdelnik; 1923) introduces a new type of love poetry or proletarian love poetry into the Czech modern poetry combining the theme of love with the theme of ideology. This kind of love poetry is realized in poems like "The Coral Necklace", "Song" (Pisen), "Melody" (Melodie), etc. However, poems of the latter part of the collection are close to the proletarian types of the first collection. Poems like "The Beggars" (Zebraci), "Rhythm" (Rytmus), "The Automobile" (Automobil), Annunciation (Zvestovani), and "In Memory of Alexandr Blok" (In memoriam Alexandra Bloka) are good examples. The third collection Day and Night (Den a noc; 1931) is Horejsi`s last collection of poetry as well as the last work of Czech Proletarian poetry itself. Of course this collection includes also non ideological poems, i.e. pure lyric poems as in his two previous collections. In addition, this collection has two ballads: one social ballad based on traditional Czech folk ballad "Marie Korenova" and one charming romantic ballad "Lady from the Ocean" (Pani z namori). In spite of this Horejsi defines this collection as a proletarian poetry dedicating the first poem of the collection ("Za Jirim Wolkrem") to the great Czech proletarian poet Jiri Wolker and the last poem ("Za Vladimirem Majakovskym") to the great Russian revolutionary poet Vladimir Majakovsky. Horejsi made a considerable contribution not only to Czech proletarian poetry but also Czech poetry in general as one of the first poets as well as the last poet of Czech proletarian poetry. He produced a considerable number of good poems like "Music in the Square", "The Lovers" (Milenci), "An Accident in the Street" (Uraz na ulici), above all "Flower Saleswoman" (Prodavacka ruzi) from the first collection securing the artistic quality in his tendency poetry and also pure lyric poetry like "Conversation" (Rozhovor), "Nostalgia" (Tesknice), and romantic ballad "Lady from the Ocean". Horejsi`s proletarian love poetry, for example, "The Coral Necklace", "Song", and "Melody" are also unique in the history of Czech modern poetry.

예세닌과 오장환: 시에 나타난 고향의 모티프

문석우 ( Seok Woo Moon )
The purpose of this study is to examine what the motif of birthplace means has with the background of nature, rural and urban areas, in poems of Esenin renowned for a Russian rural poet and Oh Jang-whan , South Korean poet gone to North Korea. Oh Jang-whan was the poet that translated and published Esenin`s Collection of Poems(1946), and stayed in the Soviet Union for one year to treat his illness. Oh Jang-whan aggressively introduced Esenin to the domestic poetry and creatively transfigured Esenin`s aesthetic to his own poems, accepting it. These facts are the reason of the need for a comparative literary study with Esenin in terms of researching Oh`s world of poems. Both of them were holding the same poetic characteristic such as sorrow, resentment, poverty, disobedience to a mother and a moral sense of uneasiness, nature-admiration and the consciousness of wanderer as a prodigal son, nostalgia for the past and pastoral recovery of birthplace. In particular, they made an effort to come true their own dream of constructing an rural communist paradise through class revolution. For Esenin, Birthplace is the object of keeping the rural area of Russia from being devastated by disorder of modern industrial society, and appears his own spiritual relief to which he returned after being disappointed at Bolsheviki revolution. However, a pastoral poem about birthplace and nature with Esenin`s innocent affection, contains more active meaning of realizing the ideal of rural area than having hostility to urban civilization. On the other hand, the motive for Esenin to have the consciousness of birthplace comes from criticizing modern civilization. Furthermore, he shows his recognition of reality, in the way of regarding hope as the consciousness of returning birthplace. Birthplace in terms of Oh`s protagonist, is related to the criticism of urban civilization and is being the medium of him to recover identification of disrupted ego in the modern life. Birthplace, for Esenin, is related to the shape of a mother, and a family is inseparably related to it. The reason that home occurs to Esenin is, because it is the relief where he often wants to escape from a society inflicting a pain on him. For Esenin, the mother is appeared to be the salvation, consolation and the existence like sunlight. For Oh Jang-whan, the shape of a mother is also identical to poor home, and is related to more lyric sorrow and comfortableness. Protagonist overcomes sorrow and despair through meeting with his mother, and dreams of resurrection. Esenin made use of the shape of an animal to satire social contradiction of narrow-minded human society. The social contradiction frequently appears as the changed image of totalitarian Russian farmers and home folks unilaterally who have been forced to sacrifice, and it contains his naturalistic humanity with brotherly love of all living things. Instead, Oh Jang-whan took lyric effect utilizing the shape of an animal as a messenger to send elements associated with nostalgic birthplace and homecoming or his sorrow. An animal`s roaring shows up as a symbol of loneliness and nostalgia wandering about with leaving birthplace. However, he showed his change that he intended to hint the exploited people`s situation advocating proletarian`s revolution after liberation of Korea in 1945. Overall, we can find the fact that the poetic world of both poets seems to be similar, and Korean lyricism is being more affluently expressed in Oh Jang-whan`s space of birthplace.
1 2 >