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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 : 39권 0호 (2012)
6,300
초록보기
The image conversion of Gi-Saeng(a professional female entertainer) and the visual realization of a waitress are caused by the medium containing the voyeurism sight in modern ages of early 1900`s. The medium reflects contemporary issues in relation with the voyeurism point of view that is still progressive in present time. This paper surveyed the news papers and the magazines during the Japanese colonial era, Mail Shinbo, Dong-Ah Ilbo, Byul-Geon-Gon and Sam-Cheon-Li, that showed the image change of Gi-Saeng, the created image of a waitress as a new type of female. During the Japanese Colonial Era, the image of Gi-Saeng was changed from the original idea and a waitress was a new concept of female. The survey analyzed how these images were created, consumed, and regulated by the male, female, and nation. The general images of Gi-Saeng and a waitress were immorality or obscenity. Additionally, they were objects of sexuality and having a relationship at the same time for the male. They were also objects to be controlled and punished by the Japanese rulers and objects of threatening family system for the female. They were commercialized sexually and consumed by the mass media and political power through the strategy of regulation and negligence. Moreover, the modern woman also became a target of hatred because the voyeurism sight stretched to the ordinary female by including them into the same group with Gi-Saeng and a waitress. Through all these processes that the women undertook changes in social status, it was possible to see that women`s social status was connected to the Empire of Japan`s national policy.
7,100
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Italo Calvino ha cercato di cogliere la realta che cambia continuamente nel tempo e ha sperimentato i diversi modi di scrivere per rappresentarla e proporre una possibilita diversa alla letteratura che e in crisi e percio allargare il campo dello scrivibile. Calvino ha avuto fiducia nel futuro della letteratura perche pensava che ci fossero cose che solo la letteratura puo dare coi suoi mezzi specifici. Questo studio viene analizzato l“hypertext” in Se una notte d`inverno un viaggiatore. Calvino definisce questo romanzo come l`iper-romanzo che presenta una struttura accumulativa, modulare, combinatoria. Se una notte d`inverno un viaggiatore registra l`impossibilita di creare ancora delle storie, di produrre letteratura se non spiegando continuamente i meccanismi attraverso cui la letteratura stessa si crea e si forma e privilegiando in primo luogo il necessario ma misterioso rapporto tra scrittore e lettore. Il romanzo e composto da dieci romanzi diversi in un`atmosfera di grande intelligenza letteraria ma anche di inquietudine, su cui aleggia lo scacco dell`invenzione, il pericolo dell`impossibilita di concludere il progetto romanzesco. Rilevare le regole costitutive del fare letterario, mettersi in rapporto col lettore, dichiarando gia la soluzione di questo gioco di intelligenza, appare un`arma difficile da maneggiare per lo scrittore, col rischio di produrre situazioni altamente artificiose oppure troppo elaborate, quasi labirintiche. Il rapporto con il lettore sembra condurre a una rassegnata accettazione dell`insensatezza di un universo carico di messaggi che si confondono tra loro, di possibilita che non si realizzano, di linguaggi e di libri accumulati in quantita, e tra i quali e sempre piu difficile orientarsi.

카프카의 『변신』에 나타난 불안의 미학

조현천 ( Hyun Chon Cho )
6,300
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This study presents the analysis results of anxiety in Die Verwandlung by Franz Kafka. It is well established that his life was anxiety itself and that anxiety is one common theme throughout his works. In the study, the investigator understood anxiety as the spirit of the times of modernism in the early 20th century instead of interpreting it biographically and metaphysically since he was a typical modernist in that he saw the deconstruction of totality as loss and embodied it into anxiety in his works. The study also examined him in connection with Rilke, Hofmannstahl, Buchner, and Pascal, who forecasted disaster that rationalism and scientific technology would bring about, in order to highlight his modernist characteristics. In Die Verwandlung, the protagonist Gregor is an outsider who is not capable of social life. Standing outside the center, an outsider can see the society better than anyone else. As an outsider, Gregor sees the society as one in complete lack of human relationships, which made the investigator delve into solitude and anxiety Gregor felt in such a society in a concrete manner. He resisted against the society to keep the human values, but his attempts of resistance were doomed to end in his death. Anxiety one feels in a society that does not tolerate human values was the spirit of the times during the modernism period in the early 20th century and, at the same time, is the destiny of modern people living in the 21st century.
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Travels with Herodotus published in 2006 was the last reportage of Ryszard Kapuscinski (1932-2007) a representative journalist of the twentieth century. This is an hommage to the life of Herodotus and his work History but is also an autobiographical story of Kapuscinski. By figuring out the motif of wandering in Travels with Herodotus, this article analyzed how the experiences of ‘wandering’ and ‘travel’ of Kapuscinski, who wandered all his life, influenced on his writings. And by examining the problem of ‘perspective,’ which frequently appeared in his works, it aimed to examine the meaning of ‘others’ to the protagonist who wandered in a strange space, and to investigate how the process of being exposed to the others` perspective and exchanging perspective influenced on Kapuscinski`s philosophy on journalism. Kapuscinski argued that ‘travel’ is a challenge and adventure to journalists as well as difficult task and ambitious project. The reason for the importance of travel to them is that they could have an opportunity to meet with ‘Others (Inny)’. To accept ‘difference’ of the Other, to make the ‘difference’ as a mirror to reflect one`s true self, to recognize multi-culture and to work hard to make a peaceful world: Those are the essence and belief of the philosophy on journalism that Kapuscinski, "the 20th century Herodotus", had.
6,300
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Seit Anfang der 1980er Jahre wird in der Bundesrepublik Deutschland eine Auseinandersetzung mit der deutschen Kolonialgeschichte begonnen. Vor allem wirkte Uwe Timms dokumentarischer historischer Roman Morenga bei der Aufarbeitung deutscher Kolonialgeschichte mit. Dass zu auffalligen Auseinandersetzung mit der Kolonialzeit in Deutschland kam, ist sicherlich einem Autor wie Timm verdanken. Uwe Timm beleuchtet ein sehr dunkles Kapitel der deutschen Geschichte und richtet den Fokus auf den kolonialistischen Ideologie und die imperialistischen Praxis. Uwe Timms Morenga ist der erste Afrika-Roman, der sich kritsch mit der deutschen Kolonialgeschichte auseinandersetzt. Morenga zeigt sich auch den afrikanischen Widerstand gegen den brutalen Volkermord, indem er uber die Unterwerfung des Herero-Nama Aufstandes in Deutsch-Sudwestafrika 1904~1907 bezeichnet. In Morenga kommt aber nicht nur der imperialistische Kolonialismus als Vorgeschichte der Dritten Reich in den Blick. Vor allem wird der Mythos der deutschen als wohlwollende Kolonisatoren hinterfragt. Auch Jens Johannes Kramer erzahlt in seinem historischen Roman Die Stadt unter den Steinen von einer deutsch-schweizerischen Mission in Westafrika in der 1850er Jahren. Dieser Roman verbindet Kolonialismus-Kritik und interkulturelle historische Afrika Darstellung. Auch dieser Roman wie Morenga kritisiert die rassistisch-koloniale Ideologie und liefert die Sonderstellung der Missionare -die politische Funktion als Stabilisierung kolonialer Herrschaftim System des europaischen Kolonialimus einen Ansatzpunkt. Morenga und Die Stadt unter den Steinen stellen eine Reise in eine raumliche und zeitliche Ferne dar, die im Hinblick auf die koloniale und faschistische deutsche Vergangenheit als Selbsterkundung zu lesen ist. Sie lassen sich insgesamt als Zeugnis postkolialen Denkens verstehen.
6,300
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Non-African readers have been used to sense what Africa is like mostly through Chinua Achebe`s Things Fall Apart. Published about 30 years later from Achebe`s work, Ben Okri`s The Famished Road makes it possible to see a totally different world of Africa in that it focuses on Africa`s own aesthetic and spiritual structures while quite on purpose excluding the paradigm of (post)colonialism. The Famished Road is a story about Azaro, a spirit child who constantly crosses over the real and the spirit world, and his parents living in a urban ghetto of Nigeria. The overlapping and coexistence of the real and the spirit world is sustained by the transformation of the traditional Abiku motif where a spirit child has to choose either living in the real world or returning to the spirit world. Through this nontraditionally refashioned abiku, Azaro, who can cross over any boundary between life and death, self and other, past and future, this novel suggests an alternative world transcending all artificial boundaries constructed and reinforced by the Western modernity. With the birth of the modern thinking subject, the godly world has gradually disappeared from the human consciousness, and consequently humans has begun to be obsessed with the material world, what they can see and prove physically, under the siege of the modern science and the human reason. On the contrary, the Abiku world presented in The Famished Road is the one that some sense of wholeness between beings and the universe still exists. This paper examines the postmodern implication of the Abiku world suspending in between the human world and the spirit world, which I think can be achieved by the nontraditional transformation of the Abiku myth of Nigeria. The second section focuses on how the expanded understanding of human being embodied in this Abiku world, compared to the idea of the modern self, becomes possible. The third section examines how the expansion of relationships between beings becomes possible in the Abiku world, and why the invisible world, whatever it might be called as infinity or the spirit world, should be included in the mode of being. In doing so, this paper aims to reveal that The Famished Road is a text which makes possible some reflections of the fundamental issues of Western modernity.

19세기 라티노 문학의 트랜스아메리카적 기원에 관한 고찰

김현균 ( Hyeon Kyun Kim ) , 이은아 ( Eun A Lee )
6,600
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Along with hemispheric studies, this study advocates a ‘transamerican studies’ perspective that bridges the institutionalized field of American, Latin American and Latino studies, which traces back to the period of independence and nation-building in the 19thcentury. In the 19th century the image of Latin America in the Anglo imagery changed from neighboring “fraternal republics” to prospective colonies for Anglo American conquest. Thus, the first half of this century is a crucial period for reclaiming the transnational/hemispheric origins that are indicative of early Latino imagery. First, the study attempts to find early signs of Latino involvement in the most fundamental traditions of U. S. culture and history through the Hispanic periodicals and prints published in New Orleans. Second, it intends to reveal how inter-American perspective can be employed as a contestation against the well-known Mexican history of conquest through alternative readings of the anonymously published Jicontencal in Philadelphia, the city where early Latino exiles and revolutionaries share their common ideals for independence. Last, it deals with the portrayals of the decline of Californios in the novels written in English by Maria Amparo Ruiz de Burton. The author criticizes Mexicans` widespread disenfranchisement and questions their resettlement in the Anglo American domination after 1848. The study argues that the influential presence of Latino writings is powerful manifestation of inter-American relations particularly relevant to political projections and ideological interchange. Ultimately, it contends that these writings can be explored as emblematic of hemispheric possibility, similarity, discrepancy, and contradiction, which is still pertinent to the contemporary Latino imagery.
7,100
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In the autobiographical writings, in despite of their ontological sameness ``experienced-I`` and ``narrated-I`` are epistemological different being. This epistemological difference of ``I in the past`` and ``I in the present`` causes different voices in the autobiographical writings. ``I in the past`` is already ``the Other`` for ``I in the present``, and moreover, the accumulated historical-social experience which owns ``narrated-I`` makes heterogeneous voices in the autobiography. The heterogeneous voices in the prose including in the autobiography can be defined as Bakhtinian term of "heteroglossia" [raznorechie], which is a master trope at the heart of all his other projects, one of the more fundamental categories associated with his thought. Heteroglossia is Bakhtin`s way of referring, in any utterance of any kind, to the peculiar interaction between the two fundamentals of all communication. In this article, we tried to analyze the characteristic of heterogeneous voices of ``experienced-I`` and ``narrated-I`` in Mandelshtam`s Noise of Time within the framework of Bakhtinian term of "heteroglossia". Mandelshtam who recognized himself as Raznochinetz-intellectual writer paid particular attention to the historical-social awareness rather than the personal memory. This historical-social awareness has been realized in his autobiographical writing by the heteroglossia which is exposed to the socially hybridized diversity. In Noise of Time Mandelshtam describes the linguistic feature of the Other`s words by the narrative with heteroglossia and reflects the historical and social spirit of the age.
6,900
초록보기
In dieser Arbeit geht es um den Filmexpressionismus, der von Gilles Deleuze in seinem Buch Cinema 1: Das Bewegungs-Bild analysiert wird und sich daher von den konventionellen Forschungen unterscheidet. Naturlich uberlappen sich die von Deleuze neu entdeckten Merkmale mit einigen expressionistischen Merkmalen, die fruhere Forschungen entdeckten: z. B. den geometrischen Gestalten und den gotischen Dekorationslinien, mit denen sich Kunsthistoriker Wilhelm Worriger in Bezug auf Expressionismus beschaftigte. Ansonsten zeigen mache Merkmale, dass die Deleuzeschen Perspektiven neu sind. Zunachst situiert diese Arbeit den deutschen Filmexpressionismus im Rahmen von dem Bewegungs-Bild und der Montage. Und dann werden die Merkmale oder Arten der expressionistischen Filmbilder unter dem Begriff der Intensitat sortiert und erklart, die bei der Deleuzeschen Philosophie eine große Rolle spielt. Diese Arbeit teilt seine Perspektiven etw. in 7 Merkmale ein: das Duell von Hell und Dunkel, Kontrast- und Mischungsverhaltnisse, elan vital des nicht-organischen Lebens, Geometrie, Farbe als intensive Bewegung, das Rote als das dynamische Erhabene, und die spirituell-intensive Montage des deutschen Expressionismus.
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이 글은 일본의 스튜디오 라이프(Studio Life) 극단이 2011년 11월 18-19 양일간 서울의 대학로에서 공연한 셰익스피어 작 『십이야』에 사용된 오브제의 기호학적 연구이다. 오브제는 무의미한 장식적 소품이 아니다. 특별한 의미를 지닌 기호다. 오브제는 작품세계의 필수적인 부품으로 인물을 규정하며 반대로 인물에 의해 규정된다. 스튜디오 라이프(Studio Life) 극단의 『십이야』의 특징은 정육면체 블록을 사용하여 오브제와 세트를 만들었다는 점이다. 이 극단은 두 번에 걸쳐 『십이야』를 제작하였는데(2009년과 2011년), 두 번째 작품의 세트는 블록으로 귀족의 저택의 일부를 연상시키는 건조물을 만들어 세웠다. 세트는 역사적 문화적 정보가 새겨진 행위의 배경으로 작품의 시대배경과 공동체의 성격을 파악하는 데 중요하다. 스튜디오 라이프 극단의 블록세트는 역사문화적 정보가 삭제된 텅 빈기호로서 연출자와 배우들의 미장센 작업을 자유롭게 만든다. 배우들은 세트가 부과하는 연기의 종류와 폭을 생각할 필요가 없고 오로지 극단의 미학적 결정을 구현하는 데 전력을 다하면 된다. 르네상스 영국의 의상과 소품, 세트 등의 요소들로부터 자유로워진 극단은 현대의 일본의 관객이 좋아하는 미학적 관심과 연기에 모든 것을 바칠 수 있다. 블록세트의 장점 중 가장 큰 것은 오브제의 가변성의 극대화이다. 블록은 무대 위에서 자유로이 위치를 변경하며 나무, 의자, 기둥 등의 소품으로 무한대의 변신을 할 수 있으며 그에 따라 기의가 수시로 변한다. 블록을 쌓아 만든 세트는 처음에는 저택을 나타내다가 그 다음엔 풍랑에 흔들리는 배를 의미하고 배가 난파된 후 블록 덩어리들은 세트로 그리고 하나로 떨어진 블록들은 무대 위에서 다양한 가구나 지형지물로 사용된다.
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