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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 : 42권 0호 (2013)
7,000
초록보기
Every cultural subject, in principle, is certainly controled by the physical time-space. But the physical time-space is not a time-space in which a man is confined the whole of his life. The cultural time-space has, at the same time, placeness and non-placeness, materiality and mentality, and locality and globality. The important point, in this study, is that the latter cannot be positioned in front of the former. It is the meaning of glocalization, and the principal viewpoint of this study. From the viewpoint of glocalization, the local as a category of enlarged cultural community from the individual is a horizon to form the narrative of life of each individual. Like this, the narrative of life is formed in the given cultural time-space. To every human being, the local-homeland is a pre-theoritical field, a storeroom of concrete/detailed experience as well as a source of thinking. Thus the narrative of life is shared and enjoyed by not only an individual but also the community, and is like the Meme that has been remembered and transferred over generations. The important point is that only the cultural gene transmitted like this can protect the community from the globalization of culture and the globalization of knowledge, that treat temporary and superficial technology, information and culture as the source of commercialization. In this study, the Indian bestseller Two States by Chetan Bhagat has been given a cultural analysis by this viewpoint. This novel is a work expressing a local narrative of India. But it is not a story limited to the locality of India. The conflict during the process from love to marriage is very common to every generation, every country and every individual. From this viewpoint this novel is an introductory remark representing the glocal period, and can be a fictitious challenge by the writer, Chetan Bhagat, to the planned and standardized globalization.
초록보기
This study tries to compare and analyze La vida del Buscon, the picaresque novel of Francisco de Quevedo who is one of the typical artists in the 17th century which is regarded as the peak period of Spanish literature with the history of one thousand years and 『The Story of Hong Gil-dong』 by Heo, Gyoon which is the first Korean novel written in the almost same time period and the most typical Korean classical novel and is most well known to us with each other and examine criticism of reality and charges about social irrationality shown in the two novels in the aspects of the similarity and dissimilarity between them. The new viewpoint of comparative literature which opposes the opinion of the French School that has excessively strictly limited the realm of comparative literature has been developed since 1950s with US as the center. This is the Chicago School of comparative literature. In other words, the Chicago School looked at the realm and target of comparative literature by expanding them into non-affective and non-receptive phenomena. Looking at them from the viewpoint of the Chicago School, 『The Story of Hong Gil-dong』 and 『La vida del Buscon』 which has nothing to do with each other on the surface can be also worth comparing and studying them with each other as a part of general literature. And justification which equally compares and studies Korean and western literature with each other can be gotten from this opinion. This study was intended for La vida del Buscon, the picaresque novel of Francisco de Quevedo of many spanish literary works because it is thought that the regular comparative study on 『The Story of Hong Gil-dong』 which has the comparatively enough similarity to it and it in subjects, atmospheres, and historical backdrops is more persuasive. This study tries to analyze the aspects of criticism and charges about the wrong status system and the corrupt higher classes and religious world as the similarity between them and the reform ideology shown in 『The Story of Hong Gil-dong』 and hopeless image done in 『La vida del Buscon』 as the dissimilarity between them by setting each one. It is thought that the opportunity to approach the nature of the two different societies called the Joseon Dynasty in the 17th century and Spain in the baroque period soundly by understanding the similarity and dissimilarity between them through these analyses.
6,700
초록보기
The aim of this article is to study on the hierarchic structure of power and the aspects of the struggle for precedence among the alienated in Haute surveillance(The Deathwatch) (1947), Jean Genet``s first play, and (2011), Yeon Sang-ho``s first feature animation. In Haute surveillance, the drama takes place in prison. Three handsome young prisoners share the same prison cell, which is the center of the action -- Yeux-Verts, a condemned murderer; Lefranc, a soon-to-be-released convict; and Maurice, an effeminate adolescent. The scene opens on an argument between Lefranc and Maurice, in which Yeux-Verts has intervened. Thus, the triangular relationship among the three men is established. Lefranc plays at being a great murderer by strangling Maurice, in order to belong to the world of Yeux-Verts and perhaps to that of the super-murderer Boule de Neige. But, like Maurice, Lefranc is the victim of a treacherous destiny. Since he has willed his crime, since he has chosen it rather than allowing it to choose him, he has failed completely. And he realizes at the end of the play, "I really am all alone!" In short, to reach to the Nomination and order of Boule de Neige and Yeux-Verts which symbolize the bourgeois or technocrat, in this play, Genet showed the oppressed can inherit only from the dominant ideology of the ruling class. In , Hwang Kyung-min calls Jung Jong-suk up for a reunion after 15 years of mutual silence. At their middle school, they were classified by their wealth and grades. Hwang and Jung, at the bottom were called pigs. They were abused and humiliated by a ruling class called dogs, whose tyranny is fully condoned by the teachers. But they couldn``t do anything against the dogs. Then a king of pigs, Kim Chul, appears and becomes their idol. As a hero, Kim wholly disturbs the status quo. This film searches many subtle class gradations in Korean society and shows how it corrupts human interaction. The dramatic conflict, in , doesn``t come from the opposition between the two opposing classes, but from among the oppressed. To cause the ruling class a trauma, Kim committed suicide in public. But far from having effect on them, his attempt results in his death. So Kim couldn``t grow into a powerful substance as a confronting mechanism against the ruling powers, but remains in the level of the illusion of pseudo-power for the own consolation of the oppressed. In short, Haute surveillance and emphasize that the alienated need the solidarity and class consciousness for the settlement of the problem of inequality between classes.
6,400
초록보기
This study defines an ordinary man, not likely traditional hero, who doesn``t have any secret birth nor special powers as Pseudo-Hero and analyzes Pseudo-Hero related scenes that contain cultural factors especially on lifestyles from American and Chinese movies. In American movie (2007), how science and technology function as primary lifestyle? It related to history and culture code of American frontiership. Person who reflects American culture and lifestyle that satisfies cultural values turns out to be the American hero. From Chinese movie (2010), this paper analyzes scenes that show Ip Man``s ordinary lifestyle such as him having dinner, him drinking traditional Chinese tea and studies how they narratively function. Also, his lifestyle act as a device to support moderated and virtual figure Ip Man and his heroic image. There is a common lifestyle that functions similarly in both American and Chinese Pseudo-Hero movies and that is Funeral Service.

타자의 환대로서의 번역

박상진 ( Sang Jin Park )
7,600
초록보기
The act of translation has long been practiced to connect many, diverse types of separated situations: separation by locus, culture, people, language, etc. If the separation is here characterized by difference, we can understand translation as a connection of differences. That in turn leads us to take the concept of context into consideration. If we consider that our thoughts and activities are generally conditioned by the context of particular spaces and times, we can acknowledge that connection of difference is possible when we are faithful to each of the different contexts. For instance, a present-day Korean translation of the Divine Comedy, which was created by Dante about 700 years ago, can more properly be achieved if we consider the cultural, linguistic and sociohistorical contexts of historic Italy and contemporary Korea. In this respect, we can say that translation can be realized as a context-bound process, and that this kind of translation can best fulfil its true sense through hospitality to the Other. Here we need to re-conceptualize the Other on the strategically ethical dimension, in which the Other is no longer an isolated and excluded being, as in the traditional meaning, but a platform for overcoming that isolated and excluded situation and, furthermore, for leading us to initiate open thought. On these presuppositions, this paper aims to discuss what kind of role translation can play in helping us to imagine a more democratic and universal development of literary values in the face of the rebirth of ‘world literature’. I start by examining critically T.S.Eliot’s “What Is a Classic?” in which he offers crucial yet improvable observations on the translation and literary value of Dante’s Comedy. I emphasize the context-boundness of translation, which leads us to shed light on what can be called a ‘provincialism of space’ in comparison with what Eliot calls a ‘provincialism of time’. Indeed we can observe that the Comedy has become world literature by virtue of dynamic translations of its vernacular Italian across national borderlines. While Eliot holds that no modern languages can share the universality of Latin, Dante’s literature has in fact achieved its ‘classical’ position by relying on its vernacular language and its destiny to be translated into other modern languages. Here we can say that the perfection of a classic can be maintained through its ‘creative betrayal’ of itself, which is precisely what the act of translation promotes in its positive aspect. Now we must be able to answer the question of what translation can do by circulating in our world rather than the question of which translation is more correct and whether the act of translation itself is possible or not. Here hospitality to the Other, which derives basically from our sensibility to others’ languages and ways of life, is indispensable for us to build up a more democratic, ethical and universal geography of world literature.

문화전이로서의 번역 -"전이 이론"을 중심으로

선영아 ( Yeong A Seon )
6,400
초록보기
Le present article s’interroge sur les problemes de la traduction au travers du prisme culturel, notamment dans la problematique des transferts culturels. La recherche sur les transferts culturels, developpee par Michel Espagne et Michael Werner dans les annees 1980, s’est efforcee d’examiner de nouvelles possibilites pour depasser le cadre national de l’histoire culturelle en etudiant le processus de translation d’un objet, de son contexte original dans un nouveau contexte de reception. Cette nouvelle approche se demarque du paradigme traditionnel de l’influence du comparatisme, qui neglige selon elle la logique specifique de la culture d’accueil. L’histoire des traductions est un element important des enquetes sur les passages entre les cultures. Pour la theorie des transferts culturels, l’important est de percevoir au-dela de l’homogeneite apparente d’une culture les traces des cultures etrangeres. En tachant de se liberer d’une hierarchisation donnee du primat de l’original et de la culture d’origine, la methode de transferts culturels insiste sur deux analyses : celle des contextes d’accueil d’un transfert et celle de ses vecteurs. Il nous semble que ce nouveau paradigme propose des questionnements et des reflexions qui permettent de mettre en relief l’apport de la litterature traduite aux diverses litteratures nationales et l’importance du role de mediateurs joue par les traducteurs.

문학번역 평가의 시대, 무엇이 좋은 번역인가?

성초림 ( Cho Lim Seong )
6,000
초록보기
Dependiendo del proposito de traduccion se altera la estrategia que se aplica en la practica de traduccion. Un ejemplo evidente se ofrece en la diferencia de los criterios evaluadores aplicados en los dos casos siguientes. Uno es de la evauacion de traduccion de las obras narrativas clasicas de Inglaterra y los Estados Unidos, cuyo criterio se inclina a la de traduccion enfocada en la autoria, dando mucha enfasis en traducir literalmente y respetar el original hasta un punto y coma sin omitir ni una palabra. En cambio, en los Estados Unidos, la narrativa traducida al ingles de la autora coreana Shin Kyung-sook, Please Look After Mom, ha sido muy bien aceptada y su traduccion fue elogiada como la mejor traduccion literaria hasta el momento hecha, a pesar de su traduccion centrada en el gusto de los lectores norteamericanos, con los cambios arbitrarios de la estructura del original y las omisiones de gran parte de los elementos culturales que supuestamente les causarian a los consumidores una inconveniencia en su lectura, Aqui presenciamos el contraste radical en los puntos de vista en cuanto a cual puede ser una buena traduccion. Al fin y al cabo el criterio con el que decide cual es ``una buena traduccion`` se altera dependiendo del proposito de la traduccion, del punto de vista de los evaluadores en cuanto a la traduccion y de los que la consumen. Lo recomendable seria que cada obra prefacio o en la introduccion para que los lectores puedan tomar referencia en el momento de elegir y los evaluadores llevar a cabo su trabajo de evaluacion teniendo en cuenta cual fue el proposito de la traduccion.
6,600
초록보기
This paper aims to investigate the process that the production and consumption of the idea of desire is reestablished and to study the distance between the ideology and daily routine. During the process, a medium changed the ideology of public’s will into their passion and drove the public to visually learn the ideology through the repetitive exposure by the medium. Cho-Kwang mainly targeted at the public crowds which were the object to be a reader of the magazine and be refined. The public crowds usually pursued individual practical benefit and superficial politeness. Thus, this can be called as a routinized daily life. At this point of view, the advertisements, especially the cosmetic advertisements, were the most routinized medium. As the statist mobilization started, Japanese and Korean magazines in Japan and Korea tended to show decreased industrial products advertisements, but Cho-Kwang had overwhelming number of cosmetic advertisements comparing with other magazines. This phenomenon, firstly, can be explained as Cho-Kwang tried to be popularized through becoming a daily routine material rather than theoretical ideology. Secondly, it also can be explained by the political and emotional distance between Japan and Joseon Dynasty. The advertisements mainly showed about the Western women’s appearance and popular issues without gloomy reality of the war and economic depression. The western women in advertisements showed the representative modern women images so that the female readers had the desire to follow the modern women’s body in the advertisement images. After all, wearing makeup became a daily routine as the increase of the consumption class which caused by the symbolized the modern women’s body.

엑소시즘: 『누가 버지니아 울프를 두려워하는가?』

강선자 ( Seon Ja Kang )
6,200
초록보기
In Who``s Afraid of Virginia Woolf? the existential dilemma is dramatized with sympathy. The weak are redeemed in their helplessness, and the vicious are forgiven in their tortured self-awareness. The domineering figure of Woman is no longer the one-sided aberration of The Sandbox and The American Dream; it is a portrait of agonized loyalty and destructive love. The submissive Male is raised to the point of tragic heroism in his understanding of the woman who would kill the thing she loves. Since Albee once planned to give the Act Ⅲ title, "The Exorcism," to the entire play, we know the importance he attaches to it. To exorcise is to drive out evil spirits, and in New Carthage the evil spirits are the wrong illusion of progeny. The Son-myth, like Brother Julian``s fantasies in Tiny Alice, is a private indulgence of faith where there is nothing to believe. The coming of dawn is the paradoxical symbol of restoring spiritual health. As the day begins to break, all characters come to realize that the myths they have created are nothing but a trap destroying them and released from the dubious refuge of their illusions. It means that all their evil spirits are exorcised and some kinds of viable alternatives have been formulated.

프랑수아 모리악의 작품을 통해 본 단독자

김모세 ( Mo Se Kim )
6,600
초록보기
Francois Mauriac was an eminent psychological novelist who represented the French literature of the early and mid-20th century. At the same time, he was one of the most resistant intellectuals of the time who strongly fought against the ideology of war and violence. Mostly taking place in a bourgeois family in the Southern region of France, Mauriac``s works seem at first disconnected from the pain of the era. In fact, however, it turns out to be the opposite. Contrary to the first appearance they give out, Mauriac``s works protest against the violence perpetrated by groups on individuals: the collective logic that subjugates the individuals and destroys their particularities. This is one of the reasons why most of his works have characters equivalent to "monsters," who are often subject to the collective violence because they are not close to the collective logic. However, Mauriac doesn``t end up by criticizing the society infected by totalitarianism through such characters. Taking a step forward, he seeks to overcome the violence in their relations with the others. Analyzing this process in depth is the aim of this study. In this study, we put particular focus on individuals, or minorities, including Louis in Le Nœud de viperes, Gradere in Les Anges noirs and Xavier in L``Agneau. They are all poorly-loved ones (les mal-aimes), who refuse the reduction into the group and often fall victims of the violence of groups. In such ways, they discover themselves as naked person free from the form of totality, as what Kierkegaard called "the single individual (Der Einzelne)." They experience a leap from the bottom to the highest point. As the single individuals in the face of the God``s blessing, they grow up into imitators of Christ―the ultimate goal of Mauriac``s works. They eventually seek to heal the individuals suffering under the blind logic and violence of groups and help reconciliation. At all times and in all societies, it is certain that individuals are to find themselves naked, themselves as they are, breaking the mold of totality pushing and imposing externally-set rules to individuals. Moreover, an experience of becoming a "single individual" seems particularly important for individuals of our time, who live in the era of an extreme materialism―a new collective logic of the 21st century―losing the meaning and purposes of their existence. In this study, we seek the possibility of facing with self as a single individual free from all possessions and social frameworks, facing with the absolute being, and eventually the possibility of transcendence taking place from those encounters. We look forward to a platform provided by this study for an objective analysis of the hidden side of postmodernism, as well as for a serious contemplation on our identity at risk of painful destruction and on the "meaning" of our lives.
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