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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 : 43권 0호 (2013)
6,600
초록보기
Shamseddin Mohammad Hafez Shirazi(1390 d.) is one of the greatest poet of Persia in the medieval era. He is the most beloved poet by the Iranians. 『Tongue of Mystery』translated into Korean is Hafez``s selected poems and contains 88 ghazals. As a matter of fact, the Korean reader is not familiar with the Islamic literature. Indeed this book is not easy to translate, but it is not easy for the reader to understand. The aim of this paper is to solve out the difficulty, in particular the understanding of religious terms. The general recognition on the Iran(Persia) is solely considered as Islamic country. Before the advent of Islam, Persia had had the traditional beliefs of its own. The low understanding of this book is ascribed to the reason for the shortage of recognition on the Persia``s ancient religions, connected to the Mithraism-Zoroastrianism-Buddhism-Sufism. Persian literature in the medieval era had been laid on the foundation of Persian Sufism. In this paper the definition and formation process of Sufism is newly introduced through the Persian documents. Sufism is the Persian``s philosophy and Persia is the home of Sufism that accounts for the important fields in humanities. Thus the correct understanding of Sufism enables us to appreciate the medieval poetry in Persia.

소설 원작 영화의 스토리텔링 변환에 관한 고찰 -<세 얼간이>를 중심으로

조소연 ( So Yeon Cho ) , 박치완 ( Tchi Wan Park )
7,200
초록보기
The box-office success of the film has received attention because it provided many things to ponder upon in that the highly competitive education system of India portrayed in the film resembles that of Korea. This paper tries to examine the film with particular respect to the transformation of media. The film is a case in which the story of the film has surpassed that of the novel which it is based on by adapting the story and the characters while maintaining the novel’s theme. The story and the characters of the original novel and the film are analyzed respectively and then the ways in which the story and the characters are added and deepened in the film are examined. In addition to that, the publication of a novel based on the scenario of the film has shown the crossing between the media. The effect and the usability of a novel are maximized by this kind of transboundariness of many media. In the past there was a tendency to be faithful to the original when the novel is used in other media. The case reported in this paper shows that a new interpretation of the original novel leads to the birth of a new genre, which then increases the possibility of OSMU that is emphasized recently in cultural contents.

『라 갈리고』에 나타난 부기스족의 정체성과 세계관

전태현 ( Tai Hyun Chun )
6,700
초록보기
Makalah ini bertujuan untuk mengaji identitas dan pandangan dunia kelompok etnik Bugis di Sulawesi Selatan, Indonesia. Pada zaman tradisional lalu orang Bugis telah menciptakan sistem penulisan yang disebut Lontaraq, yang dipengaruhi naskah beraksara klasik India. Berbeda dengan kelompok etnik lainnya di kepulauan itu, orang Bugis telah mengembangkan bahasa lisan dan tulisannya dengan memanfaatkan Lontaraq. Salah satu sumber tertulis yang dikembangkan orang Bugis adalah La Galigo, karya sastra mitos terpanjang di dunia. Mitos ini mengisahkan asal-muasal dan pandangan dunia orang Bugis. Menurut La Galigo, orang Bugis menyadari keberadaan tiga unsur kosmos, yakni alam dunia, dewa, dan manusia. Di antaranya, dewa dan manusia sebagai komponen paling penting dalam alam dunia. Selanjutnya, beberapa tokoh dan laku budaya penting, misalnya Bissu (mediator antara dewa dan manusia), Siri`` (pembalasan dendam atau hukuman atas pelanggar adat untuk menegakkan kehormatan diri), dan Saung manu`` (adu ayam sebagai simbol keperkasaan) dalam La Galigo menunjukkan bahwa orang Bugis memandang kehidupan dari komposisi segitiga (triangular) ini. Orang Bugis kelak mengalami perubahan sosio-kultural yang pesat melalui persentuhannya dengan peradaban Islam dan Barat. Meskipun demikian, La galigo tetap bertahan sebagai warisan budaya paling agung orang Bugis, yang merepresentasikan identitas dan pandangan dunia orang Bugis hingga dewasa ini.

셰익스피어의 『겨울 이야기』: 에크프라시스

오수진 ( Su Jin Oh )
6,400
초록보기
This paper explores the rival relationship of visual and verbal modes of representation as well as the relationship between drama and narrative in The Winter’s Tale. Although The Winter’s Tale presents the dramatic spectacle of Hermione’s statue in the end, most of its significant events are not represented on the stage. Meaningful scenes including Antigonus’s dream and death, the sixteen-year gap in the play’s action, and the reunion of Leontes, Polixenes and Perdita are described or narrated by one or more of the play’s characters. Through many acts of vivid narration in the play, Shakespeare suggests that verbal description can sometimes persuade us that we are seeing the thing itself. In other words, we are asked to believe in events that are only described to us by the play’s characters such as Leontes, Antigonus, Autolycus, and gentlemen. In that sense, it seems that The Winter’s Tale’s is bold ekphrasis itself and can be read as a confident trick by Shakespeare. Shakespeare’s ekphrasis is presented as a trope that can create a powerful illusion of presence, describing many absent events that we cannot see on the stage. Skillfully juxtaposing narrative description and visual immediacy in the closing scenes, Shakespeare seems much more sophisticated than Atolycus, a narrative artist and con-man that he creates. Eventually, Shakespeare’s remarkable exploration of narrative sometimes makes the play’s characters as well as us not to tell the difference between representation(or fictions) and reality, which is related to the way in which The Winter’s Tale itself blurs that difference.

디드로 소설의 리듬 -등가와 차이를 중심으로

김계영 ( Kye Young Kim )
6,300
초록보기
Existe-t-il un rythme dans les romans? Si oui, sous quelle forme ou de quelle maniere se presente-t-il? Le rythme, concept ou epxression d``origine musicale, se refere a une sorte d``ordre du mouvement. Il est un element commun a tous les arts et s``applique egalement a presque toutes les activites humaines. Curieusement, dans le domaine de la litterature, il s``emploie exclusivement sur la poesie. Cette etude a l``ambition, malgre son caractere aleatoire et fugitif de son analyse, de rendre compte du rythme du texte narratif de Diderot. Souvent considere comme desordonne et intermittent, le texte diderotien traduit la mobilite ou le mouvement de l``esprit de Didert qui oscille entre la realite multiforme et la reduction a un principe unique. Nous avons suppose que, s``il existe une loi qui le dirige et le coordonne, il s``agit d``un rythme binaire. Nous avons tache de degager, non pas tous, mais certains elements invariables du rythme diderotien qui caracterise sa facon de voir, de sentir, donc de parler. Nous pouvons constater quelques points revelateurs : le numeral ``deux`` et certaines correlations de balancement constituent les marques linguistiques les plus courantes de la figure du double ainsi que les unites generatrices des rythmes binaires ; l``articulation double et symetrique refletent la tendance de Diderot a reunir dans une perspective unifiante les caracteres appartenant a deux categories distinctes, ressemblantes ou contraires ; le parallelisme et l``antithese traduisent ainsi la recherche de la ressemblance au sein de la difference ou vice versa ; le jeu d``inversion chiasmatique, destine essentiellement a mettre en valeur l``equivalence des elements relies et leur reversibilite, produit un va-et-vient rythmique ; le couplage asymetrique fonde sur le contraste fait intervenir des inegalites de volumes relativement a la longueur de phrases et naitre le tempo en alternant le mouvement d``extension et de retraction ; les personnages relies par pair et les episodes doubles sous forme de ``diptyque`` elargissent le rythme binaire sur le plan narratif. Et tout cela structure temporellement et spacialement le texte narratif de Diderot. Le rythme binaire cree a partir de l``equivalence et de la difference semble capable de produire une illusion d``ordre la ou regne le desordre et devient un agent ordonnateur a la fois de la vision du monde et de l``acte d``ecrire chez Diderot. La lecture a travers le rythme et dans le rythme, nous semble-t-il, permet non seulement de developper l``etendue de la notion d``outil traditionnelle de la poetique mais aussi de decouvrir un autre plaisir que la lecture interpretative.
초록보기
Die afrikanische Minderheit in der Bundesrepublik Deutschland bildet kulturell sichtbare Minderheit. Manche dieser Migranten betatigen sich im literarischen Bereich und tragen somit zur Diversifizierung der deutschen Literatur bei. Die Texte reflektieren transkulturelle Erfahrungen. Mit kritischer Distanz stellt die afrikanische Migrationsliteratur die deutsch-afrikanische Beziehung und die gegenwartige Erscheinung der Diaspora dar. Die Begriff Diaspora erfuhr zahreiche Bedeutungsverschiebungen. Seit dem 1990er Jahren gewann sie fur die kultur- und literaturwissenschaftliche Annaherungen an Bedeutung. Die postkolonialen Kritiker insistieren auf der Hybriditat diasporischer Strukturen. Kind Nr. 95: Meine deutsch-afrikanische Odyssee von Lucia Engombe ist ein typisches Werk dafur. Das Werk ist das einzige literarische Beispiel der Politik der DDR gegenuber der Dritten Welt. Zur Zeit des Kalten Krieges schickten einige afrikanische Befreiungsbewegungen Kindergruppen in die DDR. Die DDR unterstutzte die SWAPO(South West Africa People’s Organisation) direkt mit Hilfsgutern und Solidaritatssendung. Auch Lucia Engombe aus Namibia wird in ein Kinderheim in der DDR gebracht. Lucia findet ihren Namen als Nr. 95 auf der Liste. Gemeinsam mit anderen namibischen Kindern soll sie die ‘neue Elite’ des kunftigen unabhangigen Namibias werden. De facto haben die Kinder als “DDR-Kindern” mit der deutschen Außenwelt wenig zu tun. Sie und andere Kinder lernten dort realsozialistischen Dogmatismus und Rassismus kennen. Die Familie von Lucia ist ein Opfer politischer Schikane gewesen. Lucia sagte, “die Politik hat meine Familie zerstort.” Lucia begleitete noch einmal zu Lebensstationen in Ostdeutschland und in Namibia. Kind Nr. 95: Meine deutsch-afrikanische Odyssee hat “neues Licht auf dieses ebenfalls fast vergessene Kapitel der deutsch-namibischen Beziehung” geworfen.
초록보기
This study focuses on the way how the politics of identity unfolded in the confessional narratives of the South African writer Antjie Krog. In her texts, A Country of My Skull (1998) she witnesses the traumatic testimonies at the TRC (Truth and Reconciliation Commission) and expresses her painful feeling of guilt and co-responsibility, and produces an emotionally charged and passionately felt ethics of recognition. On the one hand she shows her strong identification with the Afrikaner-culture and the Afrikaans-language which are associated with numerous atrocities in the past. On the other hand, she tries to formulate a new identity of South Africa, and attempts to position her cultural and ethnic idenity within the new picture of South African society. Krog``s search for a new identity in the nation-building continues in a practical way in ``n Ander Tongval (2005). This book is a representation of a painful and complex search for a new identity of a white Afrikaner and a Afrikaans-speaking in the postapartheid South Africa. The re-confirmation of her ethnic and cultural identities gives form to a strategic positioning of their own collective identity and a future agency for rehabilitating the collective self within the new South African community. Her confessional narratives say to people "I will take the responsibility. I will take responsibility for all the atrocities committed under the National Party``s rule over the last fifty years.[...] I will ask forgiveness and I will pray. I will take the responsibility. I will take the blame`` (Country of My Skull, 2002[1998], 98-99쪽). Now, the central concern is whether they can find a space in Africa as Afrikaner. It is important to notice that Krog published these confessional narratives as both a form of reconciliation and as a strategy of politics of identity in the drastic periods of revolution in South Africa.
7,600
초록보기
Literature has been special for the Polish who suffered from the numerous invasions from surrounding countries for her geographical location at the center of Europe. In the late 18th century at a time when Poland was divided and ruled by Russia, Prussia and Austria, literature played an important role in uniting Poland. During the 2nd world war in which Poland was occupied by the Soviet Union and by Germany, and during the Cold War period under socialism system(1948~1989), the Polish literature was in the front to keep unique national culture with overseas migration community at the center. The Polish Diaspora literature from 19th century up to now has naturally embodied national sufferings from foreign powers in their literary tradition linked to the problem of ``migration``. In addition, they belong to other cultural sphere, but keep their own unique identity, which is similar to Korean Diaspora literature to a great degree. In this article specific texts (two novels) are analyzed before and after system transition in 1989. * Before system transition: Witod. Gombrowicz, Trans-Atlantyk (1953) * After system transition: Krzysztof Maria Załuski, Szpital Polonia (1999) Gombrowicz had himself migration experiences with high achievement and recognition in literature not only in Poland but also in the world. Załuski, who belongs to new generation, stayed in Germany from 1989, a year in which Poland experienced system transition, to 2004 to describe the change of Polonia in Germany. In their works, hardships as ``strangers`` in foreign countries, emotional wandering and agony, nostalgia to lost home land and exploration of identity were described vividly. This study, by comparing the 2 literature texts, attempts to trace the change of Diaspora consciousness which Polish migrants experienced in foreign countries with different political system like socialism and capitalism.

루마니아 상징주의에 나타난 도시의 이미지

김정환 ( Jeong Hwan Kim )
6,200
초록보기
세기말 세기 초의 루마니아에는 세머너토리즘(Semanatorism), 포포라니즘 (Poporanism), 그리고 에미네스쿠의 아류 문학을 아우르는 ‘시골주의’와 상징주의로 대표되는 모더니즘의 ‘도시주의’가 분기되는 현상이 나타난다. 상징주의 출현 이전까지 루마니아 문학을 지배했던 자연과 마을은 당시 문학의 유일한 시적 무대였으나, 상징주의자들의 출현과 함께 시적 영감의 매개물로서 도시가 등장하기 시작한다. 도시의 일상을 노래한 상징주의 시인들은 수도 부쿠레쉬티가 있는 문테니아 지방과루마니아의 북동쪽 몰도바 지방 출신들로 크게 양분된다. 전자는 대도시의 매혹과 더불어 외형적, 수사학적, 세계주의적인 기질을 방출하였지만, 후자는 멜랑콜리, 내성적인 자연성, 병적인 분위기, 진흙 덮인 변두리나 작은 도시의 질식 속에서 ‘소도시의 절망’을 노래하였다. 도시 속에서 무미건조하게 살아가는 상징주의 시인들의 멜랑콜리는 단조로운 슬픔이 깔려있는 더럽고 의기소침한 도시 속에서 특히 자주 출몰한다. 루마니아 상징주의 시에서 가장 많이 부각되는 이미지는 작고 보잘것 없는 시골의 소도시에 대한 이미지이다. 마치 모든 것이 잠 속에 빠져든 도시의 이미지는 시의 주된 배경이 되며, 도시의 거주자들은 몽유병환자 혹은 늘 잠에 취한 사람들로 나타난다. 안겔(Anghel)이 ‘조용한 도시’를 환기시킨다면, 데모스테네 보테즈(Demostene Botez)의 시 속에서는 빈민가에 있는 허름한 선술집과 ‘재미있는 사건의 기다림에 지친 세계’를 만날 수 있다. 미눌레스쿠(Minulescu)는 호텔의 더러운 방에서 일어난‘한 신원미상인의 자살’이나 서커스 무대에서 일어난 줄타기 광대의 ‘추락’처럼즉시 망각 속으로 잊히는 도시의 모습을 보여준다. 마체돈스키(Macedonski)의 경우, 지방 소도시를 벗어나 ‘괴물의 촉수와 같은’ 대도시로 시적 관점이 이동된다. 또한 서울레스쿠(Saulescu)는 자동차, 사람, 감정들을 집어삼키는 거대한 괴물로 도시를 묘사하고 있다. 루마니아 상징주의는 루마니아 시에 있어서 풍부한 표현, 서술적 음악성 그리고 예술의 재탄생을 가져오며, 아울러 도시 세계와 같은 테마의 방향을 확대시키는 역할을 했다. 도시의 이미지를 통하여 루마니아 시인들은 당시 경험하지 못했던 상징주의 미학들을 경작하였으며, 도시 속에 나타난 시간, 공간, 계절, 색채의 힘을 빌려 새로운 시의 세계를 창조하였다. 새로운 우주의 창조는 시의 재인식을 도모하였고, 기술, 도시, 문명의 시를 새롭게 탄생시켰다. 루마니아시문학에 일대 혁신을 가져온 상징주의는 루마니아 문학에 모더니즘의 문을 연최초의 사조로 평가되고 있다.
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