글로버메뉴 바로가기 본문 바로가기 하단메뉴 바로가기

논문검색은 역시 페이퍼서치

인문논총검색

Seoul National University the Journal of Humanites


  • - 주제 : 인문과학분야 > 기타(인문과학)
  • - 성격 : 학술지
  • - 간기: 계간
  • - 국내 등재 : KCI 등재
  • - 해외 등재 : -
  • - ISSN : 1598-3021
  • - 간행물명 변경 사항 :
논문제목
수록 범위 : 44권 0호 (2000)

스탕달과 자서전

원윤수 ( Soo Won Yoon )
5,900
키워드보기
초록보기
Stendhal a entrepris decrire l`oeuvre autobiographique, Vie de Henry Brulard en 1835. , cetait le reve de sa jeunesse; cest pourquoi il avait commence a ecrire le journal quand il avait 18 ans, mais pour lui, ecrire l`histoire de sa vie jour apres jour navait guere de valeur puisque l`ecriture est toujours en retard sur la vie. Stendhal voudrait tenter de reecrire sa vie et de la ciseler a sa guise dans les mots. Ainsi va-t-il de lecriture au jour le jour au recit retrospectif. Mais avant de constater ce changement-la, il faudrait regarder de pres ce processus a travers ses oeuvres romanesques Le Rouge et le Noir et Lucien Leuwen. Dans La Vie de Henty Brulard oeuvre autobiographique, le narrateur, c`est-adire Stendhal, rapproche lemotion passionnee de lemotion esthetique et il les rap-porte a lorigine de lecriture. Ii avait deja constate que ≪la memoire nest que Ia mCmoire de ma sensibilite≫, il a toujours tout ecrit comme Rossini ecrit sa musique. Ii a ecrit en evoquant Ia joie et le bonheur de son enfance : ≪Encore aujourd`hui, la meme sensation mest souvent donnee par un tableau ou par un morceau de musique≫ Mais peindre le bonheur, cest raconter des choses indicibles. Pourtant le narrateur ne pretend pas peindre les choses elles-memes, mais seulement leur effet sur lui. ≪On ne peut pas apercevoir distinctement Ia partie du ciel trop voisine du soleil, par un effet semblable, j`aurai grand peine a faire une narration raisonnable de mon amour pour Angela Pietragrua (...) On gate des sentiments si tendres a les raconter en detail≫, dit-il. Mais si lecriture suscite lemotion, elle ne suscite pas seulement lemotion, elle en est le lieu meme. ≪Ecrire, cest revivre : le temps de l`ecriture et le temps du souenir, le present du moi ecrivant et le passe du moi ecrit se fondent dans le meme tremblement, dont le manuscrit, materiellement, porte trace≫, Daniele Renaud a insiste en presentant Vie de Henry Brulard. Lautobiographie stendhalienne ne cesse de se demander : ≪Quai-je ete, qui suis-jea ≫ ; le narrateur fait de grandes decouvertes sur son compte en ecrivant les memoires de sa sensibilite. Pour lui, ecrire, cest se decouvrir. Plume a la main, le narrateur se voit renaltre, donc ecrire, c`est sinventer. Voila le vrai sens de lecriture autobiographique de Stendhal.

셰익스피어의 혼령들

이경식 ( Kyung Shik Lee )
8,500
키워드보기
초록보기
Ghosts of almost all sorts appear in Shakespeare`s plays including IH6, 2H6, 118, R3, JC, Hamlet, Macbeth, and Cymbeline. Some return to visit their family and friends, some to appear to their murderers in dream or fancy, threatening revenge. In one case, the ghost explicitly commands his son to avenge his death upon the murderer. Some are subjective ghosts who either appear only to one person or is seen to one among many present, and some objective ones who so appear as to be seen by all the people present. All these aspects of Shakespeare`s ghosts will be discussed when Macbeth, Cymbeline, R3, JC, and Hamlet, the five Shakespearian plays whose ghosts return to appear to their murderers, friends and family, are to be dealt with. Both Senecan and pre-Shakespearian ghosts will be compared with Shakespeare`s to show (1) how much and well Shakespeare improved on the conventional dramatic ghosts and (2) how organically he related them to the plays involved. Banquo`s ghost twice appears to Macbeth while he is hosting a banquet. His ``gory locks`` and ``twenty mortal murthers` on his head are enough to scare Macbeth, his murderer, and to make him utter strange and self-revealing words to his guests. Banquo`s is a subjective ghost, seen only by Macbeth, but is so dramatized that his objective validity, i.e. his reality, cannot be doubted. Moreover, his appearance contributes to the course of the dramatic action by making the hero visit the weird sisters to know what is in store for him and to act accordingly. The ghosts of Posthumus` parents and brothers whom he sees in his dream are also subjective ghosts, seen only by Posthumus and no one else. But what they speak about their son and brother and appeal to Jupiter and what Jupiter who has, in response to their appeal, just descended in thunder and lightning and on an eagle, tells them about their beloved Posthumus together with his ``tablet`` are enough to give the ghosts their reality. In R3 the ghosts of Prince Edward, Henry VI, Clarence, Rivers, Grey, Vaughan, Hastings, two young princes, Lady Anne and Buckingham appear, on the eve of the decisive baffle of Bosworth, to Richard, their murderer, and then to Richmond, Richard`s rival. They urge the former to despair and die with all sorts of curses while they encourage the latter to live and flourish, saying that "the wronged souls/Of butchered princes fight in thy behalf ". These ghosts are doubtless subjective ones, but that they appear not only to Richard but also to Richmond would not allow them to remain just subjective because it helps to contribute somewhat to the establishment of their objective validity. Moreover, their appearance brings about a very tangible result by producing from Richard and Richmond such respective responses as "Methought the souls of all that I had murtherd/Came to my tent, and every one did threat/To-morrow`s vengeance on the head of Richard" and "Methought their souls whose bodies Richard murther`d/Came to my tent and cried on victory". And the battle ends with Richard`s defeat and Richmond`s victory as the ghosts wished and foretold them. In short, the ghosts influence the action and prove their reality. Similar to these ghosts is the ghost of Caesar. The ghost appears to Brutus, his murderer, on the eve of the decisive baffle of Philippi while he sleeps in his tent. the fact that the ghost has already appeared to him at Sardis once and that he validity or reality. Needless to say, the ghost`s appearance influences Brutus, who says, "Now I have taken heart you vanishest", and, of course, he takes his own life, saying, "Caesar, thou art reveng`d,/Even with the sword that kill`d thee" and "0 Julius Caesar, thou art mighty yet!". With his mortal presence in the first part of the play and with his ghostly presence in the second part of the play Julius Caesar proves himself the unifying principle of the tragedy, indeed the hero in every sense of the word. Pre-Shakespearian ghosts derived, at least partly, from classical, especially from Senecan ghosts. Senecan ghosts are the combination of Euripidean type of prologue-ghost and Aeschylean type of revenge-ghost. Being prologue-ghosts, the ghost of Tantalus in 7hyesres and that of Thyestes in Agamemnon do not participate in the action itself, but repeat the word revenge from time to time. Another characteristic of Senecan ghosts is their description or mention of the pains and tortures that take place in Tartarus such as Sisyphus endless rolling of a large stone to the top of a hill, Ixions being bound on a wheel that turns for ever, Tantalus` eternal thirst or hunger, and Tityus` (Titius`) vultures tearing at his liver, all of which Senecan ghosts describe in rant or bombastic style. These Senecan ghosts and the English translations of all of Senecan tragedies, starting Jasper Heywood`s troas in 1559, together influenced pre-Shakespearian ghosts. Heywood refused to remain a meer translator but introduced a ghost, providing him with a lengthy prologue-speech at the beginning of the 2nd act of troas with vengeance as the theme of its refrain. This original and creative attitude towards the dramatic ghosts grew` as Seneca-modelled English plays either in the form of Anglo-Latin tragedies or in the form of early classical English tragedies became more and more popular. Never-ending punishments cited above are though the ghost himself do not appear in them. The ghost of Gorlois in The prototypes by reappearing at the end of the play. This, together with Heywood`s ghost of Achilles, marked a development of Senecan ghosts. And further devel-opment was made in both anonymous Locrine and Thomas Ky d`s The Spanish Tragedies. The ghost of Albanact in Locrine influences the plot or action of the play, thus improving on Senecan ghosts, whereas The Spanish Tragedy dem onstrated its unique utilization of Senecan ghost-machinery. The play opens with the dialogue between the Ghost of Andrea and Revenge, the exact counterparts of the Ghost of Tantalus and Fury (Megaera) in 7hyestes. Here the ghost is not only just Senecan prologue-ghost serving as a chorus but also an epilogue-ghost. But Kyd made his ghost`s speeches even more bombastic than those of Senecan ghosts and did not make any effort to substitute English ghost-lore for Senecan ghost machinery. Marston`s ghosts in Antonio`s Revenge mark, however, yet another step forward taken for the development of the English dramatic ghosts because although there are frequent visitations of ghosts shouting ``vindicta!! revenge!``, we find none of Senecan ghost-machinery used in it. But the greatest development was to be made by Shakespeare in his ghost of King Hamlet, for Shakespeare refused to use Senecan ghost machinery and got rid of the rant of Senecan ghosts altogether, thus successfully substituting English ghost-lore instead. Moreover, he humanized the ghost by demonstrating how absolutely he still loved and cared for his wife. Above all, the ghost of King Hamlet is an objective ghost as well as a very organic one on whom the entire dramatic action depends. In conclusion, ghosts in Shakespeare not only testify Shakespeare`s dramatic genius but comprise almost all English ghost-beliefs or ghost-lore material known to his day.

라후어(Lahu)의 언어학적 연구 -형태론 및 통사론적 분석-

이현복 ( Hyun Bok Lee )
5,900
초록보기
The aim of this paper is to analyze and describe the morphological and syntactic structure of the Lahu language spoken in Chiang Rai area, Thailand. Lahu is one of the hill tribe languages spoken in Thailand, Myanmar, China and Laos, and has been classified as belonging to the Lob-Burmese branch of the Sino-Tibetan language family. Four Lahu speakers, two men and two women, speaking black Lahu, served as informants for this study in a series of field works conducted by the author in 1995-97. It was found necessary to set up seven parts of speech in Lahu, i.e. Noun, Verb, Particle, Classifier, Adverb, Conjunction and Interjection, on the basis of the syntactic function of words and morphemes. An Nominal and Verbal phrases and clauses are also found to operate as important syntactic units in the Lahu sentences, and three different types of sentences are distinguished on the basis of the syntactic complexity of the sentence structure. i.e, Simple. Compound and Complex. Finally it is interesting to note that Lahu and Korean are strikingly similar not only in sentence structure but also in phonetic and phonological systems despite the fact that they are taken to belong to two different language families.

국어의 자음군 단순화 현상 -최적성 이론을 중심으로-

문양수 ( Yang Soo Moon )
5,900
키워드보기
초록보기
simplification(CCS) in Korean can be explained in a unified mode applying OT. order not to violate the *Complex. It is the focus of this study to explore the consonants which are preserved. Generally, language universally and in other phonological processes in Korean, the syllable codas prefer the consonant of the higher sonorant if that syllable can not be an open syllable. Contrariwise, the Korean undergoes simplification by displaying a different pattem : simplified codas prefer the less sonorant consonant of the peripheral place. Thus, Nocoda-sonorant is low-ranked. This study claims that morphologically-based constraint(Parse-peripherality) is the main factor in determining CCS so that selected peripherals preserve the morpheme of the stem and eliminate the possibility of the non-peripheral coda being assimilated by the following onset. If morphological constraints can not decide a candidate, then phonological constraints evaluate the optimal output.

현대국어의 어미 및 문법 패턴의 계량언어학적 연구 (상(上))

이상억 ( Sang Oak Lee )
서울대학교 인문학연구원|인문논총  44권 0호, 2000 pp. 119-150 ( 총 32 pages)
6,700
키워드보기
초록보기
In this paper, I will present a quantitative analysis of the frequency and ranking of the following items in modern Korean: (1) prefinal and final endings (the latter are used as conclusive morphemes or non-conclusive morphemes), and (2) the grammatical patterns and adverbial phrases that are connected with these sentential adverbs. Oddly, there is no research to date on the frequency of use of both suffixes and grammatical patterns. In the 1956 survey conducted by the Ministry of Education entitled "A Survey of Word Frequency in Korean" only basic form of verbal endings were surveyed. In 1997, 1 conducted the first survey of agglutinating suffixes (e.g, conclusive morphemes and non-conclusive morphemes), entitled "Quantitative Research on Verbal Morphemes in Modern Korean" (Lee 1997). Since then I have not been able to expand this research to a large corpus but this first pilot study already showed a valuable index such as order of frequency. A couple of others` studies on the frequency of suffixes have been reported based on their larger corpus but those of grammatical patterns not yet done by others. The above findings are useful in the following ways: First, they are instructive in developing a rational basis for pedagogical syllabi and materials in teaching Korean as a foreign or a second language. They are also useful in analyzing the order of presentation of suffixes and structures in existing materials for learners of Korean. This information is useful in improving these materials and in developing new materials. Second, the findings can also be applied to analyzing the order of presentation of morphemes in elementary Korean materials for children in Korea. As with materials for foreign learners of Korean, this information is useful in developing a natural and pedagogically effective ordering of agglutinating verbal morphemes. Third, the findings are relevant to machine translation (particularly English-Korean and Japanese-Korean) because they provide information on which Korean expressions are more preferable in translation. Machine translation, a field that has emerged from computer engineering, needs accurate linguistic information to succeed and the linguistic information, which is based on research methods from natural science, in this paper can help build a bridge from the humanities to engineering.

불어 형성기의 이중모음화와 단모음화 연구

장재성 ( Chae Seong Chang )
서울대학교 인문학연구원|인문논총  44권 0호, 2000 pp. 151-176 ( 총 26 pages)
6,100
키워드보기
초록보기
Des le premier siecle le latin connalt le grand bouleversement vocalique (pas-sage d`une opposition de quantite a une opposotion de timbre), ce qui entral ne le changement du latin pane dont le plus important est le phenomene de diphtongaison. La diphtongaison commence par la voyelle accentuee en syllabe ouverte. Et puis elle setend jusqu`a la voyelle accentuee ou non accentuee suivie par la consonne palatalisee. Il se distingue done 3 grands types de formation de diphtongues: -- la diphtongue d`une voyelle accentuee, ce processus se differenciant luimeme en 2:i) la diphtongaison spontanee, pour toute voyelle accentuee en syllabe libre et pour toute voyelle dun monosyllabique tonique. ii) la diphtongaison conditionnee, limitee aux voyelles ouvertes accentuee lorsqu`elles se trouvent devant un son paltal ou palatalise. -- la coalescence iii) la diphtongaison de coalescence, cela resulte de lunion dune voyelle et dun son semi-vocalique dune origine dun son palatalise. Au debut, les diphtongues latines etaient lourdes parce quelles avaient deux point squelettiques en un noyau. Au fur et a mesure de levolution, elles en perdent une pour avoir la structure de contour, ce qui veut dire quelles sont devenues les diphtongues legere dont un son est devenu le glide. La diphtongue francaise issue du latin est donc classee dans les sons vocaliques instables se definissant comme la prononciation en une seule syllabe de deux sons dont le premier est une voyelle et lautre une semi-voyelle. Nous avons analyse les phenomenes de diphtongaison d`apres Ia theorie de KLV, qui a pour but d`expliquer tous les phenomenes phonologiques par des compositions et des decompositions des elements. Cette theorie nous fait voir quil y a une unite dominante dune certaine forme en relation avec une ou plusieurs unites subordonnees dans tous les phenomenes phonologiques. En appliquant cette theorie aux phenomCnes diphtongaisons du latin au francais, nous avons cherche a eclaircir Ia plausibilite des phenomenes phonologiques et a en eclaircir le cours naturel. Avec cette theorie, on na pas espere resoudre tous les phenomenes, mais on a pu avoir Ia possibilite dy acceder dune facon e
1