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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 : 5권 0호 (1980)

희랍철학 소고(小考)

박홍규 ( Hong Kyu Park )
5,300
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This paper intends to make some remarks on the philosophy of the ancient Greek. It is divideded into 6 parts. 1. Distinction between nomos and physis. 2. Intuition in knowledge. 3. Intuition, operation, persuasion, and demonstration. 4. Division of knowledge by the method of demonstration. 5. Ontology as an apodeictic knowledge. 6. Conclusion. a. Greek philosophy was born when the distinction between nomos and physis was aware of, and this distinction had an constant effect on the development of the Greek philosophy. b. Intuition which is instantaneous wants to be supplemented by operation. Intuition rejects anything to be infused into the mind. Demonstration means to bring any knowledge into intuition by means of its grounds. c. Knowledge is divided by the method of demonstration. The most strict demonstration consists in the apodeictic knowledge. Ontology is one of the apodeictic knowledge. d. Greek ontology intends to provide the most strict philosophical knowledge. Furthermore, it serves to solve the most important problems of the hard reality at the downfall of the ancient Greek culture.

중세어(中世語)의 양태(樣態),정감(情感)의 서법(敍法)에 대한 연구(硏究)

고영근 ( Yong Kun Ko )
9,800
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1. In dieser Untersuchung beschaftige ich mich mit der Identifizierung der modalitatund emotionalitatbezogenen, prafinalen Endungen sowie mit der Auffassung ihrer semantischen Eigenschaft. Die Modi, die sich auf die Modalitat und Emotionalitat beziehen, sind die folgenden: Apodiktiv, Assertiv und Exklamativ. 2. Der Apodiktiv ni wird nur in dem Deklarativ identifiziert. Obwohl man auch die ahnlichen Formen in dem Interrogativ und der attributiven Form findet, ist es kein Apodiktiv hinsichtlich des strukturellen und semantischen Aspekts. Die apodiktive Form steht nach dem Indikativ, Retrospektiv, Prasumptiv und Assertiv. Die kommunikative Funktion der Texte, in denen der Apodiktiv realisiert wird, ist in der Regel einseitig. Das Tempus des Apodiktivs hangt von vorangehenden tempusbezogenen Modi ab, z.B. dem Indikativ, Retrospektiv und Prasumptiv. Der apodiktive Ausdruck wird da verwendet, wo der Sprechende die Sachverhalte allgemeingultig bzw. entscheidend einschatzt und dann den Horer darauf konzentrieren 1aβt. Deshalb in den apodiktiven Satzen durfen die bestatigung bzw. verstarkungbezogenen, sogenannten modalen Adverbien wie bestimmt, naturlich usw. mitverwendet werden. 3. Der Assertiv ko und o, die auch das morphologische Merkmal der Verba besitzen, werden in Deklarativ, Interrogativ, Imperativ, konjunktionaler und attributiver Form identifiziert. Die Endungen mit Formen ko/o in den ubrigen Umgebungen durfen nicht als Apodiktiv angesehen werden; denn sie enthalten keine entsprechenden Formen hinsichtlich der syntagmatischen sowie paradigmatischen Relationen. Die kommunikative Funktion des Assertivs ist beinahe einseitig im Vergleich zum Apodiktiv. Sein Tempus hangt von der Aktionsart des Verbs ab. Wenn er mit dem Prasumptiv li kombiniert wird, wird sein Tempus mit diesem Ausdruck bezeichnet, Die semantische Eigenschaft muΒ sich auf die Einschatzung des Sprechenden zum Aussagen beziehen. Der Assertiv wird meistens dafur benutzt, wo der Sprechende die Sachverhalte entscheidend bzw, bestimmt einschatzen und dann sich vergewissern will. Daher kann man in solchen Texten die einschatzungbezogenen Adverbien wie freilich, allerdings anwenden. 4. Exklamativ Die exklamativen Formen im Mittelkoreanischen sind wesentlich komplizierter als die der Gegenwartssprache. Die exklamativen Ausdrucke, die man durch die Identifizierung des Morphems bekommen kann, sind wie die Formen os/tos, s. Die Formen os und tos wechseln einander fakultativ ohne groBen Unterschied der Bedeutung ab. Die erstere ist ein biBchen veralteter als die letztere. Da die Form s in einigen, bestimmten Umgebungen realisiert wird, kann man sagen, daB sie gegenuber den Formen os und tos morphologisch bedingt wird. Die exklamativen Formen werden in Deklarativ, Interrogativ, Imperativ und konjunktionalen Endungen representiert. Diese Formen stehen sowohl nach Indikativ, Retrospektiv, Prasumptiv-Retrospektiv wie direkt nach dem Stamm. Die kommunikative Funktion des Exklamativs ist ziemlich cinseitig wie der Assertiv. Dieser Aspekt wird deutlich in den Satzen ausgedruckt, in denen keine erste Person als Subjekt auftritt. Das Tempus hangt von den vorangehenden, tempusbezogenen Modusausdrucken und der Aktionsart des Verbalstamms ab. In den exklamativen Ausdrucken sind Emotionalitat und Modalitat enthalten: die Emotionalitat wird hauptsachlich in den deklarativen Satzen ausgedruckt, deren Subjekt keine erste Person ist; die Modalitat erscheint meistens in den ubrigen Umgebungen. Unter Umstanden ist es schwer, die Grenze zwischen die Modalitat und Emotionalitat zu ziehen. Wahrend sich die Texte mit der Emotionalitat mit emotionbezogenen Adverbien wie erstaunlicherweise, bedauerlicherweise usw. sehr naturlich vertragen, verbinden sich die Texte mit Modalitat mit den modalen Adverbien wie in dem Assertiv. 5. Drei Modi, die oben als Apodiktiv, Assertiv und Exklamativ genannt wurden, haben die gemeinsamen Eigentumlichkeiten hinsichtlich des strukturalen, semantischen und pragmatischen Aspekts. 1. Struktural kommen sie grundsatzlich nach den tempusbezogenen Modi; 2. Semantisch drucken sie die Modalitat und Emotionalitat des Sprechenden zum Aussagen bzw. Geschehen aus; 3. Pragmatisch erscheinen sie in der einseitigen Kommunikation. Auf Grund der obengenannten drei Punkte fasse ich drei Modiformen unter dem Intensiven Modus zusammen.

대학원교육(大學院敎育)에 있어서의 Shakespeare 사극(史劇)

전제옥
서울대학교 인문학연구원|인문논총  5권 0호, 1980 pp. 83-100 ( 총 18 pages)
5,300
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20세기 셰익스피어 비평 -심리적 접근법과 시적 접근법-

이경식 ( Kyung Shik Lee )
서울대학교 인문학연구원|인문논총  5권 0호, 1980 pp. 103-130 ( 총 28 pages)
6,300
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This article aims at comparing and evaluating psychological and poetic approaches, the two dominant critical methods of the 20th century Shakespeare criticism, and historical approach, another form of the 20 century critical method, has been mentioned whenever necessary. Bradley`s Shakespearean Tragedy which was the culminating product of psychological approach or character criticism was attacked by poetic approach later known as the New Criticism which argued that a Shakespeare play is a dramatic poem and should be dealt with as such but not as a character-novel. F.R. Leavis, L.C. Knights, D.A. Traversi-core members of the so-called Scrutiny group-and American New Critics were more or less successful in bringing about a general disparagement of Bradley`s point of view as well as his psychological approach. Among them Knights was perhaps most effecient and persuasive in effecting the relegation of Bradley. In his ironical title ``How Many Children Had Lady Macbeth?`` he argued that the most important thing in a play is the words on the page and that images and their verse setting should be given full consideration to. According to him, to stress character or plot is to impoverish the total response of a play and to detach a character from its natural surroundings is fatal to the proper understanding of the play. More often than not, champions of poetic approach went too far and reduced Shakespeare`s plays to images and irony, explaining them as if they were a self-contained universe without any extraneous reference. As no critical method is absolute and foolproof, both psychological and poetic approaches were attacked by scholarship or historical criticism, which argued that Shakespeare should be interpreted in terms of Elizabethan political philosophy, stage conditions and dramatic conventions. Bradley``s line of criticism, however, not only survived the salvo from both the historical and New Critics but also continued to prosper as critical works of so many devout Bradleyites and anti-New Critics witness. In conclusion, the ideal critical method could be obtained by integrating all the existing methods.

D. H. Lawrence의 Woman in Love 연구 -기능시대(技能時代)의 문제와 관련하여-

백낙청 ( Nak Chung Paik )
서울대학교 인문학연구원|인문논총  5권 0호, 1980 pp. 133-163 ( 총 31 pages)
6,600
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This paper proposes to study Women in Love as a novel that questions the meaning of the age of technology. At the same time, it attempts to explore a "Third World" perspective in our reading of European literature. Such a perspective would naturally have to be more than a defense mechanism on the part of Third World readers, and contribute to a truer understanding of the work in question. Two assumptions underlie our reading of Women in Love. First, a work which obviously falls short of any comprehensive treatment of the industrial-technological civilization may nevertheless question its meaning in an essential manner, because "the essence of technology" (in Heidegger`s words) "is not anything technological." Secondly, it is a work that addresses itself to the real questions of the real world in a "realistic" way-only exploring a dimension of reality neglected by even the greatest novelists of the previous century. The essential meaning of technology is questioned most explicitly through the figure of Gerald, the "industrial magnate", especially in Ch. 17. His death brings to light the danger for man in the technological age. But the story of the more successful pair, Birkin and Ursula, cannot be fully appreciated, either, unless seen against the background of the world-historial destiny that Gerald represents. Much critical incomprehension as to the artistic rightness of particular passages or episodes may be traced to this failure. To many Western readers, especially those who are termed "progressive" within the limits of the Western world, suggestions of a racial destiny in Gerald present an added difficulty. From the vantage point of the Third World, however, these merely reflect the actual conflation of the destinies of European races with a particular (the earlier) phase of global rule of technology. Gerald`s failure does imply adverse judgment of the Western man in that phase but no blanket condemnation, for it presents not an allegory of fatality but a realistic character alongside others of the same race pointing to a different course. Birkin`s search for "another kind of love" also takes on a fuller meaning in the Third World context, not because the more "backward" nations remain (as yet) closer to the days of Blutbruderschaft but because in their encounter with technology as a global destiny the achievement of some such comradely love on a massive scale becomes as much a key to survival and freedom as any technical ability to duplicate Gerald`s industrial accomplishment.

Omnipotence에의 동경(憧憬) -Tamburlaine the Great를 중심(中心)으로

변창구 ( Chang Gu Byun )
서울대학교 인문학연구원|인문논총  5권 0호, 1980 pp. 167-181 ( 총 15 pages)
5,000
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The characteristics of the Renaissance spirit lie not only in the quest of Greek and Roman classics but also in the pursuit of man`s infinite possibility as a homo universale. Tamburlaine, a Scythian shepherd who believes himself to be "the Scourge of God", yearns after omnipotence: infinite knowledge, infinite beauty, and infinite power. Marlowe exhibits the rising of Tamburlaine from a mere Scythian shepherd to the greatest ruler in the world. To realize his aspiration of omnipotence, Tamburlaine seeks absolute beauty, which is incarnated in the person of Zenocrate. She is compared to Helen of Troy, who is presented as a symbol of classical beauty in Marlowe`s works. ``Still climbing after knowledge`` seeks a superhuman virtue even in terrestrial power. Believing in his immortality, he can neither think of his death at all nor conceive the limit of human power. What makes this play a tragedy is that Tamburlaine aspires the level of superhuman only to find his inevitable limits. He, under the delusion that he can do everything at his will, cannot understand Zenocrate`s death and is indignant at the behaviour of his son, Calyphas, against his will. In Part I, death is used to emphasize Tamburlaine`s ambition and violence; in Part II, on the other hand, it makes him understand his limits by way of Zenocrate`s death, his murder of his son, and his own illness. The theme of Tamburlaine the Great as elsewhere in Marlowe``s works may be summarized as follows: man``s desires and aspiration may be limitless, but their fulfilment is limited by forces beyond the control of human will. However, Marlowe is criticized by some critics that Tamburlaine, whose ambitions are cruder than those of Faustus, has little inner conflict. Indeed what Marlowe portrays through Tamburlaine`s life history is a Renaissance man who wished to be superhuman but found his limits by his inevitable death. The theme is developed less satisfactorily in Tamburlaine than in Faustus and minor characters are not very well presented. Any way, Tamburlaine the Great is one of the greatest pre-Shakespearean plays which succeeds in depicting man`s enormous potentiality.
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