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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 : 65권 0호 (2011)

정치적 정체성과 상상력 -알베르 메미와 아쉴 음벰베를 중심으로-

이영목 ( Young Mock Lee )
6,200
초록보기
Le propos de cette etude consistait a etablir des rapports entre l`identite politique et l`imagination politique dans les textes principaux des deux representants respectifs de la pensee coloniale et de la pensee postcoloniale: Albert Memmi et Achille Mbembe. Nous avons suppose que les differences de deux pensees - role determinant des facteurs socio-economiques dans le systeme colonial dans la pensee coloniale et mise en valeur du culturel dans la pensee postcoloniale - produiraient les specificites des deux discours. Mais une fois constatee la primaute du culturel communement admise dans ces deux auteurs, nous sommes amene plutot a nous interesser a la facture meme de leurs discours qu`aux contenus conceptuels et ideels de ceux-ci. Nous avons degage chez Memmi une ?logique implacable de la necessite coloniale? et chez Mbembe une ?pensee de l`enchevetrement et de la concatenation? qui consiste a l`approchement graduel au fait a travers un mouvement continu de mises au point successives. Ces demarches de la pensee representent leurs efforts intellectuels qui visent a une elaboration d`un savoir inedit et original a l`ecart de, et par rapport a, l`universalisme rationnel de l`Occident remis en cause.

동독에 대한 과거 청산 작업 -모니카 마론의 『조용한 거리 6번지』-

이재원 ( Jae Won Lee )
6,500
초록보기
Die DDR als Staat und politisches System ist ein Kapitel der Geschichte geworden, trotzdem spielt die DDR als literarisches Thema noch eine wichtige Rolle in der deutschen Literatur. Monika Marons Roman Stille Zeile sechs(1991) setzt sich kritisch mit dem diktatorischen System der DDR in den 1980er Jahren auseinander. Der vorliegende Aufsatz untersucht den Text als einen Versuch der Vergangenheitsbewaltigung der DDR-Zeit. Der Roman beginnt mit der Beerdigung des ehemals hohen Parteifunktionars, Herbert Beerenbaum. Dieser hatte vor, seine Memoiren zu verfassen und die Ich-Erzahlerin Rosalind Polkowski wurde fur ihn als Schreibkraft tatig, da seine rechte Hand gelahmt war. Beerenbaum ist ein Vertreter der Grundervater-Generation, die einmal als Antifaschisten gegen die Nazis gekampft, aber spater die Diktatur in der DDR aufgebaut hatten. Seine Generation rechtfertigte ihre Tat aufgrund ihres Opferstatus gegenuber den Nazis. Rosalind will nichts tun, um nicht schuldig zu werden. Sie glaubt, dass man sich noch viel schuldiger macht, wenn man sich aktiv beteiligt. Aber im Laufe des Schreibprozesses gerat sie zunehmend in einen Konflikt, da der von Beerenbaum diktierte Inhalt nichts als die Rechtfertigung und Verschleierung seiner Schuld darstellt. Sie fuhlte sich als Mittaterin, da sie nichts gegen ihn unternimmt. Schließlich entscheidet sie sich, Handelnde und Schuldige zu sein, statt Opfer und Siegerin. Sie erhebt Anklage gegen Beerenbaum und der kranke Alte erleidet einen Herzanfall, an dem er einige Tage spater stirbt. Die erste Generation der DDR, zu der Beerenbaum gehort, zwang allen Nachgeworenen ihre Erinnerung als verbindliche Geschichte der DDR auf. In diesem Sinne ist dieser Roman auch ein Versuch, diese verfalschte Geschichte zu entlarven. Heute, wo die Beerenbaums tot sind, obliegt die Aufgabe, die Geschichte der DDR neu zu schreiben, der dritten Generation, fur die Rosalind steht. Diese Generation braucht diese Selbstreflexion, um eine Perspektive fur die Zukunft zu gewinnen.

청년 그람시의 연극 비평

신혜경 ( Hye Kyoung Shin )
7,300
초록보기
This paper examines the young Gramsci`s perspective of theater criticism, focusing on the Theatrical Chronicles he wrote from 1916 to 1920 for Avanti, the Piedmont edition of the Socialist Daily. Although these Chronicles are very fragmentary reviews about particular performances, his underlying critical foundation for theater criticism can be detected. As a radical revolutionist, he believes that the great social impact of theater consists in its capacity to create a new counter-hegemonic culture and the collective subject of the proletariat. In this light his primary aim through theater criticism is to attack the degeneracy of the dominant bourgeois culture and to construct new ethical values and beliefs for the class-conscious proletariat. Moreover, he never forgets the aesthetic point of view in theater criticism. Through the concept of sincerity, this paper traces the line of thought from De Sanctis to Gramsci via Pirandello. Until now, the young Gramsci`s standpoint in theater criticism has been accepted as flawed by contradictions between an aesthetic conception of art and the materialist analysis of the culture. In other words, he radically criticizes theater industry socio-politically while remaining essentially locked into a Crocean idealist aesthetic. However, I argue that such contradictions can be resolved if we think back on the slogan "return to De Sanctis" that Gramsci highlighted in The Prison Notebooks, and interpret his aesthetic concepts through the aesthetic ideas of De Sanctis, not of Croce. And if so, the concept of sincerity, one of the key concepts in Chronicles, can be interpreted as both aesthetical and ethical imports.
12,300
초록보기
It was the theory of the Other as an overcoming out of solipsism that Husserl had reflected on and defended, more than any of the other theories of phenomenology. Nevertheless it is also his theory of the Other that has been criticized most often among Husserl`s phenomenology. But Merleau-Ponty`s theory of the Other is different from Heidegger`s, Sartre`s and Levinas`, for while these are merely denials of Husserl`s theory of the Other, his is a radicalization of Husserl`s theory of the Other in the respect of the genetic phenomenology. Above all, seeing the ideal of Husserl`s phenomenology, not from the perspective of static foundation, but from that of genetic foundation, Merleau-Ponty changed radically the method of phenomenological reflection and the intentionality of consciousness into the radical reflection and the intentionality of body respectively. On the grounds of these radical methods and states, first he criticized the paradox which the approach of reflective analysis causes in terms of the validity-foundation of perception of the Other, and he tries to get over the paradox through coexistence between I and the Other by intergrating the consciousness and body in the pre-personal world. He goes on discovering the limit of solipsism rather again in the appresentive experience which Husserl introduced in order to get over the solipsism in terms of the validity-foundation of judgement of the Other, and he tries to discover the meaning of solipsism in freedom, communication and death through the radical reflection. First the freedom of solipsism means only that thrown in the world. Second, solipsism never means the communication gap, but the suspension of communication. Third, for the solipsists, death and other means things that cannot be experienced, but for Merleau-Ponty they means the destiny that we have to put up with. Finally we have the tasks to reconstruct Merleau-Ponty`s theory of the Other on the basis of the achievements of study of Husserl`s posthumous manuscripts and the achievements of development-psychology on child`s ability of understanding of other` mind.

자연 법칙의 물리적 필연성 -암스트롱의 전체 체계 내에서의 문제점-

김희정 ( Hee Jeong Kim )
서울대학교 인문학연구원|인문논총  65권 0호, 2011 pp. 133-157 ( 총 25 pages)
6,500
초록보기
Armstrong`s view on a law of nature stands between regularity theory and metaphysical necessity theory. He maintains that a law of nature is necessary on the one hand, and contingent on the other hand. He holds that a law of nature is necessary in the sense that it is beyond regularity. It is meant by ``contingent`` that it does not hold in all possible worlds. A law of nature in our world may not hold in other possible worlds. In other words, he is defending that a law of nature has a physical necessity. The necessity of a law of nature is said to be required, since there are at least three main difficulties. The view on physical necessity is maintained with Armstrong`s categoricalism on the nature of properties. According to it, properties do not have modality as such, which is externally attributed by a law of nature. I argue, in this paper, that there are problems in his defending of the physical necessity of a law of nature in his system, which ranges over his categoricalism, quidditism, actualism and combinatorialism. My criticism on physical necessitarianism is different from others` in that it considers the whole system of Armstrong`s views on relevant topics. In the first part, I present what physical necessity means in Armstrong`s theory of laws. In the second part, I point out two main problems of his physical necessitarianism in considering his views on the relevant topic such as the nature of properties, the criterion of existence and possible worlds. In 2.1, I reformulate his arguments and argue that they fail mainly because of his categoricalism. He tries to defend the physical necessity of laws by means of universals. I show that his arguments are circular. In 2.2, I show that he has problems in admitting the physical necessity as primitive. I argue that the view on the physical necessity is not coherent with his views on possible worlds, as well as those on the criterion of existence and the nature of properties.

인류사 전개 과정에 대한 고고학자 차일드의 역사관 재조명

고일홍 ( Il Hong Ko )
서울대학교 인문학연구원|인문논총  65권 0호, 2011 pp. 159-188 ( 총 30 pages)
7,000
초록보기
V. Gordon Childe`s understanding of how human history unfolded was based on certain ideas regarding the historical process. However, the dissemination of these ideas amongst the wider public has been accompanied by a misunderstanding of the original intentions and messages contained within. The aim of this paper, therefore, is to rectify this unfortunate situation by providing a detailed discussion on Childe`s perception of the historical process. In order to do so, a brief examination of his two revolutions - the Neolithic and Urban - is first carried out since an incomplete understanding of these two concepts is thought to have contributed to the inaccurate interpretation of Childe`s original ideas on human history. These ideas are then considered in the following section and three key points are noted. First, Childe`s interpretation of human history was based, above all, on a socio-economic perspective. Second, Childe had belief in the progress of humankind, but progress was not taken to mean social and economic ``development`` in the social evolutionary sense. Third, the process of social and economic change, which determined the outcome of human history, was dialectical rather than directional.

고대 동남아 종교미술에 미친 인도 미술의 영향

강희정 ( Hee Jung Kang )
서울대학교 인문학연구원|인문논총  65권 0호, 2011 pp. 189-219 ( 총 31 pages)
7,100
초록보기
The religious sculptures in Southeast Asia deserve special attention as they best represent the multi-cultural aspect of the area. This paper shows the Indian influence of the visual arts in Southeast Asia during the early classical period. The arts of India were transmitted to Southeast Asia via the maritime route. It is possible to assure by comparing their artistic styles. The maritime trades of the intellectual and material resources activated migration from India to Southeast Asia. It resulted in the sudden and brilliant development of the first stage of Southeast Asian Art history. In the initial stages of arts in Southeast Asia, the Buddhist and Hindu images show close association to the styles of Central and Southern India. The influence of the visual arts during this period spread beyond the confines of India. It extended to Sri Lanka and Southeast Asia. The religious arts of India and Sri Lanka were most likely transmitted to Southeast Asia via the maritime route of the Ganges and the Krishna River to the Bay of Bengal. It then set the foundations for the earliest production of religious sculptures in Southeast Asia. The traders from India, at the time, probably passed through the two maritime routes. One route was from central India, using the coastal area to the Kra Isthmus. The other route was from South India via Sri Lanka. These two maritime routes seemed to have had easier access into Southeast Asia than overland Himalayan routes. The maritime trades of the intellectual and material resources activated migration from India to Southeast Asia. The trades and migrations resulted in the sudden and brilliant development of the first stage of Southeast Asian history. In the initial stages of religious arts development in Southeast Asia, the Buddhist and Hindu images show close association to the styles of Central and Southern India. These arts demonstrate the diffusion of Indian religious arts into Southeast Asia through the various maritime route channels. Accepting the diversified art, as soon as they acquired the techniques and ideas for their own religions, the artisans in Southeast Asia began creating their own masterpieces.
12,100
초록보기
本文欲經過文本分析來複原張家山二七四號墓出土的≪二年律令≫。這次本文運用的方法是把張家山漢簡整理小組所公開的≪出土位置示意圖≫與內容上整理好的≪釋讀本≫來進行比較分析。結果,我能發現幾點:(1)雖內容上歸屬於同一條,出土位置互相遠離(2)雖內容上屬於同一律令,排列順序混亂(3)每個律令不在一起,與其他律令混在一起(4)律令的相互順序也不一致。從具體的出土位置上來看,這種散亂的排列狀態絶對不可能只是由於編連繩子的斷裂、或是從外部的沖擊而發生的。此外,≪二年律令≫有更多的錯誤。比如,(5)有些簡缺了,只有前部或後部留下了(6)有時,不同律文寫在同一個條裏(7)有不少的誤字,而且有些句子遺漏了。總之,在張家山二七四號墓埋葬≪二年律令≫時,這些卷本來就不是完整的。不過,墓主生前使用過的律令絶對不可能這요不完整。因此,張家山二七四號墓出土的≪二年律令≫應是根據墓主的遺囑讓專家抄寫正本的一部分。後漢時期的周磬是屬於比較明顯的例子。同時,≪二年律令≫上出現的句讀符號也能構證明這個事情。句讀符號原來是讀者閱讀的時候根據自己的原則進行標記的。所以,句讀符號應該標記在文字和文字之間,也就是說文字和符號的間距縝密。但是,≪二年律令≫上不少的符號是好像文字似的標記的。結果,符號和文字之間距是像其他文字和文字之間距差不多的。像這樣抄寫專家,其中之一就是具律題目簡出現過的人名、鄭女欠。前面所說的第二種錯誤(5,6,7)흔可能都是這時發生的。編聯過程可分爲兩個方式。第一,先把空簡編聯後抄寫。第二,先抄寫後編聯。張家山≪二年律令≫上都出現了這兩種方式。當然,先抄寫後編聯,意味著要將每簡一一排列,這需要十分注意。先編聯時也一般以幾簡爲單位作成的,不是以律名爲單位。仔細看≪二年律令≫的話,能看出來每律上第一種和第二種方式都混在一起。前面所說的第一種錯誤(1,2,3,4)可能在這種編聯時所發生。總之,張家山二七四號墓出土的≪二年律令≫幷不是西漢初期實際上實行過的完整本,也不是二七四號墓主生前親自使用過的原本。爲了專門埋葬,墓主或遺屬令專家抄寫正本的一部分後把타編聯的。雖然不能排除將原本埋葬的其他可能,我們要注意的是,至少張家山≪二年律令≫在經過抄寫和編聯的過程中已經含有許多的錯簡和錯字等問題。如此我們才能構重新確認≪二年律令≫的基本前提,즉≪二年律令≫的編聯、篇章或順序是基於律令上的內容邏輯決定的,將來我們才免得白費心思。

설혜(薛蕙)의 『노자집해(老子集解)』에 나타난 성명지학(性命之學)에 관한 고찰

김경희 ( Kyung Hee Kim )
서울대학교 인문학연구원|인문논총  65권 0호, 2011 pp. 267-303 ( 총 37 pages)
7,700
초록보기
It was in the Ming Dynasty that most of the commentaries on the Laozi were written in China. Among these commentators, there were many Neo-Confucian scholars. Several Neo-Confucian commentators tried to comment favorably on the Laozi, breaking from the view that Laozi was heresy. Xue Hui(薛蕙) was the first commentator in the Ming Dynasty that interpreted the Laozi from a Confucian viewpoint, and his Variorum Laozi (『老子集解』) became an exemplary commentary to subsequent Neo-Confucians who tried to embrace positively Laozi`s thought. This paper studies the way that Xue Hui connected Laozi`s thought with ``the learning of human nature and mandate``(性命之學) of Neo-Confucianism. The Song Neo-Confucians sought to ``return to human nature``(復性). Xue Hui argued that Laozi had the same purpose. According to him, Laozi`s Dao is identifiable as the principle of human nature that is rooted in cosmological substance. However, most Neo-Confucians, including Chu Hsi, criticised Laozi for neglecting the aspect of ``being`` of Dao and the activity of mind. To refute such criticism, Xue Hui explained ``non-being`` (無) as the substance(體) of Dao and ``being``(有) as the function(用) of it, and regarded the two aspects as inseparable. His theory of substance and function is based on Cheng Yi`s idea that "substance and functions come from the same source, and there is no gap between the manifest and the hidden." Even though the two aspects of Dao are inseparable, Xue Hui stressed the importance of non-being and substance, and thus demanded the self-cultivation of ``emptiness and tranquility``(虛靜). Furthermore, he thought that the relation between Laozi`s Dao and Confucian moral norms was that of substantial quality(質) and ornamental accomplishments(文), but Laozi emphasized the importance of the former to prevent the latter from destroying it. He insisted that Laozi`s thought should not be misunderstood as lacking ethical concerns.

도연명 시에 나타난 "술"의 의미

송용준
서울대학교 인문학연구원|인문논총  65권 0호, 2011 pp. 305-329 ( 총 25 pages)
6,500
초록보기
陶淵明是晉宋交替時期活躍在詩壇上的大詩人,在他的詩歌裏頻頻出現有關酒的詩句。陶淵明在他的詩歌裏把酒的象征意義加以擴展與深化,使酒不僅成爲表現詩人思想感情的手段,而且象征了詩人的人生觀和世界觀。此後,酒在後人的詩歌中其意義不斷豊富,不斷加深。這應該歸功於陶淵明。在中國文學史上,陶淵明第一次拓寬了酒的含義,升華了酒的價値,直接或間接地影響了包括李白在內的中國古代無數詩人。因而,才能構使我們今天吟誦中國古代詩歌的時候,感觸更加豊富,渲染更加深刻。酒在陶淵明的詩歌中所表現的意義具體分析如下:一酒是撫慰辛勤勞作後的饑餓與疲倦的飮料。二酒是謳歌田園生活的悠閑與快樂的手段。三酒是擺脫暗淡的現實與煩惱的手段。四酒是쟁脫死亡給予的憂愁與恐怖的力量。五酒是溝通隣裏,實現心連心的通路。六酒是獲得精神自由,達到物我相忘境界的拐杖。七酒是最理解自己的知己,也是人生路上的同伴。八酒是保持"固窮節"意志的精神支柱。九酒是揮棄胸中憂憤的象征,表現了爲解脫憤怒而寫作的心情。
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