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논문검색은 역시 페이퍼서치

비교문학검색

COMPARATIVE LITERATURE


  • - 주제 : 어문학분야 > 기타제어문
  • - 성격 : 학술지
  • - 간기: 연3회
  • - 국내 등재 : KCI 등재
  • - 해외 등재 : -
  • - ISSN : 1225-0910
  • - 간행물명 변경 사항 :
논문제목
수록 범위 : 51권 0호 (2010)

이상(李箱)문학과 수용,영향 연구

구광모 ( Kwang Mo Koo )
한국비교문학회|비교문학  51권 0호, 2010 pp. 5-34 ( 총 30 pages)
7,000
초록보기
This study is to review the hypothesis that the works of "Monsieur Lichan"(李箱; 1910~1937) were or might be influenced literally by some Japanese writers, especia1ly Ryunosuke Akutagawa(芥川龍之介; 1892~1927) and to evaluate the validity of research processes related with the hypothesis. "Monsieur Lichan" is a western-styled name that the writer not only has given by himself but also has exhibited readers tacitly in his novel, A Darkroom on the Map(<地圖의 暗室>). According to this statement of the writer that has been known as Lee Sang, Sang Lee or Yi Sang(the Korean pen name of the writer, Mr. Hae-kyung KIM), this English `abstract` suggests that "Monsieur Lichan" would be his western pen name that the writer has wanted tacitly. This study finds that the influences of Japanese writers, especially Akutagawa, on the works and life of "Monsieur Lichan" have been exaggerated generally with tunnel visions or inappropriate premises on the articles published by some experts, especially some scholars majored in Japanese Literature and on the theses which published for the degrees by graduate students. This study finds that comparative studies on the works of "Monsieur Lichan" have been emphasized on affinities with Japanese writers on the 1910s~1930s. The through investigation, however, shows the most of affinities turns out the differences on a common current in the literary world or the kinds of allegories in a broad sense. It could have established no influence, because influence presupposes some manner of causality beyond affinity. Moreover, there are a pool of originality, creativity, and experimentation on the works of "Monsieur Lichan". Those comparative studies, however, have failed or shirked out revealing them.

송병수(宋炳洙)전후소설 연구

김용희 ( Yong Hee Kim )
한국비교문학회|비교문학  51권 0호, 2010 pp. 35-66 ( 총 32 pages)
7,200
초록보기
Song Byeongsu`s early works expressed the horrors of war through painful lives of war orphans and prostitutes and discovered humanism from their cordial relations. The writer was interested in the society that war orphans form the foundation of criminal organizations. He expanded horrors of war into social issues by shedding lights on personal histories of individual characters in postwar Korean society. To prove that individuals cannot be excluded from history, he borrowed artistic images as well as he listed facts. The confused situation that people lost their ethnic and national identity and their pride leaded individuals to sink into the inner world. The trauma of war let people give priority to filling physical desire than platonic and ideal love. Women changed to become active sexual subjects only to survive, but consequently, it leaded them to find the true value of lives. It was social changes and pregnancy and childbirth due to indiscriminate sexual relations that made postwar women anguish for the existential meaning of human being and look themselves back. Radical Women pursued pleasure from sexual relations but also became self-aware through their body. Both men who treated women as objects of sexual amusement and women who thought of men as means of living opened their eyes to the love of living things. Chracters who faced with death realized human dignity and encountered existence. Young women had to take the responsibility of unwanted pregnancy and delivery but became self-aware while they overcame the corruption of the postwar society. Both intellectuals` anguish that they fought in the unjustifiable war and the physiology and the sexual desire of radical women became a part of which dominated the writer`s works. In Korean postwar society, changes in the view of intellectuals seems to be influenced by foreign(Italian or French) existentialism or neorealism movies.
6,400
초록보기
This paper focus the representation of `mother-child family` appeared South Korea`s movies and novels in the 2000s, and analyze (mother or daughter) women`s identity formation process in that families` crisis situations. Mother-child family refer a family constructed mother and child without father. And focusing the representation of `mother-child family` is to criticize the patriarchal family power and its contradictory `normality` internalized the korean family discourse of the 2000s, finds the repressive power of the absence father and `family unity and solidarity between mother and child` into movies and novels in the multicultural environment of the late industrial era, are looking for how each pattern would show up with any meaningful in dealing with a perspective of comparative literary. I deal with the movie like , , , and the novel like Ramaste, Candle Flower as the object of study.

"선녀결연 설화"의 유형과 전승 양상 -중(中),한(韓) <견우와 직녀>와 <나무꾼과 선녀>를 중심으로

조산산 ( Shan Shan Zhao )
한국비교문학회|비교문학  51권 0호, 2010 pp. 91-118 ( 총 28 pages)
6,800
초록보기
Both in Korea and China, there is a custom of July 7 in the lunar calendar, or Qixi, and its fairy-tale that has been passed on orally. Through the world, there are "Swan-maiden Tales"-type-stories; The Angel(Young goddess) and the woodcutter tale represents that of Korea, and there are many types of tales in China. Such being the case, in this paper it goes by the name of "The Angel and the woodcutter tale." In China, there are two types of tales relating "July 7 in the lunar calendar", and one of them is similar to the tale of "Gyonu and Jingnyo." The love story between the two who are destined to meet each year on the 7th of the 7th lunar month"(The Double-Seventh Day). The story is, however, about to vanish. Another type of is the tale is "Niu Lang (Cowherd) and a fairy from heaven Zhi Nu (Weaver Maid)" which is a combination of the two stories of "Gyonu and Jingnyo" and that of "The Angel and the woodcutter." On the contrary, in Korea, the upper-mentioned two fairy-tales exist separately respectively, the two stories of "Gyonu and Jingnyo" and that of "The Angel and the woodcutter." That is, there is no type of the combination of the two stories. In China, there are three-type-of tale, namely, "Gyonu and Jingnyo" and that of "The Angel and the woodcutter, and its combination form as well. The combination is said to have been the universal stories of "The Four Legendary Tales." The tales of every three types is the one motivated by the twinning of the man and young goddess. This paper is to explore the characteristic of the transmission of the tales by comparing the transmitting procedures of the tales of Korea and China respectively. In so doing, the paper is to exploit the inevitability suggesting that the tale of "Niu Lang and Zhi Nu" has been developped into universal stories in China.

희곡 『여우사냥』의 뮤지컬 대본 『명성황후』로의 전환과 스토리텔링의 변화

한명희 ( Han Myeong Hee )
한국비교문학회|비교문학  51권 0호, 2010 pp. 119-143 ( 총 25 pages)
6,500
초록보기
This thesis shows which changes occurred in a storytelling after a drama script of Fox Hunting changed into a musical of The last empress Myungsung. In case of performance contents, a script only is not a subject of a storytelling. Non-verbal elements such as costume, space, properties, etc…… play a big part in a storytelling. However, I analyzed around a script in this thesis. The most spectacular change in the course of converting from Fox Hunting into The last empress Myungsung is that the story line was simplified. Especially, the contents on a fellow student which is a main one of Fox Hunting Part 1 does not appear in The last empress Myungsung. The last empress Myungsung prepares splashy spectacles such as scenes of court wedding and passage of the military service examination, etc…… instead of a fellow student. In addition, The last empress Myungsung reinforces popular elements which is possible with highlighting melodramatic elements through Hong Gyehoon`s feeling towards Minbi. Arousing a sentiment of tears with witnessing the death of Minbi after appearing a brilliant crown prince instead of a weak one acts as an element which makes a musical into a conventional one. Even Fox Hunting is a nationalistic, however, The last empress Myungsung yields a concern aggravating anti-Japan emotion exceeding a nationalist. This is a result of excluding of General Dai`s role who saw the entire picture on murder of Minbi with an objective situation.

근대적 자유개념과 악의 착종 -루터와 요한 슈피스를 중심으로

김임구 ( Ihm Ku Kim )
한국비교문학회|비교문학  51권 0호, 2010 pp. 148-189 ( 총 42 pages)
11,700
초록보기
Dass die Freiheit stets eine Option fur das Bose in sich enthalt, ist eine Einsicht, die in der Neuzeit gerne vergessen und verdrangt wird. Es hat auch nicht an Versuchen gefehlt, das Moment des Bosen als Motor der Entwicklung umzudeuten, wie es etwa Kant beispielhaft in seinem geschichtsphilosophischen Essay "Mutmaßlicher Anfang der Menschheitsgeschichte" von 1786 getan hat. In seine Fußstapfen sind nicht wenige Dichter, Philosophen und auch Theologen getreten. Die gegenwartige Lage der Welt lasst jedoch keine Verdrangung einer bosen Realitat mehr zu; das krisenhaft Faktische verschafft sich machtig Geltung. Die vorliegende Arbeit versucht nachzuweisen, dass sich in der Urkunde der neuzeitlichen Freiheitsbegrundung selbst, also in Luthers Kampfschrift "Von der Freiheit eines Christenmenschen" von 1520 etwas Diabolisches eingenistet hat. Die beruhmte erste These, wonach ein Christenmensch ein freier Herr uber alle Dinge (omnium dominus) und niemand untertan sei, beruht auf Luthers fatalem Missverstandnis der als Beleg zitierten neutestamentlichen Aussage des Apostel Paulus. Der einem jedem individuellen Christen zuerkannte Titel "omnium dominus" kommt fraglos einer Hybris gleich - im Aufsatz wird ausfuhrlich dargelegt, warum dies so ist. Luthers Denkfehler kommt nicht von ungefahr, sondern ist viel eher Ausdruck seiner gewandelten epochalen Weltsicht, die nachtraglich mit biblischen Zitaten zurechtgelegtund gerechtfertigt wird. Die spiegelbildliche zweite These: "Ein Christenmensch ist ein dienstbarer Knecht aller Dinge und jedermann untertan", die das Unbandige der ersten These in die Schranken weisen soll, entfaltet keine ausreichende Wirkung, weil beide Thesen nicht dialektisch vermittelt werden, sondern in einer strikten Bi-Polaritat verharren. Luthers Versuch einer Vermittlung durch die Einfuhrung der Instanz der `Liebe` basiert wiederum auf einem logischen Fehlschluss und verdeckt den Riss beider nur noch notdurftig. Daher ist es konsequent, dass aus Luthers System eine ethisch-moralische Praxis keineswegs zwingend hervorgeht. Eher war in der Rezeptionsgeschichte der lutherischen Freiheitsthese das Gegenteil der Fall, wie es sich vor allem wahrend des Bauernaufstands zeigt. Johann Spies erweist sich als demselben lutherischen Widerspruch unterworfen, insofern als sein Volksbuch entgegen seinen intentional ernsthaft gemeinten Warnungen mit seiner Faust-Figur nur noch die sundhafte Phantasie des Lesers befriedigt; am Ende gewinnt man den Eindruck, dass die frommen Spruche vielmehr zur Erhohung der Reize, die aus den faustischen Tendenzen hervorgehen, beigetragen haben und beitragen. Von daher kann bei Spies` Volksbuch letztlich von einer religiosen Warnschrift keine Rede sein, sondern es bildet in seiner Ambivalenz voll und ganz die ambivalente Tendenz der Neuzeit ab. Die Verschwisterung der Freiheit mit dem Bosen fuhrt in letzter Konsequenz dazu, dass fast alle Errungenschaften der Neuzeit, angefangen von den Menschenrechten uber die Toleranz bis zur Gewissens- und Meinungsfreiheit in unserer Zeit einer grundlegenden Revision und Erganzung bedurfen; der Grund dafur liegt in der sich selbst absolut setzenden Freiheit, die sich vollig von der Wahrheit gelost hat. Wo kann man, nachdem nun erwiesen ist, dass der Reformator selbst ein Initiator der Dialektik der Moderne war, ein Sinnreservoir finden, das diese Dialektik uberwindet? Dies ist eine Aufgabe, der wir uns gegenwartig zu stellen haben. Im Artikel pladiere ich dafur, nach dem verborgenen Schatz in einer tieferen Schicht der Tradition zu suchen, der mit dem festen Fuß auf der nicht relativierbaren Wahrheit steht. Denn die Wahrheit allein wird uns frei machen.
5,800
초록보기
Modiano and Auster show our world as it is, "chaos and non-solution". This study has attempted to read each of Rue des boutiques obscures and City of Glass not only in thematic relationship to each other but also in terms of the codes: city, language, identity. Modino`s works invoke the complexity of the articulation between present and past, and the consideration that city is not an accessory but a central factor in the way individuals find their lost memory. "I", emblematic narrator of Rue de boutiques obscures knows that History (the Occupation, Holocaust) continues to influence him to the point of obscuring the present. Modiano`s novel can be seen as postmodern fables, stories that spring from our common heritage and tell us truths about the past that enable us to move forward into the future. Auster`s City of Glass offers an exemplary space for questioning and reflection: relationship between language and identity. Quinn, central questor is involved in a Stillman`s case, whose aim is to find the non-alien tongue, the first language of Adam. He now wanders through the city, trying to find the right names for all the broken things he finds there and thus making whole again the fragmented Tower of Babel of the late-twentieth-century cosmos. Modiano and Auster show us the impossibility of reconstructing the lost World. Their fail detective seems to say, "Il me semble que je serais toujours bien la ou je ne suis pas - Baudelaire".

이상과 솔 벨로우 비교 연구 -「날개」와 『허공에 매달린 사나이』를 중심으로

변문균 ( Mun Gyun Byeon )
한국비교문학회|비교문학  51권 0호, 2010 pp. 205-227 ( 총 23 pages)
6,300
초록보기
In my view, there is no comparative studies of Lee Sang, a Korean novelist and Saul Bellow, an American novelist in Korea. That`s because it`s not easy to find something in common between two writers. Lee Sang was born in 1910 and Saul Bellow was born in 1915. They lived their own lives and they didn`t know each other. But my special interest is Saul Bellow and Lee Sang has many common characteristics. The aim of this paper is to provide an overview of the same characteristics between Lee Sang and Saul Bellow. In exploring the question of same characters, this paper limited to consideration of "Nalgae" and Dangling Man. Lee Sang bears a curious likeness to Saul Bellow. Bellow and Lee Sang are externally and internally analogous to each other. Their similarities are divided into biological similarities and the similarities in plot. In biological aspect, they altogether lived very hard times in early lives and were financially embarrassed afterwards. They both were influenced by Fyodor M. Dostoevsky. It was the one main cause of their similarities. Their marriage lives were not happy and they had no good relationship with their wives. This was the result of the fact that they grew up without `desirable father image.` In Dangling Man and "Nalgae", these stories are told by the first person narrator `Joseph` and `Na(=I).` There are no specific plots or accidents in these two stories. The main characters are doing nothing and just killing times. They couldn`t put away their childish acts like playing with matches and shoe polishing. Joseph and Na cannot make any change in their lives. These facts are the result of their isolation from the family and society. They both have identity problems, too. Joseph was a Canadian who wants to join the American Army. Lee Sang was a Korean who lived under the Japanese imperialism. They both are intellectuals and very speculative persons. They all suffer from environments. They also are men of no abilities in the matter of money. Above all their endings are very similar. The main characters admit their own lots and satisfied with their present situations.

토니 모리슨의 『빌러비드』: 영화와 소설 비교

신진범 ( Jin Beom Synn )
한국비교문학회|비교문학  51권 0호, 2010 pp. 229-246 ( 총 18 pages)
5,800
초록보기
Toni Morrison`s Beloved was made into a film in 1999 by director Jonathan Demme. Oprah Winfrey, who acted as Sethe, made a great contribution to this film as both a producer and an actress. The film Beloved was mainly criticized for its main actress Thandie Newton who acted as Beloved. Demme made Beloved into a grotesque character similar to wild animals, who, unlike Morrison`s novel, behaved strangely and couldn`t represent Beloved`s multiple identities. As for the rest of the characters, Winfrey, Kimberly Elise who acted as Denver, Beah Richards who acted as Baby Suggs, and Danny Glover who acted as Paul D. were cheered by the audience and movie reviewers. Especially Richards gave a magical performance in the "Clearing" where she led a ceremony that was full of crying, weeping, shouting, laughing, and dancing. Her sermon and religious ritual are regarded as one of the best scenes of this film. In spite of unfriendly criticisms related to length, character, Hollywoodian techniques and CGI, this film played a major role in developing African American films in that through this film Demme showed the slavery system`s atrocity and its trauma without exaggeration which were too terrible to represent or relate on the screen. The film Beloved faithfully reproduced Cincinnati in the 1800s, the Underground Railroad, the plantation life style, hog raising, circus, and factories.

『댈러웨이 부인』에 나타난 지속과 존재의 순간

염경순 ( Kyong Soon Yom )
한국비교문학회|비교문학  51권 0호, 2010 pp. 247-269 ( 총 23 pages)
6,300
초록보기
This paper explores how Henri Bergson`s idea of duration can give some hope for the self, for the internal consciousness to live through beyond the chaos and social oppression. The identity-focused philosophy had been the dominant stream of the western traditional philosophy since Plato. But the identity-focused philosophy has been severely found fault with since the beginning of the 20th century. Henri Bergson, twentieth century philosopher, changed the way the world understands time. In his philosophy, Bergson insists that time works as one simultaneous concept rather than working as a linear time (the past, the present, and the future). The past has an influence on the present, and the present functions with the future in mind. Bergson introduces the notion of `duration` as the time of inner experience, the time of past, present and future. Pure duration is the form which the succession of our conscious states assumes when our ego lets itself live, when it refrains from separating its present state from its former states. That is, real duration is the dynamic temporality of one`s psychic experience that exists within the self in relation and in response to temporality in general. Virginia Woolf looked for a new form which could overthrow the technique of conventional fiction. Woolf attempted to describe something existing beyond everyday consciousness, the idea of which is connected with Bergsonian `duration`. The moment of being Clarissa encounters becomes the most significant durational moment for her while Clarissa is alone at the end of the party. This epiphanic moment of duration at the end of the novel animates a optimistic reading. Clarissa survives her day. She does not abandon her inner self, nor does she abandon her social self. Bergson absolutely had a great effect on modernist thought, particularly in the area of time. Bergson`s theories of time, duration, the self function well with Woolf`s work. He aids us to understand the conflict of the internal and assure Woolf`s belief that the internal must endure within the external world.
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