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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 : 53권 0호 (2011)

메이지 초기 기독교신문에 나타난 문체와 계몽 -『칠일잡보』를 중심으로

김성은
한국비교문학회|비교문학  53권 0호, 2011 pp. 5-24 ( 총 20 pages)
6,000
초록보기
「七一雜報」の編集部は庶民に文明開化を呼びかけるために文體を工夫した.當時小新聞の俗談平話的文體の影響を受け, 總振り反名及び口語體を試みた.こうした編集部の意道は初期「七一雜報」の論說欄で明らかにされており,讀者も文體の分かりやすさを目指す編集方針に贊成していることが分かる. しかし,1877年9月に論說欄の復活をきっかけに論說欄や投書欄に日本の知識人の投稿が多くなった.彼らは漢字片反名交じり文で知的議論を行い,紙面の文體に變化をもたらした.すなわち,キリスト敎とは何か,なぜ今日本にキリスト敎が必要なのかなど,日本の中でキリスト敎の敎理を檢證しようとした.なぜならば,キリスト敎を日本人に電えるためにはただ分かりやすい文體で外國の出來事を知らせるだけでは十分ではなかったからである. その後,論說欄は漢字平反名交じり文で庶民の啓蒙を目指した創刊號の編集方針から離れ,漢字片反名交じり文が紙面を占めていく.これは「七一雜報」が庶民の讀者層から遠ざかれ,漢文素養の知識人の階層に親しまれた一つの要因になったと思われる.

구한말 서양인의 눈에 비친 조선인의 몸

김종갑 ( Jong Gab Kim )
한국비교문학회|비교문학  53권 0호, 2011 pp. 25-48 ( 총 24 pages)
6,400
초록보기
How does one experience the other in his or her first encounter with the other? What does happen especially when he or she encounters the other whose body radically differs from his or her own? Is it possible for the subject to see the other with innocent eyes not contaminated by racial and cultural ideologies? This paper is an attempt to answer such a question by analyzing travel writings on Korea by European travelers at the end of the 19th century. Among so such travelogues, Ernst Jakob Oppert`s A Forbidden Land and Henry Savage-Landor`s Corea or Cho-Sen: The Land of the Morning Calm will be discussed in detail, since the phenomenon of the encounter of the other is most predominantly foregrounded there. The author of this paper found that European travellers experienced Koreans indirectly, that is, through the mediation of racial and cultural schema. Racial schema enabled them to penetrate into the mystery of the Korean body, which would have remained indecipherable otherwise: Korean body should be described, characterized, and then categorized according to the then leading racial theory: theory produces the Korean body. For Oppert, Koreans are of two races, Mongolians and Caucasians with the latter of which he felt solidarity. Of course, such a notion of two races is produced by the racial schema which dichotomized the infinitely diverse Korean bodies, while ignoring bodily characteristics which do not confirm to the racial categories available. However, such a violent theoretical gaze at the Koreans happened to reveal the materiality of the Korean bodies invisible to the innocent eyes. The material condition of Korean nobility make them look like Caucasians whereas the Koreans laborers exposed to the harsh weather and the scorching and pitiless sun looked like black. Racial gaze inadvertently hit upon the fact that body is constituted according the class lines.

중국과 조선의 법률문화와 범죄소설의 계보학

박소현 ( So Hyeon Park )
한국비교문학회|비교문학  53권 0호, 2011 pp. 49-79 ( 총 31 pages)
7,100
초록보기
This paper explores a close link between law and literature in late imperial China and Choson Korea. Apart from the official legal code, a wide variety of legal literature ranging from case records to court case fiction were produced in late imperial China and Choson Korea. More surprisingly, even Chinese court case fiction called gong`an was read as a kind of legal literature providing with useful information on law and legal proceedings. A genre of legal literature produced in traditional society deserves our particular attention in examining the meaning of reading law as literature inthe context of Confucian legal culture. My focus in this paper is shifted from Chinese case literature and Ming court case fiction to the reception of Ming court case fiction in the context of Korean legal culture, in particular, to a case of Chong Yagyong(1762-1836)`s Humhum sinso (A new book on penal law). What Chong actually attempted for the accomplishment of Confucian humanitarianism in criminal justice in his book was not entirely juridical but more literary: it relied more heavily on a wide variety of literary and historical sources including Confucian classics, official historiography, case histories, biji writing, and vernacular fiction than on legal statutes themselves. Obviously, in selecting the cases, the truthfulness of a case was not considered by the author as the most significant element. Not unlike other Confucian scholars, he also showed much interest in the overall legal proceedings including preparing for legal documents and case reports.

해방기 세대론의 양의성과 청년상의 함의 -『1945년 8,15』, 『효풍』, 『해방』을 중심으로

박용재 ( Young Jae Park )
한국비교문학회|비교문학  53권 0호, 2011 pp. 81-108 ( 총 28 pages)
6,800
초록보기
This writing is on the meaning of youth, family and intellectual revealed in the novel during the era of independence. The discussion on the youth of that time can be summarized as the discussion on the generation. To ensure the legitimacy of race, they overcame the father`s generation and presented themselves as the subject of a new establishment of the country. In this context, family has a dualistic meaning. The history of the father`s generation of independence movement and Japanophilism was something captivating as well as dangerous. Accordingly, they developed their identity as they continued on the history of the father`s generation (「8.15, 1945」) or refused it (「haebang」). However, their discussion on the generation became impossible due to practical limitations after the establishment of government by South and North Korea. It was because the authority of the father`s generation became rather reinforced along with the ideological situation of South and North Korea. In the midst of this situation, the role of intellectual showed a different aspect from the situation immediately after the independence. In the early period of independence, the ideal image of intellectual was the discussion on advancement centering on acting power, practice and science, but the image of intellectual as its opposition is being presented in 「Hyopoong」. However, it can be seen also in this alternative intellectual that it was placed in a situation where it was difficult to be materialized in novel.

번역과 원본성의 창출: 롤랑부인 전기의 동아시아 수용 양상과 그 성격

손성준 ( Sung Jun Son )
한국비교문학회|비교문학  53권 0호, 2011 pp. 109-142 ( 총 34 pages)
7,400
초록보기
This study analyzes how the biography of Madame Roland, a lady from the period of French Revolution, was changed through the space of translation of Japan-China-Korea connection. Among the biographies of Madam Roland, The Queens of Society(1860), co-authored by Grace Wharton and Philip Wharton of England, shows clearly the translation route to East Asia. In The Queens of Society, she was described as a deficient person in religious and personality though she was a great woman. In Japanese edition, she was introduced as a model of modern woman without negative factor(The Model of Lady, The Queen of Relationship, by Tsubouchi Shoyo, 1887 and The Flower of French Revolution, by Tokutomi Roka, 1893). Whereas, this model woman was recreated as the origin of revolution by Liang Qichao(A Life of Madame Roland, The Bravest Modern Woman, 1902). His translation allowed the new image of Madame Roland to be introduced in Korea(A Life of Madame Roland, The Best Modern Heroine, 1907). Shoyo, Roka and Liang Qichao viewed the radicalism of French Revolution from a same standpoint, after Wharton defined that they had to take precautions against it by conservative ideas of revolution. Particularly, Liang Qichao described Madame Roland as a mother of revolution as well as a victim of revolution to show his double recognition of French Revolution. Whereas, in Korea, the conservative ideas of Liang Qichao was deleted(in the newspaper form) or the message of expectation for radical change of society was added(in the book from). To translate Western literatures into China was to receive authoritative information even though it was double translation. For this reason, a translation became the activity to create a new origin, not a relation of an origin and a copy. The texts of Whartons and Shoyo were an origin and a translation but they were not the same story. So were the biographies of Madame Roland by Liang Qichao and Korean translator. Texts of three East Asian countries functioned as independent text with originality in each place. The significance of study in translation of East Asia in modern transition is not to investigate whether it is literal or liberal translation or research into the level of influence, but to find how intervention of translator create a new originality in the extraordinary nature of the translating place.

2000년대 할리우드 영화에 나타난 북한 이미지의 특징 연구

안숭범 ( Soong Beum Ahn )
한국비교문학회|비교문학  53권 0호, 2011 pp. 143-166 ( 총 24 pages)
6,400
초록보기
Recently North Korea`s image is frequently used in Hollywood blockbuster movies. Considering Hollywood movies are cultural texts revealing conscious and unconscious ideology current in America, those movies could be passage to read North Korea distorted by America. So this study will analyze three of Hollywood movies in 2000s, reading off America imagined in recent Hollywood movies and examine North Korea`s image as the hostile other mobilized to reinforce ``Pax Americana``. Analysis showed , , has established themselves each as essential texts for interpreting America right after 9/11, closing period of Iraq War, and plateau of Iraq. North Korea`s image in movies was built differently following the periodical impact, butseen in a big frame it was being typed getting through constant distortion. Putting North Korea`s image appeared in these movies together it can be classified as follows. First, North Korea is direct and indirect background of worldwide terrorism and leading power. Second, North Korea is a subject to be always distrusted even threatens peace by illegal economic activities and weapon development while showing friendly steps. Third, North Korea is a subject has to be disintegrated through immediate military punishment than conversation. Fourth, even the war breaks out in the Korean Peninsula the America holds operational control and warfare leadership which is of necessity. Fifth, North Korea is a place institutionalized to poverty and experience of violence constant torture and abuse happens regardless of local or foreign nations. Sixth, North Koreans(soldiers) are passive and brutal about the ideology of themselves. In Hollywood movies, more sensitive reading can be needed in respect of dangerous prejudice operating in narration covered by fancy special effects and elaborate sets, celebrated or highly favorable actor, and rapidly progressing dramatical narration. It also spreads the need of alert in respect of circulating to worldwide consumers without repulsion. This study is limited to a preliminary research about analysis of Hollywood movies based on North Korea. Accumulation of succeeding discussion by way of this advancing to arrange practical alternative is expected further after.

릴케의 『두이노의 비가』와 한용운의 『님의 침묵』에 나타난 "사랑"의 의미 비교 연구

오주리 ( Ju Ri Oh )
한국비교문학회|비교문학  53권 0호, 2011 pp. 167-194 ( 총 28 pages)
6,800
초록보기
The purpose of this study is to compare Rilke`s 「Duineser Elegien」(1923) with Han`s 「Nim`s Silence」(1926) from the point of view of the meaning of love. Both poetical works have common characteristics. "Angel" in 「Duineser Elegien」is the symbol of Christianity. "Nim" in 「Nim`s Silence」is the symbol of Buddhism. Both "Angel" and "Nim" are not only an adorable lover but also a transcendental being. The love in Rilke`s「Duineser Elegien」is nonpossessive. Rilke`s love aims for the ``inner nature`` of being. Metamorphosis of being is an important meaning in Rilke`s poems. The poetic subject loves Dasein as a being towards death in his beautiful elegy. The love in Han`s「Nim`s Silence」is very commutative. Nim in Korean means an adorable lover having absolute power. Obedience is a very important virtue of lovers. "Free chastity" is a word of Han`s coinage. It`s paradoxical. Intersubjective love is the most distinct characteristics in 「Nim`s Silence」. Han`s love battles against death. Such love is a kind of eros as the drive to life in his beautiful love songs.

마르그리트 뒤라스와 박완서 작품 속에 나타난 유년의 정체성과 장소

이가야 ( Ka Ya Lee )
한국비교문학회|비교문학  53권 0호, 2011 pp. 195-222 ( 총 28 pages)
6,800
초록보기
L`evocation de l`enfance dans l`ecriture autobiographique de Marguerite Duras et de Pak Wanso revele l`oeuvre entiere, ou cette evocation ne cesse d`e`tre presente, a travers les transformations incessantes qu`elle subit a chaque nouveau texte: Un barrage contre le Pacifique, L`Amant de la Chine du Nord chez Marguerite Duras, et Le piquet de ma mere 1, Qui a mange tant de singa? chez Pak Wanso. L`enfance n`a en effet, naturellement, jamais cessed`e`tre represeentee dans l`univers romanesque de nos deux auteurs. Des figures enfantines se co`toient ou se croisent constamment dans l`evocation plus ou moins explicite du vecu de l`enfance, ici en Indochine, lad`abord dans une province proche - et pourtant cruellement devenue maintenant un lieu inaccessible-, puis a Seoul dans les annees quarante. Le traitement de cette enfance dans les oeuvres de Marguerite Duras et de Pak Wanso n`echappe pas toujours a une certaine seduction de la representation, a un certain sentimentalisme, ni a la reprise d`une imagerie assez romantique de l`enfance. Les deux auteurs me`lent leur imaginaire a leurs souvenirs dans la perspective analogue d`un bonheur enfantin devenu paradis perdu, d`ou elles ont ete chassees par la prise de conscience, a l`adolescence, de la misere familiale. Par ailleurs,nous trouvons comme une hierarchie entre les lieux mentionnes explicitement tout au long des recits que nous avons retenus, me`me si les noms geographiques changent au fur a mesure que l`enfant grandit: Kam-Pakchok sont decrits d`abord isolement en tant que pays natal; Ram-Cholen-Songdo le sont en tant que villes de taille moyenne, avant l`arrivee a la grande ville et par opposition au pays natal; Grande ville-Saigon-Seoul sont presentes comme la grande ville lumineuse. Le lieu, en tant que simple etape, n`est qu`une transition vers un ailleurs. Cette progression d`un lieu a un autre signale donc une evolution, evolution menant d`un espace ferme et petit a petit un espace plus ouvert, agrandi, comme un parcours de formation de leur identite: nos heroines s`avancent en un monde de plus en plus rationnalise et ordonne, meme si l`injustice et l`inegalite s`etalent sous leurs yeux.
6,800
초록보기
The purpose of this paper is to show that the symbol of the sympathizer in theYeom, Sangseop`s novel was affected by the art theory of romanticism which had been flowed in through Japan of the early modern literature. In other words, with explaining the context that major achievements of modern novels, which are represented by Yeom, Sangseop, could not but be related to the historical origin of the Korean modern literary history in any way, the paper aims to reveal the problems inherent in the modernity of the Korean literature. For this, focused on the Love and Crime and Samdae that are relatively characterized with the symbol of sympathizers, the trace of Taishow Life-ism in those novels was reconstructed. ``Life``was the primary keyword of the literary discourse supporting the harmoniously united self, the art, and the contemporary model. That Yeom, Sangseop translated this word into ``personality``, understood it on this ground, and uniquely stated the art theory was well presented in the Personality and Arts. His novels are regarded as masterpieces which criticized the family system violating the human personality and satirized the social system not allowing the free love as an expression of freedom. That is, in those days of the Yeom, Sangseop`s generation, ``love`` was institutionally contradictory to ``family`` which oppressed the personality, the individual`s inner life, and his early novels, What did you get?, and Love and Crime belong to the novels that made the issue of the free love and the family system respectively. Nonetheless, Yeom, Sangseop incessantly searched for the harmonious unity between ``the individual inner life`` and ``the national life``in his novels. His efforts for the unity, in the novel of Samdae, are embodied in the character, Jo, Deokgi who tried to settle the conflict that emerged at the level of the ideology, the desire, and the morality. And the symbols of the sympathizer and the centrist are the central human character in his novel from Mansejeon to Hyopoong.

안정효의 Silver Stallion에 나타나는 자가번역(self-translation) 가능성과 한계 연구

이형진 ( Hyung Jim Lee )
한국비교문학회|비교문학  53권 0호, 2011 pp. 251-285 ( 총 35 pages)
7,500
초록보기
This study aims to analyze the characteristics of Ahn Junghyo`s self-translation of his own novel, Silver Stallion, first published in Korean in 1990, and translated by the author himself and published by Soho Press in New York in 1990. Silver Stallion has been considered one of the most successful Korean novels ever translated into another language in book markets abroad. The commercial success of the novel in fact can substantiate and exemplify the successful translation of the work. However, a wide range of transformations and manipulations reflected in the translation of the novel not only problematizes but also attempts to subvert the traditional perspective of ``faithfulness`` in translation evaluation. Also these changes and transformations indicate the Ahn`s own intention to rewrite the novel for a new kind of readers of different language background. While the Korean text approaches the theme of the novel with the shared understanding of Korean cultural and historical backgrounds, the author-translator intentionally makes changes to the point of view of the novel in the English translation while making the author-translator`s own intention of disclosing the hidden but destructive aspects of the atrocities of the war more explicit and aggressive in the translation. This intention is clearly reflected in Ahn`s more negative, sometimes distorted descriptions of the roles of UN soldiers, claimed to be ``saviors`` in the translation with stronger anti-war and anti-US point of view. This manipulation demonstrates that the author-translator has intended to simplify and clarify his message in the translation which was much more indirectly insinuated in the Korean text, for a new kind of readers who might lack an accurate understanding of the historical and cultural circumstances regarding the Korean War which has been only known to many Western readers as the great sacrifice of Western troops saving helpless Korean people from the communist threat. In this sense, despite a significant level of transformations and manipulations in the translation, the traditional criteria of ``faithfulness`` can be no longer applied to this English translation because ``self-translation`` leaves no room for readers and critics to criticize any kind of change, deletion, and manipulation on the ground that the translator might have misunderstood or missed the author`s intention. This dilemma rather makes possible of a different perspective of ``faithfulness`` in translation, and demonstrates that ``self-translation`` can transcend the traditional dimension of translation of approaching the original meaning, and become a part of ``continuing writing process`` by the same author, potentially making the translation a more refined and better version of the original text.
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