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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 : 56권 0호 (2012)
5,200
키워드보기
초록보기

이태준과 김용준에 나타난 문학과 회화의 상호작용

박성창 ( Sung Chang Park )
한국비교문학회|비교문학  56권 0호, 2012 pp. 17-49 ( 총 33 pages)
7,300
초록보기
The purpose of this study is to reveal the interactive relationship between literature and art during 1930`s, especially focusing on the relation between two important artists of 1930`s, Lee Tae-jun(李泰俊) and Kim Yong-jun(金瑢俊). In order to analyse the novels of Lee Tae-jun, his view of paintings and theory of literature, this study proposes to establish the comparison between Lee Tae-jun and Kim Yong-jun. Best friend and artistic partner, they shared artistic belief that the main factor of art is how to express the writer`s emotions or subjective feelings. They made one team, Moon Jang Pa(文章派), in 1939. After that, they had pursued modernism and traditional values. Lee Tae-jun made an important role as critic of art as well as novelists. He tried to enter into a new relationship between literature and art theory. On the other hand, Kim Yong-jun, who played a crucial role in the emergence of Orientalist art, changed direction in the late 1930`s to ink painting via orientalized oil painting. He recieved the oriental painting tradition by bringing "literary" back to "painting", reversing the existing trend of separating "literary" from "painting", and thus sought to achieve modern succession of literary painting by restoring the unification of poetry, calligraphy and painting. In order to reveal the relationship between literature and art during 1930`s, this study propose to examine three things: activities of Kim Yonh-jun as book cover designer, intertextual relation between the famous essay of Lee Tae-jun, Museorok (無序錄) and the essay of Kim Yong-jun, Essay of Keun Won (近園隨筆). Finally this study examines how the short stories of Lee Tae-jun show specific characters of painting. His short novels are influenced by his theory of paintings and literature, He give a specific meaning to the "description" in the short novels like Dal Bam.
6,700
초록보기
Bruno Bettelheim says that "there is much of the cultural heritage in Old Fairy Tales which can be transmitted to children through books. And it is meaningful to observe the specific contributions of the Old Fairy Tales which might influence on the moral education of the children". This comment might be based on the multiple meaning of the Old Fairy Tales, and also is the background of this paper. The purpose of this paper is to compare the characteristics of the ideology which the Collection of Fairy Tales of Chosun and Korean Old Fairy Tales reproduce and in doing this, to find the mediating factors in them and finally to clarify the meaning of them. Thus, this paper deals with the 4 fairy tales("A Glass Beads in Water", "A Lump Welsh, A Lump Receipt", "The Three Glass Bead", "A Magpie which requited Favor") which are commonly included in the Collection of Fairy Tales of Chosun and Korean Old Fairy Tales. This paper deals with the following 4 issues. Firstly, "The Statue of Education of the Japanese Invasion" are compared with "The Statue of Education and `The Policy of Literature of the North Korea". Secondary, the author analyzed the background of the publication of the Collection of Fairy Tales of Chosun and Korean Old Fairy Tales. Thirdly, the main themes of the 4 Fairy Tales are analyzed, and the reproduced characteristics of the ideology through the main themes are compared each other. Conclusively, although North Korea started with anti-feudalism and anti-imperialism, soon it established "Revolutionary Chieftainship" based on "Juche Idea". This idea seems to be quite similar to the policy of the recreating the imperial subject which aimed to make the people loyal to Japanese Empire. This result might come from the "innate variability" of the Old Fairy Tales which is shared both in Japanese Empire which tried to control the people under paternal authority based on the Confucianism and the Regime of North Korea. In this sense, this might be the first research paper which clarified the relationship between the "innate variability" and regime in Collection of Fairy Tales of Chosun and Korean Old Fairy Tales.
7,100
초록보기
The aim of this paper is to examine the negotiation and reconstruction of modern Korean texts focused on the Yun, Tchi Ho (1865~1945)`s journal during the time of enlightenment of Korea. Yoon, Tchi Ho was one of the first modern intellectuals who studied abroad (Japan, China, and United States) in modern Korea(the late period of Chosun Dynasty), and he was also modern Korean reformer. He left his intellectual and emotional traces in his sixty-year journals. The analysis of his journal would show transculturation which is constituted by deculturation and neoculturation: three strata of analysis -language, genre, and subjectivity -would prove the mutation of the paradigm of Chosun Dynasty to Republic of Korea. First of all, he wrote his journal in three languages -old Chinese (1883~1887), Korean (1887~1889), and English (1889~1943). These alterations of languages of the journal deals with the formation of his world view which was expanded by his foreign experiences. The English language, the ultimate language he chose, exhibits the desire of Yun, Tchi Ho who endeavored to be affiliated with Western civilization. I also found the alteration of genre in his journal; this alteration proves the process of transculturation of his thoughts. At the beginning, he wrote his journal in the manner of traditional Korean writing such as the ancient style of authentic record(實錄) and of presenting proposal to the king(上疏文), With the accept of the Western modernity, his journal was also influenced by modernistic style: after he achieved the modern space-time perspectives, his journals turned to be the form of editorial(論說) of journalism. These changes of genre in his journal exhibit the decultration and neoculturation. Finally, the alteration of language and genre are in connection to the subjectivity; western modernity brought about the negotiation and reconstruction of subjectivity of eastern intellectual. Yun`s theoretical Confucian subjectivity of Chosun Dynasty was altered to the practical Christian subjectivity of Republic of Korea.
6,600
초록보기
The purpose of this study is to find out the charateristics of religiousness and epic technique in the vietnamese Wanseo`s Jeangimanlok(傳奇漫錄). Romance makes use of the epic which extends its context to “after death”, The wideness of the epic context tells Romance was written on the basis of religion. To deliver the author`s messages, the Romance deals with the weirdness and surprises, which religious characteristics give, So the Romance deals with not only the stories of usual lives but that of ghosts, life and death, and the other world, which are all connected with religion. Wanseo used the religious characteristics in his Jeangimanlok. He was used to the technique of Romance, was dipped in the religion in the religious circumstances at that time. I analyzed the religious features and the epic technique of Jeangimanlok in two ways. One is the context of the epic genre and the other is epic devices. The context of the epic is widely presented, which tells Wanseo wrote Jeangimanlok on the basis of religious thinking. The weird surroundings is based Jeangimanlok, and the epic context extends to the other world after death. The epic devices are according to the religiousness. There should be something to commute the other world. Just like the religion, Romance was written based on the dualism of this and that world or the-real-world and the-world-to-be. And using devices such as sleeping, dream, and death secures the reasonable. There were religious features in the epical context and devices of Jeangimanlok. The religious features are closely related with the characteristics of the Romance. That means the religiousness became the genre custom of Romance.

식민지 시기의 일본 탐정소설의 한국어 번역 연구 -방정환, 최병화, 최유범을 중심으로

조재룡 ( Jae Ryong Cho ) , 박광규 ( Kwang Kyu Park )
한국비교문학회|비교문학  56권 0호, 2012 pp. 137-162 ( 총 26 pages)
6,600
초록보기
With the works by “Lee haejo” in 1908, detective fictions started to settle down in the Choson dynasty. After that, until the Independence of Korea in 1945, detective fictions had been continuously released and became an important aspect in Korean modern literature, and finally one of the cultural phenomena. However, the number of the creation of detective fictions was insignificant and that of translation had been merely 100 pieces including both short and long ones before the Independence. Even in translation works in the Colonial period, Japanese detective fictions were hardly found in the Choson dynasty. It is not natural when considering the fact that detective fictions were popularized enough to release a magazine dealing with detective fictions in Japan during that period. The various magazines created in Japan were means for detective fiction writers to make their debut and among them were Edogawa Rampo, the father of Japanese detective fictions and Korean writer, Kim Naesung who had studied in Japan at that time. Considering Japanese youth liked to read detective fictions and the number of works was considerable, it is not reasonable that translated Japanese detective fictions, which were well worth reading for the public, were not found in the Choson dynasty. Under this assumption, as a result of reviewing detective fictions during the Colonial period, there are two translated works from Japanese detective fictions and one work that has high possibility to be translated form a Japanese detective fiction. Focusing on influential writers and translators who played important roles in Korean detective literature where creation and translation of detective fictions were mixed together, the Korean-translated works of Japanese detective fictions and the impact will be dealt with in this thesis. The resources on creation and translation of detective fictions were mostly lost because of the cultural climate where detective fictions were not recognized as one form of literature at that time and the fact that two writers were children literature writers among the Korean writers who translated from Japanese detective fictions was very suggestive. The confirmation of original works is the key in detective works of the Colonial period but that is difficult. It would be easily confirmed that original works are foreign, when the names of authors were shown or the works showed they were translated but that is not the case. It is much needed to study and analyze Korean-translated detective fictionsclosely to establish proper translation works in Korea.

김춘수 무의미시 연구 -“서술할 수 없는 것the unnarratable”을 중심으로

최라영 ( Ra Young Choi )
한국비교문학회|비교문학  56권 0호, 2012 pp. 163-190 ( 총 28 pages)
6,800
초록보기
This study examines Kim Chun-su`s nonsense poetry focused on the concept and types of “the unnarratable”. Also, based on the essence of “the unnarratable” and by examining existing theoretical studies, this study categorizes it into four types-social taboo, individual trauma, literary convention, and linguistic limits, And Being based on these categories, the examples of “the unnarratable” shown in his poetry were examined. The “linguistic limits” type of “the unnarratable” appears extensively in Kim Chun-su`s early works. Also, the theme of “the unnarratable” in his 「CheoYong -DanJang」, a reflection of his pursuit to nonsense poetry, is related to the “nonsense phrases”. Bearing in mind the “nonsense phrases” that appear repetitively in 「CheoYong-DanJang」, an examination of the origin of “the unnarratable” reveals that it is a combination of the physical and emotional scars as a result of his personal experience as a prisoner during Japanese colonial period. Here, “the unnarratable” take forms through the “consciousness of parenthesis”, He used many parentheses as a word and a mark itself in 「CheoYong-DanJang」. By examining the predicates that create nonsense phrases, we can read his awful nihilism, mentality of “the unnarratable”, which affects him every writing moment.
6,000
초록보기
Pakwha Yang Keon Sik(1889-1944), who lived in modern Korea was a novelist, a Buddhist, a critic, and also a scholar and translator of Chinese literature at the same time. He was the only one who persisted in translating and introducing the literature and culture of modern China to Korea during that time and he dedicated his life to this work even if he failed being famous by doing it. In spite of his important and valuable achievements, the researches about him and his works are very insufficient and fragmentary. Most researches till now still stayed on the precedence stage which focused their attention on the investigation of Yang`s works, and have not achieved substantial or concrete development. Especially the concrete and deep analysis of Yang`s translation texts, which is the most important process in the research about him, has not been practiced yet. So in this essay, I focused on Yang Keon Sik`s two translation texts named Zhuo Wenjun and Pan Jinlian, which were popular dramas in modern China, trying to explain Yang`s intention and purpose in his choice of deciding to translate these dramas. By this way I think we could find a possibility of understanding his view of literature and art.

진 투머의 「핏빛 불타는 달」(Blood-Burning Moon)에 나타난 달의 리듬감과 원형적 시간

오은엽 ( Eun Yeop Oh )
한국비교문학회|비교문학  56권 0호, 2012 pp. 211-235 ( 총 25 pages)
6,500
초록보기
Jean Toomer`s Blood-Burning Moon contains abundant prototypical symbols, a circular structure, and a unique poetic style, which altogether describe the characters` internal states in a lyrical and exquisite way. The various images, symbolic aspects of metastasis, and the circular structure are connected with the identity of the writer as a mulato, as well as the topic of racial discrimination. In Chapter 1, the phases of the moon which has ambivalence shows an iterative circularity, and also implies the fate of blacks who experience death in the life of slaves and again aspire to life in death. The symbolic code of a full moon has varied from the diffusion of light and the olfactory image of boiling sugar cane to the auditory image of a Black spiritual, which serves as what Roland Barthes called a hermeneutic code. In Chapter 2, the symbolic code of twilight has also been transmitted to the characteristics of moonlight and the smell of sugar cane, which acts as a proairetic code that brings about conflict among the characters. At the same time, the light of dusk helps to feel diverse senses of rhythm, changing from vision to smell, and further to hearing. In Chapter 3, the image of an immobile stone, in contrast to the mobile moonlight and the flow of a song, accentuates the scapegoat being burnt at the stake and the assailant`s violence. Besides, the demonical images scattered throughout the novel correspond to the system of prototypical images that Northrop Frye analyzed. This symbolic contrast contributes to thematizing humans` malicious acts and destruction of humanity which are ascribed to racial discrimination. The song that is repeated even three times reflects black people`s wish and perpetual Zeitlichkeit. It means enduring the reality and delivering wisdom to the future, depending on the Ewige Wieder-Kunft of the moon. The elements in the sense of rhythm that are related to the moon`s duplicity play a role in binding or differentiating the three, Tom Burwell, Bob Stone, and Louisa, thereby helping to form the twofold identity of each character. In particular, in the inner world of Bob Stone onto whom Toomer`s voice has been projected the most is there a mixture of the past-oriented whites` arrogance and identity-lacking blacks. The extreme expression of whites` anxiety and segregative attitude due to the shaking economic base turns into severe lynching of Tom. However, the twilight and moonlight function as a source that casts an auditory-malerisch image, as well as a symbolic element that arouses Bob`s conscience, whereupon they derive aesthetic fulfillment.

문학의 위기에 관한 담론 -프랑스와 한국의 경우

김명숙 ( Myoung Sook Kim )
한국비교문학회|비교문학  56권 0호, 2012 pp. 237-255 ( 총 19 pages)
5,900
초록보기
Literature crisis is not limited to one nation but a worldwide phenomenon. This article analyzes french discourses and korean`s focusing on actual literary situation. French critics owe current problem to education reform and decline of “sacred monsters, monstres sacres”. From 1980`s, systematic standardization by french government in higher education institution has caused level downward of nation. Moreover, great artists who sacrifice their lives to art, so-called “sacred monsters” in 19, 20th century has disappeared. Besides, few big publishers which monopolize literary market compete into publishing best sellers which wouldn`t be so often great pieces. In Korea, first of all, literary situation is aggravating mostly because of digital culture which prevails in every domain. People are addicted easily to digital appendice rather than to books representing analogue culture. Under the circumstances, it is not strange that readers like to read “easy” books instead of difficult ones which are needed to think and reflect. Thinking and criticizing culture is replaced by “fast” culture, in other words, digital and “click” one. Secondly, it is gone that letters have power by themselves, Literary works are not any more created exclusively by few number of authors but by anybody, It makes inevitably hard in distinction between great works and disqualifying books, this article propose three directions in order to restore the power of literature. At first, publishers have to make an effort to give chances to different and unique voices which are independent to public taste. Secondly, critics must give right guidelines to readers. They must not be satisfied to actual abundant books but show their decisive choice by throwing away trash. Finally, readers have to stand by good authors even if their works are not attractive. These efforts could make potential sacred monsters great authors and give a hope to today`s literary situation.
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