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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 : 57권 0호 (2012)

1920년대 뉴욕의 재즈/문화 다시 읽기:『위대한 개츠비』와 『재즈』의 비교를 중심으로

추재욱 ( Jae Uk Choo ) , 최혜란 ( Hye Ran Choi )
한국비교문학회|비교문학  57권 0호, 2012 pp. 5-23 ( 총 19 pages)
5,900
초록보기
Fitzgerald`s Great Gatsby was published 67 years before Morrison`s publication of Jazz in 1992. A closer look into the latter will reveal that Morrison subtlely criticizes the former in which we can get to know more of New York culture in the 1920s. It is likely that Morrison searches from Jazz the role and function of Afro-Americans` jazz which are quite different from those of the music in The Great Gatsby. In other words, Fitzgerald and Morrison understand the jazz music in the very different ways. The ways that they understand the music are reflected in their novels. Morrison seems dissatisfied with Fitzgerald`s interpretation of the jazz music, and she insinuates in Jazz that the jazz has been being passed into Whites` in The Great Gatsby. Interestingly, many of the comparison points can be found between The Great Gatsby and Jazz, both of which deal with the same space of New York City, and with the same period of the 1920s. The features of the city in the period look apparent in the seemingly different two communities: Long Island where the rich reside and the Harlem where the poor blacks live. Although those who live in the two places seem to enjoy the New York culture together, the conflicts lie between the whites and the other whites, between the whites and the blacks, and between the other immigrants regardless of the ethnicity. Jazz was originally African Americans`, but the music has been appropriated by the whites and become a symbol of pleasure and corruption. In Jazz, however, it becomes certain that the role and function of jazz are much different from those in The Great Gatsby.
초록보기
本稿は日本の近代作家、谷崎潤一郞の『刺靑』と韓國の現代作家、ハンカンの『蒙古斑』の比較分析硏究を目論んでいる。約百年間という時代の隔たりにも關わらず、兩作品は、女性の體を主なモチ―フとしている事、男性芸術家の登場、女性の體を對象化している男性の目線、肌の上に再現している芸術の世界、芸術作品として再誕生している女性の體、芸術化された體の持ち主である女性の再覺醒など、その構造が酷似している。本稿では女性の體を通じて再現している芸術の世界に潛んでいる二つの特性、ジ─クムント·フロイトの理論、生への本能、エロスと死への本能、タナトスという槪念を借用して分析を試みしてみた。その結果、兩男性人物の成し遂げている芸術の過程はエロス的な本能によって支えられているのがわかった。特に、それぞれ「足」と「蒙古斑」で象徵されている欲望の媒介は同時に死への衝動にも作用し、絶大的な快樂の後にはタナトスの變奏が行われているのを明らかにした。
6,200
초록보기
本考以中國廣州地區的五羊仙故事爲中心,硏究了其傳播和文化意義。五羊仙故事的內容是五個神仙乘著五只羊降在廣州越秀山,傳給人民五穀。以後在《越井傳》接納其故事和有關崔위的故事。古代廣州地區不屬於漢族中原文化, 當時廣州地區南越國王趙타自稱皇帝,成立了固有的文化。後來越南繼承了其文化,因此在《越井傳》把五羊仙故事及南越國王趙타和崔위的故事結合起來。 雖然9世紀唐朝在廣州設立了安南都護部,但是廣州的文化仍然保持了南越國文化。其時代唐裴형搜集廣州一帶的五羊仙故事及南越國王趙타和崔위的故事,把타編爲《傳奇》中的《崔위》。本考論述了雖然《崔위》是中國的敍事,其內容上已被影響了南越國的文化和敍事。接著本考批評了最近中國主張現中國的領土的文化都是中國的文化。然後本考論及了韓國唐樂呈才《五羊仙》和廣州五羊仙故事的異同。在韓國高麗時代從宋朝傳來了唐樂呈才《五羊仙》以來,通過朝鮮到現在還在上演《五羊仙》。但韓國的《五羊仙》和南越國王趙타和崔위的故事毫無一致。韓國的《五羊仙》和西王母故事結合起來,贊揚了君王的盛德。

보들레르의 저녁의 생리학

김지현 ( Ji Hyun Kim )
한국비교문학회|비교문학  57권 0호, 2012 pp. 65-94 ( 총 30 pages)
7,000
초록보기
Bien qu`on tend souvent a confondre les nocturnes et les crepusculaires, le crepuscule chez Baudelaire nous semble meriter une etude tout seul, separement de la nuit. Parfois servi au poete d`un moment du depart de ses songes et ses reveries, a un autre fois intercale souvent dans la toile meme des reveries, le paysage particulier au soir semble un endroit des correspondances heureuses ou le temps reel n`existe plus, autant que le poete y oublie souvent sa miserable condition. Mais a cote de ces ≪poemes du soir≫ qui perdent sa temporalite, il est aussi d`autres poemes du soir qui se distinguent en leur intense sensibilite du temps : deux Crepuscule du soir(vers/prose), La Fin de la journee, et Recueillement. Le sens du soir dans ces poemes qui est en parallele avec la vie quotidienne du poete se trouve dans le fait qu`il est avant tout un certain point du jour qui est a la fois ≪la fin de la journee≫ et le commencement de la nuit. Alors en relevant cette particularite du theme du soir ou du crepuscule chez Baudelaire, nous avons traite d`abord dans cet etude les deux Crepuscule du soir. Les commentateurs et les critiques ont souvent dit que c`est plutot le soir de la ≪grande ville≫ qui constitue l`essentiel de la modernite de ces pieces, mais a cette epoque ou la ≪physiologie≫ de Paris etait en vogue, la description generale de la rue de la grande ville dans le temps du crepuscule n`est pas tout a fait nouveau ni particulier a Baudelaire. Selon nous, c`etait plutot la physiologie du ≪soir-temps≫ que Baudelaire introduisait dans la litterature de son temps. Dans ses critiques litteraires, Baudelaire avait souvent utilise l`image du couchet du soleil et de sa lumiere comme l`allegorie diagnostique de son temps, et voulait aussi le prendre pretexte de son originalite. A la fin, au dela un simple allegorie critique, le soir a devenu reellement un moment crucial de sa vie quotidienne, comme paru dans les poemes comme deux Crepuscule. La Baudelaire est un tres serieux psychologue sinon un psychiatre, par exemple, a l`egard de ses deux ≪amis≫ qui deviennent maniaque au temps crepusculaire. A nos yeux, l`essentiel de ces œuvres c`est les deux extremes sentiments contradictoires : d`un cote l`apaisement et la liberation, et d`un autre cote l`angoisse et l`hysterie. Et en envisageant ces symptomes, le poete porte dans ses poemes du soir un aspect moraliste severe. Nous pensons que l`analyse crepusculaire de Baudelaire obtient sa profondeur enfin par une dialogue intime avec soi, qui est exprimee le plus explicitement dans un poeme qui s`intitule Recueillement.

베트남전의 기억과 그 기억에의 저항: 바비 앤 메이슨의 『베트남에서(In Country)』 연구

박진임 ( Jin Im Park )
한국비교문학회|비교문학  57권 0호, 2012 pp. 95-130 ( 총 36 pages)
7,600
초록보기
This paper analyzes In Country by Bobbie Ann Mason in order to illuminate the complex relationships between gender and the Vietnam War, the generational conflicts between the Vietnam War generation and post-Vietnam War generation, and the changes in the perception and evaluation of the war. As Susan Jeffords argued in Remasculinization of America, gender played a pivotal role in the Vietnam War. According to Jeffords, the war was a reflection of the US foreign policies aimed to remasculinize the US and the war was operated in gendered terms. While the majority of the Vietnam War narratives were written, reviewed, and read by men, thereby generating "in-house discourse" as one critic puts it, In Country, among some novels on the Vietnam War by women writers, directly deals with the ways a female protagonist learns, un-learns and remembers the Vietnam War. In In Country, the protagonist is portrayed to be born during the Vietnam war and her father died in the war. At the coming of age, the protagonist Sam sets out on a trip to Washington D.C. to be at the war memorial as an attempt to understand her late father. Via diverse episodes remembered by Vietnam War veterans and the protagonist along with representations of popular culture genres such as pop-songs and television programs, a large portion of which are remains or re-makings of the products of 1960s and 70s, the protagonist endeavors to comprehend the Vietnam War in her own way. The way the protagonist understands the war often betrays, resists and contends much advertised and repeated public discourses of the war, which can be summarized as ``advocation of the freedom and democracy in South-East Asia.`` Marginal and minor voices of the socio-politically suppressed, including those of ``whining`` veterans and social outcasts, contribute to resisting the sanctioned public discourses the US government continued to reproduce. The protagonist realizes that the public dicourse tells her little about the reality of Vietnam such as people`s daily lives in Vietnam, the shape and color of its terrain, indigenous crops and birds in Vietnam. As much as the nature of the war she finds out contradicts the public discourses, the image of her late father she comes across becomes a sullied one. Contrary to the conventional image of a father, who often is the object of one`s respect, Sam`s father turns out to be an un-educated racist with little knowledge on the nature of the war. The protagonist represents the post Vietnam War generation, who attempts to properly remember the war, to overcome the wrongs of the past, and to envision a better future by learning lessons from the past.

시니피앙의 미래: 『구운몽』에 관한 정신분석학적 테제

정희중 ( Hee Joong )
한국비교문학회|비교문학  57권 0호, 2012 pp. 131-145 ( 총 15 pages)
5,500
초록보기
This paper attempts to analyze Guunmong through the lens of Lacanian psychoanalytic theory. Many critics have interpreted the novel through psychoanalytic theory, yet none of the studies have given particular attention to the function and logic of the Signifier. In this paper, I will examine the interplay between the subject and the Signifier, the motif which is manifest through the characterization of Sung-jin/Yang So-yu. In doing so, I will show how Sung-jin/Yang So-yu embody "the split subject" in the Lacanian sense throughout the narrative structure. In his dream, Sung-jin lives the life of Yang So-yu who ends up having an imaginary relationship with the object of fantasy. After waking up from his dream, Sung-jin reaches enlightenment and succeeds the position of authority in a temple. By challenging linear and dialectical readings of this narrative, I will propose an alternative interpretation of how Sung-jin traverses his fantasy and reaches the end of desire, which is represented as the process of achieving "enlightenment." For instance, Sung-jin`s encounter with eight fairies in reality is repeated as his relationship with eight wives in his dream, and later as the meeting with eight ascetics again. This repetition proves that Sung-jin, as the split subject, pursues his desire till the end without compromising it under the gaze of the Other. This uncompromising attitude of the subject opens up the path to the drive beyond fantasy and beyond the Law of desire at the end of the novel. In other words, through the repetition, Sung-jin experiences "the end of desire," the state where the symbolic fantasy disappears. I will conclude that the last repetition in Guunmong gestures towards the future of the Signifier in which the drive leads the subject to move beyond fantasy.

"암행어사" 박문수와 "청관(淸官)" 포공(包公)의 형상 비교

최향 ( Hyang Choi )
한국비교문학회|비교문학  57권 0호, 2012 pp. 147-179 ( 총 33 pages)
7,300
초록보기
This paper studied Korean ``secret inspector`` Park Mun Su(朴文秀), and Chinese ``upright management`` Baogong(包公) shape of the image. Park Mun Su and Baogong its shape and a similar spirit to the present life, and so exert a horizontal comparison of quantum and are incontrovertible. Thus, two Park Mun Su story contained in Hwang, GuYeon complete works that Korean- Chinese storyteller Hwang, GuYeon talked and Baogong story contained in Myung period gong`an xiaoshuo Baijia gong`an(百家公案) was selected as the research data. Specifically, "the wisdom of spying - the wisdom of reasoning", ``Define the expression-The realization of virtue``, ``three-dimensional character - flat characters`` Compare the items, such as comparing two items, rather than absolute figures indicate the main features of the. Park Mun Su and Baogong have all the wisdom of words and the agenda to mention the ability to solve. Just Baogong unlike the Park Mun Su as a natural conversation with the people, or eavesdropping on their conversation, the problem is not finding the middle, get yourself noticed directly. Thus, the process of solving the problem than the former spy in that case Favourite wisdom, the latter after receipt of the agenda it will exercise wisdom in the process of reasoning. Park Mun Su and Baogong Understand the people first, think of all the great management or office in terms of the nature of the phase difference seems emotional. ``a secret inspector`` deceiving the people close to the identity, while friendly attendants to be able to solve the problem we can feel. However Baogong hanging around with people solve their problems, but mostly the authorities received from the agenda and the sober judgment will appear in the image. Park Mun Su and Baogong exercise wisdom and emotional aspects as well as differences in the overall shape is compared. When looked at overall shape of Park Mun Su and Baogong`s dimensional planar geometry can be called. Park Mun Su`s three-dimensional shape is called a responsible and sweet and wise and mysterious instincts, but sometimes seen as a three-dimensional figures Rough man can be called. Variety of means. Baogong is responsible and ruthless, and with wisdom and divine at the same time as the executor of solemn virtue is penetrating.

야담잡지를 통한 역사소설가로서의 김동인 재조명: 일제강점기 단군 소설화 양상과 관련하여

이민희 ( Min Hee Lee )
한국비교문학회|비교문학  57권 0호, 2012 pp. 181-210 ( 총 30 pages)
7,000
초록보기
Until now Kim Dong In as the historical novelist has been estimated as the pro-Japanese oriented writer for the sake of full-length novel at that time`s newspapers. In considering the Dangun suppression level of the period of Japanese colonial rule, however, Kim Dong In`s whereabouts which were thoroughly seen through the journal of an unofficial historical story where the 「The Heritage of the Three States」, that is the precedent of Dangun, was publicly released and circulated present counter reasons that were not intended to be included into the colonial rule theory in itself. In comparison with the Choi Nam Sun calling Dangun`s attention at the domain of verse who entered the group ``The chosun history compilation committee`` which strongly angered Japan`s Dangun obliteration policy in 1928, after that, no more called Dangun`s attention, Kim Dong In although novelizing Dangun belately in 1930`s had been continued that works after the liberation of the Japanese colonial rule. But, the historical novel through an unofficial historical story including Kim Dong In`s relevant novels could not be found the consciousness to wipe out the opinion which had been taken advantage of the Japan-Chosun conformity theory in the period of Japanese colonial rule. That only in the level of emphazing the Chosun`s everlasting history through the Dangun and after liberating the Japanese colonial rule is showing the situation of presenting the image distinctly. Hereby the remainder of work is how to see the dangerousness which is intended to include the myth of Dangun into the history through the novel although 「The Heritage of the Three States」, that is the precedent of Dangun. This is obivous that the opinion is derivated from the precedent 「The Chronical Heritage of Japan」 on the opposite side of the Korean people`s Nationalism creation through the myth of Dangun. The interesting fact in connection with this content is that on the one hand, the Dangun, having been widespreadly considered as the heteronymous same phantom of the Susanou inside of the Japan-Chosun conformity theory, was located in the level of the translation release and just mention by the the journal of an unofficial historical story which were relevantly free from the Japanese censorship in the colonized Chosun, on the other hand, in the colonial Japan, the Susanou was all the more released by the newspaper as the image of doubting the Imperialism. This enables us to reconsider the myth, the history, and the function of literature in the theory of colonial rule pattern.

얼굴 없는 사내와 죽음의 극복

황현산
한국비교문학회|비교문학  57권 0호, 2012 pp. 211-228 ( 총 18 pages)
5,800
초록보기
Dans sa Chanson du mal-aime, Apollinaire affirme savoir "des chansons pour les sirenes". La question qui se pose alors est de savoir ce que signifie cette simple affirmation ; en effet, s`agit-il de chansons ayant pour sujet les sirenes, de chansons destinees a e`tre chantees par les sirenes ou encore de chansons pour rivaliser avec le chant des sirenes. La reponse a cette interrogation se trouve peut-e`tre dans un autre poeme d`Apollinaire, le de Saint dans lequel il evoque un "homme sans yeux ni nez ni oreille". Et tout comme les sirenes attirent par leur chant les hommes dans leurs bras mortels, cet homme sans visage attire les femmes en un lieu inconnu. Ces deux images qui se ressemblent et s`opposent nous parle de l`attitude d`Apollinaire devant l`acte poetique et le statut du poete. Une comparaison avec un poeme de Gautier nous apprend que ce theme des sirenes et de l`errance du poete a rapport avec la memoire et la mort. Si bien que dans un autre poeme dans lequel il evoque les sirenes, Lul de Phaltenin, Apollinaire s`adresse directement aux sirenes, disant qu`il est venu "rampe vers leurs grottes". Autrement dit, le poete choisit la mort, une mort qui etait "heureuse" chez Gautier puisqu`elle s`opposait a la vie impuissante, mais cette attirance vers la mort, chez Apollinaire, s`identifie a l`elan poetique, mais qui n`a rien d```heureux``.

Thoreau and Confucianism: Thoreau`s Identification with the Confucian Chun Tzu

( Eui Yeong Kim )
한국비교문학회|비교문학  57권 0호, 2012 pp. 229-259 ( 총 31 pages)
7,100
초록보기
This study attempts to elucidate the influence on Henry David Thoreau of the Orient, particularly Confucianism, which has not received a systemic, scholarly treatment so far. I believe that the mode of Thoreau`s philosophical life corresponds closely to that of the Chun Tzu, advocated by the Confucian in the Four Books. However, in the tradition of Thoreauvian scholarship, most scholars have long oversimplified or slighted the importance of the Confucian influence on Thoreau. Of the scholars who interpret Thoreau`s orientalism as a series of exegeses, few attempt to relate Thoreau`s to Confucian thought. In fact, in his lifetime, with his continuous reading of the Confucian classics, Thoreau valued the Confucian strands as props for his own fabric of thought. In my view, the Transcendental principles practiced by Thoreau throughout his life reverberated with the major point of the Confucian canon. Thoreau`s fundamental Confucian replication, implications played a great part in unifying Thoreau`s Transcendental themes. In order to rescue his fellows who were spiritually fallen into the dismal condition of widespread lethargy, Thoreau advocated, as did Confucius, the innate goodness of human nature and insisted on the pursuit of a renewed and spiritual life in the materialistic society, His advocacy of the simplified life became the perpetual theme of his philosophy. It is therefore appropriate for us to have his Confucian interests re-examined not as a passing phase or a peripheral element he lived with, but as Confucian influence on his overall philosophy.
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