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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 : 59권 0호 (2013)

박지원의 『열하일기』와 괴테의 『이탈리아 기행』 비교 연구

이민희 ( Min Hee Lee )
한국비교문학회|비교문학  59권 0호, 2013 pp. 5-36 ( 총 32 pages)
7,200
초록보기
Park Ji-Won(朴趾源), one of the best stylist in domestic, who traveled a province of China in Beijing and Yeolha(熱河), wrote Yeolha Diary(熱河日記). And J.W. Goethe, a writer of great literature, also wrote work Italian Journey after a trip to Rome. No means inferior to the work of travel literature to represent the East and West. Two works in the 18th century was wrote after a trip to the cultural and artistic heart of China and Italy. Both travel literature appeared common literary humanities literary through the experience of enlightenment. In both works, we can find awareness of issues as intellectuals and perspective of observers. The two works is judged by excellence, because insight of writers who reinterpreted trip place through perspective of humanities is amazing. This is because the depth of thought and the extent of expression meet the social needs and contemporary consciousness. These affinities means that we can discuss the value of two works together in one place. Yeolha Diary is a travelogue diary and collection of social critic and literary works. Watching the world, Park Ji-Won felt greatly the role and responsibility as intellectuals. Therefore, he tried to practice seriously until about this subject. He worried what his own reason to exist as a member of the Choseon and China, and over all the earth, and how to see the world, then wrote about these thought in Yeolha Diary. On the other hand, Goethe tried to maintain perspective to reflect on his inner through the history and artifacts of Italy and Italian and things. In this respect, Italian Journey is similar to personal autobiography. These differences between the two travel literature can give meaning to their own work.

19세기 말 고소설 유통의 전환과 "민족지"로서의 고소설 -모리스 쿠랑 『한국서지』 한국고소설 관련 기술의 근대 학술사적 의미

이상현 ( Sang Hyun Lee ) , 이은령 ( Eun Ryung Lee )
한국비교문학회|비교문학  59권 0호, 2013 pp. 37-74 ( 총 38 pages)
7,800
초록보기
As Western Europeans experience the publishing culture on Korean Classic novel, there occurs a huge Transition on Korean Classic novel circulation. That is, Korean Classic novel symbolizes image that is quipped in British Museum and France Institute of Language Orientals. And foreign readers-researchers` appearances that reads and investigates Korean Classic novel. Namely, Korean Classic novel is a kind of hybrid text, and gained a definition of understanding and communication media between cross culture. This article wants to observe how Korean Classic novel was recalled as academic target that will examine Korean ethnicity. Related to this, this article viewed academic historical context from that generation which Maurice Courant`s Bibliographie Coreenne(1894~1896, 1901) Korean Classic novel discussions and list of Korean Classic novel preserved. Especially, through bibliographic research on Korean Classic novel when Courant was circulated during late 19th century, it tried to look into the types of aspects of Korean Classic novel and what the academic source was, and then examine its meaning. Courant materialized the Korean Classic novel, which were circulated in the late 19th century, into “(1) Chinese Romance`, (2) Korean Romance in Chinese (3) Korean Romance that handled Chinese (4) Korean Romance that handled Korean”. Here, the reason it was possible to classify into ``Chinese`` and ``Korean`` was because there were ariticles of Chinese literature from Western. Courant was able to know historical information about Korean-translated Chinese novel list through A. Wylie`s Notes on Chinese literature (1867), and also know about life of China and its people through W. F. Mayers`s The Chinese reader`s manual (1874). Within the classification between Courant`s ``Chinese`` and ``Korean``, (4) Type (Romance about Korean) was raised as Korean literature`s core research target. Courant`s Korean Classic novel essays experienced Korean Classic novel`s publishing culture in the late 19th century, and it referenced W. A. Aston and Okakura Yosisaburo`s essays which studied Korean literature. Courant`s Korean Classic novel essays composed things like Korean grammar and dictionary, and as Korean language is discovered, it met the flow of Korean literature at that time which was ``mother tongue=Korean language`` in France-Japanese scientific field. Courant showed identical viewpoint that it was seen as insufficient story in Korean Classic novel and as readings for general public. However, the reading comprehension and translation level on Courant`s Korean Classic novel was at a high level that was not comparable to H. N. Allen`s Korean Tales (1889), representative English version for Korean Classic novel. That is Paris missionaries, which was accorded with Korean linguistic basis that Catholic missionaries maintained. Courant was able to clearly find world of linguistic expressions that Korean Novel novel essays showed and also Korean`s life which was configured in that place. Such aspects where Courant`s Korean Classic novel essays are left behind are actually, beyond Western European`s Korean literature, are possibilities and ways which can arrive at the point of horizontal communication between diverse culture, and genuine understanding and communication.

국학의 형성과 고전 질서의 해체: 『시문독본』의 번역문을 중심으로

임상석 ( Sang Seok Lim )
한국비교문학회|비교문학  59권 0호, 2013 pp. 75-92 ( 총 18 pages)
5,800
초록보기
Korean Studies and Korean translation represented in Choe NamSeon`s Simundokbon(A Reader for Current Writing) are still influential references in current Korea. Through the deconstuction of pre-modern Chinese classics` order, it proposes the root of modern Korean Studies based upon Korean classics. Moreover, its style is very innovative since its written style mainly complies Korean syntax and composed of more Korean words far different from other Korean academic publications in 1910s, written under the influence of classical Chinese styles. Therefore, it initiates Korean Studies based upon own historical texts and written in modern Korean language. Significantly, such characteristics revealed through the comparative studies between its translation and its original scripts.

한국 현대희곡 영어번역의 현황 분석과 발전방향

이형진 ( Hyung Jin Lee )
한국비교문학회|비교문학  59권 0호, 2013 pp. 93-114 ( 총 22 pages)
6,200
초록보기
The English translations of contemporary Korean theater, which have been comparatively alienated compared to other popular literary genres, have made a significant achievement since the beginning of the 21st century. However, there is a greater need for the introduction and promotion of talented contemporary Korean playwrights and their works to English-speaking readers and audiences as this diversity of themes and styles is expected to establish an effective communication with a new class of international readers and audience in English-speaking countries. For this purpose, more native-speaker theater translators who could not only translate texts but also are capable of staging the translated texts for live performance are needed. In the area of publication, several important English translations of contemporary Korean theater have been published by prestigious publishers in the English-speaking countries including the Univ. of Hawaii Press and Columbia University Press. In order to keep this effort valuable, it is critically important to create more educational and practical needs in the English-speaking countries for the English translations of Korean theater, and this should be done in Asian theater class setting at college. This leads to an important necessity for the publication of scholarly books and works in English including the teacher`s guide on contemporary Korean theater and playwrights, so that professors and instructors who are not yet familiar with Korean theater could have access to various resources on contemporary Korean theater to teach the topics in class. Literary translation operates with specific intent and goal as it is intended to appeal to a new kind of readers and audience in different language settings, and influence them through translations. This context inevitably requires appropriate and effective strategies and approaches. In this sense, this study has provided a critical review and analysis of the English translation of contemporary Korean theater of the past several decades and a more desired direction of the English translation as well as internationalization of contemporary Korean theater.

제주도와 오키나와 창세신화의 중심서사와 주변서사

최원오 ( Won Oh Choi )
한국비교문학회|비교문학  59권 0호, 2013 pp. 115-139 ( 총 25 pages)
6,500
초록보기
It is genesis myths that can be first of all discussed in mythology. As such, they can be regarded as occupying an important position in mythological discussion. Thus, we believe that a deep and extensive consideration of genesis myths is necessary. That is to say, given the definition of genesis myths as a transcendent stories that account for the beginning (or origin) of the universe, the earth, mankind, life etc. (or myths that explain how the world we currently live in was generated), we should be able to their world-views by penetrating the dynamic relations their explanations show. While we can clarify the nature of other types of myths only in independent exploration, we should consider the fact that the level of the independent exploration of genesis myths is quite complex and comprehensive because they cover the origins of the universe, the earth, mankind, and other life forms than mankind. Considering this point, this paper tries to compare and analyze the world-views that the genesis myths are oriented toward with data from areas belonging to the East Asian region such as Jeju Island of Korea, Okinawa of Japan.

문화 텍스트로서 도시 소설 -「소설가 구보 씨의 일일」의 도시 텍스트성

한만수 ( Man Soo Hahn )
한국비교문학회|비교문학  59권 0호, 2013 pp. 141-160 ( 총 20 pages)
6,000
초록보기
In A Day of the Novelist, Mr. Gu-bo, city (Gyeongseong), if considered as a text reading for the city, the protagonist, readers can be. In this case, the path soon moved his table of contents (contents). The starting point of this paper is a hero (Gu-Bo) to readers ``city`` as a metonymy. The protagonist, reading the text, the culture of the city is to be interpreted. In particular, while Gubo, a main character, in A Day of the Novelist, Mr. Gu-bo walks aimlessly among the crowd of people, transportations, and buildings in Kyung Sung, a old name of Seoul, the observation of the crowd works as a thread of the novel that implicates a spiritual aspect of the city, transportations as neural network of the city and buildings as the visual power of instrumental reason represent the exterior features of the city as an urban physical substructure. The city is a text, a composition like a matrix of all kinds of threads. What is important here is to reveal the respective totality of the city in order to show a comprehensive view of the city because the city begins to build its own ideology from the moment of designing the city as space, In other words, derived from the peculiarities of the designed and segmented space, that is, the city, the respective totality work together to make the city function in return.

한국과 일본의 고대문헌에 나타난 흰색 비교 연구

이연숙 ( Yeon Suk Lee )
한국비교문학회|비교문학  59권 0호, 2013 pp. 161-195 ( 총 35 pages)
7,500
초록보기
This study examined comparatively the color ``white`` in Ancient Korean Literature and Manyoshu. Findings are as follow. First, in Hyang-ga white cloud is shown only in Changiparang-ga. It is argued that the white cloud is used in spiritual rather than scenic sense since it indicates noble personality of giparang. Second, white is the color of darkness. White virtue·white rainbow in Samguksagi reminded of white silk. It is therefore argued that the white color is identified as omen implying bad accidence such as a death of king or a national crisis Third, the white horse and white chicken in Samguksagi and Samgukyusa reflect sun-worship thinking. The white wolf and white dog show the sign of king`s death or national crisis. The white horse is used as sacrifice for god`s rites and its blood is used for a vow. Thus it is estimated that the white color is related to the meaning of pledging to the heavens. Fourth, the white color is shown frequently in Japan`s Manyoshu. ``Sirotae(白고)``, in linkage with other words, is used in the sense of daily clothes, affections, or mourning dress. Fifth, ``white waves`` in Manyoshu`s works is mostly either songs of simply scenery or songs of love affairs. Frequent usage of ``white waves`` indicates the characteristic of oceanic culture of the Japanese. Sixth, ``white dew`` in Manyoshu`s works compares to the vanity of love in relation to its attribute that it soon disappears whenever dew drops or sun rises in the morning, together with its seasonal sensation. Seventh, ``white cloud`` in Manyoshu`s works is often used with high mountain. It shows a sense of distance from home, a spatial sense of distance from one`s loved one, a picture of hiding old home deeply, or a scene of hanging on cloudy mountain. From these, it is argued that ``white cloud’ is used with the meaning of thinking the other party always. Eighth, white vigor and white animals are shown in 古事記 and 日本書紀. Unlike Korean cases, they do not have the function of foretelling future events.

톨킨의 「퀜타 실마릴리언」: 놀도르의 맹세와 발라의 용서 -데리다의 용서를 통하여 본

윤민우 ( Min Woo Yoon )
한국비교문학회|비교문학  59권 0호, 2013 pp. 197-222 ( 총 26 pages)
6,600
초록보기
In Quenta Silmarillion composed by J.R.R. Tolkien, Melkor (or Morgoth) robs the Noldor elves of the Silmarils the elves have manufactured. In rebuttal, Feanor and his sons make the oath that they pursue Morgoth to the end of the world, in order to get the stones back. Because of the oath, they commit the sin of “Kinslaying,” and then Valar curse them, prophesying their ill-doomed fate: Noldor will drop off from the center of power, and be completely ruined, losing the hidden palace of Gondolin. Meanwhile, Earendil the mariner asks for forgiveness of his forefathers` misdeeds. Valar accept the prayer and give Noldor the pardon, and wage a war of wrath against Melkor to throw him into the void of darkness. The oath and forgiveness in Quenta Silmarillion provides the reader with an important occasion for interpreting the event in economic and political terms. First, Noldor`s claim for the lordship of the Silmarils is groundless, because the light put into the stones is not their own, but is a ``gift`` derived from the trees in Valinor. According to Marcel Mauss, a gift is meant to return to the place which it originates from. Second, forgiveness does not mean to nullify one`s misdeed by a certain makeshift punishment or amnesty. The true forgiveness is unconditional, and memory of the past should be kept alive for assessment of one`s deed in a changing situation. Therefore, Noldor`s oath is mistaken because it attempts at pre-determining or finalizing the condition of a thing at their will. And Frodo and Gandalf in The Lord of the Rings are right in refraining from punishing Gollum and Saruman, since there is no legitimate right for created beings to pass judgment on other created ones. Judgment ought to be carried over to the eternal and transcendental realm: only Valar can deal out death to Melkor.

마르그리트 뒤라스의 『고통 La douleur』과 박완서의 『한 말씀만 하소서』에서의 고통과 몸

이가야 ( Ka Ya Lee )
한국비교문학회|비교문학  59권 0호, 2013 pp. 223-248 ( 총 26 pages)
6,600
초록보기
Marguerite Duras et Pak Wanso sont des ecrivains qui representent leurs souffrances a travers l`ecriture. Marguerite Duras raconte, dans La douleur, sa souffrance vive causse par la deuxieme guerre mondiale, tandis que Pak Wanso enonce, dans Donne-moi juste une parole, sa douleur desastreuse d`avoir perdu son fils unique. Afin d`analyser la relation entre la souffrance et le corps, et celle entre le corps et l`ecriture, nous avons choisi La douleur et Donne-moi juste une parole, formees en journal intime, qui decrivent bien a la fois les pensees percues a chaque jour et les transformations sentimentales de la narratrice-heroine. A travers ces deux oeuvres, qui montrent les souffrances extremes physiques et mentales, nous pouvons constater que l`ecriture n`est pas seulement pas pratiquee par la raison ou l`ame, mais avec le corps. Maurice Merleau-Ponty affirme egalement que le corps et le monde sont impliques dans le processus dynamique qui echange sans cesse l`action et la reaction. Autrement dit, le corps est constitue par le monde, puis ce corps structure constitue encore le monde, enfin ce monde structure constitue a nouveau le corps deja structure... La narratrice-protagoniste de La douleur qui attend son mari deporte, peut-etre deja mort dans le camp de concentration de nazi, relate ses quotidiens douloureux. En manifestant directement sa souffrance du corps et de l`ame, elle revele un monde auquel il est impossible de s`habituer et decrit sa colere et sa malediction envers ce monde insupportable. Apres que son mari est revenu du camp, alors qu`elle se reconcilie physiquement avec ce monde-la, ses douleurs deviennent l`ecriture par laquelle ses experiences individuelles sont sublimees comme des douleurs de collectives. La narratrice-heroine de Donne-moi juste une parole raconte son itineraire de refuser la vie sans son fils uinque, de nier le monde et Dieu, de s`eloigner du monde, et de retrouver finalement le monde. Face a l`incapacite a s`adapter a un monde inhabituel, ces deux narratrices-heroines veulent tout d`abord tenir tete a ce monde et le transformer. Cependant, lorsqu`elles discernent l`impossibilite de le changer, elles constituent un nouveau monde grace a leur ecriture.

메두사와 신화

권석우 ( Seok Woo Kwon )
한국비교문학회|비교문학  59권 0호, 2013 pp. 249-276 ( 총 28 pages)
6,800
초록보기
The trite but widespread Freudian notion that Medusa mostly refers to female genitalia has not been under precise scrutiny. It is time now, as Freud proposed, "to investigate the origins of this isolated symbol horror in Greek mythology as well as parallels to it in other mythologies"(SE 18: 273). The mytho-historical or etymo-genealogical reading of Medusa indicates that she was actually a beautiful queen whose main job was "to protect" her peoples. If she fornicated in the temple of Athena, it was because she was forced by Poseidon; if the person who looked at her was turned into a stone, it was because she was beautiful, not because she looked horrible as many people believed. The ancient African myth tells us that she was actually a Libyan queen and revered as a goddess of wisdom, like Athena/Neith or even Isis in Egypt or Metis in ancient Greece. The fact that the Medusa of Artemis temple at Corfu around 6 century B. C. was portrayed to show her uroboric quality of death and regeneration, was not given much attention; only her destructive death-dealing quality was emphasized. Artemis, the goddess of affluence and fertility in Asia minor was also imagined and revered as a derivative of Medusa. It should be remembered that Asclepius, the god of medicine in ancient Greece, used Medusa`s blood from the left flank to kill and the right one to heal and regenerate. The fact that Athena fixed her decapitated head onto her shield shows that she is, for certain, Medusa`s successor, while absorbing Medusa`s destructive and creative power. One can still say, however, Medusa is still another name for female genitalia not because it signifies feminine castration and absence as Freud claimed, but because it incarnates the circular mystery of destruction and creation or death-in-life and life-in-death.
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