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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 : 60권 0호 (2013)
6,700
초록보기
Main considerations a literary translator should have in mind are communicating with the target readers and pursuing aesthetics of the original. Communication has a purpose for transferring the meaning of the original to target readers while the pursuit of the aesthetics is to faithfully transfer the original`s spirit. The imbalance between the source language and the target language, which occurs in translating minor language into major language, has brought translation studies to active argument. Korean-English literary translation is also categorized as “translating to major language” and is difficult to be free from the limitation of literary translation to major language. The main dilemma translators often face is that linguistic and cultural factors are lost in the translation process. This study examines in specific detail how the meanings of the source text is transferred into the target text based on the English translation of “She knows, I know, and Heaven knows” written by Pak Wanso. I will discuss about the imbalance of linguistic and cultural communication, and look at the background of the Korean-English literary translation and the literary features of the source text. In the next stage, I will analyse the strategies adopted by the translator and present the model translation where necessary for producing desirable translation of Korean literature. To explain the analyzing method specifically, I established the micro unit such as typical Korean vocabulary and cultural expressions, and then categorized them into the description of typical Korean foods, peculiar Korean characters, Korean socio-cultural phenomenon, idioms, and metaphor. Worldly desires is a universal theme. There are plenty of vocabularies in the original which depicts the customs, culture, and society of the work scene. This expressions are appropriate material to define the human`s desires. Therefore these are mundane and common elements in Korean fiction, which means that the data secures universality as the analysing target, and the result of the analysis is appropriate translation corpus for would-be translators.

서술커뮤니케이션 다이어그램 연구

최라영 ( Ra Young Choi )
한국비교문학회|비교문학  60권 0호, 2013 pp. 59-90 ( 총 32 pages)
7,200
초록보기
This study examines the major features of Chatman`s Diagram, well known to us as a universal model of narration in literature, and the directly-opposed perspective to understand it. The characteristics of accepting Chatman`s Diagram in Korean academia and the effectiveness of it in understanding Korean literature are also studied. Agencies of Chatman`s Diagram have comprehensive semantic category like the process of practical understanding of readers. This diagram is regarded as a basic model that can be applied to special context and to all narrations flexibly. The mode of understanding this diagram can be diverse according to the position one takes. That is to say, understanding can be different depending upon whether one takes author-oriented position or reader-oriented position, or whether one trusts the narrator or not. Considering Korean modern literary history, the application category of narrative diagram including implied author seems to be wider than Western cases. If we do not consider the correspondence between the writer living in real actual life and the one who is writing the literary work, we, as reader living in current times, can understand only a fraction of the characteristics of Korean modern literature which covers the turbulent modern history of Korea. Furthermore, going through the process of considering the narrator and implied reader via narrator`s mind, or some personified objects, is helpful to understand modern poetry that have multi poetic narrators and inconsistent imageries. Consequently, it will be better for us, who live in this modern times, to adopt the comprehensive approach, rather than restricting meaning-category about any concepts or acting subjects in the narration, in understanding complex, diverse and ever-changing modern society as well as the literary works that reflect it.

문학텍스트에 나타난 문화비교와 영어 학습전략

이일연 ( Il Youn Yi ) , 김혜진 ( Hye Jin Kim )
한국비교문학회|비교문학  60권 0호, 2013 pp. 91-116 ( 총 26 pages)
6,600
초록보기
This study aims to prove literary texts as an effective tool of language learning and suggests exemplary language learning strategies to maximize the benefit of literary texts in an EFL classroom. Indebted to the previous studies on the use of literary texts in language learning, this study is based on the belief that literature stimulates the students` imagination and critical thinking ability and provides understanding of cultural differences and similarities between the target language and their mother-tongue; thereby it helps students interact with literary texts through language and elicits their interests and participations in the learning process. For this purpose, three literary texts from seventeen high school textbooks that are in current use have been chosen. Each text is learned with different tools and methodologies for twelve weeks: the cultural comparison of the media clips from the given literary text and a Korean soap drama; the cultural analysis using role-plays; and the re-writings of the literary text. The study shows that the comparative cultural aspects of literary texts enable students to actively participate in language learning, thereby enhancing their critical thinking which is the fundamental step of the writing process. This study concludes that language learning with literary texts can and will extend the students` awareness of the target language`s culture and enhance their language proficiency. It is of the upmost urgence to develop effective learning strategies to amplify the benefit of literary texts in language learning.

오카쿠라 덴신(岡倉天心)의 일본미술 발견과 야나기 무네요시(柳宗悅)의 공예를 둘러싼 근대의식

이병진 ( Byung Jin Lee )
한국비교문학회|비교문학  60권 0호, 2013 pp. 117-148 ( 총 32 pages)
7,200
초록보기
The terms and concepts of Japanese art was established since when it? It is the idea of art as the creation of high-level since the mid-17th century in the West that accompanied the establishment of the Academy of painting, sculpture began to be recognized in Japan since the mid-19th century, the Meiji Restoration is generally. The Meiji government was focused on the acceptance of Western culture, as part of the cultural and arts policy focused on Western art. Okakura Japanese art finds god and folk crafts Yanagi Muneyoshi surrounding the modern problem of consciousness was investigated. OkaKura The results reported in Japan as a representative of the glorious civilization of the East through the methods and perspectives of Western art history, techniques borrowed representation. It was the background called Japonism, handicrafts exports as an economic strategy, towards western Japan established itself as the art was obtained. Its purpose was to uplift the consciousness of the nation in Japan, and then sold to the construction of the modern state through the emergence of Japanese art. On the other hand it is something in the religious sense and sense things are beautiful Yanagi found aesthetic value in the ordinary household goods, crafts, and further, the sense put the correct concept of social. It is not simply limited to the realm of things but the combination of beauty and participation in the life and issues related to the economy and ideology. Yanagi is the notion that art was discovered through the western humanistic literary revival and has questions about the craft that had flourished prior to the collapse of the art and its place. It was lost due to the advent of modern capitalism not simply not limited to the problem of human nature and the nature of the recovery movement, who was conscious of these problems for modernity Yanagi Crafts movement. The Yanagi criticizes the spirit the Okakura tensin of God concept art and shows a significant difference. Okakura of craft as art in Japan as an export industry by advancing to the Western art market of Western modernity in the country will participate. Yanagi if used with a critique of the concept of art in the West across the East and West as a universal concept transcends the notion of craft folk art. This is a major problem associated with the modern self is formed around the two intellectuals in the Meiji era, arts and crafts unfold. Yanagi is a product of the social philosophy and has the right craft. Means beauty and craft of pushing social. It Kropotkin`s Mutual Aid psychiatric social study, Morris and Ruskin, prayer points that are common to Yanagi. Yanagi`s interest and timeless than a limited area of Japan had been limited to the value of human problems and it was found in the universal truth that transcends the eastern and western folk craft rather than a matter of state power and to build the movement, the social life and the beauty ideal and the correct associated. Gesture of Yanagi was extremely modern quest for universality.

월트 휘트먼과 토머스 에이킨스의 사진적 사실주의

심진호 ( Jin Ho Shim )
한국비교문학회|비교문학  60권 0호, 2013 pp. 149-182 ( 총 34 pages)
7,400
초록보기
As his statement “In these Leaves, everything is literally photographed” indicates, Walt Whitman (1819-1892) consistently desires to represent his poetry like photography. Learning the power of photography from his contemporary American photographers, Whitman could visualize his poetry like a series of photographs. Whitman shares remarkable artistic similarities with Thomas Eakins (1844-1916) who has been regarded as one of the most representative realist painters in the history of American art. Whitman realizes that Eakins`s paintings are closely related to photography involving “mechanical”, “honest”, and “realistic” elements. Particularly, Whitman visualizes his poetry by using his characteristic catalogue technique which strongly evokes a series of snapshots of various things, people and places. In Eakins`s paintings such as The Gross Clinic and Walt Whitman, Whitman sharply captures the “realities and science” images that only photography provides. Eakins was in many ways akin to Whitman. The two artists celebrated in their art a commitment to the naked body, science, and the physical and mental benefits associated with vigorous outdoor activities. Significantly, Eakins`s The Swimming Hole in 1885 can be regarded as a pictorial equivalent of Whitman`s poems such as “Song of Myself” and “I Sing the Body Electric” reflecting the celebration of the naked male bodies. Based on a series of photographs at the same site, the painting suggests the two artists` mutual preoccupation with the naked male body through their peering eyes like a camera. Rebelling against the genteel tradition of the Victorian Age, Whitman shares the same iconoclastic perspective with Eakins for their stark and uncompromising depictions of the naked male bodies. Above all, the “photographic fantasy” in the painting and the poems suggests the visual tactility. Undoubtedly, The Swimming Hole is the essence of Eakins`s aesthetics which regards the naked male body as “the most beautiful thing” in the world in the same way that Whitman compares the “strong sweet quality” of the male body with “the best poem”. Whitman has become an eternal muse in Eakins`s imagination even after the poet died in 1892. The remarkable artistic similarities between the two artists are ultimately found in Eakins`s Between Rounds in 1899. In the painting, Eakins exquisitely revives Whitman as a spectator who gazes at a half-naked boxer. It becomes evident that the photographic images, which Whitman and Eakins represent, are far ahead of their time and suggest the new realistic expression. Transcending the bounds of ages and media, photography plays an essential role for constructing Whitman and Eakins`s pursuit of a new aesthetics, namely, American realism.

“역사의 기관차”. 역사를 보는 발터 벤야민의 시각

김남시 ( Nam See Kim )
한국비교문학회|비교문학  60권 0호, 2013 pp. 183-208 ( 총 26 pages)
6,600
초록보기
“Marx sagt, die Revolutionen sind die Lokomotive der Weltgeschichte. Aber vielleicht ist dem ganzlich anders. Vielleicht sind die Revolutionen der Griff des in diesem Zuge reisenden Menschengeschlechts nach der Notbremse”. Dieser Satz von Walter Benjamin druckt einen Kern seines Denkens uber die Geschichte in einer sehr anschaulichen Weise aus. Der Metapher ?Lokomotive “weist auf den materiellen Hintergrund der modernen Auffassung der Geschichte auf, indem er fur Marx als Bildnis von der Treibenskraft der Weltgeschichte auftritt, die gleich mit ?Revolutionen” zusammen zu setzten ist. Bei Futurismus tritt Lokomotive auch als ein prominenter Symbol des Neuen auf, das nicht nur die Welt verkleinert, sondern durch die enorme Geschwindigkeit selbst die Sensibilitat des Menschen erneuert. Die Futuristen nahmen dies mit gestreckten Armen auf, als Zeichen dafur, dass die Geschichte befindet sich immer in einem unendlichen Prozess des Fortschritts. Die vorliegende Studie zielt darauf, Benjamins Geschichtsphilosophie in einem Vergleich mit denen zusammen zu stellen, die scheinen, sowohl historisch als auch theoretisch sehr nah zueinander zu stehen; Karl Marx und Futurismus. Ein wesentlicher Unterschied liegt darin, dass Marx und Futurismus, trotz ihrer ideologischen Gegensatze eine grundlegende Auffassung von Geschichte als Fortschritt teilen, wahrend Benjamin sich diesem Fortschrittsglauben heftig abwendet. Benjamins Geschichtsphilosophie zeichnet sich dadurch, dass sie sich jegliche Annahme des teleologichen Verlaufs der Geschichte entgegensetzt.

워즈워스의 “관찰과 통합”의 시학

황병훈 ( Byoong Hoon Hwang )
한국비교문학회|비교문학  60권 0호, 2013 pp. 209-228 ( 총 20 pages)
6,000
초록보기
This study starts off from the fact that William Wordsworth meticulously and realistically describes what he has experienced in London. And then it elaborates upon the next step that his descriptive and literary strategies to reflect what he has seen into his mind are closely related to such poetic principles as he shows in the preface to Lyrical Ballads. This study asserts that the Prelude, as a reflection of his inmost nature, demonstrates his operations of mind and is an example to show his attempts to contrast and integrate what he witnesses, according to his own poetic principles, which has been left and represented as just images in his mind. It is evident that imagination is not just a maker of simple images in memory. Besides its capacity to create and coordinate them and its operations of the mind of the poet, it also should endow him with his self-reflective cognition and internal ties which could bind the perishable images. He can perceive similitude in dissimilitude and vice versa. This study demonstrates that the comprehensive structure of the Prelude is built on Wordsworth`s imaginative power of apposition and opposition. His efforts to depict what he sees as an external reality can be summarized into an expression, “Spots of time”. Even though they are discrete and discontinuous, his mind`s eye can read out their interrelations. What this study stresses out is to verify how Wordsworth discriminates, integrates, values and judges the imaginative forms of representation in his mind.

쏘로우의 작품에 나타난 도교사상의 원천적 기원에 관한 연구

김의영 ( Eui Yeong Kim )
한국비교문학회|비교문학  60권 0호, 2013 pp. 229-252 ( 총 24 pages)
6,400
초록보기
본 논문은 Henry David Thoreau의 작품에 나타나는 도교사상의 원천적 기원에 대한 연구에 주력하였다. 사실, 쏘로우의 철학적 본질이 도교사상과 일치하는 점이 아주 많지만 쏘로루 자신이 쓴 작품에서는 도교사상을 읽었거나 영향을 받았다는 언급이 전혀 없기 때문에 쏘로우의 작품에 나오는 도교사상과의 유사한 철학기조를 우연의 일치로 보고 있는 것이 쏘로우 학자들의 지배적 경향이다. 그러나 일부 학자들은 쏘로우의 초월적 철학이 도교사상과 너무나 일치하므로 쏘로우는 어떤 경로로든 노장사상에 관한 책을 읽었다는 주장을 하고 있다. 본 논문은 이러한 논쟁의 결말을 짓기 위한 노력의 일환으로 쏘로우가 노장사상에 관한 서적에 접근했다는 경로와 그가 읽은 노장사상에 대한 영향을 받았다는 증거를 제시하는데 주력하였다. 본 연구에서 쏘로우가 노장사상에 처음 접한 시기가 쏘로우가 하버드 대학 재학시절 Victor Cousin이 쓴 Introduction to the history of Philosophy라는 책이다. 이 책의 저자 Cousin은 그의 책에서 동양과 서양철학간의 결합을 시도하는 절충주의 철학관을 보여주고 있다. 쏘로우는 Cousin의 동서 절충주의 철학관에 심취하여 그의 절충주의 철학을 확립하는 과정에 큰 영향을 받게 되었다. 여기서 우리가 간과해서는 안될 사실은 Introduction to the history of Philosophy에서 Cousin이 노자의 도덕경에 관한 성격과 본질에 관하여 논의하면서 그 당시 중국학의 대가였던 프랑스의 Reusat가 번역한 도덕경의 내용을 자기의 책 Introduction to the history of Philosophy에 제시하고 있다는 사실에서 우리는 쏘로우가 그 당시 Cousin의 책을 통하여 노장사상을 읽었고 그리고 그 사상에 영향을 받았다는 확신을 가질 수 있는 것이다. 또 다른 증거로서 쏘로우가 당시 또 다른 프랑스인 중국학자 M. G. Pauthier의 번역서를 통하여 노장사상과 유교사상의 차이점과 본질에 관한 사실을 인지한 사실을 본 논문이 제시하였는데, 이 또한 쏘로우가 노장사상을 인지하고 되었다는 구체적 증거가 될 것이다. 이외에도 본 논문은 쏘로우가 도덕경에 영향을 받고 쓴 듯한 그의 작품의 내용과 도덕경의 내용과 일치하는 실제적 증거를 제시하기도 하였다. 이렇게 구체적인 증거가 나타나고 있음에도 불구하고 쏘로우가 그의 작품에서 노장사상에 대하여 결코 언급한 사실이 없는 이유는 무엇일까? 본 논문은 그 이유를 두 가지의 사실로 종결하였다. 첫 번째로, 그가 읽은 프랑스 두 번역가의 도덕경에 관한 견해를 따른 것으로 짐작된다. 프랑스의 두 중국학자 Cousin과 Pauthier는 동덕경은 인도의 힌두이즘의 영향을 받은 작품이라 주장하고 있다. 그래서 쏘로우도 두 번역가의 의견을 따라 노장사상을 힌두이즘의 한 갈래로 보았을 가능성이 있다는 점이다. 둘째로, 다양한 유사한 동양사상을 개별적으로 구분하는 데 별 관심이 없어 보인다는 점에 있다.
초록보기
This paper examines how fifteenth century Choson ruling elites tried to use spoken and written languages to establish the royal house`s authority, which basically was the process of translation of the universal civilization of “Sinitic World” into Choson`s soil. Conspicuous in early Choson historical accounts is the dynasty`s preoccupation with language. King Sejong showed obsessive devotion to learning the spoken language of China proper. Diplomatic language of Hanliwen was a active component of study too. And ultimately, the Choson phonetic alphabet (Kr. Hunminchong`um 訓民正音) was systematized. However, because of the discourses on “National Language” in modern Korea, the central question - why the period saw such attention bestowed on learning Chinese and at the same time an attempt at creation of Choson indigenous writing system - has not been answered by those scholars keen to understand the two phenomenal language issues as polar opposites, and to cast them as an inherent contradiction impossible to explain. Therefore, there is a need for a new perspective that transcends nationalism. In fact, the two functions Choson alphabet served were to actualize the Ming court`s Shengjiao 聲敎 through propagation of the Ming standardized language transliterated into the indigenous language, and to spread Choson`s own songgyo 聲敎 with its indigenous language. These two roles, from a nationalist perspective, appear contradictory, but in reality, they shared a reciprocal relationship in the overall political scheme, with one being unable to do without the other.

Holderlin`s “Mnemosyne”: Philology, Literary Nationalism, and the Myth of the Monolingual

( Anthony C Adler )
한국비교문학회|비교문학  60권 0호, 2013 pp. 281-302 ( 총 22 pages)
6,200
초록보기
When literary scholars speak of “bilingual” and “multilingual” writers, they usually presuppose a very restricted understanding of what it means to “have” a language, in which the norm is the “native” competence of the speaker of a mother tongue. This understanding of “multilingualism” rests on the modern science of linguistics, which, rejecting the methods of traditional philology, privileges the oral over the written in conceiving of “language” as the subject of investigation. Yet it is also rooted in the aesthetic ideologies of both Classicism and Romanticism, which agree with each other in insisting on a “monolingual” philosophy of history, where history involves the departure from and return to the One language in which meaning is secured and becomes immanent to itself. I will argue, against this, that a very different concept of bilingualism and multilingualism is possible, on the basis of an experience of language that is not linguistic and oral but grammatical and philological. Such a concept, I further claim, is exemplified in the poetry of Friedrich Holderlin. While many readers of Holderlin have sought to conceive of his relation to ancient Greece and Greek as if they were his true native land and mother tongue, and have, at the same, stressed his authentic and singular relation to the German language, I call attention to the central importance of his learned, scholastic relation to Ancient Greek, a language that he learned in school in preparation for a clerical vocation. To this end, I offer a reading of Holderlin`s hymn “Mnemosyne”. Named after the mother of the muses and the goddess of memory, this poem presents a very different concept of poetic memory, conceiving of it not as the recollection of authentic experience but as the revival of scholarly lore that has never been experienced first-hand. In this way, Holderlin seeks to turn his own “native” German into a learned, scholarly language.
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