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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 : 63권 0호 (2014)

조선후기 농가시와 경직도의 복합적 양상 비교

권정은 ( Jung Eun Kwon )
한국비교문학회|비교문학  63권 0호, 2014 pp. 5-29 ( 총 25 pages)
6,500
초록보기
This paper aims at searching for the comparative features of traditional agricultural poetry and paintings in late Joseon dynasty. Korean traditional culture shows a lot of agricultural things because main economy was based on agriculture from the ancient. So most of all agricultural poetry and paintings are remained as a representative heritage. At first agricultural poetry and farming and weaving paintings are inspired by the life of a peasant though, mostly noble family enjoyed that kinds of works. Specially paintings took a role as a teaching picture for king, which model the previous ideal pictures. Agricultural poetry show various genres though, these poetry and paintings share a common features that complete artificial result from the distance of esthetics. After the 18th century, most of works had a tendency to focus on realistic country living. In the case of painting, first example show the reorganization of the original piece, Peiwenzhai Farming and weaving paintings(佩文齋耕織圖) which was spreaded from Ching China. And also there are special genre painting that invent creative features based on real life, or folk paintings. In the case of poetry, typical agricultural works likes Tamjin-nongga(耽津農歌) show realistic farming story, and Nongga-wolryonga(農家月令歌) is famous for its massive information about agriculture with more popularized genre. Agricultural poetry and farming and weaving paintings in late Joseon have the common things that mixed the perspective of the upper class and the real acting of the lower class. And such a specific character lead to the complexity of the works which appeared as a individual speciality.

D. H. 로렌스의 "총체적 상상력"에 대한 존재론적 연구“Introduction to These Paintings”를 중심으로

김영호 ( Young Ho Kim )
한국비교문학회|비교문학  63권 0호, 2014 pp. 31-71 ( 총 41 pages)
11,600
초록보기
The aim of this paper is to study the univocal ontology of "whole imagination" in “Introduction to These Paintings.” In Kant`s Critique of the Power of Judgment, the sublime is an event where everything happens as if the imagination was pushed to its own limit. Due to the limit, the imagination presents the supra-sensible faculty of Idea. In the sublime feeling, there is "a discordant concord, a harmony in pain" between the imagination and the reason, which generates ontological event. In sensibility the imagination discovers the origin and the destination of all its activity. For Deleuze, the Idea generated by the ontological event is a multiplicity indeterminate in the faculties. This experience is an empiricism which affirms the transcendental field defined by the plane of immanence. It is in this transcendental empiricism that the finite is overcome by the whole inorganic life of things. In this sense, the thing itself consists of a multiplicity which has ``the irreducibly synthetic character of sensation."Cezanne`s paintings present the force of things which is a pure being sensation by imagination`s intensive synthesis. When Cezanne loses himself in "an iridescent chaos" to get rid of fixed mental consciousness, he can paint the "appleyness of apple", the non-organic life of an apple with artistic sensation. His non-subjective "motif" can generates an infinite ontological dimension in a finite work. The motif, abstract machine as art, creates "apples through their forces of germination". The sensible force only has the infinity of relations in "difference in itself". For D. H. Lawrence, sensation is "a whole stormy chaos of feeling", which is unconscious. The real appleyness and the landscapes in Cezanne`s paintings make us fascinated by "the mysterious shiftness" like the imagination of sublime. The event appears in "a revelation of the perfected relation, in-between." In this regard, the whole imagination is the plane of composition which an infinite field of forces explicates and implicates like fold in Deleuze`s ontology. To affirm the forces in the immanence is to live in the univocal ontology by means imagination. For Deleuze and Lawrence, aesthetic imagination in sublime process opens the affirmation to become intensive body that changes a life revolutionary by achieving the unconscious in the body. To become imperceptible is an ethical practice affected by the body of sensation.
6,900
초록보기
Today a sizable literature of the margin does appear in the consequence of interaction with local tradition and global literature. Magical realism might be a kind of literary movement for the local to get forward a new culture with sustaining complex and holistic vision of time and space, as Robert Young says. Gabriel Garcia Marquez (1927-2014) is a representative writer whose magical realism has had an enormous impact on the world literature and the post-colonial literary movement. Magical realism has been a kind of international artistic movement, which has seen a trend in the region of Latin America, North American, Europe, Africa, Middle East, Far East, etc.. It may be called a cosmopolitan genre, that is, a Goethean Weltliteratur. In short, it is a symbol of medium to promote globalization of literature. Now many believe that it plays an integral role of colonial and post-colonial experiences and consciousness in the margin. For example, it has mixed up the elements of oral local culture in the Western mode of fiction. Magical realists, including Gabriel Garcia Marquez in Columbia, Ngugi was Thiong`o in Kenya, Hwang Seokeong in Korea, and Mairtin O Cadhain in Ireland, have produced fictions to represent unique experiences of their locality. The works of Marquez and Ngugi have shown the post-colonial situation where the oblivion of their past and history has made difficult a new nation, liberated from both the oppressive forces of the advanced countries and the native informers and oligarchy. While in the fictions of Hwang Seokeong and O Cadhain, charaters appear to try to communicate with the past to understand their history. They seem to succeed in summoning the conflicting parties or enemies to a common table where took place a conciliation and consolation between them. Those works by magical realists can be considered as examples of a pivot of marginal literature into the world literary territory.

쇼펜하우어의 연민: 리하르트 바그너와 헨리 제임스의 경우

임정명 ( Jung Myung Lim )
한국비교문학회|비교문학  63권 0호, 2014 pp. 103-128 ( 총 26 pages)
6,600
초록보기
Every individual in a power-oriented world is shown as the representative of the affirmation of life which leads them into self-love or egoism. With knowledge of the Idea, however, Wagnerian and Jamesian heroes can be seen as identical with a saviour. They represent the denial or renunciation of the individual will-to-live and consequently manifest their innate virtue of compassion. According to Schopenhauer, compassion is a virtue that naturally springs from the intuitive knowledge that enables an individual to recognize in another`s individuality the same inner nature as in his/her own. In The Ring of the Nibelung, Richard Wagner incarnates his aesthetic utopianism by creating a heroine, Brunnhilde who will abide by compassion to eventually save the world from eternal submission to power, materialism and lovelessness. Henry James, aligned with Wagner defends the purpose of art as the presentation of compassion in his last unfinished novel The Ivory Tower. Obviously, James owes a debt to Wagner in creating Rosanna Gaw as Jamesian Brunnhilde who will show compassion to Graham Fielder, a Jamesian hero of innocence. With heroes of compassion, the world and people regain and continue to appreciate the aesthetic pleasure of life.
7,200
초록보기
The problems of cities in modern civilization have been hot issues in literary studies. Quite recently literary and cultural theories have deeply concerned with space, culture and subjectivity in the literary works. In reading those spaces of capitalist cities, like London in Great Expectations and New York in The Great Gatsby, we can get closer to understanding many conflicts around modern cities, in which the consciousness of subjects is controlled by a variety of cultural effects from the city space with an exchange value. The aim of the paper is to examine the possibility of the trans-disciplinary approach to reading spaces in the novel through the so-called ‘consilience’ with the space theory in the social studies. In Production of Space, Henri Lefebvre, a French Marxist philosopher and theorist of space argues that the history of human beings has developed the four major spatial stages ‘absolute space’, ‘historical space’, ‘abstract space’ and ‘differential space.’ He claims that modern cities are ruled by the effects of the ‘abstract space’ in which modern thoughts have been developed with the rising of capitalist cities. Both London and New York are well-known as core cities where capital has been accumulated in the nineteenth and twentieth century. There have been many problems and conflicts appeared in the capital cities that spearhead cultural features and effects. In this article, the practicable approaches are also analyzed to view the problems existing in the city by comparing the two characters and the spaces of two cities in novels with “spatial practices” from Lefebvre`s theory of space.
7,300
초록보기
This essay will apply Jean Baudrillard`s analytical frame for the ``Scandal`` as deterrence machine of the hyperreal to conceal the absurdity of world and the ``Irony`` on the whole led to from it. According to Jean Baudrillard, "Irony is the universal and spiritual form about the disillusion of world". Thus, I`m supposed to make an analysis how pornography and sex scandal work as deterrence machine of the hyperreal concealing the distorted sex culture in the real world. What Baudrillard calls deterrence machine or strategy is mechanism that the all world is full of simulacre, and that fake reality affect genuine reality, replacing the real, and that made to deter to become hyperreal. Prison, Disneyland, and scandal are said to be just like that it means prison has particularly been designed in other to hide that the world is so repressive as prison. Though the real has already been riculous and childish enough, having Disneyland distinguished from the real , we can`t find any similarity between both. Immoral and indecent scandal is presented to reveal the world is neither unvirtuous nor obscene. This is why the world itself would be a terrible nightmare indeed provided that it were repressive , ridiculous and childish, or immoral and indecent like prison. Therefore, Baudrillard insists deterrence machine of the hyperreal is the strategy to deter the reality in a conventional meaning, a unprogrammed and accidental situation, not simulacre, from occurring after the reality replaced by simulacre. However, according to Baudrillard who is a huge skeptic to the postmodern, the world we live in is already a prison, simulacre and nightmare itself. So many childish and regressive stories as the instances of Disneyland get around all over the world we live in. Troublous issues such as diploma fabrication and sex scandal of celebrities are not just scandals we can steal a glance, but the reality or existence we face. They are the stories we sometimes hear or witness from our friends and neighbors. In addition, we may even hear much worse scandals than the ones that shake the world from those around usAll of us are accomplices of social contradiction or scandalBut, Baudrillard insists ``anatamo-politics`` or ``bio-power`` which regulates and controls the body of nation needs scandals as deterrence machine to disclose that our society is not obscene or distorted but moral and sound. Lastly, this essay makes the differentiation from the previous ones in that this did not only study scandal as deterrence machine of the hyperreal, but also analyze how scandal is caused and ``scandal effect`` plays a role to increase irony in reality.

워즈워스의 수사(修辭)의 함축 의미 읽기

황병훈 ( Byeong Hoon Hwang )
한국비교문학회|비교문학  63권 0호, 2014 pp. 195-212 ( 총 18 pages)
5,800
초록보기
This study demonstrates that William Wordsworth is an author to put an emphasis upon cultivating images from physical aspects to linguistic analysis, from gardening to his account of memory-recording, as his treasured career. Given the resonance of the words such as "planting" and "seeding," this study focuses upon the usage of his metaphor associated with his cultivating images which could be the guidelines on his great attention to sexuality and empire. His dealing with cultivating images has profound and wide meaning beyond just gardening in the romantic age. The effect derived from cultivating images offsets his typified images of the poet as not only too much unadaptable and extremely egoistic but also too much chaste and too quiet. He also uses his cultivating images as a literary strategy to secure an ambivalent emotional boundary against such phenomenon of snowdrop as shown in The Prelude. Both The Prelude, which reflects Wordsworth`s memory fragment, and "Peele Castle" are mainly examined. While the stories he makes up cause resonance in the world, they extend their meanings as David Simpson indicates in "Wordsworth and Empire." The key point is that the subjects he chooses are oriented beyond the narrow referential boundaries. Expending his poetic horizon through his poetic language, he hopes to build his poetics about imperialism and postcolonialism.

쏘로우의 작품에 나타난 도교사상에 대한 연구

김의영 ( Eui Yeong Kim )
한국비교문학회|비교문학  63권 0호, 2014 pp. 213-240 ( 총 28 pages)
6,800
초록보기
필자는 작년 6월 30일 『비교문학』 제60집에서 발표한 “쏘로우의 작품에 나타난 도교사상의 원천적 기원에 관한 연구”에서 쏘로우의 초절주의의 철학적 본질은 도교사상의 영향과 밀접한 관련이 있다고 주장을 하였다. 그럼에도 불구하고 여전히 대부분의 쏘로우학자들은 쏘로우의 초절주의철학과 도교사상에 일치하는 점이 아주 많은 점은 인정하지만, 쏘로우가 노장사상과 관련된 서적이나 정보를 접했다는 확실한 증거가 없고 쏘로우 자신 또한 그의 작품에서 장자나 도덕경에 대한 직접적인 언급이 없기 때문에 쏘로우의 작품에 나오는 도교사상은 노장사상의 영향에 의한 결과라기보다는 우연의 일치로 보고 있다. 그러나 필자는 이러한 학문적 견해가 오류라는 사실을 밝히기 위하여 『비교문학』 제60집에서 쏘로우의 작품에 나타나는 도교사상은 쏘로우가 직접 노장사상을 접한 결과물이라는 사실을 입증하는 데 주력하였다. 그래서 필자는 그 논문의 주 내용과 방향을 쏘로우가 노장사상과 관련된 서적에 접근하게 되는 동기와 시기, 그리고 그 과정들을 증거로 제시하는 데 주력하였다. 대학시절에 쏘로우는 프랑스 번역가 Victor Cousin의 The Introduction to the History of Philosophy, 그리고 1810년와 1820년대 쯤, Thoreau는 Remusat, 그리고 M.G. Pautheir가 번역한 도교사상의 프랑스어 버전을 많이 읽었다. 바로 이 시기에 쏘로우는 프랑스 번역가들의 유교사상과 노장사상의 비교 연구한 프랑스판 버전을 통하여 노장사상의 실체를 알게 되었고 그 이후 그는 그의 초절주의 철학에 노장사상을 도입을 실시했다는 증거를 제시하는데 주력하였다. 본 논문에는 중국의 도교사상이 쏘로우의 초절주의 사상의 형성에 많은 영향을 주었다는 필자의 주장에 더욱 확고한 증거 제시를 위하여 도교사상의 주창자 장자, 노자의 경전에 나와 있는 무위자연설이 쏘로우의 초절주의 철학의 형성과정에 어떤 영향을 미쳤는지 비교문학적 관점으로 살펴보는데 주력하였다. 쏘로우의 동양사상의 영향 연구에서 주로 덜 알려진 그러나 아주 중요한 요소인 노장사상과 쏘로우의 초절주의 사이의 나타나는 유사점 분석을 하면서 필자는 노장사상이 쏘로우의 초절주의 사상형성에 큰 영향을 주었다는 주장에 타당성을 입증하기 위하여 노력했다. 본 논문은 노장사상에 나타나는 무위자연(無爲自然)의 원리적 실체들을 보여주는 쏘로우의 초절주의 사상에 나와 있는 점들, 즉 자연친화적 신비주의적 삶의 형태와 자연현상의 섭리를 설명하기 위하여 많은 은유법을 사용하고 있는 점, 꾸밈이 없이 자연의 순리에 따라 검소하게 살아가는 삶을 최고의 선으로 삼고 있는 부분, 그리고 인위적 제도나 정부의 정책에 대한 거부감을 대표하는 무정부주의 등을 중심과제로 비교 분석하였다. 노자 장자의 무위자연설에서는 일상적 자연현상의 섭리를 설명할 때, 물을 매개로 많은 은유적 표현을 쓰고 있다. 쏘로우는 물을 존재론적 가치의 등가물로 형상화하고 있다. 노자와 장자처럼 쏘로우는 그의 초절주의 철학을 설명하기 위하여 물을 은유적 표현의 매개체로 사용하면서 물을 향한 그의 깊은 외경심을 보여주었다. 노자와 장자같이 쏘로우에게는 물을 최고의 선 또는 도의 경지에 도달하는 표상으로 삼았다. 장자는 물을 자기 앞길을 막는 모든 더럽고 타락한 일에 빠진 영혼을 회복시키는 상징으로 보았다. 쏘로우는 장자와 같은 맥락으로 초월적 자아의 마음을 비쳐볼 수 거울 같은 존재로 물을 소중하게 다루고 있다. 본 논문에서 필자가 제시한 여러 조각들의 증거들이 노장사상이 쏘로우 초절주의 철학형성과정에 어떤 형태로든 분명히 영향을 미쳤다는 주장을 확립하고자 노력하였다. 그래서 필자는 쏘로우의 초절주의에 나타나는 노장사상은 단순한 일치가 아닌 쏘로우가 읽었던 프랑스버젼의 노장사상의 영향의 결과라는 주장을 증명할 수 있는 충분한 증거를 제시했다고 자부하며, 노장사상과 쏘로우의 초절주의 연계성에 대한 연구가 의미 없는 접근이라는 일상적 주장이 이제부터는 종식되는 계기가 되기를 희망한다.

19세기말 서구사회에 재현된 아시아 여성과 세기말적 이국정서: 피에르 로티의 『국화부인』

우미성 ( Mi Seong Woo )
한국비교문학회|비교문학  63권 0호, 2014 pp. 241-262 ( 총 22 pages)
6,200
초록보기
본 논문은 최초의 나비부인식 로맨스를 다룬 1887년 프랑스 소설, 피에르 로티의 『국화부인』에 드러난 세기말적 이국정서를 분석한다. 19세기말 유럽을 휩쓴 일본열풍과 이국적 낭만주의, 식민지 문학의 특징을 동시에 보여주는 로맨스 소설 『국화부인』은 1885년 나가사키에서 프랑스 해군으로 몇 달간 주둔했던 로티의 실제 경험에 바탕을 두고 쓰여진 기행문이자 자전적 소설이다. 일인칭 화자이자 저자인 로티가 이국적 공간과 일본여성에 대한 자세한 묘사를 시도함으로써 아시아문명에 대한 진정성있는 기행문이자 사실에 기반한 연애소설이라는 인상을 주지만 『국화부인』은 19세기말 억압적인 유럽사회를 탈피해 세기말적 욕망에 탐닉하면서 이성애적 낭만주의자로서의 이미지를 구현하기 위한 로티의 개별적인 정체성 탐색의 결과물이다. 도피주의적이고 개별적인 성적환상에 기인한 서양남성의 아시아여성 재현은 이후 단막극, 오페라, 영화, 뮤지컬 등 다양한 장르로 변형, 반복되면서 서구사회의 아시아 여성인식을 이국적인 타자로 고착화시키는 결과를 낳았다.
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