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논문검색은 역시 페이퍼서치

한국문학이론과 비평검색

Korean literary theory and criticism (KLTC)


  • - 주제 : 어문학분야 > 국문학
  • - 성격 : 학술지
  • - 간기: 계간
  • - 국내 등재 : KCI 등재
  • - 해외 등재 : -
  • - ISSN : 1598-3501
  • - 간행물명 변경 사항 :
논문제목
수록 범위 : 22권 0호 (2004)

편집인의 말

김종구
4,500
키워드보기
초록보기
6,300
초록보기
This thesis is the study on Lee, Taejun’s essays and his view of literature. In his essay Museorok(無序錄), his view of literature and various everyday affairs are delicately appealed. From the research, we can see that he was extraordinarily interested in essays and compositions. Lee, Taejun’s view of literature and understanding of realty can be summarized as the followings. 1) His essays can be considered as miscellany. But at the same time, he shows serious speculation on literature and writing itself. 2) He constantly emphasizes on the artisan spirit, social experience, and literary sensibility. 3) It seems like a biased view to explain Lee, Taejun's understanding of reality only based on his attachment for the old things. On the hand, be shows positive interest in modern customs and the new culture. After the liberation of Korea(1945), he shows progressive world in Before and After the Liberation(『解放前後』)and Farmland(『農土』). It shows the process that aesthetic self-control was overwhelmed by historical logic.

이태준 소설의 여성 이미지 연구 -『신혼일기』를 중심으로

송명희 ( Song Myung-hee )
5,800
초록보기
This paper studies the image of women as depicted in the novel Newlywed Diary by Lee, Tae-joon. In analyzing the images of three female characters, Hwa-ok, So-choon, and Soon-nam in the novel from a feminist critical perspective, the novel engrafts the image of dependent women into the reader's mind, in that it suggests that only women who have certain positive attributes which render them lovable can live peaceful married lives and succeed in this world. The novel would be misinterpreted as the type of feminist novel that deals with a marriage, a divorce, and a story of the social success of the bourgeois modern woman it it were read purely in terms of its external plot. Based on an analysis of the image of females in it, however, the novel should be appraised in very different terms. In short the author leads his readers to agree with him on men's view of womanhood-and their obstinacy in controlling and possessing women. Therefore, to evaluate this novel as a feminist novel would be missing the point entirely.

절제된 연민 -이태준 소설의 미적 성취에 대하여

이기인 ( Lee Ki-in )
6,100
초록보기
This study is aimed to explicate the working mechanism of Yi Tae-jun's aesthetic achievements. Yi shows a great talent in characterization, and especially, he gains a great deal of success in works that deal with the socially weak characters. This success comes largely from his effective use of the narrative point of view. With an adequate employment of the narrative point of view, he manages to keep distance from the unfortunate accidents that they should get through. The controlled distance strips sympathetic feeling of the violent feeling related to the on-the-spot reality. Later, its remnant sympathy develops into universal feeling that is likely to apply to every common people, leaving a great deal of resonance behind. Y’s later works deal with serious matters and intellectuals. To this kind of works other kinds of method should be applied like a point of view closely attached to characters and provision of sufficient information. Due to these, his later novel shows a different features.

<문전본풀이>의 무속 신화적 성격에 대한 연구

김재용 ( Jae-yong Kim )
6,600
초록보기
This paper aims at the analysis of the myth of 'Miinjun-Bonpuli' the shamanistic myth of JeJu island. The conclusions discussed in this paper are as follows : 1) In the superficial dimension the myth tells the conflict of step mother and seven sons of the dead mother but in the deep dimension, the myth contains the conflict of the shamanitic power and the new religious power. The myth tells that the shamanistic power has the fertility and cultural capability. But the new religious power which is immigrated from the other land has nothing to do for the natives. So the myth represents the victory of shamanism over the immigrated religious power. 2) There are various mythemes in this myth, which is addressed to the meaning of shamanism. : This myth explains the origin of shamanistic god(or goddess) of the kitchen, the washroom and the gale. 3) The mother of seven sons is murdered by the mistress. But the mother is resurrected. So the mother becomes the kitchen goddess through the dead/resurrected cycle. She is the master of fire. In the shamanism, the fire is believed to give the fertility to the people. 4) After death, the mistress becomes the washroom goddess. She is familiar with water. So there are binary oppositions between two women as follows : kitchen : fire : fertility : culture : : washroom : water : non-fertility nature 5) the seven sons becomes the god of shamanism. Especially the last son ascends to the god of gate. He guards the house from the outer negative power. He is the master of iron which has a special meaning in shamanism and makes pottery. In shamanism, the first shaman is believed the first potter who is master of fire and iron. This myth shows the shamanistic importance of fire, knife(iron), and pottery.

난곡 송병화의 학맥과 문학

송기섭 ( Song Ki-seob ) , 이영휘 ( Lee Young-hwi )
6,600
초록보기
Confucian scholars of Sarani pursued learning and followed Nangok Song, Bueong-hwa in Bonggangjeongsa of Yeongguidae. Song, Byeong-hwa, head of the Confucian scholars of Sarani was offered a cabinet position by the king four times from the year of 1903, but be declined the offer. He strived for reading and studying without being generations after his death. Classical scholars who gathered together in Sarani rejected talking with the changing world and stuck to their past-oriented lifestyles. Their thoughts and feelings were strictly limited to Confucian principles. Disciplined bodies and minds were difficult to adapt in the changing world in modern times. Keeping old customs as a village for the upper-class. Sarani had special extension which influenced people’s identity. Sarani consisted of people of the same pedigree. Having the same founder as a medium, the teachings of Sarani inspired the idea of family and mutual sympathy which induced communal destiny and familiarity. In this process, the identity as a group which delimited the boundary of family led them to unite in such a way that they found the meaning of life and relationship not in the outside world but within the community, the geographical confinement concomitantly contributed to the identity of Sarani. The scholarship rooted on family as unity progressed for a span of three or four generations or for least 100 years. The group did not comprise nor reconcile with the real world. They maintained the identity as a self-existent group until extinction. They grew older and eventually passed away without new members to substitute them. The spiritual orthodox that they preserved and protected disappeared, but it was handed down to descendants as sublime morality and intellect. Words are means to recollect the past, and books are integrated with such words. They are alive in the words that they wrote or in the books that their descendants published. As communicate with the inner world of themselves and a small number of their colleagues. The symbols of their private communication were written in books, but they were concealed again without apperaring in the outside world.

성암(誠菴) 조준하(趙俊夏)의 삶과 시(詩) 고찰(考察)

정만호 ( Jung Man-ho ) , 김기영 ( Kim Ki-young )
6,200
초록보기
This paper aims at clarifying Seongam Cho Jun-ha's origin of learning and looking into his life and poetry world through his works. His lifetime consist of the time of learning by Jeong Heon-mo, Yun Woo-hyung, Seong Doo-ho and Who So and the time of secluded life until his death at 75 years old in 1952 according to before and after the national Humiliation day of Kyeongsul year. He was taught by Yun Jeung, Yun Gwang-so and Seong Do-ho. Also, he had teachers such as Jeong Heon-mo, Yun Woo-byung and Who-so, a grand son of Yun Gwang-so. He as a disappointed scholar in bad times worried about national security and people's well-being. His works produced before the day of national humiliation day at Kyeongsul year showed his regretfulness of personal unhappiness and his future promise. However, after the day of national humilation, his thought was deepen to think about the ruin of country and deplore for it. In his works for younger's scholars, he insisted ethics and morality should be recovered and personal desire should be removed. He lived in obscurity and had a destitute life economically through his life in the bad times. However, he was not pessimistic in his condition, positively accepted the natural span of life, and first worried about country rather than himself. Thus, his contented life can be evaluated as lofty virtues of pine tree getting over severe cold in winter. He wrote the poetry with self-scorn and grief for himself due to poverty, despair and disease. But his scornful mind and grief were was never negative and pessimistic. Rather he accepted his life positively in this situation. I focused on examining his life though his works and am expecting that the literary status and characteristics should be studied.

『운현궁의 봄』의 서사성과 윤리의식

김구중 ( Kim Ku-jung )
6,300
초록보기
The historicity of The Spring of Woonhyun Palace is the variation of self improving discourse and characters’ desires are represented by the 'possible structure’. It makes them open two possibilities that the story may take; two altanative functions. They are usually progresses or regresses(successes or failures) that the characters will be faced. The narrative of the self improvement keeps on transferring to the possible structure and fascinates addicted readers from the ‘modernity’ called the progress. Therefore, the possible structure becomes the internal principle of The Spring of Woonhyun Palace and can be read systematically by the readers. Dong-in Kim re-illuminates the value of 'Confucian habits of the mind’ by reviving and retracing the past in The Spring of Woonhyun Palace. The lives of the humans hounded to the tradition and custom are performed as central characters of the narrative. Characters are moral humans distressed and suffered from the self-improvement. Confucian morality becomes the secret of realizing the social relations of characters showing modern political value. Confucian morality connects the past and the present and is revived as a beauty of Korean modern novel. Now modern literature sparkles with the trace of revival, not by fading away of confucian morality.

「만세전」의 식민지적 근대성 연구

안지나 ( Ahn Ji-na )
6,200
초록보기
This study aims to look into the features and characteristics of modernity of Mansejeon by analyzing the ideological structure of the work, focusing on the colonial state of Korea. Realizing modernity under colonial rule is destined to involve problems. In this regard, it is necessary to explore in detail, with the analysis of the ideological structure, the manifestations of modernity as well as the driving force behind modernization in a realism-oriented text. Korea was annexed by Japan, which belongs to the same cultural region as hers, and had to actively receive Western modernity to fight against the oppressors. Because of this unique process of accommodation, modernity in Korea acquired universality while its negative aspects were ignored. But at the same time, modernity formed part of the ideological basis of the Japanese imperialism. In this study, this problematic modernity is defined as colonial modernity, and serves as the starting point of discussion. Mansejeon is a first-person story, focusing on the psychology of the protagonist. The fact that the awakening of the individual is set as the solution to the colonial state of Chosun shows that the author intended to enlighten the readers by exposing the inner world of Lee, leading them to modernization. Therefore, Lee cannot but be a thoroughly modern and rational character, armed with liberal views towards education and marriage; trust to objectivity and science; and realization of social and class identity. First, to Lee, the death of his wife has caused a deficiency and he wants to get rid of it. The prime solver-candidate is Jung-ja, the Japanese woman. But he cannot love the Japanese lady because he sees human relations through the prism of power. He pursues liberal and horizontal relations but cannot get rid of the yoke of hierarchical mentality. Namely, his modernity as an individual is trapped in the reality of Chosun, a colony. Lee turns to nationalism because of the maltreatment of the Japanese immigration officers when leaving Chosun. But his nationalism was mainly emotional and individual, rather than ideologically founded. After returning to Chosun, he is not able to feel identity to his compatriots who, in his eyes, are filled with pre-modern and non-enlightened thoughts. Here, his rootless nationalism collapses, leaving only modernity. Lee was able to see only greed and stupidity among Koreans and as a result, he discovers only the impossibility of enlightenment. From this point, his modernity reinforces the distorted image of Chosun created by the Japanese, echoing the rational of the oppressors. In conclusion, Mansejeon tries to discuss the background of the March 1 independence movement by perceiving it as a manifestation of modernity and nationalism, but failed. It is because the author did not realize the fact that modernity did not conflict with imperialism, in addition to failing to see the power of the general public, who were the true heroes of the movement. The reason for his failure is that the author did not see the colonialism hidden in modernity. Therefore, bringing this contradiction to light would contribute to correctly understanding colonial modernity.

영화의 서사적 공간

장일구 ( Jang Il-gu )
6,300
초록보기
The film is a kind of the narrative genre. It has some common features with the novel. The montage is the technique of arrangement of the fragmentary shots and is a kind of narrative strategy. But it is not everything. The so-called parallel montage dose not follow the general principles of montage, and makes the spatial forms as the effects of the juxtaposed shots not of the successive ones. As a result of the parallel montage of shots, the essential dynamics is established between the spectators and the filmic shapes projected on the screen. And the point of view related with camera-angle or camera-work is also the flexible mechanism of spatialization of the filmic narrative. Furthermore, the art of long-take that is relative with the production of the lyrical images of the filmic art can produce the notable spatial forms of narrative. The time process defines the key feature of narrative. Therefore, the deconstruction of the linear plot is the pivot device of the narrative space. With the time-delay, time-suspension, or time-expansion, the flux of narrative, especially the historical narrative can be changed to the spatialized forms of narrative. The spatialized narratives of the films are at work as the reflexive(not reflective) device on the history may cause misfortunes.
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