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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 : 25권 0호 (2004)

편집인의 말

장성수
1,000
키워드보기
초록보기

『금오신화(金鰲新話)』: 탈계보주의, 혹은 존재를 쫓는 모험

윤채근 ( Yoon Chae Geun )
6,000
초록보기
Kim, Si-Seup, in his novels Keumhoshinhwa, expressed his Buddhistic philosophy which had grown from very early time in his life. The novels represents his syndrome of being anxiety means “Sorge of existence” or existential uneasiness as a being. His excellent insight for life itself could be compared to corps san organe of G. Deleuze that is the core conception in his nomadism. Human being could understand what he/she is only when she/he could escape from common cultural life. As it were, he/she should be another one with the one of the past. Through Keumhoshinhwa, Kim emphasized repeatedly the importance of transcendence and the meaninglessness of secular life. It means ex-genealogy as the life of an over man which F. Nietsche had created to indicate the transcendence without the exterior religiousness. The heroes and heroins of Keumhoshinhwa seek for another pattern of life and at last regard their life as a play, especially in Manboksajeopogi. Though life is essentially meaningless and ironical, human being could grasp freedom of being from it. At the final stage of Keumhoshinhwa, we find the altruistic practice which is the result of the transparent awareness of one-self, at the same time the one of Buddhistic emancipation among the constant mutation. Kim, as a novelist, play with his life or make a bet with his life because the meaning of life can’t be fixed in one dimension. On the contrary, life is ceaseless self creation and becoming something against the bad infinity of our universe. The world of Keumhoshinhwa shows us very modern or post modem champ of being. Firstly, it suggests the imaginary stage of J. Lacan like a transcendental world correspondents to egoistic self-investigation. And nextly, it is exchanged or transmitted into the jeu「play」of being, symbolic world which is the real fantasy「culture」for fictitious here and now system. Kim had discovered the time and space of fiction as a real world. That is the space and time of metrix.

김시습의 언해(諺解) 사업 참여와 절의 의 문제

김풍기 ( Kim Poong Ki )
6,000
초록보기
It is impossible to take on a nomadic path on the mental and spiritual level, while constantly revolving around the fixed past and longing for a place to settle down. Nomadic path, unlike simply wandering around and roaming from one place to another, is a flight to the new world. After Sejo's usurpation of Danjong's throne, Kim Si-sup wandered around every part and corner of Chosun for about ten years. He provided the Six Loyal Subjects what funeral rite he could. He also attempted to flee to the new world through his friendships with Buddhist priests, in-depth understanding of Buddhist sutras and development of various poetry-writing skills and techniques; some of them resulted in meaningful achievements. Scholars to date seem to have been reluctant to mention Kim Si-sup's participation in King Sejo's Korean Alphabetization Project (Onhae saop), translating texts written in Classical Chinese into Korean Alphabet invented by King Sejong in 1443. It seems to have sprung out of the concern that this might do harm to Kim Si-sup's reputation as a person devoted to loyal and righteous life. However, this is a misunderstanding derived from detaching this specific incident from the overall context of his life. More concrete and coherent argument can be constructed centering one's concern about the time period one is situated in, by facing and confirming the substance and entity of the opponents or the counterparts that one is criticizing. Kim Si-sup's work at Naebul-dang and Wongak-sa had triggered him to clearly realize what and who it is that he is dealing with. In this aspect, this incident can be understood as a threshold that rendered him to cross from the territory of the past to that of the future. Kim Si-sup, through this, had entered the age of mental nomadization from the physical wandering.

췌세옹(贅世翁) 곧 설잠(雪岑)의 구도적 삶

심경호 ( Sim Kyung-ho )
7,100
초록보기
Kim Si-sup (1435-1493) comprehended Confucianism, Buddhism and Taoism. He observed that while the individual value of every human being could be maintained by recognizing his or her own way of thinking possessed by each person, the Confucianism-centric policy on religion led only to adhere to the authority and power, and claimed that the true ideology of Confucianism should be recovered. He also warned over the corruption of Buddhism, observing Buddhist monks whose priority should have been to help other people in order to achieve spiritual awakening, but were only striving hard after their own comfort and safety, working tor the royal family. Kim Si-sup as a Buddhist monk, did not follow any particular Buddhist traditions, nor had any Followers. He never stayed long at any particular temple, nor belonged to any Buddhist denomination. By writing about < Myohop Yonhwagyung > or on the prefaces of various printed books, he confirmed his appreciation of the values of this world and revealed his ideological inclination toward harmonizing conflicts. He emphasized that ideology should be put into practice, and also valued that important were not differences in Confucianism, Buddhism, and Taoism, but only mastering and practicing those ideology in life. He was an earnest seeker after truth, who had honestly confessed his sorrow of not being able to meet Buddha.

매월당(梅月堂)의 방외인적(方外人的) 성격 재론

이택동 ( Lee Taek Dong )
6,600
초록보기
Mae-wol-dang kim-Siseup is a remarkable person who have no equal in our korean literature. Mae-wol-dang is a symbol of an author who is out of center in the period of king Sejo, Chosun Dynasty. What is more he is a writer of unique novel, Keumosinhwa. But becuse of customary estimation, the real fact of Mae-wol-dang is fainted. Mae-wol-dang says discord of that period through the poetry and prose and understands critically real of those days. But most of his poetry and prose are in discord with broken social conditions. At this point, his discord and complication with social conditions is not differ from common classical scholar. Moreover, we can see the fact that he write many poetry which deals with the constance and the principle of Confucian ideas. In the existing discussion about Mae-wol-dang, there is two standpoint about his poetry. The first, excessive concentration to the individual everyday life of him. The second, avoidance of the formal discussion about the lawfulness of the royal line after Mae-wol-dang die. And, it is incorrect understand that Mae-wol-dang is the outsider. Finally, we have to revaluate the appropriateness of concept of the outsider. Because, there is a tendency to regard a part as a whole.

김정한 소설의 크로노토프 - '섬'을 공간으로 한 소설을 중심으로

송명희 ( Song Myung-hee )
7,000
초록보기
The purpose of this paper is to analyze Kim Jung Han's novels “The story of the sand shoal”(1966) and “The letter from Okinawan”(1977), which make an ‘island’ the main space of his works, using the concept of M. M. Bakhtin’s chronotope. This thesis defines the meaning of chronotope, the combined notion of temporal and spatial states, as the term 'Weltanschauung’ that chronotope intends to represent as the thematic idea. “The story of the sand shoal”, making ‘Jomai Island’ the main space, presents peasantry who are removed from their land because of an unfair land system and describes the image of the lower class who cannot take advantage of the independence and are isolated from them, Postcolonialism is not concerned only with the colonial rule of imperialism. Colonial situations, which could occur in any nation or a nice, can be applied to the analysis and criticism of the context where a certain region or a mass controls and subjects the other groups to regulations. “The story of the sand shoal", therefore, could be interpreted as a postcolonialist chronotope that represented the contradiction of domination-subordination in a people. “The letter from Okinawa” includes the economic dependency between Japan and Korea and neocolonialist contradiction as well. ‘Okinawa’, which means the workplace, just for foreign money income, is a chronotope exposing the neocolonialist contradiction of the age, the 1970s, and on the other hand it is a polyphonic chronotope which makes us discern colonialist contradiction under the rule of Japanese imperialism in the past. What is more, Okinawa is a chronotope which indicates the postcolonialist theme that colonialism and neocolonialism must be conquered. Postcolonialism is the theory that criticizes the visible or invisible discourse of colonialism, which has essentially stereotyped our structure of consciousness in the formal independence and liberation, and clarifies their true character, and absolutely means to resist it. The chronotope of the island, in two works, can be analyzed as describing the structure of domination-subordination inside a race chat is continuing after the political independence by emancipation, or in this case explains neocolonialist contradiction between Japan and Korea from the postcolonialist point of view.

김기림 연구 -해방후 시작품을 중심으로

허형만 ( Heo Hyung-man )
7,100
초록보기
Kim, Ki-Rim, his pen named “Pyen-seok-chon(片石村),” was lifted the ban by Korean government on Mar. 31, 1988. He overcame a sorrowful romanticism in 1920s as a standard-bearer of Korean Modernism Poetry Movement from being published poem named “Go to New Life” on Cho sun Daily News on Sept. 6, 1930 to Korean Liberation. Up to now, we have researched Kim Ki-Rim's historical mind and poetry spirit in the liberal space, concentrated on his activities and poem works after the liberation. By this research, we looked over how his poetic world was changed in the liberal space and how much deeply he expressed the spine of an age through this change, even though there was a periodical shock called “Liberation.” Through this examine, we could rediscovery his literary value and position which was forgotten in the liberal space. This is the reason that the existed studies and fragmentary references about him mostly depended on the works before the liberation, and this works was only treated by the view of post-modernism, finally they made a great error to ignore his literary activities or deep works analysis. Therefore the upper-discussions are summarized as followings; First, Kim, Ki-Rim’s activities after the liberation began to take part in the poetry department of Central Committee of Cho-sun Literature Construction Headquarter with Kim, Gwang-gyoon, Oh, Jang-whan, Lim, Wha, and Jeong, Ji-yong after the resignation from a teacher in Kyoung-seong middle school directly after the liberation. After that, he took a charge of the committeeman of Cho-sun Literary Alliance unified Cho-sun Literature Construction Headquarter and Cho-sun Proletaria Literary Alliance, the chairperson of poetry department, and the manager of a branch office of Seoul. At that time, through National Literary Conte.st, he published The Direction of Our Poetry which contained his self-consciousness, historical mind, and poet's mission as the poet in the liberal space. Free from U.S. military rule, the Korean temporary government was established on Aug. 15, 1948. The government considered Cho-sun Literary Alliance to be illegal. He became a member of Publish Alliance and announced a conversion. During Korean war, he was kidnapped to the North. There are rumors that he died in an exploding flight in the fall of 1950 and he was purged on 1953. These rumors need to be re-considered. Second, his poetry works after the liberation are totally 52 works including the piece of the anthology Sea and Butterfly, Songs of Birds, and other poems not contained in this anthology. After the liberation, with carrying out the self-conquest through the self-reflection on the his modernism works that he had written before the liberation, he wanted to show us; 1. The union consciousness called “We” and the impression of the liberal space by the anthologies like Everyone Was Returned, Isn’t Our All Dream!, The Expanding Asphalt of May is, and Again on August. 2. The sincere hope on the new tendency of a new country by the anthologies like My Song, Praising A New Country, and Young Republic! 3. His humanism, loving and taking care of neighbor and nation, and his activism, filled with the will and belief by the anthologies like Hometown is Still Today, A Cuckoo, A Threnody of Street, and Last Night.

소금장수 설화의 유형과 의미 -세상의 소금, 가치 창조의 악동

이종주 ( Lee Jong Joo )
11,600
초록보기
This study is to discuss the literary meaning of the salt setter, a trickster, by analyzing the salt seller's various roles in fable. The salt seller could generally be categorized into three types; first as a trickster to reveal the covered sex; second as a supernatural being communicating with spirits to improve the distorted reality; finally as a critic to oppose the powerful people. In his various roles such as a supernatural being and a lowly person, he criticizes the previous values, and creates new ones. Furthermore, he can combine the opposite values and orders. The salt seller in the fable shows two paradoxical structures or attributes, playing these three different roles. First, he becomes both a destructor and a creator in paradoxical manner. Secondly, he does both a trickster and a supernatural being. To be sure, first, he destroys the previous values and customs, and creates new ones. For example, he reveals the covered sexual desire of women, widows, and newly interprets their sexual instincts. In doing so, his deep understanding and new interpretation of the instinct makes new ethical ground in the reality. In addition, as a trickster superior to the aristocratic people, the salt seller critically satirizes the powerful people, in which he establishes his own new order. Secondly, the salt seller's characteristics both as a trickster and as a supernatural being show his paradoxical attributes. The salt seller, a trickster, may have egoistic attributes. However, he as a supernatural being has universal characteristics. For example, he could notice a spirit, the masked fox, hear spirits, and predict the forthcoming storm. He paradoxically possesses the physical and spiritual attributes at the same time, combining the physical and spiritual world into one. Undoubtedly, the wisdom derived from the physical world could lead to the spiritual world. Therefore, the salt seller's characteristics as a destroyer and a creator could become those as a trickster and a supernatural being. Thus, the trick could be used to deduct the former values, and to create new ones. It also may be used to criticize the reality. This creative power in tennis of trick could be linked to that of the supernatural being. This creative power comes actually from the supernatural insight to discern the internalized nature in the objects. The sale seller in the fable plays the various roles such as a destroyer, a creator, a trickster, and a supernatural being. In fact, the salt seller's various roles display the opposite attributes of the destruction and creation and the criticism and transcendence, but the salt seller as a trickster combines these opposite values. The salt seller creates his unique role as a trickster or a creator in culture. Thus, he must be an essential character standing on the cultural trend, criticizing the reality, transcending the opposite values, and developing the creative thinking.
6,800
초록보기
It wasn't scarcely discourse of sexual love and eros in Korean culture. The results of research say that there was not women's body which control by oneself, have loved and a object of loving. women's body have treated as a object out of themselves and were subordinated to men, had controlled by phallocentrism of Confucianism ideas. So Korean women's have never felt her body's desire, further couldn't say abort that. To make matters worse, if they have attacked on body, especially sexual organization by other men, she suicided in spite of a victim. In these culture and rule of society and rule of society as phallocentrism and Confucianism, erotic and romantic discourse couldn't exist. That fact say us which Korean's desire of body hadn't been represent, and person's body was not free. Especially women's body had not subordinated to themselves completely.

김춘수의 자연시에 나타난 심미성 연구

엄경희 ( Eum Kyoung-hee )
6,600
초록보기
This Study has tried to slough off existing discussions about Choon-Soo Kim's poetry and to focus on illuminating aesthetic senses in his poetry by analysing with a viewpoint of natural poetry. Kim's natural poetry has shown subsequent transformations and methodical differences of versification as (a) nature as lost the beginning (b) nature as elective landscapes (c) nature recompounded with his subjective aesthetic senses. It is to be read in 'nature as lost the beginning' from his early poetry that his longing for primitive nature and his poetic consciousness its nature has been already injured and lost. These poems have been ideal in terms of inclining to mythical nature without empirical world and plain in terms of repeating description of images of the beginning as existing poets have shown versifying method. On the other hand it is to be seen in 'nature as objective landscapes’ that his intention has tried to restitute transparent aesthetic senses of nature without human ideas and emotions. His versification method has a character that has not totally slough off a mimetic viewpoint of nature in terms of linking diversified natural senses with an organic context. The Nature as (a) lost the beginning and (b) objective landscapes has to be understood as a very important imaginative stage where has announced an emergency of Kim’s characteristic nature. His process of pursuing nature through (a) and (b) has became a base of his creating characteristic natural aesthetics with his complete personal aesthetically, transferring to the stage ‘nature as recompounded with his subjective aesthetic senses.’ His characteristic natural aesthetically has been created by a juxtaposing method that has newly composed and arranged heterogeneous natural things. Tow aesthetic characters have been found in these natural poems than his prior poems. One of their characters has exposed thoroughly aesthetic senses from things themselves by devoting to describe detailed natural things as a miniature, and the other has maximize natural aesthencality and syn-aestheticality by strengthening emotional power of inspiration. Kim has neither derived a moral idea from nature nor emphasized restitution of naturality from civilizational life. What he has concentrated on is to be said an aesthetic inclination of nature. It is to be said that his ‘nature as recompounded with his subjective aesthetic senses' has a value in terms that it has gives us a new creative perspective on aestheticality of nature out of naivety of natural aesthetic mimesis.
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