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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 : 26권 0호 (2005)

편집인의 말

장성수
4,500
키워드보기
초록보기

이광수 소설에 나타난 희생양 모티프

한승옥 ( Han Seung-ok )
6,000
초록보기
In this paper, we extracted several attributes described below by analyzing the characteristics of scapegoat motif appear in Lee's novel. An innocent scapegoat appears to be the core motif in Lee's novel, 「Mujung」, and outraging the purity of innocent scapegoat, in this case, Yongchae happens to be the focus of problem. In 「Gaechukja」, the scapegoat of self-awakening appears to be the core motif. This novel describes the self-awakening of Sungsoon, the heroine, and presents the problem of frustration and hopelessness followed by the self-awakening process. In 「Jaesaeng」, the core motif is the scapegoat of the times. A scapegoat of retribution from the corruptions and sins of young people comes into question. In 「Heuk」, the core motif is the scapegoat of arrogance. Arrogance from class-conscious, retribution of sins which comes from passion, and self-resurrection portrays a problem. In 「Aejung ui Pian」, the core motif is the scapegoat of passion. The scapegoat of passion and self sacrifice comes into question. In 「Sarang」, the core motif is the scapegoat of salvation. Self sacrifice based on the tragic world view and a will of salvation presents a problem. By analyzing the above, we can easily find the fact that the scapegoat motif becomes the core motif in Lee, Gwang-soo's work. This motif parallels the scapegoat motif of Jesus Christ, so the conclusion that the Christian implication is indirectly and internally presented by the scapegoat motif can be made even though Lee did not externally professed Christianity in his novels.

이광수(李光洙)의 문학론(文學論)과 민족주의(民族主義)

김춘섭 ( Kim Chon-seop )
6,000
초록보기
This paper has an intention to explain Lee, Kwang - Su’s nationalism by search of correspondence the meaning of occidental concept and Lee, Kwang - Su’s. As things turns out, it was identified that Korea’s literary ideology was neither false nor antinomy and Lee's nationalism for literary consciousness was not artificial device. Cultural nationalism was ideological paradigm that had been dominated Europe, through the first half of the 19th century and it was entangled with liberalism and romantism. Those ideologies are common in the point of beginning to grow revolutional periods. If a race might be exalted cultural nationalism in the time of prize same language and tradition, the national consciousness that Lee desired in the early ultimately jointed in the cultural nationalism though it has a heterogeneous side. Because in the theory of 'JEONG(compassion)', ‘utilitarianism’ and 'SANG(normality) Lee, Kwang - Su was consistently maintained the proposition that asserts to establish new nation by language, race and literature. In advance Lee, Kwang - Su emphasized preparedness and racial remodeling by national sheme for national independence or restoration. For Lee, Kwang - Su it means diversion from cultural nationalism to political nationalism. However political nationalism didn't reveal definitely in his works and critical essays. Repeatedly sayings it means that he was not politician. We can know that his political nationalism in his several article far 1920’s was mixed cultural conception. Therefore he was condemned not to intense for actual consciousness and prearranged national betrayal. The generative state of nationalism can be conceptualized cultural and political nationalism, already examined in second chapters. So that, the conclusion of this paper is what should be accepted Lee, Kwang - Su’s critical view as cultural nationalism. 'What should be accepted means that Lee, Kwang - Su’s cultural nationalism obtains an appointment in not Lee, Kwang - Su’s personal will hut periodical significance.

춘원의 「단종애사」 연구

전흥남 ( Jeon, Hung-nam )
6,600
초록보기
This thesis chose Lee kwang-su's historical novel, 「Danjongaesa」and as objects of study in order to examine his historical consciousness and attitude of historical construction. In works analysis. In 「Danjongaesa」 author classified dramatis personne into a good man and a bad man, this classification was based a traditional confucian criterion. In this work, history had been unchangeably formed by conflict of virtue and vice, or of justice and injustice. To say another words, it included a static historical view. And this work centered in an event not in a character. Author explained the event not by matters or conflicts in society but by struggles of the upper classes. Lee kwang-su could not show the power of historical development through his historical novel, owing to lack of right historical consciousness. He merey introduced our historical matter to readers, So he were not able to inspire the people's consciousness as a counter-measure to period surroundings.

『무정』에 나타난 ‘사랑’과 ‘주체’의 근대성

김지영 ( Kim Chi-young )
7,100
초록보기
In this paper I investigated the modernity of Mujong by focusing on love and the protagonist’s subjectivity in the novel. Mujong reflected the author’s argument about ‘Jong(affection)’ and ‘Y nae(love)’ directly. Literary concretization of the author's theoretical assertion made two different effects : on one hand, the novel delivered the author's ideas of enlightenment in easy words, on the other hand, it exposed the blind spot of the author’s theoretical assertion. Yee believed that true love come from spiritual understanding and realizing inner love and affection made a person a subject. It was because he thought that a person who realized love and affection could awake his/her responsibility for others and for the society. Mujong reified this theoretical thoughts on the bases of the period's reality by building a protagonist who considered his personal love as a 'spiritual revolution'. However,literary materialization exposed the deficiency and inconsistency the fixed theoretical idea. The inconsistency could he represented by two major points. One was the protagonist Hyong-sik's intense interests in the body of Yongche, the other was the unsolved state of Hyong-sik who could not select one of the two women Son’h yong and Yongche by his own passion to the end. These two facts were resisting against the author's theoretical thoughts pointing out its aperture. The confusion brought from love made the protagonist ask his subjectivity for himself, although the author stressed Hyoug-sik’s awakening of the self several times in the story und Hyong-sik was described as a enlightened person. This self-interrogation revealed the protagonist's feeling alienated from his own belief, and this fact discovered that the described subjectivity of Hyong-sik was an artificial effect of the author's discourse. However, Yee Kwang-su solved this problem by Hyong-sik’s desire for education, especially learning from the West. This way of solution prohibited dismantling and reconstructing the pre-constructed thoughts which had its base in the West. Likewise, Yee’s illuminism could not but settling in pre-constructed identity, excluding the possibility for the liberation movement from the pre-modern society to create a space to play liberal variations of possibilities and to find out new symbolic order without certain pre-constructed orders. Thus, love in Mujong proved that the modern subjectivity stressed by the author concluded to colonial subjectivity in the end.

이광수 초기 소설 연구 -결핍의 양상과 그 해소로서의 『무정』의 의미

문한별 ( Moon Han-byoul )
6,000
초록보기
The status of Chunwon Lee Guang-su in the history of Korean Literature has been controversial. A case in point is the debate over whether "Mujeong" is the first modern novel in Korea. So far, most studies on Chunwon's work have taken a macro approach and focused on the history of Korean Literature. As a result, the micro approaches to motif analysis and inner mechanism have been limited. In discussing the work of a novelist, the micro approach based on development and changes should be taken over the argument about its position in the history of literature. In this context, this paper focuses on looking at the inner mechanism of the characters in Chunwon's early works. The inner mechanism means the development of changes in the characters' desire and deficiency. Basically, there are two kinds of deficiencies in the works: love and knowledge deficiencies. His characters try to correct the deficiencies. The characters in his early short stories get frustrated because they have to choose one between the two with equivalent values. In "Mujeong", however, characters resolve the both by selecting one with the both values in a love triangle; male protagonist "Lee Hyung-sik" chooses "Kim Sun-hyung" and female protagonist "Park Young-chae" chooses "Kim Byung-guk". After all, Chunwon's characters are evolved to correct the deficiencies by choosing the integrated value in "Mujeong", which is in line with the main themes of his works: encouraging the idea of free love and education and enlightenment.

영상작가 김기덕과 서사물의 이데올로기

김종구
4,500
키워드보기
초록보기
6,200
초록보기
This article intends to illuminatc one of the characteristics of saseol-sijo, that is, to contain non-lyric factors such as describing commoners' vivid daily life and assuming the form of a minimal story. I consider this phenonmenon to be a result at the saseol sijo’s encounter with yadam or "short story in Chinese, ” both of which flourished in the late Choson period that is characterized by its reaching the culmination of the Bakhtinian sense of dialogic principle. What is common to the both literary forms, one is a lyric and the other is a narrative, is that they were formed, performed, and circulated around the space of the “town” where dialogism reveals its highest level. It is apparent from this situation that the two heterogeneous literary forms could encounter, influence, and correlate with each other. Unlike other typical lyric texts, which a lyrical “I” expresses and conveys his or her climaxed emotion in a monologic voice, many of the saseol sijo texts ante various types of characters as their narrators in a same way that a narrative employs a character to evolve a story. Furthermore, a large quantity of saseol sijo texts tend to have a short story, even though it assumes n minimal form. This article considers these “non” or “anti” lyric features as the outcomes of the saseol sijo’s dialogue with yadam.

서정주 시에 나타난 삶과 죽음의 문제-꽃의 상상력을 중심으로

윤재웅 ( Yoon Jae-woong )
6,700
초록보기
The issue about life and death appeared on the Suh Jung Joo’s texts can he mainly characterized by the imagination on the term, 'Flower’. The flower in his texts functions as a symbol of rebirth 'Secret Word’, ‘Flower’, 'What kind of flower rubbing my heart makes me so eager to live like this?' are the works can be the examples of this statement and they follows the track of historical genelogy containing the texts of former generations such as 'Madam Lovebird's Bonpulyi’, 'Priness Bari’, ‘The tale of Shim Chung’ and so on, which have established the archetype of Korean culture. The archetype of rebirth is clearly portrayed on the ‘Resurrection’. It shows that Sub Jung Joo’s aspect of life and death, which inclines toward the eternity in terms of the rebirth, has been examined from his early years. At the bottom line of the aesthetics of Sub Jung Joo's eternity which is examined by the imagination of ‘Flower’, there is the arechetype of our national culture and aspect of world in Buddhism. Suh Jung Joo actively adopts the aesthetic ideologies like 'Animism’, ‘Hylozoism', 'Universal Organism’ and ‘the transmigration of soul’to his works. We can observe the philosophical and religious background in his aspects of life and death through the world professed by his numerous works 'Old song 2’, 'Beside Chrysanthemum’, 'Karma Story Song’ etc. And in his works such 'Bunch of Flower from a Stranger’, 'Pomegranate Flower’, ‘Monologue in a flower garden’ and so on, the metaphysics of eternity is aesthetically accomplished in a much more refined way. 'A Flower’ itself becomes the aestheticlly reproduced object of eternity and the eternal existing manners of love and production, or objectively correlated concept about the metaphysical ideal which disregards the peril of life. The way that Suh Jung Joo deals with the theme of flower is practically so much different from the way the other poets do in 20th century. He was constantly concerned about the questions that examine the aesthetic ideal and overcome the matter of death. In this process, the subject that is mainly and frequently used is the ‘Flower’. Consequently, the ‘Flower’ in Sub Jung Joo’s texts is the most significant image that establishes the nature of eternity and aesthetic point of view.

<반조화전가>, <기수가> 연작(連作)에 나타난 해학과 풍자의 변주(變奏)

박경주 ( Park Kyeong-ju )
6,500
초록보기
This thesis pointed on < Banjohwajenga(반조화전가) > < Gisuga(기수가) > two gasa series, and looked into the aspects of ridicule and laughter and an end of dispute. On the ground of the result we demonstrated the esthetic characteristics of two gasa series according to concept of humor and satire. Two gasa series created against the disputant circumstances between men group and women group(< Banjohwajenga >) or within women groups(< Gisuga >), and attack to partner group expressed on works as a ridiculous speech take with laughter. But come to an end of dispute make peace with each other by reconcile within disputant groups or reconcile of outside disputant groups. We can confirm on works that the base of reconcile already planed in consciousness of disputant groups. Also < Banjohwajenga > series created between men group and women group are stronger than < Gisuga > series created within women groups from a strength of dispute. On the ground of this result the esthetic characteristics of two gasa series can conceptualized the variation of humor and satire. The disputant group recovered their pride and secured the unity with partner group by variation of humor and satire. And We can guess that this disputant groups recognized the disputant process as a play.
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