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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 : 31권 0호 (2006)

편집인의 말

장성수
4,500
키워드보기
초록보기
6,100
초록보기
Ecofeminism is a progressive theory that criticizes basically inequality and oppression occurring in most of relations including ruling and subordination, man and woman, human and nature and responds practically. This paper, study on Han Young-Un’s Poetry through ecofeminism is written for clarifying recognition of reality of colony and the active practice of femininity value. Han Young-Un’s Poetry has the symbol of nature in plenty and the Buddhist ideology of life that all life is very important each other equally. He finds the magic of nature and the power of life, in addition to he is very empathic on participating in ego as a small universe actively. Divinity is in action here, it is an ability of recognizing holiness and dignity of all nature. Female ego that is revealed in Han Young-Un’s Poetiy looks supersession and discrimination which is not fair in reality and show the strong will for practice which is aiming at the truth of overcoming them. The spontaneous obedience which is revealed in his poetry uniquely is to be selected by free will and the practical action that realizes the dream of ego. Femininity of Han Young-Un's Poetry has the strong life consciousness and maternal capacity. Mercy, the love which is open and altruistic, also attracts our attention as moral value that stands against egoism and discrimination in modern age. He aims at the poetry that has power of life for practicing mercy.
6,100
초록보기
This thesis intends to consider the postcolonial characteristics in the poems of Korean traditional poet, Han Yong-Woon. Through this study, I will examine how the ‘subaltern’ of his poems in The Silence of a Sweetheart are reacting against the contradiction of colonial modernity. Theoretical developments of anti-imperialist discourse are a demonstration of colonial resistance in reading poetry. In order to clarify his poetic perspective I will illustrate his poems from the subaltern theory of Gayatri Chakravorty Spivak. Spivak’s argument is that the subject of colonized subalterns are effaced in the process of the subjectification of the colonized by imperialism. Han Yong-Woon often used the principle of equality in his poems arise from Buddhist culture. It presents the equality between the subject and the others. To colonial natives, imperial powers function as to force the project of colonialism to natives. He make constant efforts to resist the Japanese imperialism with postcolonial perspective in 1920’s. He indirectly criticizes and resists against the colonial modernity of Japan by revealing the dichotomy of governing power through the reconciled combination of ‘me’ and la sweetheart’. The poetic subject, in specially subaltern in his poems does not look like a separate subject with society in spite of seperation. Although separation from his(her) sweetheart made him(her) sad, he(she) puts up with the mental pain singings a song of farewell.

만해 한용운 시의 탈식민주의 여성성 연구

이민호 ( Lee Min-ho )
6,300
초록보기
Until now, the theory of Han, Yong-Un has been a history of the study looking for ‘the Lord’. Consequently, the female narrator who was the actual main character of Han, Yong-Un’s poems has been excluded. In light of such a perspective, this report reviewed the femininity presented in 『The Silence of the Lord』 recognizing the poems of Han, Yong-Un's as H gender issue characterized by anti-colonialism. In the existing reviews, the femininity shown in the poems of Han, Yong-Un’s was confined within the perspective of man. Even when the stand of femininity was taken, the femininity of Han, Yong-Un ended up returning to be a part of Decolonial national resistance. The gender issue could not avoid circumferentiality. The femininity was mystified as a name of the nation or was negatively distorted The femininity in Han, Yong-Un’s poems was the one imagined. First, the femininity was mystified as the image of the motherhood. By adding the traditional-mother-like naturality to the femininity, the cultural image of woman was excluded. Hence, when ‘the Lord’ encountered the danger of its extinction, the female was idealized as a healing place, transformed as ‘the Lord’, for insecurity in 'masculinity'. Second, the femininity reappeared as a negative entity. The female narrator became subordinate to 'the Lord’. The female self who is waiting to be called by ‘the Lord’ is in an emotional and anxious state. The view that such uncertainty of femininity originated from the silence of ‘the Lord' is only a masculine view. The femininity imagined in such a way was interpreted as an allegory of resistance from the aspect of anti-colonialism, but it is rather an allegory of oppression of females who were excluded from both cdoniality and masculinity. Therefore, the femininity that was imagined from a masculine perspective should be vanished and reconstructed from the perspective of postcolonialism. In such a perspective, 'the Lord’ does not need to be under stood merely as a male subject. ‘The Lord’ is an entity like ‘Chora' described by Kristeva. The mother of the universe is not a certain entity that reappeared from a perspective of man but a natural female prior to language in silence. In that way, the semiology of the endless pursue of the poetic subject for ‘the Lord’ becomes naturally overlapped with a colonized subject who is oppressed. The language of the female subject to recover famine values through the
6,500
초록보기
This research is an essay. Accordingly, this research is descriptive rather than normative and intends to have experimental attitude rather than dog-matical. This thesis has an intention of presenting the practical writing method for expanding undergraduates’ creative writing capability. The writing capability in university is required to have speculation process and intellectual challenge which are entirely different from the writing skill focused on general communication that we have learned until now. With several methods, creative writing can be possible. The method, presented in here, is based on the view of grasping as synthetic cultural ability while not to grasp creativity as temporary talent. From this standpoint, this research advances the text model of creative writing and also fundamentally imitates this model with parody. Followings are three requisites for the creative writing; first, the competence of critical analysis which helps to analyze an object deeply; second, the insight power which helps to see through superficial phenomenon considered to be natural matters; Third, the analogical imaginative power which helps to link this to other basically similar discourse. Those are three requisites. Consequently, the creativity written in here is not just required the simple offhand jest but constitutive synthetic cultural ability. This creativity required synthetic cultural ability can be explained more scientifically by following proportional expression. superficial phenomenon (A): depth Meaning (B) ≒ (another) superficial phenomenon (A’) : (intensified) depth meaning (B’) So, when simply to symbolize it we get < A:B≒A’:B’ >, this shows clear recognition structure. The creative writing, which satisfies the conditions of these four items, not only indicates the certain standard of writing but also requires certain standard of life. The problem, how to write a good writing, is finally brought to a conclusion as how to lead a life.

단편소설 모두(冒頭)서술자 기능 연구

김원희 ( Kim Won-hee )
7,000
초록보기
The objectives of this thesis are to categorize the vision and function of narrators revealed on the Beginning of short story. The modified version of three dimensions, person, mode, and perspective, presented in Franz Karl Stanzel's "A Theory of Narrative" were used in classifying the category. At first, four visions , Bukwan style(Author’s prospect ) and Kongkwan style (Reflector's prospect) point of view as third person narrator prospect and Oekwan style ( Self-teller's prospect) and Naekwan style (Self-Experiencing prospect) point of view as first person narrator prospect were classified using person and mode dimension. This four visions, again, were divided into eight functions, Kwonwi (Authority) and Joung (Harmony) function from Bukwan vision, Donghwa(Assimilation) and Bansung(Reflection) function from Kongkwan vision , Jundal(Transmission) and Koback(Confession) function from Oekwan vision, and Meta (Metaconstruction) and Haeche(Deconstruction) function from Naekwan vision, applying mode dimension. In conclusion, this transformation of narrative function from teller's to reflector's imply that the orientation of work interpretation is reconstructed from writer's authority to reader's experience. Reader's esthetic desire and writer's narrative desire for exercising authority more strategically facilitated this transformation. The study for examining narrative function has crucial point, because it is helpful to interpret the power and desire of narrative discourse and look into existence form of human being.

이상 시의 형상 언어적 의미와 글쓰기 전략

박승희 ( Park Seung Hee )
6,100
초록보기
Visual language and virtual reality called simulation have been frequently mentioned as one of the key methods of narration. Accordingly, the issue of linguistic function in the communication process of our society has been newly emerging. In this regard, it is significant to find writing strategies for this age of multimedia in the 21st century from Lee Sang's literary text which breaks down realistic meaning network of language and creates unique figurative world based on various experiments of written language and sign expressions. His literary language features metaphors beyond logic and ironical profoundness through figurative shapes and signs, and formation of written language. However, such figurative characteristics of language reflect 21st century post-modern literary imagination and linguistic function with unrealistic and surrealistic world of language coexisted beyond the context of reality.

요산 김정한의 단편소설 『사라진 사나이』 연구

최미진 ( Choi Mi-jin )
6,400
초록보기
『The Vanished Man』 is Kim Jeong-haiVs “vanished” novel. Even its existence had been in a veil because the novel was omitted from 『Yosan Soseolmoknok (The List of Yosan’s Literary "Works)』written in his own handwriting. It was published in the No. 21 issue of 『Gyeongnam- gongnonjin July, 1954 and the No.2 issue of 『Gyeongnamyeongam (Gyeongnam Yearbook)』 fist mentioned the fact. 『The Vanished Man』set in Busan, a refuge place during the Korean War period, has the following distinctive features. For starters, 『The Vanished Man』 adopted double plot into narrative style to avoid monotonous narrative and to bring out diverse voices through a prism of a picture of a cow. The main plot logically chronicles how Jeong Dong-ho and his wife tried to get a large sum of bank loan, enhancing the readability. By the means of its character Jeong Dong-ho, the novel contextualizes materialism and a series of attempts to hit the jackpot at one try that were prevalent in Korean society during the Korean War period, to evoke the thematic and emotive effects of the story. In contrast, the sub plot of describing how Jeong Dong-ho and his wife are influenced by Park Deul’s picture of a cow is introduced when charactersf tensions begin to be eased in the main plot. The picture of a cow painted by Park Deul is depicted only in a symbolic way, undermining the thematic and emotive effects. Second, the novel adopts the omniscient point of view, but stays away from commentaries. Unlike other Yosan's novels, 『The Vanished Man』 does not adjust narrative flows and clearly expo.se the theme through commentaries, nor provide information on the topic in detail. Only a piece of the theme that the writer had in mind is revealed, so the theme does not seem to directly control the story. Lastly, the picture of a cow in the novel remains nothing but symbolic, so readers find it difficult to he immersed in the ‘story and they have to decode the meanings that the picture carries. First, the picture represents purity as opposed to Jeong Dong-ho’s snobbery. It serves as self-consciousness that splits his inner world. Second, the painting signifies Korean national identity and symbolically contextualizes the corrupt Korean society at the time of the Korean "War, Third, the picture of a cow implies sexual desire or fantasy. Even though it reveals a sense of crises between the couple in the narrow sense, it also imprints awe of life itself in the broader sense. Like this, the picture of a cow, confined to being just symbolic in the sub plot, can be diversely associated with the main plot. In conclusion, 『The Vanished Man』 is a novel in which Kim Jeong-han attempted to make a variety of changes to the conventional narrative style by structurizing double plot, refraining from making omniscient commentaries, and using symbols of a picture of a cow. Yet, Yosan seems to have not been quite satisfied with the result. So, it is not far-fetched to assume that Yosan classified his creative works in the 1950s including 『The Vanished Man』 as the products of the time when he stopped writing. In other words, it is a result of self-censorship that Yosan did not want to make public his unsatisfactory works, but remaining silent on the fact rather highlights the missing parts in the list of Kim Jeong-han’s novels.

연극시장(演劇市場) 연구

김남석 ( Kim Nam-suk )
6,800
초록보기
This paper studies about Yeogeuksbijang. Yeogeukshijang is a theatrical troupe that led Korean theatrical circles in the first half of 1930s. As yet, the study of Yeogeuksbijang isn’t progressed. So Yeogeuksbijang remains obscurity. This paper intend to examine Yeogeukshijang's substance and feature. This study will he a groundwork of the restoration of Korean Play's history

가족 변천 연대기의 형성과 풍속의 발견 재론

윤석달 ( Yoon Suk Dal )
6,100
초록보기
This study aims to show that the social manners in family chronological stories not only provided a means to overcome various problems of the society, but also contributed to the expansion of the contemporary literature. The social manners in stories are closely related with the contemporary lifestyle. Stories dealing with civilization period reflects the social manners and reality recognition of the people during that period, and the writers' perspectives on the contemporary history and reality as well. It was in late 1930’s when the social manners first appeared in our story writing theory. As a way of searching for a new topic, it first appeared in Nam-Chon Kim’s long story “Daeha” (The great stream) and many other chronological stories dealing with family history and family change. Kim’s concern was to reveal the essence of social reality and ultimately accomplish realism in the literature. Subsequent stories dealing social manners are Ki-Young Lee’s “Pom” (Spring) and Seol-Ya Han’s “Tap” (Tower), and Tae-Jun Lee’s “Sasang kwa Weolya” (Philosophy and Moon Night). The important point in the family history stories is to show how the family members are rising and falling along with the social change. From this perspective, “Daeha” .shows weak chronological characteristics, and “Tap” and “Pom” shows strong chronological characteristics, but “Sasang kwa Weolyan focuses on the growth of one character. In particular, they do not concern every generation of the civilization period, but only the last pan of the civilization generation, through which they attempt to show the development of family history. While the stories of 1920's and 30’s have concerned with ‘money’ and ‘sex’ to show the social manners of corrupted urban middle class, the stories of the late 1930's mainly concerned with social manners of the folks such as new education, marriage customs, civilization culture, commercialism, and social status change. During the civilization period, conventional lifestyle have changed dramatically and people experienced social rise or fall. In conclusion, the appearance of social manners in the late 1930,s family chronological stories contributed greatly to Korean literature by providing alternative way to overcome the contemporary social problems and diversifying the range of story writing.
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