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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 :
수록 범위 : 40권 0호 (2008)

편집인의 말


도구의 학문에서 본질의 학문으로 - 서사학의 현재와 미래

한용환 ( Han Yong Hwan )
The main point of this article is to look back upon the history of contemporary narratology and to prospect the future of narratology in advance. Until the middle of last century, the use of narratology was restricted. However, at the end of the 20th century where the revolutionary development of the technology of electronic media was achieved, the circumstances on narratology has taken a sudden change. As the result, the overflow and the congestion of narration have become a socio―cultural phenomenon which means that there has been a tremendous demand for narratology. Nevertheless, far from responding to the socio―cultural demand, the use of narratology has waned thoroughly since 1980's. Why such a consequence has been caused? It is because the idea and the theocratical rules of narratology which calls itself as the basic resource of other studies, have blinded itself. This article is written on the purpose for the narratology (basic resource for other studies) to overcome its limits and to be born again as an essential study in order to actively respond to the socio―cultural demand. For a concrete plan, this article presses for a reconciliation between narrative poetics and criticism and to emphasis on the need of the development of the metatheory in advance.

‘포스트-고전서사학’의 전망과 현재 -- 타자로서의 시간과 공간

권택영 ( Kwon Teckyoung )
Since Russian Formalists posited a fiction as form and initiated us to experience time in its displaced order, the two terms of fabula and sjuzet became the foundation on which the narrative studies built up, and those terms had been transformed into story and narrative by Genette, or story and discourse by Chatman. Nevertheless, the privileged narratology during the twenty century mainly relied on the French Structuralism along with British and American narrative theories, for without mentioning the names of Todorov and Genette, and of Wayne Booth and Dorrit Cohn, hardly can we compose anything about narrative. Not only the transition from the structuralists' universalism to the post-structuralists' narrative discourse, but even such various terms including "free indirect speech," "implied author," and "focalization" are the reservoir obtained by one centuries' investigation. For all these, do we need more studies with narratology? This paper probes the narrative theory after the classical period so called "post-classical narratology" designated by certain new scholars like David Harman and James Phelan. The general characteristics of new paradigm could be summarized as not an age of theories, nor of political corrections, but of reading materials exhaustively for the discipline of our mind. Cultivating the ethics, we are to be confronted by the broad areas of narrative analysis not to mention of literary field: film, music, history, media, law, medicine, and so on. While surveying and featuring the aspects of new method, this paper examines the interaction of space and time as one trend among others emerged in this "theory-practice" age.

이문구 소설의 서술 구조 ― 연작소설을 중심으로-

최시한 ( Choe Si-han )
Short stories by Lee Moon-gu are discoursed in narrative situation which narrator is not distinguished from author. We can say that the subject of narration who was named author-narrator on this paper discourses sovereignly in spoken language like a storyteller. The narrative situation which basically doesn't care about separation of fictitious world or doesn't establish fictitious narrative situation separatively was not changed to the style of narrative situation of novel. However, on the other hand, we can say that such a narrative situation exists, because the author refused the change consciously. Also, this narrative situation was strengthened and became ideologically firm, because it inherited mind for narration and form from biography. Author-narrators of short stories by Lee Moon-gu are basically descriptors and also storytellers at the same time, and they have very near relations to the author. All of roman cycles which are worked on this paper are a collection of biography. The posture of a scholar of author-narrator and his accurate narration of author-narrator which is about life of common people show its peak on series in 『Kwanchon Supil (Essays in Kwanchon)』, but they have a problems that are exposure of premodern ideology and flat specific. Lee Moon-gu overcomes these problems through reflector narration, scenic narration, recurrence plot and so on. His such an overcoming is formed through that he limited a little bit function of author-narrator and his attitude as a storyteller rises to the surface strengthening scenic and humor. Also, his such an overcoming was tried intensively on series in 『Uri Dongne (Our Town)』and series in 'Namu (tree)' and he obtained the desired results. As a result, the esthetic form that short stories by Lee Moon-gu attained is 'spatial novel' that strengthens spatiality with extention of conversation scene, recurrence plot and form of series. Short stories by Lee Moon-gu show the mixed problems that Korean history of modern narrative has faced. 'Strange' aspect that works by Lee Moon-gu bring into relief brings to our attention how we have been negligent of what kind of form Korean novel has to have and which form Korean novel has. Lee Moon-gu exposes that Korean novel gave up being a subject being swept away by ranging waves of modernizing and Westernization, through that he refused that he is 'other' in his own tradition for narrative. It is as important as that his works show the life of common people that is deprived of sovereign and colonized.

김현탁 「산불」의 해체적 글쓰기 전략

김승옥 ( Kim Seung-ock )
The aim of this thesis is to study on the deconstruction of the drama text, that is focused on the deconstructed writing style of Kim, Hyeon-tak's San bull. Deconstruction is to deconstruct a drama text means to show the contradictions in its meaning, and to show how it does not fully explain what it claims to explain. San Bull, the realism play text by Cha, Bum-suck which was written in 1962. After that, the play was performed many times. Kim, Hyeon-tak's San Bull which is written and performed in 2008 that is appropriated the Cha, Bum-suck's play. Cha, Bum-suck's canon has provided a crucial touchstone for the post modern drama text of Kim, Hyeon-tak. He sets up a rigorous intellectual framework to deconstruct various categories of Cha, Bum-suck's realism play text. Kim, Hyeon-tak's San Bull is dependent on the literary canon for the provision of a shared body of storylines, themes, characters, and ideas upon which their creative variations can be made. The spectator or reader must be able to participate in the play of similarity and difference perceived between the original, source, or inspiration to appreciate fully the reshaping or rewriting undertaken by the adaptive text.

김경욱 소설의 서사 패턴과 리듬

김원희 ( Kim Won-hee )
The objective of this article is to analyze the distinctive features of narration embodied in Kyeong-Wook Kim's novels focusing on aspects of narrative pattern and rhythm. Characteristics of Kim's narrative pattern and rhythm revealed as a results of the analysis is as follows; First, the narrative pattern of separate angle showed in Kim's novels, such as 「Was an actor GY Jang dead(장국영이 죽었다고)?」, 「Go to meet Betty(베티를 만나러 가다)」, 「Private life of a cat(고양이의 사생활)」, 「Dangerous reading(위험한 독서)」, repeatedly brought out the mutual text into discontinuous rhythm relief. Second, the narrative pattern of image deconstruction appeared in Kim's other novels, such as 「An alibi for butterfly(나비를 위한 알리바이)」, 「My love, Nakasaki(나가사키 내 사랑)」, 「The recent state of you(당신의 근황)」, 「99%」, restored mutual text to an image of chaos and exposed continuous rhythm by concatenating the image of narrative reality. The shift from the narrative pattern of separate angle to image deconstruction reflects the change of Kim's view of the world from transient anonymity to real-name identity. Kim inquired deeply into the root of modern human being living with digital media and culture of post-modern society by playing a variation on the narrative pattern and rhythm in his novels. That is why his novels are crucial for estimating new narrative trends of 21st century Korean novels.
Today, narratology is actively combining itself with not only post-structuralism but also cultural semiotics, psychoanalysis, post-colonialism theories, and existential analytics thereby going beyond the confines of structuralism. Such a combination is a process in which the self-identical realm of narratology is being dispersed and absorbed in other principles and discourse. This expansion and melange do not signal the degeneration or demise of 'genuine' narratology. Rather, it could signify the contemporary existence method or the possibility of future potential for narratology. Therefore, what is more important than confining the realm of narratology and defining its essence is tracking down which discussion continue or re-enter theoretical achievements of narratology and finding out its significance. It is in this perspective that this paper looks into how the theory of narration shifts to other realms of discussion while distancing itself from the confines of structuralism. Among many aspects of narratology, the theory of narration in particular situates itself in a wider range of significance through its combination with theoretical studies such as the issue of text and discourse and the issue of subject and the otherness. Narrative concept and system related to narration not only encouraged and advanced such a discussion but also in doing so it opened itself up to new contexts and practical possibilities that go beyond the limits of formalism. This paper examines the aforementioned aspect in detail by looking into how the theories of narration by Gerard Genette and Tzvetan Todorov continue with discussions by Roland Barthes, Mikhail Bakhtin, Gilles Deleuze, Julia Kristeva, and Paul Ricoeur thereby presenting the prospect of finding new significance and possibility in narratology.

한국 라디오서사의 갈래 연구

최미진 ( Choi Mi-jin )
The radio literature in Korea had long been marginalized in literary research in a disparaged environment for creation. Noting that the theoretical approach to radio literature is almost existent, this study aims at exploring the concept and the genre characteristics of radio narrative and categorizing the Korean narratives during the period between the Japanese colonial rule and the 1970s. Radio narrative refers to a series of stories delivered through an arrangement and rhetorical methods of the radio media. Today's narrative goes beyond the limited rhetorics found in novels and crisscrosses many kinds of media and genres to include diverse literary products and discourses dispersed in human activities. So, it can be said that radio narrative covers quite broad areas, but this study takes a close look only at artistic radio narrative. The categorization of radio narrative is based on the concept of "remediation" suggested by Jay David Bolter and Richard Grusin, focusing on the correlations between media and genres. Radio narrative can be divided according to the remediation aspects of the existing narrative genres. The remediation of oral narratives include radio historical stories and radio gags, while that of technical narrative genres are radio drama, radio novel, radio essay, radio sound play and radio music play, which have some characteristics of radio drama in common or become similar to it. This means radio drama with pronounced characteristics of remediating other genres is the integral part of radio narrative. In this study, the categorization of radio drama genre is examined separately. There are more criteria to categorize radio drama, but it is important to note that a new experience between the 1950s and 1960s had a decisive impact on the establishment and the popularity of radio drama. Moreover, the remediation of diverse media and genres also has taken deep root in the U.S. broadcasters as well as many competing broadcasters. Korean radio narrative has recently shown a distinctive trend of seeking changes. Facing a competition with television and many other media, radio narrative is trying to converting itself into a "visible radio" by utilizing advanced digital technologies. At the same time, radio narrative is gaining more ground through audio book service provided by broadcasters. Therefore, reminding that radio narrative has been keeping pace with technological and social changes, it is necessary to conduct more research on radio narrative.

박목월 시의 신앙의식 연구

남금희 ( Nam Kum-hee )
We know Park Mok-woel who is famous for his Nature yearning poems. But in this thesis, I analyzed his poems in the point of his christian belief through his middle age and latter age poems. His faith consciousness appears us in the three interconnections, they are follows: The first, the images of family which appeared on Park Mok-woel's poetry is a pity concord. The paternal love is supporting his family. Endurance enables him to live with his family community. He who acts as the head of a family returns home every day after his business. Because he loves his family. But father is not willing to know his future. Because he knows that only God knows human's future. At here and now, he lives only the present with sincere on the earth. The second, the maternity which appears in his 『Mother』poetry pursued the mild and praying for a family peace. Mother is a companion in his childhood. And he misses his mother as a faith partner. Such image converts into the divinity in his latter poetry. Through the divinity to ensure the guardian of family, he orients to obey the God. The third, in the year of 1970's, he published 『the Stones』series. He appears very steady gaze at his common life. He realizes to the man's limited destiny. And he uses the stone and rock symbols. The stone symbol presents at his latter poetry that appears in his faith consciousness such as the star or the polar star, or Pegasus, or tombstone, or marble and so on. He describes solitary existentialism in the presence of God with stone symbols. Frequently he was conscious of a graceful constellation in the sky that acts in concert with stone on the earth. Meanwhile, he is going to live in the rocks which symbolize remarkable endurance. He describes that the man knows the God stares at him as if the planets roll on in their courses. He wants to live in God's order. He has a return consciousness to the God as Being Itself in his last life. At last he returned to his heaven home with his poetry. His Chritian poems published by his wife and his son after his death. Through these poetry, we conclude that Park Mok-woel is a very sincere christian.
Woman of 「The flower of the azalea(진달래꽃)」 showed the new reaction that was not seen before in the parting situation. Clarify this, I was going to show a new direction for tradition characteristics education of 「The flower of the azalea(진달래꽃)」, and there was the purpose of this report. I can arrange it as follows. The first, An existing study was various and grasped the character of woman of 「The flower of the azalea(진달래꽃)」. It pointed out the thing that was not proper to keep a woman of 「The flower of the azalea(진달래꽃)」 whom it could be grasped in various woman images under control with a traditional woman image. The second, it was hard to look for the woman image of 「The flower of the azalea(진달래꽃)」 in a classic poetry. Therefore, Understanding a woman of 「The flower of the azalea(진달래꽃)」 to a traditional woman needs reconsideration The third, traditional character of 「The flower of the azalea(진달래꽃)」 is haved that is fused the romantic love that it has been flowed in from Europe with traditional material emotion, nevertheless was felt naturally. The above-mentioned discussion, needs reconsideration that it prescribes a woman of 「The flower of the azalea(진달래꽃)」 with a traditional woman, and high school education to teach. Therefore a direction of the education must change.
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