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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 : 41권 0호 (2008)

편집인의 말

송효섭
1,000
키워드보기
초록보기

18∼19세기의 시조에 나타난 사랑의 태도 유형 분석

이도흠 ( Lee Do-heum )
7,300
초록보기
I applied Greimas‘s semiotic square and Gramsci's hegemony to the sijo-text of Choseon dynasty which approached to the stage of germinal capitalist society in the 18∼19th centuries. There are four types of man's attitude for love: medieval and modern loves, repressive sexuality, free sexuality. These four types were represented in Sijo(the Korean traditional poem) as the reality of that times. In the medieval type of love, man and woman loves each other within the limits of confucian morals, feudal status system, and patriarchy. The several sijo-text of this type emphasize that man must devote himself single-mindly for his wife and king. However, in the modern type of love, man and woman loves each other freely beyond confucian morals, feudal status system, and patriarchy. The several sijo-text of that times reflects the reality that man or women loves freely beyond feudal and patriarchic power relation. Man and woman who are in a repressive mentality to confucian morals allows only to sexual intercourse between husband and wife. The several sijo-text of that times assert that man and women have to love only in legally conjugal situation. The man and woman, free from confucian morals, pursues their pleasures of sexual intercourse and ecstasy of erotism beyond confucian morals, feudal status system, and patriarchy. The several sijo-text of that times represents this kind of free sexuality type beyond feudal and patriarchic power relation, and confucian morals. While modern love and free sexuality have won gradually in the hegemonic struggle against the medieval love and repressive sexuality, and the modern times were opened.

화자-청자 관계를 통한 시조의 담화 유형과 그 특성

정종진 ( Jeong Jong-jin )
6,600
초록보기
This study tries to classify discourse types and consider its characteristics which can be applied in Sijo, Korean classicald poetry. .The result of the study is as follows. Discourse types in Sijo through the relation between speaker and hearer need to be classified which indicates the speaker's attitude toward toward his/her hearer, and sometimes toward himself/herself. Thus, it is proper to classify discourse types by the hierarchical relation between speaker and hearer. In the case of works with the hearer, discourse types can be classified into three types: a type of speaker superiority, a type of hearer superiority, a type of speaker-hearer equivalency. This classification of discourse types and consideration its characteristics in Sijo through the relation between speaker and hearer can be useful in illuminating the character of each work, poet, genre of Sijo, Korean classicald poetry on the one hand and contribute to the study about the synchronic and diachronic relations among them on the other hand.
6,500
초록보기
The purpose of this paper is to make clues to understand the aspects of Enjoyment and Traditions of Korean Classical Poetry Sijo in 20th Century - Concerned with Annotated Collection of Songs(Kyoju Kagokjip 校註 歌曲集). This book is the compilation of Sijo by the Japanese Maema Kyosaku(前間恭作: 1868~1942) previous 1929. In 1929, Son Jin-tae(孫晉泰), a schola of Korean Study inquired some questions about Sijo to Maema to make a learned book named KagokDaejeon(歌曲大典). So Maema compiled this book before Son inquired. Kyoju Kagokjip describes the system of Sijo text by deviding the text into two sections. the works of the unidentified persons'(流傳編) and of the identified persons'(作家編). The former sorts in music, the latter in historical order. To make this system, the compiler recognized 18th century as a turning point. And the enormous footnote of this book was made from the base of Koseoncheakbo(古鮮冊譜), the magnum opus of the compiler Maema. The whole system of Kyoju Kagokjip was designed to make correct reading of Sijo text rather than good singing of Sijo music. Despite the considering musical part, the book keeps the accent on the linguistic part : word forms, morphemes, comparisons and thesauruses. This book will tell us the historical aspect and musical enjoyment of Sijo and we can reference and make comparison the aspect of Sijo text. We have to admit Maema's effort in the early years of Korean Study.

전설의 서술방식과 역사적 상상력 -세 유형의 인물전설을 중심으로

오세정 ( Oh Sejeong )
7,000
초록보기
Legends are illiterate peoples' memories, that is to say, unwritten histories. In order to preserve memories record, the irony is that recording will vanish memories. Legends have preserved forgotten histories and lost memories in the form of the stories. Legends have revealed philosophical take on the world of the people who transmitted the stories that has come down to us by popular tradition. Peoples have remembered valuable memories, gave important meaning to events of the past through transmitting the legends. The cultural memories in the legends, such as fixed and settled down in the particular way of the making stories, show the peoples' awareness of the world and historical imaginations. The stories of Lee Seongkye model after a pattern of the biography of the founder or of the typical structure founding myth. But on the other hand some stories exist as an alternative to the story against the legitimacy of Lee Seongkye. The stories of Agi jangsu(the tale of the Baby Generalissimo), disappearing evidence and region, were dramatically remaded by the tragic stories. The stories of Chung Manseo show the new figure of hero and these are made up of a parallel way with offering the similar episodes. It is easy to clearly distinguish the pattern of making stories between the parallel way and the biographic way. The stories of Lee Seongkye show the peoples's sympathy of the hero who is recognized by the god and antipathy of Lee's the dynastic revolution. The stories of Agi jangsu show the poeple's defeatism, the dispair on the defeat of hero from the ragtag and the acceptance of the logic of government power. The stories of Chung Manseo shows the peoples' new awareness of the new age and changing current. The understanding of the world and the historical imagination works in the ways of making stories in the legends.
6,200
초록보기
The purpose of this paper is the comparison with Some monk's tales in Samgukusa that collected in Chinese monks story, Gosunggen at the same time. According to earlier studies, many scholars tried to make clear about the relativity of Samgukusa and Gosunggen but their approaches had some limitation that caused by insufficient concrete examples. Therefore In this paper, I tired to select 3 appropriate monks. The reason I choose These 3 monks is that they are all mentioned in the category of Uhae/Yijie in Samgukusa that is same name in Gosunggen. I made some Motifemes that showed us theirs story's similarity and dissimilarity. After this comparison, I concluded that the structure of these monks tales are not same. Although these monks tale collected by the same category, the meaning of tales are different. To speak details, 3 monks keep just one role in Gosungen. For instance, Wonhuy and Usang is just a exegete but In Samgukusa, their characters transformed dramatically through editor's intention. And to conclude, The category of Uhae in Samgukusa edited by editior's intentions that demonstraed some kind of new interpretation in monk's tale.

「용비어천도(龍飛御天圖)」에 대한 연구

김승우 ( Kim Seung-u )
7,100
초록보기
Yongbieocheondo(龍飛御天圖), made by Yang Seongji(梁誠之, 1415~482), is a picture illustrating Yongbieocheon-ga(龍飛御天歌) but doesn't remain today. Yang passed the state examination and participated in making Yongbieocheon-ga in the era of King Sejong. When he was responsible for teaching the crown prince in the second year of King Sejo's reign, he interpreted all the chapters of Yongbieocheon-ga by a picture with seven scopes and used it as education data for the prince. The seven scopes are ‘flourishing virtues(盛德)’·‘great credits(大功)’·‘works of preceding kings getting old(先世積累之久)’·‘foundation of the country(開國)’·‘getting hard to maintain the country by succeeding kings(後聖持守之難)’·‘Providence(天命)’ and ‘the support of the people(民心)’. While the first three are to praise preceding kings, the latter three are to advise succeeding kings. The original text of Yongbieocheon-ga was mostly composed of praisable contents and few of advice. But in Yongbieocheondo, advisory ones were expanded so that contents of praise and advice were equally included in. This interpretation of Yang regarding Yongbieocheon-ga is contrastive to that of royal family. Royal family reinforced the king's dignity by emphasizing praisable contents for preceding kings. On the contrary, Yang advised that succeeding kings should be always prudent to follow the good attitudes of preceding kings. In this manner, with regard to practical uses of Yongbieocheon-ga, furthermore those of Akjang(樂章), two directions of praise and advice were multifariously spreaded out according to political ideals or power relations. Yongbieocheondo is a important example that spoke for subjects' viewpoint of Akjang.

죽은 자에게 말 걸기 소월시의 죽음 의식

김영미 ( Kim Young-mee )
7,300
초록보기
Kim, So-wol(김소월)'s poetry have many deaths. Example 'lover (nim, 님)' appears frequently in his poetry. Also He is a dead person. Poetic languages that are 'go(가다), leave(떠나다), tomb(무덤), the night can't sleeping(잠 못 드는 밤), (absent) you(부재하는 당신)' are relate with death. The speaker in the poems talks to a dead listener. He faces to the situation of death. By his talking, the dead listener comes in the poem. The death in So-wol's poetry communicate life and death. Talking to the dead person make life and death are homogeneous. By death eternal oneness with the object is possible, and unchangeability of love can be. But talking to the dead person includes despair and sorrow. In the actual grief the speaker want to go to the 'nim' by his death. Beyond the death 'nim' exit, and actual griefs are disappear. This world means utopia. It can be achieved only through the death. An ardent wish to the death comes out images of separated mountain and a bird. A bird fly to the death world. In Kim, So-wol's poetry the death is not nothing or ending but creating or formating. It is a kind of maternal death. In there the death restore the life. And the death is not exit in conclusion. 'Sanyuwha(산유화)' is the poem reveals this circulation of life and death, absent of death. So-wol's thinking is similar to the Korean traditional awareness of death. That can be an answer why many korean like So-wol and his poems. In spite of dealing with trivial things, So-wol's poems have poetic tension and depth. The death makes it can be.

형식주의 비평적 관점에서 본 『무정』

한승옥 ( Han Seung-ok )
6,200
초록보기
This paper looks into Moo Jung from the formalistic point of view. Firstly, the paper looks through in a way of aesthetic configuration if the main idea of Moo Jung is related to the image that new critics carefully observe. Then, it observes conflicts in the novel which is the kernel of the narrative structure focuses on relationships between the character and the times, and that of among characters. Lastly, this paper examines how the symbol which plays an important role as expressing the main idea contributes to the internal meaning of the novel. Moo Jung is structured as a competitive form that the surface theme competes with the internal theme; this structure gives tension to the work. The novel’s narration crosses between a pure image and a regrettable vindictive spirit’s image; those images are opposed to each other. The pure image that is expressed by Lee Hyung-sik and Kim Sun-hyung shows the surface theme while the regrettable vindictive spirit’s image that is expressed by Park Young-chae leads the internal theme and forms the kernel of this work. On the surface, the surface theme led by a pure and vivid image seems to be the mainstream of Moo Jung however, the real one is the internal theme that is led by Park Young-chae’s regrettable vindictive spirit’s image. This fact even attracts readers more. The main conflict appears in Moo Jung is a love triangle. Lee Young-sik, a hero of the novel, smarts between Park Young-chae - obligation for old days - and Kim Sun-hyung - benefit for now -and this forms the main conflict. The next conflict that is found in the work is that of main characters that represent the time they live: the death of Park the officer and his sons, suicide of Wal-hwa, the conflict in Young-chae herself who is a gi-saeng or not, the trouble of Byung-wook, and the trouble of Byung-wook’s brother. These conflicts prop up the main conflict, and make internal meaning of the novel more rich and meaningful. In addition, the conflict result from irony shows in the novel: the frustration on patriots’ (Park the office and his companions) wills of accomplishing national salvation versus the higher reality of people who only seek profits and pleasure. While patriots’ wills end with the frustration, people who only seek profits and pleasure all rise to higher social positions or win in reality. The formation of irony is done by winning of falsehood in a battle of truth and falsehood, and of existence in a battle of reason and existence. Irony occurs in the aspect of the formation in personality by Lee Hyung-sik; he is originally a weak character, but eventually he becomes an accomplisher of strong will for national salvation. Throughout this, heterogeneity between the surface theme and the internal theme shows as a conflict; surface themes are establishment of education in the country and the will of enlightenment, and internal themes are lamentation of Young-chae and grief from the loss of her own country. Finally, the paper discusses how a flood relates to the main theme of the novel on the aspect of symbol.

응시로써의 글쓰기-한말숙의 [하얀 도정]

이덕화 ( Lee Duk Hwa )
6,500
초록보기
Kim, Woo Jong highly evaluates 'white polishing' as a great piece assuming that it integrates every trials of the author's other short stories. Delicate framework of stories, objective descriptions, concise styles shown in her short stories revealed themselves in [white polishing], which is a long piece. This piece shows a good logic why woman is meant to live her own life in peace without continuous resistance through a pattern of, confusion of woman identity through her unclear future, establishing a new identity by making fun of gender, recognizing the reality that tells what is impossible and what is possible, finding her pinch-hitter, and going back again. [white polishing] shows a woman who could not find her own identity only had to live unstable life of confusion by not finding a role model from her step-mother or grandmother who denied their own identities of life. And then she tries to fill her life with flirtation and love letters. By not finding any good role model of her life, she tries to be satisfied by man who can handle her life and come to a conclusion that man can lead a way to find her identity. Then, she begins to see a fantasy, a woman being love by a man, which seems to be her ideal ego as her mother and grandmother did. Her romantic love seems to take her out of self-alienation but this love goes away when she finally tries to make it her own and her emptiness of life overwhelms again. The storyteller, In Ok has unconsciousness of obedience to her father's rules. She tries to live her own life as a woman but the reality of her circumstances would not allow her to find it. The real life makes her realize that her romantic fantasy is meaningless and can not be come true. This disruption comes from the writer's steady gaze of her own life and story.
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