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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 : 43권 0호 (2009)

편집인의 말

송효섭
1,000
키워드보기
초록보기
6,800
초록보기
This treaties has been dedicated to analyze Dong-Ju Yun's poems during his stay in Japan with focusing on their relations to his former poems in Korea, and to illuminate by tracing his deeds with focusing on his biographic facts. The weight sensations of his five poems as a student of Rikkyo University in Japan were quite capable of them of his poems that was written before studying aborad. In the five poems whose mature senses perceived secret movements of things and world, he seemed an owner of higher esprit who freed himself from restraints of all shadows in his consciousness of the heavenly mandate, as well as a poet who endured his pain of waiting for that mandate in a dilemma. When his existence was in a danger, he eventually assumed a world in which his ardently desirable 'hopes and loves' would be realized by expelling the darkness with his 'lamplight,' placing himself in the correct position, and overcoming conflicts among his different selves that competitively sought for that mandate. During his studying at Doshisha University in Japan, he tried to advance the date when his 'lamplight' would flash on again by his concrete practices based on national consciousness, but the walls of reality struck him dead in the inside of a jail in Japan. During the days just before he was dead, he seemed to depend on the Christian faith from his childish days. He was to accept the heavenly mandate by sympathizing deeply and secretly with Jesus in the New Testament and flowing his inner bloods as blossoms above the higher esprit. The blossoms that he made open in the dark land are still at their best. Rarely in Korean poetry, Dong-Ju Yun has shown a beautiful poetic model that had accomplished his personal, national, and timely missions by reconciling the purity of human universal conscience and the consistent Christian faith harmoniously into his inner world.
7,600
초록보기
In this article, we see how typical three Japanese understand Yoon Dong-ju's poetry. First, We noticed that Go Ibuki, translator of Yoon Dong-ju's poetry, recognized poet Yoon as poet of love existentially. But because of this view, Ibuki's translation made an excessive free translation and mistranslation. and He didn't represent the current thought of Yoon Dong-ju. Second, The research of Yoon Dong-ju by Masuo Omura was conducted in a thorough positivism view. In this view, Omura represent that poet Yoon as children´s verse writer written a poems in a pure heart. We saw the fact that Omura's research was originated from his concern to foucus on the marginal literature. Third, Yoon Dong-Ju's poetry became renowned in Japan by Noriko Ibaraki's essay. She had contributed the popularization of Yoon Dong-ju's poetry. Her concern on Yoon Dong-ju's poetry is linked with the anti-militarism as a Democratic thought after war and the love of HanGuel(=Korean). Above all things, The destorted text of Yoon Dong-ju's poems on the Japanese textbook of highschool have to be revised. And I hope that the Japanese love on Yoon Dong-ju's poetry is spreading to the overall Korean literature. And when we reinterpretate the meaning of 'Yoon Dong-ju' beyond the fixed idea of past, Yoon Dong-ju's poetry will be a legacy of World Literature beyond the boundaries of Korean literature,

일본 사회와 윤동주의 기억

김신정 ( Kim Shin Jung )
6,900
초록보기
In the Japanese society, the memory of Yoon Dong-Ju had existed as “trash memory,” forgotten from the official realm of memory. The process in which the memory of Yoon’s personal experiences mediated through his life and poems and the collective memory of the Korean and Japanese society intersect and relate with each other is also the process in which the memory of Yoon Dong-Ju is constructed to become a meaningful sign in the Japanese society. How Yoon was remembered in Japan in the 1970s and 80s can be summed up as “resistance” and “religiousness.” The memory of Yoon - extracted by the Japanese intellectuals, Korean residents in Japan, and Christians - functioned as a counter memory against the official memory of the post-war Japanese society. Yoon Dong-Ju, whose memory reminds people of the experiences of a minority individual, the Japanese militarism and colonialism in the past, and thus brings up the issue of the political minorities in the Japanese society, becomes a medium through which Japan’s national legitimacy is questioned However, Yoon Dong-Ju as a counter memory appears to have lost its individuality and otherness by being absorbed and included into the construction process of the identity of the Japanese society. From the symbolic moment of 50thanniversaryoftheendoftheWWIIinthemid-1990s,YoonDong-Ju has become “the icon of peace and reconciliation” that symbolizes the coalition of Korea, Japan, and the whole Asia. During the process, the minority resistance mediated through the memory of Yoon was erased. Moreover, this process has transformed the specific memory of a certain Japanese past, such as militarism and colonialism, into a general human experience of a war. Even the religiousness combined with Yoon’s literary purity has changed into a manifestation of universal love for mankind. Continuous construction of memorials, successive commemorative events, and the attention of media show that the memory of Yoon Dong-Ju is now regarded as effective in terms of functioning as an officially recognized memory. However, on the other hand, the process in which the memory of Yoon becomes official, is also a process in which the numerous and complicated memories mediated through him are homogenized. Yoon Dong-Ju is thrown back into the pile of “trash memory” when the multilayered space of his memory, which includes Jiandao, Pyeongyang, Kyeongseong, Kyoto, and Fukuoka, is homogenized.

윤동주 시와 슬픔의 미학

정은경 ( Jung Eun Kyoung )
7,300
초록보기
This paper was focused on aspects of sorrow which run through Yun Dong ju's poetry. First the aspect of sorrow is passive in that it is based on loss of idealized childhood. In same time it has active aspect in that the sadness work as drive of construct by self-reflective ego. It have a present subject separate from the past ego and negative reality. Second the sorrow is based on universal humanism that is comprised in sympathy and pity and it is originated from nationalistic christianity. Yun Dong ju's diaspora fate through Manchuria, Pyongyang and Japanese planted inevitably loneliness and estrangement in poet's consciousness. This nomad sense and pain went toward a longing for Utopia. The Utopia in Yun Dong ju's poetry means not only his hometown but also liberated state, poetry. This is represented as 'Sky, Wind, Star and poetry' in which natural order dominate. But this astronomical beauty isn't transcendency. Yun Dong ju introduced idea of time and naming in relation to poem in this absolute space so that changed to space consisted of human being's labor and fate.

윤동주 시 연구 -타자로 구성되는 주체의 탈식민성

최윤정 ( Yunjung Choi )
7,000
초록보기
Subject has been compounded of three others in the poetry of Yun Don-ju. This method of study overcomes schematized evaluation of the purity and the resistance in literary field. And then it reveals the postcolonial sense. The first other is ecological. It is attributed to the nature which is the root of self and the source of life. Therefore nature is extended word of self. The nature is object of desire which consists of the pure self and the undamaged self. The representation of the desire shows the threat of pure territory and makes go ahead the aggressive real. The second other is ethical. It appears as the painful face of a nation. The face of nation for the weakness and poverty endows self with identity in diaspora condition. The discovery of national face paved the way for national consciousness through setting the national emotion, faith and hereditariness. The third other is struggling. It objectify self with an overwhelming look. This other of the look is hostile influence which treats self inhumanly. The self is focused on gloomy condition of an era and is took issues with a critical situation by the gaze for the look. In short, through the desire of ecological other, the self asks the identity and verifies the directivity of life. And the discovering of ethical other which consists of national units embodies the situation of the self as the colonized. finally, the self is recognized a mission by gazing for the look of struggling other. These formation courses of connections is postcolonial from the point of view of continuous human effort to free oneself from existential situation
6,600
초록보기
This paper is a thesis about Yoon Dong-ju. From 1936 until 1935, Yoon Dong-ju wrote many poems. I consider this period will focus on Yoon Dong-ju's poems. Yoon Dong-ju left to study in Pyongyang in this time. While staying in Pyongyang, Yoon Dong-ju wrote poetry. Because Yoon Dong-ju's poem in this time is the etude, researchers and critics did not study the poetry of this period. But if we observe Yoon Dong-ju of the poem, we can understand the anguish, pain and confusion of Yoon Dong-ju's inner life. In addition, we can understand that through this time Yoon Dong-ju's poems have been completed.

『삼강행실도(三綱行實圖)』의 다성성(多聲性) 연구(硏究)

신은경 ( Shin Eun-kyung )
6,500
초록보기
The Samgang haengsildo is a collection of the biographies of filial children, loyal subjects, and faithful women, which was first published in 1434 by the Royal order of King Sejong. Working with three vernacular versions of the revised editition of the Samgang haengsildo(刪定 諺解本), the Dongguk sinsok Samgang haengsildo, and the Oryun haengsildo, this article intends to explore the textuality of the Samgang haengsildo. What all these vernacular versions have in common is that various heterogenious elements such as Chinese and Korean, literature and painting, prose and verse, fact and fiction, and Chinese culture and Korean culture, coexist in a single text. In this sense, we can categorize the Samgang haengsildo as a "polyphonic text," a term proposed by Bakhtin. Yet unlike other polyphonic texts, all the heterogenious elements of the Samgang haengsildo are directed toward, centered on, and accented on a single point, i.e. Confucius moral such as filial piety, loyalty, and faithfulness. According to Bakhtin, this constitutes one of the textual characteristics of monophonic texts. Thus, the Samgang haengsildo can be redefined as a text of "polyphonic monophony." On this basis, this article illuminated a dominant ending form "-nira," which reflects speaker's strong attitude to give Confucius precepts and information to readers, uneducated common people, exercises a crucial function to create the textual uniqueness of the Samgang haengsildo that is, "polyphonic monophony."

「만복사저포기(萬福寺摴蒲記)」에 나타난 놀이와 욕망의 역설

김영미 ( Kim Young Mi )
7,500
초록보기
This paper aims to review the play and the paradox of desire expressed in Manpoksa-jeopo-gi, focusing on the desire of the main character, Yangsaeng. Manpoksa-jeopo-gi shows that through play Yangsaeng alienated from the real world at the situation of loss and deficiency of his own wants overcomes the desire not to be accomplished at the real world. The hero, Yangsaeng creates a woman, who is an object within the desire Yangsaeng made. He indulges in the playful fantasy world with the woman, and after facing with paradox of desire he returns to the real world. Yangsaeng’s deficiency and desire spread out from this work into the author, Kim, Si-seup. Both existential deficiency that deficiency cannot be fully satisfied and the paradox that desire can never existentially be fulfilled form peculiar meanings combined with the author’s individual conflict situation. Kim, Si-seup cannot help living a realistic life, even though he continues to pursue the liberal and prodigal life. Using this playful fantasy, which is a little weird and fantastic, he seeks to find catharsis which can release the oppressed emotion. Accordingly, he makes his own playground in search for the gap of circle of time. However, the virtual world where play is given to Yangsaeng collides with the real experiential world and is eventually confronted with the paradox of desire which cannot be easily approached. In conclusion, Manpoksa-jeopo-gi shows the lamentation and solace in the desire of human beings, which cannot be released in this experiential world, and it can be understood in the perspective of the existential reflection about the paradox of desire.
7,000
초록보기
This study is an object text with Ogamdo(오감도) and A weather chart(기상도) of 1930's modern series poem. This study sorts series poem with two types of Ogamdo(오감도) and A weather chart(기상도). As a result, series poem has an infinite series form and finite series form. Ogamdo(오감도) of Lee sang is a text without an external limit and a internal border. Like an Ogamdo(오감도), the infinite series-poem is not development of the teleology. This does not have the beginning, too and there is not the end too. The texts is connected with accidental combination and random combination and arbitrary combination. An infinite series-poem forms relations of a irregular and the discontinuity in the mutual relations of the texts. In addition, this forms an infinite mutual relations of texts. Hereby, significance of text emits centrifugal force in the mutual relations of the texts. A weather chart(기상도) of kim Gi-rim arranges an individual text in prior to incursion of a typhoon and incursion of a typhoon and afterward to incursion of a typhoon by a procedure in time. A weather chart(기상도) does not disturb the continuous chain of the individual text. A weather chart(기상도) is the finite series of limited structure from prior to incursion of the typhoon to typhoon afterward. The text combines individual texts continually. The combination of the text suppresses the left significance of the individual text and tuning to significance of the individual text. The combination of the text is made from a significance by centripetal force.
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