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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 : 45권 0호 (2009)

임방울의 ‘쑥대머리’에 대한 담화론적 해석

김현주 ( Kim Hyun Joo )
6,800
초록보기
This thesis's purpose is to make clear the mystery of popular favor of 'Ssukdaemuri'['쑥대머리'], the most favorite P‘ansori short song[더늠] sung by Lim Bang-ul[임방울(林芳蔚)], through the perspective of discourse analysis which connect intratextual aesthetic phase with extratextual historical phase each other. 'Ssukdaemuri' has a correlative organism in the coherence dimension, organic structure of material substance in consistence with image rousing, focal procedure in signifying of elements, material substance harmonizing with musical dimension. These intratextual artistic factors are responded with extratextual factors like as individual history or private circumstance of Lim Bang-ul, and the situation of our homeless people plundered by Japanese imperialism. The situation of 'Chun Hyang' locked in prison means the situation which Lim Bang-ul undergoes thorough isolation from Korean classical opera world at that time, and the situation which Korean peninsula confront Japanese severe tyranny in those days. Imaginative spaces like as the palace in the moon and free space of women in lotus and mulberry leaves that Chun Hyang dreams in the prison, mean anxious liberal space escaping from suppressed reality. By the way the tragic sublime occurs when Chun Hyang hopes for becoming to spirits in the prison and faithful wife's stone and longing tree. It is a paradoxical expression longing for forever liberty. That kinds of Chun Hyang's willingness corresponds with individual Lim Bang-ul's desire and Korean peoples' prospect at that time. It is a background of popular favor of 'Ssukdaemuri'.

춘향전 개작본 <약산동대>의 개작 양상과 의미

이정원 ( Lee Jeonwon )
6,400
초록보기
This paper aims at providing how to adapt < Chunhyangjeon > to < Yaksandongdae >. In < Yaksandongdae >, we could not find the love scene and the secret royal inspector scene. For what purpose were these changes made? And what was the textual effect? I want to explain the reason and the aspect of the adaption. In < Yaksandongdae >, hero and heroin whose social positions were different met as a true friend and promised a marriage. This composition of accident was very strange in the history of adaption of < Chunhyangjeon >. But in 1910's novels as like < Booyong Sangsagok >, < Cheongnyonhoisimgok >, it was very usual. This is understood that the needs of the times for liberal wedding was accepted to novel form. The mission of the intellectual for custom improvement was projected in the novel. The heroes in < Yaksandongdae > made from enlightening purpose were normative characters. They showed inflexible attitude toward liberal wedding. But their attitude did not arise from the confidence for such wedding, they wanted parents' permission and wanted to complete the wedding with a wedding ceremony. This feudal regression was not found in < Chunhyangjeon >. In < Chunhyangjeon >, the heroes chose each others and made love without regard to any custom. Meanwhile, it referred to this feudal regression that the scene of the secret royal inspector was reduced. Because the heroes did not have enough confidence, the new governor of Youngbyon was just an love obstructor not a symbol of feudal oppression.

무속 농경신화로서의 〈세경본풀이〉

김재용 ( Jaeyong Kim )
6,200
초록보기
This Paper aims at the analysis of mythemes of Segyung-bonpuri, the shamanistic myth of Jeju island. The conclusions discussed in this paper are as follows : 1) The accidents that Jachungbi, the heroine of the work, has performed have a symbolic relationship with the death and rebirth. To wear man's costumes as a woman is to kill the female. When she take off the man's costumes, she became a new woman who is mature and have a sexual intercourse with Mundoryoung, It's a rebirth of Jachugbi. Not only she performed the symbolic behaviour of death and rebirth by herself but also showed the supernatural ability to revive of Jeongsunam and Mundoryong who are dead. The cyle of death and rebirth is compared to plant seed in the spring and gather a harvest in the autumn. So the behaviour of Jachungbi shows the cycle of agricultural acts. 2) We can be certain of the shamanistic ideas in the behaviour of conflict/solution of Jachungbi. To wear man's costumes is supposed to get the power of transformation. For the journey to the other world, it is well known that the shaman transforms himself into a bird. To get a man's power for the hunting, Jachungbi wears man's costume. Ascending to the heaven of Jachungbi is compared to the journey of shaman to the heaven. We can see the shamanistic Initiation in the act of Jachungbi going across the knife which is laid on the fire. And we can be also certain of the shamanistic traces in the use of flowers which are control key of death and rebirth and irons. So Segyung-bonpuri is a shamanistic agriculture myth.

響山 李晩燾論

이택동 ( Lee Taek-dong )
6,400
초록보기
Hyang San Lee Man Do(響山 李晩燾) suicided. Because his home country ceased to exist. Therefore a large proportion of his poems are full of sorrow and wrath. He is a independence fighter in the 19th and 20th century of Chosun Dynasty. He was a representative scholar in the 20th century of Jo-seon Korea. It is thought that a study of Hyang San Lee Man Do(響山 李晩燾)'s literature is needed for discovering general history of Sion-Korean literature in the 20th century. This view point affected on the development of this essay. He was struggled with an Japanese imperialism. The other side, he regarded his cognition and thinking in the same light as traditional cognition and thinking. I think that the trend of study of the that period has been concentrated in people who struggled with an Japanese imperialism. In the end, based on the study of Hyang San Lee Man Do(響山 李晩燾), general characteristics of literary phenomenon by traditional highbrow in the 19th and 20th century also could be examined.

재일제주인 시 연구

최종환 ( Choi Jong-hwan )
6,200
초록보기
This study explores into the poem of 'Che-Ju people in Japan' under the theme of 4.3. On that score, the subject of this study is Korean poetic literature written by Che-Ju poets in Japan. By and large, their works are prone to susceptibility mingled with irresistible yearning for Che-Ju island and with trauma involved in 4.3 in the concrete. In this context, their poetic works reveal the narrative of the paradise of childhood days and the execration against imperialists at once, because their lives in the island came to ruin miserably by Lee Seung Man and the allied forces of U.S.. And therefore their works were servile to the ideology of Democratic People s Republic of Korea or Munyedong called as embassy and legations abroad of it. Nonetheless, their works don't run to go off the deep end into North Korea or munye-dong's discourse on account of self-consciousness of Che-Ju people. First and foremost, They showed their anger, grief and the possibility of communist revolution by the symbol of 'volcanic fire'. In addition, the symbol of 'Hallasan' gave vent to the intense aspirations for unification of North and South Korea in their poem.

기호학적으로 읽는 오장환 시의 탈식민성

최윤정 ( Yoonjeong Choi )
6,600
초록보기
This paper aims at reading the poetry by Oh Jang-Whan with the semiotics. He discovered the nation subjects who were suffered during the colonial period. By denying and revolting the colony real, because he was exhibited the spirit of the times, we confirm that Oh Jang-Whan pursued post-colonialism for 'The literature of human existence.' The second chapter analyzes 〈The bathroom take a bath〉 which Oh Jang-Whan embarked on poetic activities with semiotic square(semantic rectangle) of Greimas. Because the work of poetry offers the sense of the time by Oh Jang-Whan, we may be read systematically the relation and framework of society for the whole poetry texts. This analysis extracts the 〈resistance-assimilation〉 seme as the basic structure of semiotic square. This basic structure discovers how he gazed the reality of our colony. The third chapter present the modernity that Oh Jang-Whan aimed at, as a result of applying poetic format to semiotic square of Greimas. Then the 〈resistance-assimilation〉 seme operate on the whole text. By applying the 〈resistance-assimilatio〉 seme to the whole text, this paper show post-colonialism which draws progressive modernness. As the text which the proletariat(character of realism) and the masses(character of modernism) are overlapped, Oh Jang-Whan's text inflects realism and modernism, and then appears strategy of post-colonialism.

‘박용철 시전집’에 대한 재검토

남진숙 ( Nam Jin-sook )
6,100
초록보기
This study is to understand more definitely the literature of Park Yong-chul's poems by eliminating mistakes on the literature and extend the discussion on the literature of Park Yong-chul's poems. In connection with the matter, I made a classified table to recognize Park Yong-chul's poems immediate. This assortment is mainly focused on the poems appeared in magazine and a complete set of Park Yong-chul's poems. Through the classification, I found mistakes. First, the themes of a few poems published in paper were different from that of included a complete set of Park Yong-chul's poems. Second, a work such as 「Danpyeon」 was not included in a complete set of Park Yong-chul's poems. Third, three poems that bad been the subject of some debate between Lee Jang-hee and Park Yong-chul have to be excluded in a complete set of Park Yong-chul's poems because the poems turned out Lee Jang-hee's. Also, I mentioned a strong possibility that a work, 「SilJae」 maybe Park Yong-chul's in view of the fact that Park Yong-chul created the same theme and used his characteristic language. Fourth, two poems in the letter of a complete set of Park Yong-chul's poems Ⅱ have to be added in a complete set of Park Yong-chul's poems. Fifth, 「Snow」, a work that was appeared in 『Women』 magazine in 1938, was not come out.
6,800
초록보기
This paper seeks to shed a new light on the rhetorical relationship between poetry and films through the concept of metaphor and metonym demonstrated by Jacques Lacan. To this end, a study on the linkage between diaphor, conceptualized by Philip Wheelwright, and the collision montage that is creatively renewed by contemporary films, will be conducted first. The shock of image and the sense of disparity between the core and satellite concepts in poetry are in line with a broad range of collisions and the effects thereof between different scenes in films. The aesthetic nature inherent in this kind of literature style can be painted in a different light with Lacan's metaphor and metonym, which displays subtle difference from the conventional definition of rhetoric. First of all, Lacan' s metaphor differs from the comprehensive concept of metaphor, defined by the conventional rhetoric that is based on similarities of successive signifiers. However, Lacan s metaphor becomes an appropriate conceptual tool for comprehending the "diaphor-collision montage". Looking at the style of ambiguity that opens the door for aesthetic discussion in poetry and films, some replace signifiers to give shock to strange images, creating a whole new meaning. This is one of the methods of continuing the signifying chain, and the formula of metaphor set forth by Lacan becomes a meta-text that provides an efficient explanation of the comprehension process of readers. The "moment of endowment of meaning", if it can be perceived as a metaphor (i.e. the effect of signifiers that come into being at the moment of choice and replacement), should then be consistent with the genuine unleashing of the "lesensobtu" stated by Barthes. Lacan's metonym is similar to the conventional definition of metonym, since it accepts the principle of adjacency between signifying chains. However, Lacan's metonym puts emphasis on the ceaselessly-postponed meanings, in other words, the sliding of the signified. The signifiers that have not been expressed generates deficiency, and deficiency produces a permanent desire that seeks to find the subject matter of loss. This process is formalized by Lacan's formula of metonym this is a "diaphor-collision montage" based on adjacency, but when it discloses the deficiency in meanings, Lacan's metonym becomes a useful conceptual tool. For example, if the series of meaningless signifiers that are unable to express the omitted signifiers makes an imaginative fantasy, Lacan's metonym formula can be the framework for explicating the aesthetic form. From the syntax perspective, contemporary poetry and films have a perfect rhetorical style, while there are increasing expressions that are isolated from true meanings. In light of this, Lacan's metonym should be studied in a more profound manner in order to identify the aesthetic form of individual poetry and films. Poetry and films that are open to semantic structures require a more acute aesthetic sense from the reader, to which cases where people sense artistic aesthetics from individual works are closely related. Therefore, studies on the aesthetic form of "diaphor collision montage" with Lacan's metaphor and metonym should be conducted more widely in order to enjoy the aesthetic matter whose meaning is difficult to create.

김동리의 〈미륵랑〉에 나타난 화랑과 미륵신앙의 상관성 연구

방민화 ( Bang Min-hwa )
5,800
초록보기
Kim Dong-ri tried to pursue and reproduce Silla people's sprits in his own historic novel. Accordingly, he studied relation between Maitreya faith and Silla chivalry through "Mireukrang" and exmained how Silla's split appears. "Mireukrang" based upon Sam-guk-yu-sa "Maitreya faithㆍMisirangㆍJinjasa" can be differentiated in terms of prologue before and after the priest, Jinja's entering into priesthood. The first half of it reflects Silla's reality around the beginning of Buddhism in Silla and it is developed centered around love between Guzi and Saedal. The first half of it is remarked with Silla chivalry's thought of loyalty and filial piety and plays a role to support Mireukrang's appearance. The monk, Jinja touched by a Silla chivalry, sadaham's bravery and a good deed wishes Mireukrang's appearance and it is realized. Miruek and Silla chivalry are beautiful youngsters. We can find a chivalry's aesthetic base in terms of appearance in that Miruek takes beautiful appearance and decent body. A baby Miruek and a Silla's chivalry symbolize hope and actualization of the ideal. Cakra-varti Ra's thought, Maitreya thought and Buddhism's paradise are combined in Maitreya faith in which a royal family, aristocratic class and priests tried to build a paradise. "Mireukrang" shows Silla people's strong desire to thrive Maitreya faith.

서정인의 초기 소설에 나타난 죽음의 문제

김주언 ( Kim Joo-eon )
5,900
초록보기
Death is one of the main themes of modem novels. In particular, the matter of death has earned a clearer expression now more than ever before in existentialism. Indeed, this matter of death is the most important issue in Sea Jung-in's early works, which has rich existentialism. However, this study has attempted to be free from the attitude that suggests that death is only influenced by existentialism. The deaths mentioned in "The evacuation" "Put on the costume" "The day when waves were high" and other works are designated as a trauma. As such, this analysis about death requires further psychoanalysis. Especially, "The evacuation" needs to be further explained in terms of a critical psychoanalysis. These deaths, constantly emerging as trauma in the series of works, imply that the most urgent priority of the writer is to resolve this issue. Because death would be that others forcibly draw upon this experience as passivity. The writer presents that a natural death has a thread of connection with an eternal death. This death it can be in the perception of structural world. However, it has problem if the concept is an excessively simplified resolution of matter; death has yet to be overcome, though still shows itself through the darkness. If it is going to be, death pushes human life towards its destiny. The physical nature of death does not have the power to act can be superior to human being's life once life has become destiny. And life that focuses solely on destiny is inclined to be lived only with fateful pessimism.
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