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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 : 46권 0호 (2010)
6,100
초록보기
I studied the two means of access to the problem of forgiveness and salvation with 「HangBokWonUi YeSu」 and 「Beole IyaGi」. In 「HangBokWonUi YeSu」, the writer took note of the circumstance which the forgiveness and the salvation from sin are easily ruled in the members who have identical consciousness. He also pointed out the concern which means that the absolute forgiveness of God may be rather productive of crime without a true attitude of atonement. He tells us that people feel doubt about being easily forgiven and are conscious of the fact that the true forgiveness and the salvation are not given by others but by myself. In 「Beole IyaGi」, the writer took note of a change of mind of one woman who heard about that the criminal was already forgiven by God and found a peace of mind although she would like to forgive him who killed her baby. The woman couldn't accept God who forgave him earlier than me and finally ended her life by committing suicide. Two works are handling it the subject matter of Christian forgiveness and salvation superficially. However, they approach the general life problem of the men keeping some distance from the religion in-depth. We can also find that in 「Beole IyaGi」 published 20 years later than in 「HangBokWonUi YeSu」, the awareness of God was further developed. While the writer studied the problem of forgiveness and salvation with atheistic point of view in 「HangBokWonUi YeSu」, he come at it from theistic angle in the way that he showed the undersized human image in the sight of God in 「Beole IyaGi」. Although the writer mentioned the problem of forgiveness and salvation using Christian imagination, he tries to examine not at the doctrinaire attitude but at the human side. The thing which he emphasizes is that true forgiveness and salvation without true self-reflection and self-awareness do not exist and it depends only on the individual true will.

욕망의 윤리적 소통 - 이청준의 소설과 소설론에 대한 인간학적 접근

송지연 ( Song Ji Yeon )
7,000
초록보기
The process that a writer worries about 'why it is written' starts from the elemental question in self-reflection like 'what literature is.' What we worry about 'why we live' is the principle similar to what is based on the epistemological thinking about 'what a human being is.' As Lee Cheong-jun is a writer who concentrated on pursuing a writer's mentality inside and outside text and on inquiring into the essence of art, in the spectrum in his novel, he himself becomes the main body of inquiry, thereby dimensionally showing the world of deeply searching for a problem about the philosophical existence in writing itself. This characteristic is presented intensively to a modifier called “theory of novel written by novel” that is attached to his novel. The identity in writing will be able to be found from understanding a writer's elemental psychology. Also, a writer's elemental psychology functions as a path of understanding mechanism of narrative discourse. A writer's elemental psychology, which is mentioned here, is completely unrelated to what clears up complex or trauma of a character in a novel. Its research frame needs to be not psychoanalysis, but anthropology. The western philosophy has focused on the absolute truth. Contrary to it, the oriental philosophy is based on self-culture through the theory of human nature, thereby being able to be seen to be strong in the anthropological character. Especially, Mengtzu says that a reason why a person becomes a person is just a person's true nature. This has the thinking structure that has consistent context with what a reason why a writer becomes a writer may be a writer's true nature and what a reason why a novel becomes a novel may be true nature in a novel. This study explores the fictitious self-consciousness in Lee Cheong-jun's novel through Confucianism, which can be said to be representative of the oriental anthropology, especially, through Mengtzu's thought. Given comparing 'Benevolence(仁)' and 'Righteousness(義)', which are concepts of Confucianism, the principle of a human being's life can be known in the middle of it. As the benevolence(仁) is characterized by the mind of feeling compassion, this is called a case that self and others become oneness. And, as righteousness(義) is characterized by the mind of being shy and angry, this indicates a case that self's independent personality is argued while self and others are contradicted strictly. The retaliatory spirit, on which Lee Cheong-jun mentions as a motive for writing in Dominance and Liberation, corresponds just to the latter. This retaliatory spirit turns directly into the curing desire in Fool and Ass. Characters, who write a new novel on own fault in a novel, do write as part of making an excuse in order to console the wounded soul and to make self right. By the way, its writing is a great excuse of giving energy that can proceed with making a life again in the unreasonable world. Its retaliation is the revenge toward the world that makes me annoying, thereby reaching affirmation that denies again what is denied. If this affirmation moves to others, it comes to enter the stage of moral communication. In the novel titled Door of Time, the conclusion that the character, who had been indifferent to realistic problem, proceeds with finally advancing to a way of adversity oneself in order to be assimilated with boat people in South East Asia suggests moral prospect. Here is revealed the mature state in true humanity that is pursued by benevolence(仁). Even Levinas's argument, on which only self of freeing from oneself leads to being able to advance to the future of acquiring eternal time, is suitable for this. Art is dreamed of coming to be able to share sympathy with mankind in the world, by which an individual's desire is sublimed through moral communication. This dream can be realized through the proposition that our psychological disease, wound, or retaliatory spirit is resembled as much as being able to understand each other and to be understood. Ultimately, writing allows the world to be cured beyond the healing of individual existence in a human being. That is because a story is a form that is completed through connection and communication with others.
6,300
초록보기
Korean-Japanese poetry shows various concerns about establishment of ethnic identity. It get into age of settlement with the ratification of a treaty between Korean and Japan. They give shape in their work as a Korean-Japanese borderer who agonize their identity. The subjects of the poetry are generation gap between parents and children, discrimination surrounded by love and job. However the main point of the poetry is one's history of hardships. The poets bring up ethnic questions that they aware of gap among their homeland and themselves. It is the nature in age of settlement. The poetry change over age of symbiosis near the Seoul Olympic, 1988. The poetry recognize there figure as it is-Korean-Japanese and find a way of symbiosis in Japanese society. It shows tendence that interpret and correspond to Korean-Japanese. Therefore the poetry raise private problem into general one like language, existence, solitary of contemporary men and dissolution of family. In this process, they admit the matter of nationality unlike first and second generation of Korean-Japanese. The poetry develop new way of Korean-Japanese to choose their independent life, while it enter the age of symbiosis. Thus, they try to understand specific condition-Korean Japanese into general problem though the poetry stick it out yet. It means the Korean-Japanese poetry starts to involve ethnic group and get over at the same time. The experiment can be a great reference to globalize Korean literature. That' s the reason we should take notice of the change.

향가 현대시화의 맥락과 방법

이창민 ( Lee Changmin )
6,300
초록보기
Subject: To investigate the motif and method to create modem poems based on Hyangga by analyzing representative cases. Object: Collection of New Hyanggas by Park Hui-jin and Hyanggas of New Tunes by Lee Hyang-a. Method: Comparing the two intentions and methods of creation. Conclusion: 〈Collection of New Hyanggas by Park Hui-jin〉 A result of certain views to interpret Hyangga based on attitude of following the original text, revising the format of poetry epic by summarizing tales; 〈Hyanggas of New Tunes by Lee Hyang-a〉 A product of the individual poetic consciousness for writing poetry, Criticizing the meanings and contents of the lyrics by interpreting the poems.
6,700
초록보기
This paper, focusing on the pureness and inclination for childlike innocence, and recognition of reality and acquirement of historicity of characteristics of Yon Dong-ju's poems, two values pursued by Yon Dong-ju's poems and the discord aspects of poetic self between them. Also, to disclose concretely this, the dual use aspects of the same motif a used in children and general verses were looked into. In children verse, 'the moon' implies brightness and light and 'the night' forms its background, but in ordinary poems 'the moon' represents a lonely moon throwing cold light and 'the night' gloom. And when 'the night' and 'the rain' was combined, it reflects more harsh reality. In children verse, 'the sky' is widespread sky, but in ordinary poems, 'the sky' is the one seen from a closed space. The speaker desires to lament in the closed space or escape from there. Children verse shows recognition of the reality through 'winter' and 'snow', but superficially sings the positive aspect of winter and snow. In ordinary poems, 'winter' is cruel reality and the season we should endure for spring. In children verse, 'the wind' is that of harmony and composition but in ordinary poems, 'the wind' has a meaning of a suffering and violence. In Yun Dong-ju's children verse, natural motifs are pure natural shapes and represent positive aspects. In ordinary poems, however, the same motif is given a personal or actual meaning, representing the speaker in agony. Like this, Yon Dong-ju, two values named pureness and historicity were variously embodied in his poems, and in the process of that, it could be guessed that he continued to cause discord. As a result of such discord, he stopped creating children verses after 1938, getting to concentrate his energy on the reality recognition. It does not mean, however, the pureness or inclination toward childlike innocence that he pursues does not disappear. He tries to solve discord in a way that the pureness and childlike innocence are arranged at the depth of his consciousness and historicity at the outer layer. Thus it is possible to read Yon Dng-ju's poems in a diverse way,

최명익 소설의 수사학적 연구

장소진 ( Jang So-jin )
6,000
초록보기
From the viewpoint of rhetoric as a communication strategy, this study examined difference in rhetorical strategies observed in Choi Myeong ik's early work A Rainy Road and another work jangsamisa, which shows the signs of change from his early works, and discussed the world of his literary works. Taking note of the basic characteristics of the novel genre, we divided the sub strategies of rhetoric viewpoint into the rhetoric of narration, rhetoric of structure, and rhetoric of value, and analyzed the two novels based on them. A Rainy Road uses the rhetoric of dual narration distinguishing between the narrator and the focalizer, the rhetoric of structure foregrounding the juxtaposition and confrontation of characters, and the rhetoric of value raising the ethical voice of the self isolated from the world. As a result, although the self with strong self consciousness has the desire to step forward as a subject, it returns to its own world of self consciousness where the self is rather objectified from the world and abandons its will to communicate with the world. Jangsamisa uses the rhetoric of narration in which the self assumes the attitude of an onlooker yet steps forward as an observer who looks at the world as a subject, the rhetoric of structure accumulating meanings through repeating tension and relaxation, and the rhetoric of value in which the logos consciousness of the self works, recognizing and criticizing problems in the world. As a result, although the self is an observer it is described in a changed image that looks at the world outside of itself and recognizes problems in the world critically. Of course, the self in Jangsamisa is not so active in communication with the world either. At least, however, it is aware of problems in the world and look at them critically. This suggests that the self of Choi Myeong ik's novels expanded its potential for sympathetic communication with the world.

『자유부인』의 젠더 정치 - 성적 가면과 정치적 욕망을 중심으로

심진경 ( Shim Jinkyung )
6,300
초록보기
This paper aims to investigate the methodologies of the gender politics that represents and condemns a time of turmoil by means of the gender and body of women, based on the reading of LadyLibertine by Bi-sukJung. The analysis is carried out on the two levels: first, I examine the makeup techniques of the main character, Sun-young Oh. 'Make-up as freedom' is self-masquerading of the phallic woman wanting to get involved in the male socio-economy rather than mere seducing of men. Namely, it can be called the politics of masks. With respect to this, what is condemned in the novel is in truth the phallic or socioeconomic desire that the make-up tries to conceal although it seems to be the abandon of the lady libertine. Second, the genderization of plot is discussed in this research. Lady Libertine is narrativized with the impetus of plotting propelled by the social, sexual desire of Sun-young. However, when her husband, Tae-yon Chang, holds back his sexual desire towards another woman, Eun-mi Park, the impetus goes away and the plot is terminated. What we can grasp here is that the sexual, bodily adventures of the women create popularity of the novel where as the male authority and claims vindicate its moral standards. Furthermore, the novelist feminizes the upheavals of his day and masculinizes the will to improve the reality. The way for improvement depending on the patriarchal authority of men is nothing more than the restoration of the traditional or antique.
6,000
초록보기
Shin Chae-ho bas actively embraced traditional popular fables and created novels based on them. Rather than being indifferent to the modem literature in Western countries, he adopts the way of literary writing that actively makes use of the traditional narrative style, which makes it hard to designate his works in any part of Korean modem history of literature because of the unique nature in terms of ontology. Therefore, this study examines the style of accepting popular fables focusing on 「A One-Hundred Year Old Man's Story About A Beauty」 and 「A Fierce Battle Between Two Dragons」, and addresses the features of his style of literary writing in terms of ontology based on the result. 「A One-Hundred Year Old Man's Story About A Beauty」 adopts the narrative structure of the fable of "the extirpation of a great enemy in the underground state," which involves betrayal to the wife. However, Shin Chae-ho adopts the narrative pattern of folk fables that maintain the positive view of life by focusing on things that one possesses, and thus try to combine all other things while implying a narrative strategy of twisting and overturning them. In that way, he is successfully overturning the problem of rise and fall. In addition, 「A Fierce Battle Between Two Dragons」 is based on the fable of dragons and the idea of Maitreya. Although both works set the general public as the key subject of narration, there is difference between them that could not be neglected. While the public described in 「A One-Hundred Year Old Man's Story About A Beauty」 is the public thought of and described in terms of nationalism, that of 「A Fierce Battle Between Two Dragons」 reflects the people that lost the color of the nation and are thought of in terms of class.
6,700
초록보기
『Hanyang(한양)』 was published in Japan, but it was clear that, in the 1960s, 『Hanyang(한양)』 disclosed a polio-sociological position which, by no means, lagged behind any progressive media published in Korea. In contrast, it was manifest that 『Hanyang』 depicted even a more progressive position. 『Hanyang(한양)』 used all its strength to settle two problems. One was to accelerate the realization of national-democratic modernization of the 4.19 Revolution, faded away as the 'incomplete revolution'. The other was to gather all its strength for a prudent settlement of problematic realities which Korean-Japanese' living a Japanese life' confronted. The following is, hence, the problem consciousness of the novel in 『Hanyang(한양)』 in the 1960s. First, the novel in 『Hanyang(한양)』 envisages the reality of absolute poverty widespread in the nation the foundation of economic independence of which collapsed after the Korean War, and acutely portrays backwardness and pre-modernity of the inner part of the Korean society, which block the progress toward overcoming the poverty. Moreover, poverty and democracy restoration is grasped as the identical relation; hence, the ideology of Park Jeong Hee's regime assumes an attribute of political criticism on the modernization out of industrialization based on nationalism. It is, in fact, another plan for modernization, which the novel in 『Hanyang(한양)』 expresses, related to the agriculture corroborating physiocracy. The political philosophy of 『Hanyang(한양)』 stands in the same line with the desire for democracy restoration, for which the history of the colonial rule by the Japanese Empire must be properly understood, and Koreans must wisely overcome the difficulties. Furthermore, by way of a historical examination of a chain of political disputes in the 1960s (3.15 Fraudulent Election, 4.19 Revolution, 5.16 Military Coup, 6.3 Anti Korea-Japan Agreement), the novel exposes a volition to resolve the task to restore democracy as the subjective competency of the Korean society. Further, the novel in 『Hanyang(한양)』 presents a narrative reflection on the current problems of the life of Korean-Japanese in Japan. The historical sensibility of the era in the 1960s should surely not be oblivious of. During the period, the potent national consciousness dominates the society of Korean-Japanese, which assumes the vital responsibility to uphold the national identity of Korean-Japanese. A noteworthy fact is that the nationalism for Korean-Japanese in the 1960s provided them with the motive of their life to unbendingly survive in the Japanese society.

단행본의 '표제' 분석을 통해서 살펴본 '신소설'의 양식화 가능성

문한별 ( Moon Han Byoul )
6,300
초록보기
The term "shin-soseol" has been mainly used as literature type in Korea. Recent studies claim that "shin-soseol" means just a new novel, and such view is gaining momentum. This paper aims to overcome the differences in the views based on factual evidence and examine whether the term could be used to refer to a literature type (narrative). To this end, the paper classifies the term "shin-soseol" in the documents, especially the book titles from the late 1900s to 1930s so as to see how it was used and understood then. Newspapers, advertisement and criticism during the period will also be examined to see how the then writers and readers took its meaning. Based on such process, this study tries to draw a new meaning of "shin-soseol".
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