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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 : 47권 0호 (2010)
6,500
초록보기
Yoo Chi-Jin is the foremost Korean playwright that highly contributed to the localization realism play in Korea theater history. The studies on Yoo Chi-Jin's plays has concentrated on the realistic plays in the early 1930s and the Post-Japan plays in the early 1940s. But the studies on Yoo Chi-Jin's plays in late 1930s showed a lower relative number. At least most researchers mainly studied the historical drama in the late 1930s. This tendency of study on Yoo Chi-Jin and Yoo Chi-Jin's works has resulted in a disproportionate effect on research orientation to Korea theater history. In order to solve these problems, I will study Yoo Chi-Jin's realistic plays in the late 1930 and will organize its significance and value in my essay.
6,800
초록보기
The concept and category of Korean historical play is still an issue of debate among the scholars. This paper attempts to explicate the mode and history of Korean historical play by looking at the emergence and development of Japanese historical play that similarly revived and enjoyed its heyday in the 1930s. In particular, this paper tried to contemplate the similarity and difference in the discourse of historical play of Japanese empire and colonial Korea, which emerged in the 1930s with a few years apart. Assuming colonial Korea and Japanese empire as the two forces that operated within the same cultural area, I traced the theatrical world of Japanese shingeki (literally, "New Drama") in the mid-1930s, in which historical drama drew phenomenal attention, Japan's cultural filtering system that sent out its reality and vision to Korea, and the discursive traits of historical drama in Korea's modern theatrical world. By examining and reconstructing the discursive landscapes of Korean and Japanese historical drama, focusing mostly on Ryu Chi-jin and Murayama Tomoyoshi who were one of the most prominent playwrights and drama producers in Korea and Japan respectively, this paper ultimately reveals the historical conditions in which Korean historical drama could exist in line with the logic of cultural field that bound the empire and the colony at the time.
6,400
초록보기
It is one of the characteristics of premodern novels that most of them include some poems within them. Upon briefly examining the whole of the novels, we readily come to find that the use of the poems becomes different depending on how the novels are circulated. Working with Guunmong, this article intends to explore the correlative aspect of the use of poems and various ways of circulation such as written channel and oral channel, version in Korean and version in Chinese, handcopied one and commercial one, etc. As for the poems concerned, this article includes titles of 16 chapters, which are of the form of couplets as well as general poems inserted into premodern narratives. In case of the titles of 16 chapters, Chinese version is more manifest than Korean version in its poetic effect; in case of the inserted poems, the number of the poems is much less in commercially-printed edition than handcopied version. With no corroborative evidence of the oral performance of Guunmong, I would consider several points as clues for solving the problem: the frequency of the publication of commercially-printed edition, theme and content, oral cultural tradition which most of the premodern narratives have preserved, the phenomenon of storybook reciters' switching their occupation to the writers of commercially-printed storybooks.

한시 이론인 용사(用事)와 점화(點化)의 주체적 수용

윤인현 ( Yun In-hyun )
6,500
초록보기
This study examined the difference between Yongsa and Jeomhwa and their traditional succession through Korean poetry, Sijo, Gasa, and modern poetry. Their subjective acceptance was also examined. Yongsa is quoting phrases from old texts and scriptures to give them new meanings, whereas Jeomhwa is adopting phrases with their original meanings, but changing the meanings at a certain point to give them new meanings. Yongsa and Jeomhwa were Korean poetry writing techniques, but also used for Sijo and Gasa during the Joseon Dynasty. It was examined whether the techniques of Yongsa and Jeomhwa are traditionally succeeded and used to write modern poetry. In result, it was found that Yoon Dong Joo's < Seosi > and Jeong Hee Seong's < Washing My Shovel in the Fallen River > used Yongsa to quote the scriptures of Mencius and Confucius. Also, Yi Sang Hwa's < Does Spring Come to Plundered Fields >, Jeong Ji Yong's < Nostalgia >, and Yi Soo Bok's < Spring Shower > adopted Jeomhwa. Some modern literature researchers have compared Yongsa and parody or Jeomhwa and parody, but neither Yongsa nor Jeomhwa can be compared with parody because they have completely different concepts to parody. Therefore, Yongsa and Jeomhwa should not be analyzed by comparing them with parody, a western literature theory. Parody can be adopted for Korean literature and Yongsa and Jeomhwa should be succeeded as traditional literature theories. Doing so would enrich the literature theories of Korea.
6,700
초록보기
In this study, how the complete epic song of (Wanchang) Pansori with the narrative structure separated and converted into the popular song in the form of short song with intensive poetic structure is observed through the songs < Ssukdaemeri >, < Tsuwolmanjeong > and < Soldier sorrow song >. After 1920s, the Pansori faced the new situation by the sale of the phonographic records. Until then, the people only could listen to Pansori of long narration lasting 3 to 5 hours by a single singer at the site but people started focusing on the lyrical pieces lasting around 3 minutes by the production of phonographic records. As thus, the emergence of phonographic record had a profound relation with the formation of popular pieces of the Pansori. The popularity secured by the Pansori and the change of time in the form of 3 minutes made by the phonographic records opened the new era for the Pansori. The substantial time restriction eventually leaded to secure lyrical character, which was about the common human emotions such as 'waiting for parted lover', 'yearning for parted father' and 'thinking of family in hometown of far away', rather than delivering the epic contents. This poetic lyric character is the common sentiment of Koreans who has crossed the ages of 'sorrow' and 'lamentation' but is the 'general' human emotions which appear commonly regardless of time and places. The popular piece of the Pansori engraved lyric character in the form of popular song, which the popularity of the Pansori brought, was spread wide not only by their musical making but by the related capability of performers. The emotion of lamentation and the melody of mode based on ‘gyemeonjo’ out of rhythms of the Pansori penetrated deep into the people's hearts and in addition to that, the related commercial factors changed the aspects of the Pansori. In other words, the historical significance of the popularization of Pansori is that the Pansori, which existed as the structure of motional story telling-oriented narrative structure, has reborn with the static lyrical structure, that is, the poetic structure expressing the emotions such as the love, the separation, the yearning, the waiting, and the yearning for home, after advent of phonographic record. Now, the Pansori is presented in front of the public through the phonographic records of which each independent piece and content is converted into single song melody. This may be welcoming change for the public but worrisome phenomenon for related minority group of artists and the historian of the literature.
6,300
초록보기
This paper has been written to introspect the situation of diaspora outstretching in Korea these days. The settlers from poor or development countries have been suffered by korean people who didn't have the understanding of diaspora. This paper makes a proposal for korean people "Put yourself in an other's shoes". This idea will be expected to go on well because there are a lot of historical experience in Korea under imperial Japanese. The literary works have given chances people to widen their understanding using specific context of poems or novels. Also this has been stimulated by the specific of literature that it has reflected the life's reality. At first, this paper showed several poems written in Manchuria under imperial Japanese. After that it stood several poems written in 2000's showing discrimination to settlers by a korean superintendent. Through this course, this paper expect korean people to introspect and widen their understanding of new coming era 'a multicultural society'. At the end, this paper pulled Baek Seok's poems and a Han Myung-Hee's poem for discussing the possibilities of reconciliation by deep interest and admission. The changing for a multicultural society of 2010's korean society looks like inevitable road. This paper has been expected to contribute for leading korean people to the multicultural society and diaspora.

오장환 초기시에 나타난 이중성의 폭로와 욕망의 문제

오세인 ( Oh Se-in )
7,000
초록보기
This paper aims to examine early poems of Oh Jang-hwan from the perspective of disclosure of duplicity and desire from his first published poem 'Mokyokgan' (Public Bath) to first poem book Seongbyok(Castle Walls). The characteristics of Oh's early poems have been defined as criticizing or denying problematic tradition, however, without specifically designating the object of criticism or denial. This paper will specify the object as the duplicity of premodern and modern society and that various layers of desire are at the bottom of that duplicity. Here, the duplicity indicates the deceptive behaviors of Yangban, ruling class of premodern society who cover the desire of individual and group up with Confucian ideology and the strategy of segregation and separation of forced modernization hidden behind the glamourous exterior. Modern and premodern society are identical in that they are deceptive and hypocritical. Oh Jang-hwan's early poems criticize the universal desire of modern and premodern society by disclosing the duplicity. In 'Camera Room' and 'Mokyokgan', Oh describes the survival of premodern ideology which had already lost its value, class distinction, racial discrimination and the matter of desire in modern and premodern society. In 'Seongbyok'(Castle Walls), 'Jeongmoon'(Gate of Filial Piety) and 'Seongssibo'(Genealogical Record), he discloses deceptive behaviors of premodern ruling class, including himself. In 'Oncheonji'(Hot spring) and 'Suboo'(Capital), he reveals the strategy of class distinction and separation of modern society by contrasting the brightness and darkness of modern city. In this way, Oh Jang-hwan expresses his awareness of crisis in modern society. By including himself in the criticism on modern and premodern society, his crisis awareness shows tragic features and his criticism can be justified. This tragic features of Oh Hang-hwan's early poems is one aspect of aesthetic modernity closely related to the reality of Korea in mid 1930s.

『토지』 가족서사의 구조 고찰

이진 ( Lee-jin )
5,800
초록보기
This study is to consider the structure in Family Narrative of Toji. In Toji, there appears a story of many families. Choi Family narrative forms the core of this story. But it is difficult to understand the entire narrative structure only by this in that there are many Family Narratives formed individually. Many Family Narratives form some layers, surround 'Core Family Narrative' and gather it round. In this study, I regard this as 'Accumulation Structure'. The reason is that many Family Narratives, in my viewpoint, form a mass of individual Narrative, which are gathered and accumulated. Thus I'll focus on the characteristic and shape of the Accumulation Structure in Toji Family Narrative. In chapter 2, I examine the characteristic of Accumulation Structure in three perspectives. During the process, I notice a story of a person can be unified into the Narrative of one Family. I see an individual Family Narrative has a core of its own. Also, I confirm that each Family Narrative can be completed individually. In chapter 3, I explain the Accumulation Structure, dividing it into four layers. I place the Family Narrative of main Character in the core and regard the correlative events as 'Supplementary Family Narrative'. I consider the event which has much quantity as 'Additional Family Narrative', though it lacks the relation with core Family Narrative. I confirm many Family Narratives exist on the outer layer as 'Independent Family Narrative'. In addition, I investigate the organic relations among many Family Narratives. To sum up, I studied that a huge amount of Toji is structured as a accumulation of many Family Narratives.

원본비평을 통해 본 『상록수』의 텍스트 문제

정홍섭 ( Cheong Hong-seop )
6,200
초록보기
A very popular famous Korean novel Shim Hun's 『Evergeens』, far from the reputation, could not have shown the real state of itself to people. As we could see an aspect of the real contents, almost all the versions of this novel from the Liberation unto today are those that could not wholly deliver the substance and atmosphere that the writer had intended in the original version. By this treatise I wanted to issue this problem with the result of the textual criticism of this novel. The two general principles of the textual criticism is to raise the readability for today's readers on the one hand and to make the most of the writer's original intent, and the latter is more primarily important element than the former. Accordingly, the correct version of 『Evergreens』 should be the one that will contain fully the writer's intent in the version of the newspaper serialization and the book version that the writer himself corrected. At this time the correct version must be made toward the direction that would first of all guarantee the people's everyday way of speaking and the old-style and simple expressions as the dialect, spoken language and those days' vocabularies. Doing like this way, of course, today's readers' readability must be secured at the same time. After this treatise, I would undertake the works like these at the next study. First, I will scrutinize the North Korean version of this novel in full-scale and systematically which has various dimensional problems. This scrutiny as an important material would contribute to the consideration of the general problems of works published in North Korea and the characteristics and the problems of North Korean language policy. And secondly, the examination of the dialect and the North Korean language is needed. This would verify the validity of the vocabularies in the various Korean dictionaries on the one hand, and would explore the possibility of 'the North Korean language's use for the common language of South and North Korea.
6,700
초록보기
This study set out to investigate the ways the subject perceived modern times and his or her post-colonial perceptions through homosexuality embodied in novels from the 1910s and 1920s. Post-colonial reading is a process of taking away our subjecthood from the standpoint of the subject as we became colonial others inside. The separated sexual subject is not actually separated but takes separation itself as the essence of the subject, trying to exist as the sexual subject of separation, who establishes him or herself as the subject in the patterns of separated sex and thus perceives others, making resistance against the distorted modern times in the form of subversion and appropriation. In the 1910s and 1920s, homosexuality remained in the area of purity until it gradually fell into the grips of power and became the other by increasingly supervision, punishment, and suppression. The discourse about homosexuality those days saw it as something negative that should be watched out and defined it as a primitive act based on the rational logic of medicine and science. In that process, basic human desire innate in sex as a violation or homosexuality erupted, threatening the modern order and causing disruption for rebellion. The homosexuality embodied in works pursued health and purity rather than pathological symptoms. The writers disclosed abominable and corrupted aspects of human through heterosexuality and pulled chaste love out of homosexuality. As the colonial situations turned worse, purity for homosexuality became greater. Such patterns of homosexuality were the allegorical devices for the writers to reflect the times. They were expressed in camaraderie, friendship, and sibling love, which presented the colonial situations in the way of subversion in their suppressed forms and criticized the colonial reality through the forms of love on the run. Is It Love? and Yun Gwang-Ho display desire for and resistance against Japanese imperialism through the mixed subjecthoods through homosexuality. Tears of Sympathy, You with a Shallow Mind, and To My Young Friend reveal the hypocrisy of the substance of love as homosexuality is hidden with a metaphorical device of friendship and heterosexuality is cut and practiced by an institutional device. They show the points where the modern order breaks down and the expression of pure physical love between the same sex individuals. No Love presents homosexuality in the form of sisterly love and instills hidden fellowship, demonstrating the diversity of desire that resists by bursting out suppression. Homosexuality's power of subversion lies in that the problematic consciousness of modern enlightenment is reproduced through women that are the lower-level subjects. The perceptions of post-modernity are closely related to the subject perceptions of our modernity. Thus they are the resutis of a theoretical effort to overcome colonial modernity and, at the same time, claim validity as the methodological device to see the real aspects of our modern times right.
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