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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 : 49권 0호 (2010)
6,200
초록보기
I expect that through the introduction of the reception theory, our modem literature will be better explained, newly interpreted, and eventually reveal another aspect of literature. And in an attempt to approach the goal, I intend, through concrete reading, to shed light on how Yoon's poetry contains elements destructing the existing horizon of expectation in regard to morphology and what kind of change it can bring about in terms of semantics. In the process of doing so, I will also demonstrate how they stimulate readers' active reading, or, awakening of readers' consciousness as well as his poems that simply give empathy to readers. Yoon's world of poetry has been fanning various meanings by three main directions of the horizon of expectation such as ontological values, Christian viewpoints and the view of the world as an intellectual during the Japanese colonial rule of Korea. Yoon's poetry takes on the character of his self-examination as well as inner monologue through the form of lyrical genre, in which internal consciousness of the lyrical self is directly represented by a sense of shame. It has been perceived that his internal sense of shame more likely expresses his abstract self in the hope of restoring psychological equilibrium through the pursuit of the inner self rather than overcoming it through practical activities between severed ideal and reality. However, I was able to reveal a new aspect of Yoon's poetic world from three sides; "self-fragmentation and circulating reading process" in Chapter 1, the process of dichotomy of self and self awakening, "gaining self-clarity and a repeated reading process" in Chapter 2, the process of the conscious modernization of time and obtaining actual existence, and "reconciliating self and correcting and reading process" in Chapter 3, the process of seeking reconciliation of the self and building new meanings have been brought to light respectively, In addition, through this, I was able to discover that the consciousness world of Yoon's poems Incessantly exercises its own attracting force toward the outside world symbolized by readers instead of severing the connection with the negative world and choosing internal isolation, Therefore, this paper may be called an attempt to constructively convert how to read Yoon's poems by presenting a new way of reading which destroys the existing horizons of expectation.
6,100
초록보기
Against a position that views nature in Jiyong's 'Mountain-Water poetry' as a mere landscape, this paper examines specific various modes in which sense intermediates between nature and spirit. On the basis of the comparative interpretation on Jiyong's three poems, "Breakfast", "Spring snow", and "Rain", this paper brings out the different modes in which nature is related to the spirit, according as the speaker keeps his distance from landscape. As a result of this analysis, it is explained that Jiyong's 'Mountain-Water poetry' accomplishes its spirituality with sense on the particular principle. In "Breakfast", "Spring snow", and "Rain", all three poems are based on the spring as the time and the mountain as the space. They show symbolically Jiyong's ‘性情論’ in that the 'water'(the sound of flowing water, spring snow, and rain in each) excites spirituality that intermediates between the nature and a human being. First, in "Breakfast" and "Spring snow", the coldness of water is a sense that intermediates between the nature and the speaker by clearing barriers between both. Jiyong would get from the coldness a mental intention to keep noble-mindedness in his heart in spite of sufferings. These poems take a strategy that accomplishes spirituality with speakers participation, so these have an unexpected direction to get the coldness from vitality of spring. On the contrary, "Rain" has an expected direction to shift from the coldness to the vitality of spring , because it takes a strategy that accomplishes spirituality in landscape for itself with projection of sense by hidden speaker. In this poem, vitality of spring shows activity of spirits by moving of water itself without intermediation of sense. In conclusion, Jiyong's 'Mountain-Water poetry' is a field that nature interacts with spirit in consensus by intermediation of sense. Jiyong turns toward spirit not from sense, but with sense. In the poetic world of Jiyong, Modernism and Spiritualism have the one origin in common which has grown up on the same ground of Sensualism.

서정주 시의 토포필리아

유혜숙 ( Yoo Hye-sook )
6,200
초록보기
This essay is aimed to describe and analyze topophilia in the poems of Seo Jung-Ju, especially focusing on that of hometown, which I believe is viewed very significant feature of his poetic world. Topophilia literally means 'love for place' Seo Jung-Ju endows his hometown with the name of peculiarity as ' the country of soul' 'The country of soul' denotes the primitive state of mind, which the poet depicted with an expression, 'with mind being clothed in cotton'. With being eager for 'the country of soul', he also kept wandering, enticed by 'virgin ghost' as an anima laid in his subconscious. Due to his habitual vagrancy summoned up by it, his way has two directions; the one toward ''the wish space: wunsch räume ' and the other toward 'the intimate space: intimen räume.' With 'virgin ghost', the poet's anima get a distinct and sharp image and added to it, 'an eyebrow', 'a wild goose' and 'a swing' also have animatic attributions. All these animatic images get hemicyclic feature in his works and thus represent reciprocating motion between 'the wish space' and 'the intimate space'. Midang had constructed 'a poetics of hemicycle' with reciprocal movement and his creative way get along in unceased dialectical movement between affection and freedom. It means the energy in his vital process is well activated that the longing for 'the wish space' and for 'the intimate space' keep crossing repeatedly with forming contra-polaric tension, One of the characteristics shown up in the life of the poet is that he always preferred 'byroads', avoiding standardized 'main street'. His preferring 'byroads' implies that he needed 'cocooned space' to cover the conflict from hostile relationship with the world and to cushion the impact of hostility from the world. While kinds of byroads provoke creative daydream, doing a role as nooky shelter, home as protective place gives another chance to newly fall into reverie. To analyze < At the age of five years >, the fact is found out that home is endowed with the property of protective place only when the mother stays at home. The absence of mother deprives home of its protectiveness and vitality. In another poem < nooky wooden veranda at grandma's >, nooky veranda, as being a corner in corner, represents the womb of the womb. The poet's life seems to proceed apparently along two-way directions, to the strange space where 'the virgin ghost', as the anima calls the poet and to home where mother calls him. But his anima, the virgin ghost stays deeper in inner unconsciousness, the likely passage of out-of-home is come out to be a passage of returning home or the mother's womb, that is the more primitive place of human being. Consequently, it is 'the country of soul' in the absolute imagination where the contra-polaric confrontation and tension between the world and home has dissolved. Thus 'the country of soul' means 'the place of place' with the permanant temporality and becomes the center which the topophilia has formed from and is directed toward.
6,900
초록보기
This study aims to consider two aspects of symbol in 1920s literature. First, central tendency of symbol in 19208 literature is seen in Park yung hee' s style, when he working as a member The Baekjo (『白潮』), The PaeHeo(『廢墟』). Park' s symbol escapes from reality, so it is transcendental and he had a attitude that escapes into a romantic idea. Kim Woo jin, on the other hand, criticized this symbol, and thought that 'symbol' or 'symbolism' has a true meaning when it shows conflict and contradiction. So this study explanations Kim's thought in his symbol and symbolism language with ‘Whole character(全一性)’. U-Jin Kim' s 'a complete whole character' idea aimed at a harmony of the author' s idea and language, mind and material and coexistence of traditional culture and Western culture. U-Jin Kim's 'symbol' and 'symbolism' well represent such 'a whole complete character idea. In U-Jin Kim's literature, a language is the symbol to reproduce the idea. 'Symbolic words' has a significance when the language has relationship with its history and reality. In U-Jin Kim's literary work, the symbol appears in three aspects. That is, they are the 'external' symbol, the 'internal' one and the 'transcendental' one. The 'external' symbol represents the power oppresses the intellectuals (the artists) and the 'internal' one represents inner anguish of ego longing to free himself from it. Lastly, the 'transcendental' idea stands for the choice of life as an artist of Joseon born in the colonial period hoping to accept his destiny and enthusiastically participate in the reality. U-Jin Kim's symbolic sign of his literary work is the thing that his idea appeared in his literature as a language and we found his humane agony and sense of duty as an intellectual in this symbol of the language. Finally, the idea of his 'a complete whole character' overcame limitation of the Enlightenment literature and the literature of literary coterie magazine and recovered the sense of reality and the sense of balance of artistic value. Furthermore, it connotes the nature of resistance culture searching for the possibility of coexistence of culture in the imperialism period and the development of colonial culture from domination culture. In other words, 'a complete whole character' idea is the expression of his post-colonialism of political awareness.

1950년대 후반 라디오연속극의 영화화 경향 연구

최미진 ( Choi Mi-jin )
6,300
초록보기
This study aims at exploring the trend from the 1956 to 1960 of making radio soap operas produced by the HLKA into films and the relevant discourse. During this period, 9 Sunday soap operas and 24 weekday soap operas were produced by the HLKA, except for special ones. With the "Cheongsil Hongsil (Blue Thread and Red Thread)" as a starting point, the huge popularity of radio soap operas can be attributable to the following three factors. First, broadcasting the series of radio soap operas was made possible when broadcasting facilities were restored and expanded after the end of the Korean War. Second, as the Korean society began to stabilize in the mid-1950s, radio soap operas reflected the new demand of listeners in a timely manner. Third, the radio soap opera boom was backed up by its media conversion into movies, a more popular entertainment media. Out of all radio soap operas produced at that time, 88.9% of Sunday soap operas and 66.7% of weekday soap operas were made into a movie. It is noticeable that these radio soap operas were promptly converted into a movie within two years of the end of the series. More specifically, 82% of them were made into a movie in the same year or the next year, and as much as 90 % were cinematized within two years. This rapid conversion into a movie was possible because scenarios were available as radio soap operas were continuously produced. In addition, the radio soap opera was regarded as a safe market that could guarantee a box office success. Lastly, filmmakers rushed to produce a movie out of a radio soap opera when its popularity is still high. In the late-1950s, both movies and radio soap operas experienced a rapid growth for the first time and faced many challenges as a result. The discourse on making radio soap operas into a movie was, first of all, about the inappropriate commercialism in the movie industry. As a new source of content, some radio soap operas were jumping on the bandwagon in the movie circles which selected scenarios recklessly and focused too much on commercial values. Writers of radio soap operas were actively involved in the process of making them into movies in order to improve overall conditions and prevent too much commercialism. Next, the discourse looked into whether the unique media characteristics of both a radio soap opera and a movie were properly conveyed. Apart from the inherent problems of the radio soap operas, the lack of technologies in visualizing the audio art of radio soap opera served as an obstacle to achieving the artistry and the popularity of the movies. Third, the production was mostly melodramas, so questions about their vulgarity were raised. Both radio soap operas and movies were criticized for their vulgar contents caused by limited subject matters and unsystematic story construction. This is the testament to the depreciating attitude toward popular art and the conservative enlightenment ideology dominating at that time under the name of the 'soundness'.
6,200
초록보기
The works of Kim Seung-ok have been determined by the term of "1960's style". He wrote his most works at 1960s, so it is reasonable that he has been called "1960's writer". And his works also have been represented by the imagination of desublimated women. Some of his works, especially Ya-haeng(야행) and Seoul-eu-dalbit 0jang (서울의 달빛 0장) reveal the break in woman between the symbolic domain and the "absolute particularity" of the fantasy space which individuals organize their enjoyment. This paper aims to grasp the succession of this imagination in Kim Seung-ok's works. And this paper draws some conclusions from his works, concerning the break sustaining his "1960's style". Kim Seung-ok proposes a new way of conceptualizing the inherent paradox that pertain to the very notion of Women.
6,300
초록보기
The shotting scenes and the dead bodies during Yeosun Event came as a great shock. to Seo Jeong-in. It couldn't leave his mind and became a catalyst for the 'trauma' as a form of abstract death. We can track it from his early novels through the thoughts concerning death. After this, he suddenly got diagnosed with moderate degree pulmonary tuberculosis. Thus, he did come to realize the upcoming death of himself and 'pulmonary tuberculosis' became the real trauma to him joined with the past memory, as more concrete form of death. Pulmonary tuberculosis meant the world after death which made him feel scared of dying. However we can recognize the fact through the character, that he regained his composure and got over the fear against death while treating cancer. On the other hand, Seo Jeong-in brings to a conclusion that 'Every death is the same' admitting the mortality of humankind by the sort of surrogate self. Seo Jeong-in also shows off his feeling life isn't different from death giving the doctrine of reincarnation as the reason. Therefore we can say that "Death is not the ending but a new start". or, the tuberculosis Seo Jeong-in underwent became an important talking point of 'self-discovery', which has lead him to realize the original limit of death and be more relaxed about the day-to-day desires, though it was a trauma at first. In the epic stories regarding disease Seo jeong-in arises frustration and out-pours the desperate feelings towards health, having the surrogate self act on behalf of him. We can consider this as his will to relieve his fear by making the characters experience and overcome the trauma of his own. In addition he didn't give change to the series of his works, prose and remarks, and this is his coherent sense of literature that turns the epic story to literary works in an aesthetic way.

문학 교육을 위한 강경애 『인간문제』의 인지론적 연구

김원희 ( Kim Won Hee )
6,100
초록보기
The purpose of this article is to grasp the information delivery structure of text in Kyung-ae Kang's "Human Problems" by recognitive approach, and to provide clues to understand her value of actual life and to open the communication channel between teachers and students for reflecting our life. In her text, she suggested progressive consciousness for history through repetitive information delivery structure of survival, social consciousness for justice through oppositive information delivery structure of conflict, and integrated consciousness for solidarity through organic information delivery structure of growth. This is how to communicate value of her practical life with readers. These information delivery structure in her text can be applied to literacy education as follows; First, progressive consciousness for history through repetitive information delivery structure of survival can help students building future-oriented perspective and establishing the goal of life. Second, social consciousness for justice through oppositive information delivery structure of conflict can help students building sense of social justice to deal with the human right of foreign immigrants, wealth gap, and gender inequality. Third, integrated consciousness for solidarity through organic information delivery structure of growth can help students refining democratic sense to harmonize between selfish life and co-prosperity. In conclusion, she provided opportunity for readers to cultivate healthy civic consciousness by suggesting progressive sense of history, divergent social con-sciousness, and integrative solidarity through her text in "Human Problems".
5,900
초록보기
A war widow was a sign which was called or was invented for instilling the ethics of sex by a nation handed over the responsibility of social pathology to her and gave the social punishment. While the modernization project made progress, the relationship between a war widow and a nation was gradually getting worse. The war widows were becoming a problematic group which can cause social anxiety in public sphere such as a newspaper, a magazine. They were becoming to have characteristic of a prostitute as a prostitute who could hinder sex custom which has to be bright and healthy and as 'Apres girl'(the aprs-guerre(postwar woman) who could make by means of sex and love for material. Especially, in this course, normality and abnormality was defined by starting from a home. The war widows was assumed as a dangerous flesh conflicting with the lofty idea of a home during making modern home, namely as a sign of temptation. The conflict in 「River of Temptation」 began with the relationship between the war widows as monogamy and a main agent, respectively. In 50's society, a home was not forced by obligation duty and promise, but reconstructed as emotional space. However, if love is prior to obligation duty, a home is to be unstable thing being dissolved at any time. Like this, it is to say that to keep the home which is anxiously shaken is to make common enemy. In other words, to make a unstable home that can be shaken at any time by those threats who are outside of a door, therefore, to make a home as a sacred area where must keep from invaders is the way to hide friction and a crack of modern family. The method chosen by 50's for saving the endangered modem family was a dangerous seducer, in other word, a war widow out of 'normal family'.

김훈 소설의 자연주의적 맥락-장편 역사소설을 중심으로

김주언 ( Kim Joo-eon )
5,800
초록보기
This study mainly covers Kim Hoon's three historical novels "Song of the Sword", "Song of Strings" and "Fortress on Mt. Namhan". Novels having dominant aspects of naturalism are referred to as naturalistic novels; Kim Hoon's historical novels are part of this genre. His novels originate from an ontological perspective, which admit no other worlds except this natural world we live in. What is a naturalistic human? Nothing but a person who eats, excretes, and must die. From this perspective, the recalled meaning for describing a body is different between the power elite and the general public. Relatively, the description regarding the body of the power elite contributes to making the history of the civilization they are leading to be steadily fabricated. Among these histories, Kim Hoon has an unusual sensibility and consciousness towards the matter of war, because he makes it look like there is no other thing than war to reveal the evil in the world. The naturalism of Kim Hoon's realm would conclude the recognition of social evolutionism. The nation and human beings in Kim Hoon's historical novels become natural and historical, as well. Despite handling the melee of war, nothing but history should be sunken in to the scenery to weaken its vitality. Therefore, the only conflict in Kim Hoon's novels ultimately deals with is the matter of nihilism; Kim Hoon's concept of nihilism is a kind of consciousness of poverty that has nothing other than reality. Are there any particular was to escape from the poverty? It seems impossible to overcome this nihilism via an objective assessment. But at least we can fight against the nihilism. To this end, "Song of the Sword" is the furthermost from naturalism and the possibility of tragedy, based on human beings who fight their perceived fate. Similarly, this is the direction of Kim Hoon' novels to be aimed at striving against their fate.
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