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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 :
수록 범위 : 52권 0호 (2011)

생태인문학의 이론적 배경: 바이오 휴머니티

권택영 ( Kwon Teckyoung )
It is not an entirely new topic for us to consider the human relationship with his environment and Nature. We have a cultural heritage of myth, folklore, romantic poetry, and paintings of landscape. However, the recent movement for ecology is somewhat different from the former concerns, particularly reflecting urgent need for preventing the contamination of the Earth. On the one hand, the renewal of the aesthetics attempts to subvert the anthropocentrism in terms of the reservation of animal and things: the Medieval aesthetics of Tomas Aquinas returns as an alternative of the modern aesthetics and Phenomenology returns in the wake of the Postmodernism. On the other hand, the fields of biology, psychology, and neuroscience, which has been incompatible with the humanities since the Plato, are coming up with humanities. From this perspective, this paper explores the tendency of the consilience: the eco-criticism and aesthetics in the harmony with the natural sciences. One thing conspicuous in these movements is, among others, the revival of the phenomenology initiated by physics of Heisenberg, biology of Darwin, and psychology of William James. After the brief summary of eco-criticism in the literary realm, I will survey James's fluid consciousness, Uexkull's environments, and Edelman's neural Darwinism. Those investigations are followed by ontology of Heidegger and Merleau-Ponty.
Today, most of academical persons suggest frequently one standard opinion about ecological discourse. So to speak, they generally have agreed that the ecological discourse we scholars need is not yet arrived, or constructed otherwise. If that is the case, we need attempt to construct some possible models on that. For discussing the ecological discourse as ‘not yet’, Jacques Lacan’s four discourses─master’s discourse, university’s discourse, hysteric’s discourse, analyst’s discourse in turn─suggest that we need analyse our hypothetical ecological discourse at the very first time. The four discourses consider some major factors like language and (its) social links, subject and (its) other. Moreover it subverts the existing modern trend of thoughts against itself. A ecological discourse as refusing the anthropocentric notions, in that sense, has some analogy to the four discourses. In this paper, we attempted, within the limits of the possible, to make a model of (ecological) four discourses from Lacan’s original one. As a result, (ecological) four discourses outputs one (possible) way of analysing eco-centric literatures, and suggests how to reestablish ‘greenly’ the ecological (un)consciousness/discourse being interconnected to the other various discourses.

원자력 또는 핵 문제와 생태문학의 전망

정홍섭 ( Cheong Hong Seop )
The ecological imagination must be the contents and form that is embodied by the literature of future. And if the ecological literature is to be intended, especially in Korea, it must go beyond conveying just facts relating to the central ecological problems like the problem of atomic power or nuclear weapon. Particularly it must be emphasized that when being bound by the conventional political-ideological thinking way the true ecological imagination cannot be disciplined or showed. On the contrary the political judgement must be drawn from the ecological imagination that would see the truth as it is. The ecological literature that would discipline itself and bear the ecological imagination must have the aspiration that it would readily participate in the course of presenting a new paradigm of civilization. The ecological literature which has the ecological imagination that has insight into the principle and truth of everything through the window of the relationships more than anything else, must not resist innovating the conventional attitude and point of view of the established genres as its forms. The ecological literature must be ready to dissolve and re-create all the established genres in a true meaning including novel that has been the central genre of the modern literature, and so, needless to say, it will be a quite different work from just an experiment of forms. Christa Wolf's novel, Svetlana Alexievich's form of oral history, and the various forms of essay of Rachel Carson, Arundhati Roy, Choi Sunggak and Kim Gomchi, already showed the models of the free forms that are worthy of being aimed for by the ecological literature.

한국 현대 생태시의 의인화 유형 연구

김경미 ( Kim Kyoung Mi )
The purpose of this article is to explore anthropomorphism in the Korean modern ecological poetry. My intention, then, is to offer a new methodological framework for analyzing the full range of the Korean modern ecological poetry. So far, very little has been done in this direction. As has been noted by virtually most of the commentators, anthropomorphism has been widely criticized as anthropocentric anthropomorphism which has reflected the views of human beings on non-human beings. Nevertheless, the consideration of anthropomorphism as ecologically useful rhetoric is helpful to listen to non-human beings' Voice and Pain. I think that ecological use of anthropomorphism is helpful to be able to feel harmonious sense with Nature and change anthropocentric consciousness to eco-consciousness. I tentatively conclude that ecological poetry has three types of anthropomorphism. The first, non-human beings obtain itself voice and become the main agent on discourse. The second, both non-human beings and human beings become the main agent on discourse. Harmonious sense is achieved through ecological use of anthropomorphism. Human beings realize that non-human beings have the inherent value like human beings. The last, non-human beings has been feminized as the image that involves mainly motherhood or is thought suitable for or typical of women. There are, however, a number of problems that remain to be explored from an aesthetic point of view. Certainly, the present paper was limited in scope. A further direction of this study will be to provide more evidence for this result.

나희덕 시에 나타난 생태여성주의적 특성

지주현 ( Jee Ju-hyun )
This thesis looked at Na Hee-deok’s poetic world from a perspective of ecofeminism. Basically, poems of Na Hee-deok are feminine poetry which is aware of contradiction of patriarchy. Also, her poetic world forms an inseparable relation with ecofeminism in that it follows the logic of body based on various senses while using specific experiences in nature as the motif in her poems. To begin with, her poetic world finds that life of human beings is composed of pains in essence. And those pains are working under the influence of patriarchy which is a firm, realistic base. In the first chapter of the body, a poetic narrator advances toward the level of affirming the pains and having an affinity for them while admitting the fact that pains are a vehicle of being aware of the world. In addition, while she undergoes a process of narrowing the distance from the pains, they become daily companions, forming part of life and self. However, the suffering and symptoms which pains trigger for the subject do not just go away only because the narrator forms partnership relations with the pains. Chapter 3 shows how the narrator deals with pains and heal them. When the pains come from the reality of society, the narrator’s response to them takes on the aspect of not confronting them directly, yet not giving up or getting indifferent to those pains. And this attitude presents itself as extreme perseverance close to the character of plants which waits in silence until things turn around. On the other hand, when the pains result from existential problems of an individual, the narrator embraces the situation entirely and at the same time she heals herself. Even traditional perseverant femininity is sensed in the narrator who constantly endures the pains until they heal up while sticking it out through the self-healing time. Also, the narrator, who has succeeded in self-healing, at last obtains the power to embrace and heal others and help the growth of them. And in this situation the narrator willingly dedicates herself to self-realization of others. The following Chapter 4 shows that the next move of the narrator, who has healed herself and brought up others, unites with other objects in nature and then becomes the third being. This ecological unity occurs between a natural object and another natural object or between a natural object and a human being. Involving fantastic tendency, the unity of self and others is invested with cosmic mystery and full of vitality. It is marvelous to see two different beings that already have been healed create a synergy effect and belong to each other. Those in the state of creation beyond the unity enjoy the original cosmic harmony and at the same time present themselves as transcendentalia with creativity and the ability of completing a well-rounded person.
It's similar that both the way we treat 'tiger' and the way we treat 'bird' use ecological imagination in South-North Korea fiction. However, obviously, difference emerges that the way it treats embodiment and meaning. First, 「TYRANT」 of Hong Seong Won and 「HARAM Mt.'s TIGER」of Park Woong Jeon that look homogeny focus on tiger. However, 「TYRANT」embodies three-piece -premodern awareness, deep-ecological awareness, shallow ecological awareness, etc.-, they touch off fictious opposition and conflict holding each other in check. On the other hands, 「HARAM Mt.'s TIGER」embodies that tiger and man protect 'eternal the context', which shows North korean reality sticking to superficial ecological awareness. It's originated difference of North Korean fiction's critical mind that is literature-friendly regime while South Korea fiction is equipped with imagination-critical regime. 「BIRD」of Oh Young Soo and「RED-CHEEKED MYNA」of Lim Jong Sang have similarity that found Dr. Won Bong Goo-Won Buyng Oh's true story, search pain of division of territory and possibility of overcome division of territory.
This paper makes a review of the pictures and images of the social environment and the acculturation of foreign immigrants on Korean movies in 2000's. And this paper explains the relations between ecology and Korean movies in the contemporary period. I studied the social environment and the acculturation of foreign immigrants reflected in the three works. This dissertation has been written with a purpose to examine and to understand the social environment and the acculturation of foreign immigrants on Korean movies in 2000's. Yihyeongjea, Bangbang, Bandubi are the movie works who gives us a valued insight. But I looked into the dangers of misunderstanding on the insight in the view of ecofeminism as Yihyeongjea, Bangbang. On the other hand, in the cases of Bandubi, a strong point is found that this work can fuse the meaning and visual image between the social environment and the acculturation of foreign immigrants. The works on the social environment and the acculturation of foreign immigrants in Korean movie are very few and confined to some authors. This should be supplemented imminently. Korean movies on the social environment and the acculturation of foreign immigrants seeks after the harmonious coexistence of the human being and the social environment, and has a final purpose to suggest the alternative. The study on Korean movies on the social environment and the acculturation of foreign immigrants, should be gathered in obtaining critical vision including urgent problems of contemporary human society and in wise critical intervention giving rise to writing a work.

김우진 희곡에 나타난 야생의 퍼포먼스와 거주의 상상력

주현식 ( Ju Hyunshik )
This article's aim is to study the world of Kim Woo Jin's plays from the point of ecological view, by examining how to perform the wildness in Kim Woo Jin's plays, considering how to touch ecological questions, i.e. "Where are we?" off through the influence of such as a performance. In other words, through the performing wildness, this paper investigates the process which non-human nature is figured, and based such a study, this paper is to examine the way that the imagination of man's dwelling in natural environment is represented according to multiple relationships between humane zone as here and wild zone as there. As a result, using ecological wildness and dwelling as critical concepts, this article aims to identify cultural - political aspects of Kim Woo Jin's play, to discuss its ethical significance. This article has an important meaning in that it extends the earlier studies' ranges concentrating biographical criticism about Kim Woo Jin's individual career or his family history, and comparative literary criticism about Kim Woo Jin's accept of The Expressionism. By extension, this article has an another significant meaning in greening of Korean drama's canons. Consequentially, this paper has implications for studying a literary, theatrical works within the framework shifting from the authoritative position of human-centered world view to relational position of more bigger biological community's world view.

김수영 시에 나타난 시선의 정치학

이광호 ( Lee Kwang Ho )
This thesis intends to make the modernity of Kim, Soo Young's poems context again under the in the context of glance's political characteristic. In Kim, Soo Young's poems, poetic subjects recognize the world through the behavior of 'seeing' and establish themselves as an existence reflecting suppression and false in themselves. The glance for objects in Kim, Soo Young's poems came back as a shame of their inner side. Furthermore, by setting glance's object as another subject, they destroy the authority of the first person's glance. In here, the hierarchial order between glance's subject and glance's object becomes meaningless. In her poems, materials become glance's objects and other behavior's subjects at the same time. In here, the aesthetic modernity of Kim, Soo Young's poems makes other place around the sensitive politics. They establish poetic subjects by forming glance's subjects which have modern meaning and destroy glance's authorities by destroying the glance's subjects by themselves. It's important that modernity and avant-garde of Kim, Soo Young's poems are related to the politics of this sense and it can be a political context that the aesthetic level of Kim, Soo Young's poems has.

이문구 소설에 나타난 토포필리아의 수사학-심리적 실향의식을 중심으로

신재은 ( Shin Jae-eun )
This paper aims to investigate the rhetorical characteristics of topophilia in Lee, Moon-gu's works. Indeed, the hometown, especially the countryside and the rural, is represented in terms of harmony, beauty, stability, tradition, peace, innocence and virtue. However, the hometown has no fixed images, meanings or representations since it undergoes a rapid process of social and cultural changes, fundamentally as a consequence of modernization. Lee, Moon-gu has come to understand his hometown (Gwanchon) as the site of lack and unease since 1960-70. Lee, Moon-gu experiences anxiety when he is confronted by the hometown which is destroyed in the course of modernization, and has consciousness of psychological homelessness (placelessness). We should note here that the act of Lee's novel writing is a defence against consciousness of psychological homelessness. This paper argues that in this respect Lee's novel writing involves topophilia. The term ‘topophilia’ is usually used in the context of the affective bond between people and place or setting. From my viewpoint, however, topophilia means a defence which veils the lack in significant place. In other words, I emphasize the protective function of topophilia; topophilia is based on the fantasy of oneness with significant place. Lee Moon-gu's works may thus be distinguished by the particular way in which they use rhetorical strategies to veil the lack in the hometown. For example, Lee's works use (1) the rhetoric of structure foregrounding the disclosure and (2) the rhetoric of double-narration. These rhetorical strategies constitute the most original feature of topophilia in Lee Moon-gu's works. After all, Lee Moon-gu's novel writing as topophilia enables him to sustain his desire for the hometown, Gwanchon.
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