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『율리시즈』의 여성의 언어와 담론들 : 「페넬로페」를 중심으로 Focussed on "Penelope"
안정숙 한국제임스조이스학회 2003 제임스조이스저널 Vol.9 No.1
In the last episode of Ulysses, "Penelope," Joyce comes back home finishing his odyssey of writing. He returns from a long journey of experiments in which he subverts all kinds of conventions of narrative. Admitting prestige neither of the narrator nor of the author, Joyce claims there is no absolute consciousness that articulates the narrative. It might be suspected that Joyce tries to give the sense of ending to the story by returning to a single credible narrator, Molly. Apart from the problem of representation, the writer seems to find out the possibility of subversion in woman's voics. Woman's language has characteristics like repetition, cycle, rhythm which stem from her biological experience. Molly's language lacks correct structure, punctuation, and logic, in short, conventions of language, namely laws of the father. It can be regarded as an example of woman's language, which gives us jouissance as a semiotic text defined by Krsteva. Molly weaves/unweaves a variety of social discourses that result from the symbolic system. Readers sensitized to the interplay of the competing voices will emphasize the dialogues between the narrator and the protagonist, the protagonist and the other characters, the writer and the protagonist. The voices are struggling to get the privilege in the narrative. Voices are related to the social value systems, that is, ideologies. Each ideology, however, registers as a language that is to be subverted by Molly's language.
安楨淑 대한일어일문학회 1996 일어일문학 Vol.6 No.-
『更級日記』에는 36例의「山」에 관한 말이 사용되어 있고,「山」에 관한 和歌가 많이 기록 되어있다. 本槁에서는 姨捨山을 비롯하여,「山」에 관한 記事나 和歌를 중심으로 孝標女가「山」이라는 空間을 어떻게 파악하여, 또 그것이 更級日記라는 作品과 어떻게 관련되어 있는가에 대해 고찰해 보았다. 「山」이라는 말을 통해 『更級日記』의 趣旨一貫된 고독감은 10여살의 소녀기부터「山」과 「人」과 「訪ふ」라는 공통어로 和歌속에 읊어져 왔던것으로, 결국 孝標女는「山」이라는 공간을 고독한 장소로 파악하고 있지만, 그 고독감은 결코 부정적인 것이 아니라, 산이라는 고적한 공간이기 때문이야말로 인간에 대한 상념이나 「花紅葉月雪」등의 자연에 심취할 수가 있고, 몽상할 수 있는, 바꾸어 말하자면, 그녀의 문학세계를 펼칠 수 있는 터로서의 의미가 있었다고 생각한다. 『便級日記』書名は, 誰が付けたかは不明であるが, 夫俊通の死後, 月の出ない夜に, 六番目に當たる甥が珍しくも訪れて來た時の作者自身の歌, 月も出でで闇にくれたる姨捨になにとて今宵たづね來つらむ(p.110) によるとするのが通說である. この歌で「姨捨」は, 亡夫の任國であった信濃の姨捨山のことであり,『古今和歌集』の「わが心なぐさめかねつ便級やをばすて山に照る月を見て」(卷一七雜上, 讀み人知らず)や『大和物語』等に見られる姨捨山傳說を踏まえ, 夫に先立たれた今の身の悲しぃ境遇を「月も出でで闇にくれたる姨捨」に比したものとして意味深い. その他,『便級日記』こは三六例の「山」の語が用いられており, 「山」に關する歌が多く記されている. 私は拙稿^1)「『便級日記』における四季と和歌」の中で『便級日記』の八七首 (連歌一首は除く) の和歌の中で, 四季それぞれの場面の歌には「山」と「人」と「訪ふ」といった類似語の共通の組み合わせが見られ, 內容からは「人に訪われぬ山里の孤獨」という共通テ-マが詠みとれるという指摘をした. そこで本稿では, この「山」に關する共通テ-マを念頭に置ながら, 姨捨山をはじめ, 『便級日記』に多く見られる「山」に關する記事や歌を中心に孝標女が「山」とぃう空間をどのよぅにとらえ, またそれが『便級日記』という作品とどのようにかかわってぃくかを考察したぃ.
「 페넬로페 」 : 여성의 목소리와 여성적 글쓰기 Woman's Voice and Feminine Writing
안정숙 한국영미문학페미니즘학회 1997 영미문학페미니즘 Vol.4 No.1
James Joyce has been regarded as one of male chauvinists amomg feminist critics. He seems to be a mysogynist to say "I hate women who know anything," when asked to acknowledge of his debt to Freud and Jung by Mary Colum. He presents an ignorant, sensual, and straightforward woman character, Molly Bloom, who resembles his wife, Nora Barnacle, in Ulysses. In the last episode of Ulysses, "Penelope," Joyce comes back home finishing his Ulysses of writing. He returns from a long journey of experiments in which he subverts all kinds of conventions of narrative. Admitting prestige neither of the author nor of the narrator, he claims there is no absolute consciousness that articulates the narrative. But in the end he returns to a single credible narrator, Molly. He finds out the possibility of subversion in woman's voice. Woman's narrative voice has characteristics like repetition, cycle, rhythm which stem from woman's biological experience. Molly's soliloquy has no correct structure, punctuation, and logic, in short, conventions of the language, law of father. Ulysses can be taken as an example of feminine writing which gives us jouissance as a semiotic text.
안정숙 대한일어일문학회 2023 일어일문학 Vol.100 No.-
This paper examines the moon in the SarashinaNikki. I analyzed the use of the moon as a scene, and examined how the author expresses the moon, including moon scenes with waka(和歌), moonlight depicted as a harbinger of misfortune, and scenes in which the author contemplates the bright moon in her daily life, whether she is happy or sad. As a result, there are 12 Wakas of the moon (including moonlight) in SarashinaNikki, with the bright moon being the most common, and the winter moon being the most common in terms of season. The moon scenes express a wide range of emotions, showing the author's preference for always looking at the moon, whether happy, sad, or depressed. Furthermore, after comparing and examining the moon in SarashinaNikki with the moon in KageroNikki and IzumiShikibuNikki, the two previous works, it seems that among the three works, SarashinaNikki has the most moon Wakas, as well as the most uses of the moon, and the moon seems to be the most favored material for Wakas. In terms of the places where the waka are included, SarashinaNikki is mostly recited away from home, whereas KageroNikki and IzumiShikibuNikki are mostly recited at home. In terms of lunar aspects, the authors of IzumiShikibuNikki and SarashinaNikki are similar in their preference for a bright moon and a rising moon. In terms of the emotional expression of the moon scenes in the three works, the author of SarashinaNikki is the most diverse. It can be said that the author of SarashinaNikki loved the world of night more than any of the Heian period female writers, and was especially interested in the moon and utilized it as the subject of her waka. It is also not unrelated to the author's qualities as a writer, as she wrote this work with regret in her later years, and the moon was an idealized version of the world of monogatari for her.