Time and Eternity in Paradise Regained

Song, Hong-han 동아대학교 인문과학대학 인문과학연구소 1994 인문과학연구 Vol.- No.-

「복락원」은 「실락원」(Paradise Lost)의 속편이라고 할수 있는 작품으로서 전편의 역사적 주제를 이어받아 시간과 영원의 관계를 조명하고 있다. 밀턴(Milton)은 전통적인 기독교적 역사관을 따르면서도 밀턴에게 있어서 영원은 시간과 분리되는 것이 아니라 무한한 시간의 연장을 의미하며, 따라서 인간의 시간은 신(God)의 영원의 일부이고 이 둘 사이의 교량 역할을 하는 것이 인간 역사이다. 인간 역사가 신의 의지에 의하여 설계된다는 점을 전제하면서도 밀턴은 인간의 자유의지를 인간 구원의 필수적 요인으로 강조한다. 사탄이 모든 역사적 사건들을 운명이나 요행에 의하여 설명하려고 하는 것과 대조적으로 그리스도는 자신의 판단을 유보하고 역사속에서 신의 뜻이 이루어지는 카이로스를 기다리며 사탄의 성급한 기회주의적 역사관을 거부한다. 세속적 재물이나 학문 혹은 권력을 미끼로 접근하는 사탄의 시험을 계속 거부하며 신의 카이로스를 묵묵히 기다리는 그리스도의 인내를 밀턴은 기독교적 의미의 영웅적 행위로 간주하고 있다. 처음부터 끝까지 인간이기를 고수한 그리스도가 마지막 시험에서는 자신의 정체를 신과 일치시킴으로써 역설적 승리를 거두게 된다. 결국 「복락원」에서 밀턴은 인간의 시간과 신의 영원 사이의 연관성을 인간 역사 가운데서 찾을 뿐 아니라 인간 역사의 진행에 있어서 신의 섭리와 인간의 의지를 동시에 강조하고 있다.

Modernity and the Question of Natioinal Identity

Benjamin, Andrew 동아대학교 인문과학대학 인문과학연구소 1998 인문과학연구 Vol.- No.4

Teh everyday, actuality, bears the mark of modernity, the contemporary, but only if its parti- cilarity-at times its separateness-is maintained against the hold of history. Not history as the incursion of the pastm but history as the continual deployment of tradition. Standing against seamless continuty tinged with nostalgia-is the necessity of interruption.

장원 경제에 관한 연구

노상윤 동아대학교 인문과학대학 인문과학연구소 1998 인문과학연구 Vol.- No.4

조선사회의 禮規範에 관한 硏究

최학유 동아대학교 인문과학대학 인문과학연구소 1998 인문과학연구 Vol.- No.4

밀턴의 산문에 나타난 자유사상

송홍한 동아대학교 인문과학대학 인문과학연구소 1998 인문과학연구 Vol.- No.4

While Milton s great longer poems written in his last days illuminate the sublime and universal entirety of human history, his polemical prose works show how he responded to his contemporary socio-political situation, usually called the English Revolution. Milton's radical idea of freedom propelled him to turn his eyes to the contemporary political and religious circumstances, laying aside his poetic ambition, and led him to write more than forty polemical tracts for about 20 years from 1641 to 1660. In the initial stage of his polemical career, Milton attempted to liberate Christians from the episcopal hierarchy, so as to complete the Reformation. He argues that each Christian believer should be free from the prelatical hierarchy adopted by the Church of England, since the English bishops are now corrupted by their "new-vomited Paganisme of sensual1 Idolatry." In of Reformation, Milton shows a kind of religious democracy, when he argues for the free election of the minister by the lay members of each individual church. He resists and denies the system of prelacy that controls or defines each Christian believer's private judgment. Of Prelatical Episcopacy is Milton's response to Ussher whose recent pamphlet has supported bishops' authority over common presbyters. If episcopacy is a human invention, Milton argues, freeborn English people can exterminate its authority. Thus, this pamphlet reaffirms the freedom of each individual believer s religious conscience. Animadversions, which is Milton's intervention in the controversy between Archbishop Hall and Smectymnuus, shows him employ all kinds of polemical methods in order to attack his opponent, which anticipates his later justification of any political decision, including even regicide, to build a free nation. In this pamphlet Milton attempts to set free each minister's reason and judgment from the authority of the Church of England, and then extends that freedom to common 'believers. In The Reason of church Government, common believers are requested to participate into church government by using their free private judgment and spiritual conscience. Milton's pursuit of religious freedom led him to advocate for the freedom of writing and speech, as shown by Areopagitica, which is one of the world's greatest defenses for the freedom of the press. Here, Milton bases his argument upon the human condition in which good and evil are intermingled together. In this condition, man cannot be absolutely free from evil but he can only escape from vice. So, Milton concludes that all kinds of books can be either valuable or harmful according to the individual reader's free judgment or conscience. Truth cannot be obtained or given by any external oppression or licensing procedure. Toleration should be allowed to all church sects, since freedom alone opens a way to new truth. Though the Restoration of Charles Ⅱ in 1660 led Milton to deep disappointment and despair, it enabled him to fulfill his long-cherished dream, that is, to write his last great poems. Though his present reputation is ascribed to his great poetry rather than his polemical prose, it can be argued that his idea of freedom in the prose could prepare for and shape all his other ideas full-blossomed in his later great poems. And, though his struggle for freedom by means of polemical tracts seems to have failed during his life time, the later progress of English history since his death has justified and valued his idea of freedom. In conclusion, Milton's idea of freedom in his prose derives from his Christian humanism, a paradoxical concept which in turn derives from the spirit of Renaissance humanism and the Protestant concept of Christian liberty.

페터 한트케(Peter Handke)의 주관주의 문학과 『느린 귀향』(Langsame Heimkehr) 연구

이상욱 동아대학교 인문과학대학 인문과학연구소 1995 인문과학연구 Vol.- No.2

Im 70 Jahre wendet sich P.Handke mehr sich selbst zu. Er behandelt autobiographische Stoffe und sucht nach Klarheit u¨ber sich selbst. Handke findet zu einer "Neuen Subjektivita¨t" in seiner Literatur. Diese Subjektivita¨t pra¨gt sich in seiner Tetralogie am deutlichsten aus. Seine Erza¨hlung 『Langsame Heimkehr』 beschreibt die Ru¨ckkehr der Hauptfigur Sorger vom Norden des amerikanischen Kontinents nach Europa. Diese Reise fu¨hrt zu seiner Innenwelt. Auf diese Reise teilt sich drei Segmente; die "Vorzeitformen", das "Raumverbot" und das "Gesezt". Diese Reise beschreibt aber auch neben dem a¨uβeren Vorgang der Heimkehr nach Europa die Heimkehr des Helden zu sich selbst, das Bemu¨hen mit sich selbst ins Reine zu kommen. Diese Beschreibung ist nicht nur ein Pha¨nomen am Erza¨hlen, sondern ebenso an der erza¨hlten Geschichte also vor allem an der Geschichte der Zusta¨nde des Subjekts. Zu chesem Zweck schafft Handke eine subjektive Vorstellungsform von "Raum" und "Zeit". Er mo¨chte seine Innenwelt unter einer bestimmten "Konkaven Form" ergreifen, die alle und alles umspannen soll. Fu¨r Handke ist diese Formvorstellung aus der Anschauung entstanden und hat sich durch Phantasie im Zeichen des "Verso¨hnungswunsches" zur subjektiven Form entwickelt. Er mo¨chte sich hier nicht nur seiner Position in der Struktur des Raumes sondern auch seiner Stellung im Fluβ der Zeit vergewissern, d.h. seiner Eingliederung in die Kontinuita¨t der Gschichte, in der er aller Zufa¨lligkeiten in der Verantwortung fu¨r seine Zukunft steht. In dieser Erza¨hlung zielt er auf der Suche nach Bedeutung und Sinn zusammen im scheinbar trivialen Alltag. Jetzt ist Handke auf langen Reise nach seiner Innenwelt bzw. Selbstfindung.

변혁기의 지식인 박 영 희 연구

강은교 동아대학교 인문과학대학 인문과학연구소 1998 인문과학연구 Vol.- No.4

지식과 권력-진리에의 의지

이병창 동아대학교 인문과학대학 인문과학연구소 1997 인문과학연구 Vol.- No.3

프루스트의 '잃어버린 시간을 찾아서'와 예술가

박종탁 동아대학교 인문과학대학 인문과학연구소 1997 인문과학연구 Vol.- No.3

Le sujet re´el de la Recherche est une que^te de l'esthe′tique de son art, mene′e par un e^tre qui veut trouver sa vocation c o m e artiste. Le narrateur croit jusqu'a certaine pe′riode de sa vie que I'objet de sa que^te se trouve cache′dans les choses mate′nelles qu'il perc,oit. D'ou、 son egarrement et ses tentatives vouees a l′echec. Seulement dans sa vieillesse, le he′ros arrive a deviner que les impressions qui lui procuraient le plaisir particulier peuvent ritveler la vocation qu'il cherchait pendant toute sa vie. Re′taction de l′a^me a I'existence et au monde, l′oeuvre d'art vient de la vie ; a son origine, nous trouvons ces extases dont l'experience proustienne est jalonnite. Cette dkpendance de l'art par rapport a l′expe′rience existentielle nous engage a、 voir autre chose qu'un esthetisme dans la constante reference a l'art. L'alliance de I'art et du reel tend moins a nous fare voir le re、el a travers I'art qu′a、 nous sugge′rer yue I'art vient du reel. La vie est la source de I'art, et les oeuvres d'art sont des creations. Mais cette creation expnme une vision de l′artiste : elle refle、te le style d'une reaction personelle a la vie et au monde.

성과 죽음의 수용 : D. H. Lawrence의 문학세계를 중심으로

이상배 동아대학교 인문과학대학 인문과학연구소 1995 인문과학연구 Vol.- No.2

Anais Nin says that first of all Lawrence asks us to begin at the beginning of the world with him. The beginning of the world of an individual means his birth from the mother's womb. The womb is fecundated by sexual activity. Our existence coming out of the darkness of the womb returns to the same darkness of the tomb. And life is a possible, circuitous way towards death; our birth, maturity, and decline are a series of stations which are not repeated, and through which we must come and go; as Susanne Langer says, that is our tragic thythm. In his youth D. H. Lawrence read Schopenhauer, Nietzsche, and Darwin. His readings influenced his writings, especially the early novels. He acquired an understanding of Schopenhauerian nihlism, Nietzschean vitalism, and Darwinian scientific materialism. These various views of the world melded and fused in his works in all respects. As is well known, Lawrence's chef concern was to be alive, the livingness in the phenomenal world, not in the world of death. Thus phusical death was the anithesis of the new world which he was groping for. And he refused death in life, too, as T. S. Eliot. In other words, his chief preoccupation was to overcome spiritual death, "death in life" in this modern mechanized and dehumanized world, and to come to rebirth through recognizing and overcoming a destructive self-consciousness within and death. Through his insights there arose this realization of the cruel reality of the phenmenal world, and gradually he realized that we must accept the reality of death together with the reality of life. He believed that we are "fuel of death," which is exhausted at every moment.