셰익스피어 first Folio : 서지학적 서론

李京植 서울大學校人文大學 1978 人文論叢 Vol.2 No.-

세익스피어 First Folio는 세익스피어의 첫 전집이고, 전집류로서는 세계에서 제일 비싼, 아니 돈으로는 이제 더 이상 살 수 없는 책이 되었다. F₁는 36편의 극을 수록하고 있어서 세익스피어 정정의 추축을 이루고 있다. F₁는 또한 여기에 처음 활자 화된 18편의 극들에 대해서는 유일한 권위를 갖고 있다. 이 사실들은 모두 F₁의 중요성을 말해주고 있는 것이다. 한편 F₁는 누가 언제 어떻게 출판하였는가하는 순전히 외적인 문제로부터 본문의 전달과 관계된 여러가지 내적인 문제에 이르기까지 많은 문제를 지니고 있다. 유수한 셰익스피어 본문학자들이 20세기에 들어와서 분석서지학(analytical 혹은 critical bibliography)의 도움을 얻어 이 문제들을 해결하는데 심혈을 기울였으며 그성과 또한 다대한 바 있다.

Der Romananfang in fontanes "Effi Briest" und seine Funktion im Zusammenhang des Romanganzen

許昌雲 서울大學校人文大學 1976 人文論叢 Vol.1 No.-

이 연구는 비단 폰타네의 장편소설 "에피 브리스트"의 해석에만 그치지 않고 소설형식의 일반성에까지 문제의 촛점을 확대투자 하려는 의도를 내포하고 있다. 서론에서는 주어진 논제의 문제점이 어디에 있으며, 과연 소설의 도입부에 이미 소설의 전체상이 투명되어 있을까 하는 점을 가설로 설정하고 이 문제를 제2하의 본론부에서 세부적으로 그 증명을 시도한다. 즉 소설의 도입부의 한계를 공간적으로 보아 호엔-크렘멘 내에서 전개되는 사건의 범위로 제한하고 이 소설의 전체 상이 이미 이 속에 함축되어 있음을 지적한다. 소설구조 구성요소 중에서 중요한 기능을 지닌 예시들이 이 작품의 통일성을 위해서 담당하고 있는 지대한 역할을 텍스트 자체의 해석을 통해서 확정시킨다. 모험심과 경솔성을 타고났지만 순수하고 온화한 순진한 여주인공 에피, 이와는 대조적으로 철두철미 사회적 허식의 굴레에서 벗어나지 못하는 냉정하고 이성적이며 원칙에 사는 인스테텐, 바로 이 두 사람의 상반된 성격의 결합 속에 이미 후기에 생길 비극적 운명의 씨앗이 뿌려져 있는 이 소설의 구조; 소설의 도입부가 전개되는, 자연적 요소의 원천인 호엔-크렘멘과 소설의 귀결부가 전개되는 인간적 요소의 보금자리인 호엔-크렘멘의 대비관계 속에서 인간의 의식도 다른 차원으로 탈바꿈하다는 "내적 발전과정"; 그리하여 자연과 사회와의 긴장관계 속에 비극적 좌표가 설정되어 있다는 결론에 이른다. 결국 이 논문은 렘메르트가 피력한 그의 산문형식이론 중 예시부분에 대한 언급을 또 한번 증명하는 하나의 논거를 제공하는데 공헌하고 있다.

공통인구어 모음연구에 관하여 : Laryngeal theory를 중심으로 with a special point to the laryngeal theory

강인선 서울大學校人文大學 1979 人文論叢 Vol.4 No.-

This is a brief survey of the studies of PIE vowel system. The traditionally described and generally accepted system for PIE was Brugmann-Hirt-Meillet's. De Saussure's system is different from the others in positing two abstract phonemes, A,O, in the system. These were deduced from the exhaustive investigations of the ablaut phenomena, and were described as coefficients sonantiques like the syllabics ? ? ? ?. His insightful proposals, however, were not generally accepted until the Hittite documents were discovered and deciphered. The Hittite phonemes showed the regular correspondances to the A,O. Then most of the IE comparativists devoted themselves to study the laryngeals. The laryngeal theory has been developed, the approaches to which have been three ways. First, some add certain results from the Hittite resources to the laryngeais as coefficients sonantiques. Second, others construct the theory only with reference to the Hittite. Third, others mske phonological approaches to the laryngeals with parellel to the Hittite. The writer sketched out these approaches. Finally, according to Keiler(1970), some Hittite phonemes were interpreted as the reflexes of the IE laryngeals, appearing to be a natural consequenses of the kinds of distinctive features.

Thomas Mann에 있어서의 <二重視覺>의 理論과 實際

崔淳鳳 서울大學校人文大學 1978 人文論叢 Vol.2 No.-

Klinger의 <Sturm und Drag> 考

千冀泰 서울大學校人文大學 1978 人文論叢 Vol.2 No.-

A Comparative Study of August Strindberg's Miss julie & A Dream Play

朴熙鎭 서울大學校人文大學 1978 人文論叢 Vol.2 No.-

Miss Julie represents, first of all, its author's most determined endeavor to win the modern stage for naturalism. When he sent Miss Julie to his publisher, he wrote, "I take the liberty of hereby offering you the first naturalistic tragedy of the Swedish drama" Strindberg wrote Miss Julie in July and August of 1888, at the age of thirty-nine.

自然主義와 決定論 : Zola의 [實驗小說論]을 中心으로

鄭明煥 서울大學校人文大學 1976 人文論叢 Vol.1 No.-

Malgre tant de controverses sur les particularites du Naturalisme, il pourrait se definir comme une theorie tributaire du Realisme, qui a ete formulee surtout par Zola et qui veut appliquer, d'une maniere toute consciente, le determinisme scientifique a l'explication des phenomenes humains et sociaux. Pourtant, beaucoup de specialistes zoliens sont d'accord pour dire que sa theorid trop etriquee se voit heureusement trahie par ses oeuvres romanesques pleines de souffles poetiques, le determinisme n'ayant pas grand-chose a voir avec ses activites creatrices. Cette opinion largement repandue s'avere, nous semble-t-il, peu defendable une fois qu'on examine de plus pres le Roman experimental, dans lequel nous croyons trouver non seulement la theorie a l'etat pur, mais aussi certaines indication qui puissent nous faire comprendre a quel degre elle se rattache aux secrets de la composition et de la vision remanesque de Zola. Dans le Roman experimental, Zola semble avoir fidelement suivi les pensees scientifiques de Claude Bernard avancees dans son Introduction a la Medecine experimentale, en enfaisant les siennes pour faire solidement asseoir la-dessus sa theorie litteraire. Mais ce qui est a remarquer tout de suite, c'est que la decouverte de I'Introduction par Zola a denne lieu, non pas tant a une metamorphose de ses idees litteraires, qu'a des reflexions pour les ordonner qui restaient jusqu'alors peu systematisees. Ces travaux de systematisation se portent sur les trois points que voici: 1) Il s'agit tout d'abord du concept de determinisme. En depit des apparence, c'est la que Zola differe foncierement de Bernard. Chez celu-ci, le determinisme des phenomenes naturels est un postulat transcendant qui est necessaire pour fonder la possibilite des experiences scientifiques, mais qui ne peut etre prouve en aucume maniere. Or, ce caractere du determinisme n'a pas ete bien compris ou plutot a ete neglige par Zola, que s'obstine a le considerer comme un fait deja etabli inebranlablement, ce qui reste a faire etant d'expiquer les phenomenes humains suivant certaines lois qui en decoulent, soit l'heredite et ld milieu. Mais cette conception naive devrait pas nous empecher de reconnaitre que Zola n'est nullement materialiste, ni pessimiste. A plusieures reprises, le Roman experimental insiste que l'homme n'est pas seulement un element determine par les deux forces qui lue sont pour ainse dire exterieures, mais encore il fonctionne comme un element determinant sur d'autres hommes. Cela veut dire qu'il est integre dans le circulus social, dans lequel les enchainements des causes et des sont multiples et tres complexes, prenant les directions tantot descendantes (La Curee, Nana, Pot-Bouille), tantot ascendantes (Son Excellence Eugene Rougon, Au Bonheur des Dames, L'Argent), ou bien les deux en meme temps(La Terre, Le Debacle). C'est justement en ce sens-la qu'on pourrait qualifier son determinisme de dynamique ou de dialectique. 2) Des sa Theorie des Ecrans, Zola etait dechire entre le desir de representer la realite telle qu'elle est et la reconnaissance que ce desir resterait sterile, etant donnee l'inevitable subjectivite de celui qui voit et par cet acte meme refracte la realite. Or, l'affirmation par Bernard de la necessite de l'idee preconcue comme une condition indispensable pour bien mener les experiences, etait pour Zola comme une revelation. Maintenant, s'appuyant sur l'autorite de Bernard, il rappelle tout haut que le mimesis n'est pas autre chose qu' "un coin de la nature vu a travers le temperament." Mais cela entraine a son tour deux questions: ⑴ Comment confirmer l'existence objective de co qu'un sujet a vu a travers son temperament, d'autant que, dans la litterature, le precissus de l'experience qui a pour but cette confirmation ne peut se derouler en dehors de l'experimentateur? ⑵ Le determinisme qu'il a pris pour un fait certain n'est-il pas lui-mime une vision subjective? 3) A vrai dire, les reponses que le Roman experimental tente de presenter devant ces deux questions sont peu convaincantes. Au contraire, Zola est amene a constater que la science, surtout la science physiologique, est encore trop jeune expliquer a fond tous les phenomenes naturels, et qu'a plus forte raison, la litterature dont la mission serait d'explorer les contes psychologiques et sociaux des activites humaines en s'inspirant des decouvertes scientifiques, ne peut rien dire de decisif en face tant d'inconnus. D'ou la necessite, pour le moment du moins, "d'accepter le systeme philosophique qui s'adapte le mieux a l'etat actuel des sciences" et qui est pour lui le transformisme. Il nous semble que ces trois aspects (determinisme, subectivite, transformisme) demontres dana le Roman experimental, ne sont rapport avec la creation ramanesque chez Zola. Pour le moins, la totalite des Rougon-Macquart pourrait se compredre mieux, si l'on essaie de les expliquer non pas d'apres un de ces aspects, mais en se referant simultanement a l'ensemble des trois qui sont etroitement lies entre eux: le transformisme dote of determinisme d'un caractere dialectique, tout en necessitant une vision subjective. Peut-etre faudrait-il essayer de re-definir le naturalisme zolien en disant qu'il est un choix a la fois philosophique et operant en vue d'integrer la science dans le cadre de l'imagination creatrice.

Peter Handke의 演劇論

宋東準 서울大學校人文大學 1976 人文論叢 Vol.1 No.-

In der Einleitung habe ich Ausgang der Handkeschen Dramatik beschrieben. Handkes Dramatik laβt sich im wesentlichen auf die moderne Dramatik sowie Kunst zuruckfuhren. Die Sprachtheorie Wittgensteins, der V-Effekt Brechts, Pop art, Happenings, Beatles, Konkrete Poesie, Formalismus wie auch Struktualismus haben auf die Dramatik Handkes entscheidenden Einfluβ geiibt. Dieser Ausgang seiner Dramatik konnte in seinen Stucken den Charakter der blinken Modernitat auspragen. Im Hauptteil habe ich Handkes Dramatik in drei Aspekten betrachtet: Antibeschreibungs-dramatik, Sprache als das zentrale Thema, und Kritik am Mechanismus von Bewnβt-sein und Benehmen. In der <Antibeschreibungsdramatik> habe ich Handkes Gegenposition gegen die engagierte Dramatik der Neuen Realisten beschrieben. Sie weist auf, daβdie Literatur bzw. Dramatik kein Mittel zur Vermittlung, sondern das Ziel selbst ist und ihre Aufgabe in der Funktion besteht, bewuβter und genauer zu machen. Handke sagt ausdrucklich, eine engagierte Literatur sei ein Widerspruch in sich, weil die Literatur formal bestimmt sei, wahrend das Engagement materielle Bestimmung abgebe. Darum stellt die Buhne fur Handke keinen Bedeutungsraum, sondern einen Spielraum dar, wo Spiele von Formen ermoglicht werder konnen Er lehnt alle Methoden der Beschreibungsdramatik ab. Im Sprechstuck Publikumsbeschimpfung werden alle Methoden der tradierten Dramatik negiert: keine Auftritte, keine Dialoge, kein Buhnenbild, keine pausenl, kein Erlebnis, keine Ilusion von Wirklichkeit, keine Handlung, keine Dramenzeit, kein Gegenuber von Akteuren und publikum, keine Intrige und keine Hintertur. In der <Sprache als das zentrals Thema> bin ich von der Sprachtheorie von L. Wittgenstein ausgegangen und habe die Sprache seitens deren automomer Funktion betrachtet, um ihre Problematik feszustellen. Die Problematik der Sprache liegy in deren unbewuβten Aufnahme durch Gewohnung an ihr. Denn dadurch ergibt sich, daβsich der Sprachge braucher nicht der Sprache bedient, umgekehrt, sie sich seiner bedient. Da die Sprache mit ihrer autonomer Funktion auf das Denken und Handeln des Menschen unmittelbar bezogen ist, kommt er mit dem Erlernen der Sprache gleichzeitig under ihrer Macht zu stehen, Die Dramatik Handkes will diese Funktion der Sprache bewuβt machen, um die Automatisierung des Bewuβtweins zu verhindern. Sie stellt einen Kampf gegen die Verhexung unseres Veratandes durch die Mittel unserer Sprache" dar. Anhand des Stuckes Kaspar hale ich diese Funktion der Sprache demonstriert, indem ich aufzeigte, wie das Spracherlernen Kaspars vor sich geht und zugleich sein Bewuβtsein durch die erlernte Sprache beherrscht und automatisiert wird. In der <Kritik am Mechanismus von Bewuβtsein und Benehmen> habe ich aufgewiesen, wie die Automatismen bei der Bewuβtseinsabwesenheit zur Wirkung kommen konnen. Da die Gewohnung an der Funktion der schablonenhaften Ausdrucke sowie Methoden, die Handke 〃Flieβbanderzeugnisse des Bewuβtseins" nennt, die Antomatisierung des Bewuβtseins und des Binehmens bewirkt, soll man solche Ausdrucke und Methoden nicht einmal verwenden. Der Mechanismus von Bewuβtsein une tritt sowohl in seiner glatten Funktion als auch in seiner Storung auf. In er letzten Funktion hat die Wirkung die des Brechtschen V-Effekts. Diesen Mechanismus habe ich an den Beispielen aus dem Stuck Der Ritt uber den Bodensee gezeigt. Im Schluβ habe ich die Modernitat der Handkeschen Dramatik aufgrund der bisherigen Betrachtung noch einmal resumiert.

現象學과 藝術 : M. Meleau-Ponty에 있어서의 藝術과 制度의 槪念에 이르기까지

吳昞南 서울大學校人文大學 1979 人文論叢 Vol.4 No.-

The first part of this paper is to sketch the main line of what has been called the phenomenologists' aesthetic doctrines. The purpose of such a sketch is not simply to introduce them in chronological order, but to examine their basic assumptions and appropriate phenomenological methods, i.e., the disinterested aesthetic appreciation (M.Geiger), the nature of the aesthetic object as purely intentional object (R. Ingarden), and the imaginative artistic creation (J.P.Sartre). These examinations are intended to show that, however phenomenology has been applied to art, each of them appears to be made as if art could be explained in terms, respectively, of appreciation, work, and creation, and, thus, to be structurally limited. The second part of this paper is, therefore, to suggest the corrective to such misleading and narrowly defined approaches to art. I think it may be suggested not by breaking art into its constituent elements of appreciation, work, and creation, but by considering it as a whole process. If then, art process becomes a communication of some sort and naturally implicates a social hebaviour. That is, art has to be explained in terms of an institutional means of some sort. Here arises a difficulty for the understanding of the conception of art as an institution. This is mainly due to various old assumptioms that art is primarily an individual, imaginative expression, that artist must seperate himself from social controls in order to achieve the aristic autonomy. But these assumptions involve the fundamental mistake to suppose that there is no continuity between the organized responses of individuals and the formal customs of the general society. In order to examine the concept of the continuity I turned to the phenomenology of M.Merleau-Ponty who wrote "phenomenolgy of perception" already prepared in his first work, "the structure of behaviour", dedicated to the metaphysical problem of mind-body interaction. He gives such a wide interpretation to the notion of behaviour as to include the sheer physical reaction, and traces the evolution of human cultural activity through a dialectic of orders-physical, vital, and human-in which varous kinds of from-syncretic, mutable, andsymbolic- are organized in the behaviour of a living organism. The superiority of human behaviour is, however, that the subject may transcend its purely physical and vital nature in the construction of a symbolic situation. And applying his revised gestaltism to the facts of perception, Merleau-Ponty concludes that an essence is but a conventional or arbitrary name tacked on to an already experienced from of behaviour. The first and pre-rational experienced from he calls a primary expression, which he claims may be analyzed and resynthesized in any fashion whatsoever by a human subject in secondary expressions. Therefore, the totality of primary expressions constitutes real human history and forms the subject matter of written history which is also likewise a secondary expression as science and philosophy. Here he links primary expressions with the individual 'parole', that is, individual assimilation of the living `langue', by appealing to Saussure's general theory of linguistics. Thus, for him primary and secondary expressions which may remind us of Croce's distinction of intuitions and concepts interact in such a way to enrich or impoverish the established language. If then, there is no individual activity aside from the insignificant release of tensions within individual organism, just as there are no completely determined examples of socially controlled response. That is, all human activity is more or less individual and at the same time more or less social. The final part of this paper is to indicate that for Merleau-Ponty art assumes its role as a primary expression in this system, and that it is of institutional nature. What follows is then to take into account some problems which issue from this argument. First, we have to analyze the institutional nature of art in such a way as to isolate the special function played by that institution. In a general way this purpose may be stated as the development of novel meanings for Merleau-Ponty and then art must be expounded in the general theory of knowledge for him. This suggests that there is another kind of knowledge, though pre-rational, and that art is likewise a from of cognitive activity as science though diffrent from each other in their nature. I think it is really a philosophical point in question whether such an argument can be supported. But it is significant that, if it will be accepted as having a valid ground, a bright prospect would be promised for the foundation of philosophy of art. In comparision with it, it is worth noting that even the minimum ground has been difficult to be arranged for philosophy of art in Anglo-American philosophy, and that this philosophy has advanced philosophy of art criticism instead, though there is an aesthetician like Virgil C. Aldrich who has tried to work out a philosophical ground for the foundation of philosophy of art with difficulty. Thus, we can now say as follows: art is a watershed, and is offered as a battle field, between two camps of philosophy. Secondly, what I have found interesting is that the notion of art as an institution is also analyzed by G. Dickie, an analytical philosopher who put the definition of art in terms of the art world suggested by A. Danto. Indeed., there are incompatible differences in many respects between Merleau-ponty's and G. Dickie's notion of it, but I think we can easily discern a difference in that, whereas the former tries to expound how art with its institutional nature comes into being, the latter tries to argue for the existence of the art world by describing a considerable amount of information about it. Here we can find a certain relation between both of them. For, if Dickie's conception of the institutional nature of art is based on the existence of the empirical art world and thus a possible ground of it has to be affirmed in any way whatsoever, Merleau-Ponty's explication of art as an institution would be a philosophical ground for, and a point of contact with, that existence of the art world. Thirdly, since the argument that art is an institution implies in itself that it is a communication as a kind of social activity, art may not or can not be isolated from the other institutions of society, i. e., religious, political, and economic. Thus we have to take into account the effects of art upon the society. That is, these effects is not external to the nature of art, but is already implicit in the notion of art as a social institution of the communication of the novel meanings. So, the philosophy of art can be consummated only when it is extended to relate itself to the social psychology of art. I think that this new approach is to be pursued for the solution of the dilemma of contemporary aesthetics.

Freud's Concept of Civilization in Terms of Psychoanalytic Theory

朴熙鎭 서울大學校人文大學 1976 人文論叢 Vol.1 No.-

"프로이드의 精神分析論에 依한 文明의 槪念" 프로이드의 정신분석학이 어떠한 과정을 거쳐서 그 기반을 굳혔는가를 단계적으로 고찰하고 이렇게 자리를 잡은 정신분석학이 구체적으로 의미하는바의 것 즉 정신 분석학의 중요한 내용들을(무의식의 작용,본능 억압론,性역활의 중요성 그리고 웨디퍼스 콤플렉스)분석연구했다. 다음 단계에서는 프로이드가 주로 그의 저서 「文明과 不滿들」 에서 정신분석학의 중요한 내용들 하나하나를 文明의 槪念과 연관지어 고찰해 나간것을 연구했다. 프로이드에 의하면 종교,도덕,사회 그리고 예술 모두가 웨디퍼스 콤플렉스에 그 기원을 두고 있고 또 이 콤플렉스가 온갖 종류의 신경질환의 핵심을 이룬다. 그리하여 그는 그의 저서에서 인간 문명의 냉혹한 요구들과 그의 정신분석과정에서 발견한 사실 들을 대조시켜 고찰하고 그의 소위"현실 원칙"과 "쾌락의 원칙"을 적용시켜 신경질환 은 문명이 인간에게 부당하게 강요한는 여러가지 본능의 억압에서 비롯되는 것으로 진단을 내린다. 결과적으로 그는 문명이 인간이 인생을 즐길 수 있는 量을 감소시켜서 인간을 불행하게 만들고 있다고 선언한다. 그 치료책으로는 본능의 억제를 가능한한 감소시키고 불가피하게 약간의 제약은 다른 방법으로 보상하도록 해야 한다고 갈파하 고 있다.