「私」から「私ら」への集結 -大江健三郞の「晩年樣式集」論-

주연서 ( Yan Shu Zhou ) 고려대학교 일본학연구센터 2016 일본연구 Vol.25 No.-

二○壹三年壹○月二四日、大江健三郞の新しい長編小說「晩年樣式集」が講談社によって出版された。この作品は大江健三郞の分身である長江古義人を主人公之する第六作である。「晩年樣式集」は從來の大江作品における壹人稱の書き手=語り手の手法を取り入れる上、小說、手紙、對談、インタビュウ一、詩など「多聲的、多文體的な、地の文之會話文之を重層的に相互剩り入れさせる」斷片の集合形式を取っている。この上、「私」の語りの進行之之もに、「三人の女たちによる別の話」を幷行させ、テクスト全體が「私」によって、統合されるこ之でなく、逆にそれらの發話は何人かの主人公(古義人、古義人の妹であるアサ、妻千견、娘眞木、ギ一兄さんの息子ギ一·ジュニア)に分擔され、多くの場合互いに肯定したり、否定したり、衝突したりする。之いうこ之から見る之、「晩年樣式集」における「私」は前の五部作より、もっ之複數化·複雜化されている。この小說がどのジャン兒に位置づけるこ之ができるか、古義人の「私」がどんな特徵を持っているか、なぜ「最後の小說」でこのような手法を之ったか之いうような質問を常に意識させられるこ之になる。だから、これらの質問を下ベ一スにして、本論文はまず、私小說の方法を分析しながら、「晩年樣式集」の「私」の特徵を明らかにする。そして、「三人の女たちによる」「私」の擴散之集約之いう點に重點をおいて、「晩年樣式集」の「私」は分散、解體、散亂するのでなく、「私ら」之いう集合體に集約する之いう特徵を析出しよう之思う。最後に、「3.11」の之いう世界的なカタストロフィイ一を境にして、このような「私」を作り出す原因も分析したい之思う。 On October 24, 2013, Kenzaburo Oe``s latest novel, In Late Style, his sixth work featuring Kogito Choko, regarded as Oe``s literary alter ego, was published by Kodansha. After In Late Style was just published, a reviewer of the Asahi Shimbun wrote that Kenzaburo oe was the epitomizer of the I-novel. But Kenzaburo Oe denied this, although In Late Style carries the strong color of an I-novel. Similarly, in the novel, Kogito mentions the relationship between his writing and the Japanese I-novel and expresses his opinion in the form of a response to an Italian reader with the name of his daughter, Magi: “The author didn’t write in the specific form of a Japanese I-novel.” The author broke the routine that the incidents depicted in the novel are the real life of the author and created something new that is based on the conventional European style of imagination; “I” is the narrator to set off reality by contrast. Furthermore, the major difference between Quekenzaburou and I-novel writers is that the latter stick to personal routine, trifles and experience, but the former converts personal experience into a public one after catastrophe and reconstructs the order of private and public space with a clear barrier through the description of individual and family sufferings. In these aspects, the six novels of Quekenzaburou can be regarded as postmodern I-novels with magic realism. In addition to the real hope, a complex structure is another feature of In Late Style. The novel is told through the alternating narratives of “I” and the three lady team to form an apologue about writing and reading fiction. The relationships between creating and being created, and reading and being read become more complicated with the intervention of Simaura, the lover of Gorou, Gijyunia, the son of a close friend Giniisan, and an Italian female reader.

중국 수자원분배 시행을 위한 남수북조공정 조사연구

주연연(Juan Juan Zhou),임봉수(Bong Su Lim) 대전대학교 환경문제연구소 2015 환경문제연구소 논문집 Vol.19 No.-

차집관로와 하수처리시설의 설치에 따른 도시하천의 수질변화 특성

주연연(Juan Juan Zhou),임봉수(Bong Su Lim) 大韓環境工學會 2014 대한환경공학회지 Vol.36 No.12

대전 3대하천을 대상으로 차집관로와 하수처리시설 증설로 인한 도시하천의 수질변화의 특성을 분석하였다. 지난 10년 동안 최고 수질에서 최저 수질의 차이가 가장 큰 하천지점은 하수처리시설 하류부인 갑천5(신구교) 지점이다. 반면에 최근 수질은 이 지점이 다른 지점보다 수질이 불량한 것은 하수처리시설의 방류수 영향이다. 하수처리시설 상류부에서는 대전천이 유기물질의 오염감소에서 다른 지점보다 비교적 양호한 지점인데 이는 차집관로의 유지관리 투자에 기인한 것으로 보인다. 최근 3대하천 수질은 하천수질기준치와 비교하였을 때 대부분 수질항목은 기준치 이내로 적합하였으나 상류지점인 대 전천, 유등천, 갑천3 지점의 총인은 기준치에 못 미치므로 하수처리시설 상류부가 하류부보다 차집관로의 유지관리가 더 필요하다. 하수처리시설의 방류수 수질이 하천 수질오염총량관리 지점의 목표수질에 악영향을 주기 쉬우므로 하수처리시설 유지관리의 효율성이 적극 요구된다. In this study, the characteristics of water quality change of the three streams in Daejeon were analyzed according to the expanded installation of interceptors and wastewater treatment plant (WTP). Gabcheon 5 (Singu Bridge) location showed the maximum difference of the highest and lowest concentrations in the last decade. However, the recent water quality of this location was worse than other locations, because of the impact of the effluent from the WTP. In the upstream of the WTP, the Daejeon stream was relatively better than the other locations in organic pollution reduction, and this was caused by the investment for the management of the interceptors in three streams of Daejeon. According to the water quality standard of the stream water quality, the recent water quality of the three streams in Daejeon was acceptable within them in the most of the water quality items, but because the total phosphorus concentration of the upstream such as Daejeon stream, Yudeng stream, Gabchen 3 location did not reach the standard values, a better management of the interceptor was required in the upstream of WTP than its downstream. The upstream of WTP also required a better management of the interceptor than the downstream. The operation and management of WTP was required a high efficiency because the water quality of the effluent from the WTP incurred an adverse effect to the target water quality in the location of the total water pollution load management system.

｢私｣から｢私ら｣への集結

周硯舒(Zhou, Yan-shu) 고려대학교 글로벌일본연구원 2016 일본연구 Vol.25 No.-

二〇一三年一〇月二四日、大江健三郎の新しい長編小説晩年様式集が講談社に よって出版された。この作品は大江健三郎の分身である長江古義人を主人公とする第 六作である。 晩年様式集は従来の大江作品における一人称の書き手=語り手の手法を取り入れ る上、小説、手紙、対談、インタビュウー、詩など｢多声的、多文体的な、地の文と会 話文とを重層的に相互乗り入れさせる｣断片の集合形式を取っている。この上、｢私｣の 語りの進行とともに、｢三人の女たちによる別の話｣を並行させ、テクスト全体が｢私｣に よって、統合されることでなく、逆にそれらの発話は何人かの主人公(古義人、古義人 の妹であるアサ、妻千樫、娘真木、ギー兄さんの息子ギー․ジュニア)に分担され、多く の場合互いに肯定したり、否定したり、衝突したりする。ということから見ると、晩年 様式集における｢私｣は前の五部作より、もっと複数化․複雑化されている。この小説 がどのジャンルに位置づけることができるか、古義人の｢私｣がどんな特徴を持っている か、なぜ｢最後の小説｣でこのような手法をとったかというような質問を常に意識させら れることになる。だから、これらの質問を下ベースにして、本論文はまず、私小説の方 法を分析しながら、晩年様式集の｢私｣の特徴を明らかにする。そして、｢三人の女た ちによる｣｢私｣の拡散と集約という点に重点をおいて、晩年様式集の｢私｣は分散、解体、散乱するのでなく、｢私ら｣という集合体に集約するという特徴を析出しようと思 う。最後に、｢3․11｣のという世界的なカタストロフィイーを境にして、このような｢私｣ を作り出す原因も分析したいと思う。

우한시 실버세대를 위한 화훼 재배 커뮤니티디자인 서비스 제안 - 중국 우한시를 중심으로 -

주연강 ( Zhou Yan-gang ),홍창기 ( Hong Chang-kee ) 커뮤니케이션디자인학회(구 시각디자인학회) 2018 커뮤니케이션 디자인학연구 Vol.63 No.-

우한시의 고령화 현상은 날로 심각해져 생리적 보살핌 위주의 양로방식은 더 이상 교류의 부족으로 오는 감정적인 수요를 만족시킬 수 없게 되었다. 본 연구는 우한시에 거주하는 노인의 일상생활과 취미, 우한시 정부의 정책, 보도기사 등의 자료를 정리 및 분석하여 화훼재배단지 설계서비스의 실행 가능한 방안을 도출해냈다. 또한 화훼재배단지 설계 서비스와 관련된 이익관계자와 시스템과정 등의 측면에서도 더 구체적인 설계를 하고자 하며, 이는 어르신들의 사회적 교류빈도를 높이는데 그 목적이 있다. 궁극적으로 우한시에 거주하는 노인이 감정적으로 필요로 하는 심리적 만족문제를 해결하고자 한다. The aging phenomenon of Wuhan city became more and more serious, and the amphibious way of focusing on physiological care became no longer able to satisfy the emotional demand due to lack of exchange of Wu elders. This study sheds light on the daily life and hobby of Wuhan city elders, policy of Wuhan city government, news reports, It also aims to design more concrete aspects in terms of profit persons and system process related to the flower farming complex design service, which aims to increase the frequency of social interaction among seniors. Ultimately, he tries to solve the emotional needs of the elderly.

『源氏物語』と『紅樓夢』についての比較硏究

주연서 ( Yan Shu Zhou ) 고려대학교 일본학연구센터 2014 일본연구 Vol.22 No.-

『源氏物語』は, 11世紀の初め, 紫式部によって完成され, 日本の古典文學の最高傑作だといわれている。『紅樓夢』は中國の淸の時代, 曹雪芹と高顎によって完成され, 中國の文學史上の頂点だと言える。この二作は, 成立年代がかなりはなれているが, 相似するところが多い。そして, この二作のヒロインと言える林黛玉, 薛寶釵と紫の上についても, 似ているところがたくさんある。大きく見れば, 三人とも貴族の出身で, 幼い時兩親またはその一人が亡くなった。そして, 三人とも才色兼備な女性であったが, どちらも結末は不幸であった。しかし仔細に見れば, この三人の身の上, 結末についてもやはり違いがある。そして, 戀愛についてもそれぞれである。紫の上は光源氏またはそのような社會には本心をもっての從順者で, 本當の溫良恭儉の人である。黛玉は虛僞な功名が嫌いで, 婚姻の不自由な制度の下でも自由で理想的な愛情を求め, その社會の反逆兒だとも言える。寶釵は紫の上また黛玉とは違う。寶玉には激しい愛情が見えない。また, 最も重要なのは, 三人の性格は異なっている。特に, 紫の上と寶釵は古代の保守的制度の下で理想的な女性とされているが, 二人には實は本質的な違いがある。寶釵は實は思慮深く, 世渡り上手の賢い人である。表は溫良恭儉のように見えるが, 裏では冷たくて, 功名心のある人である。寶釵と紫の上とは表面上において似ているが, 素直で淸い心をもっているほうから見ると, むしろ黛玉と紫の上は同樣だとは言えよう。黛玉は寶釵と紫の上に比べたら, 欠点のある人である。そしてこの欠点があるからこそ, 黛玉は小說の中の人のように見えなく, 現實の中で生きている人のように見える。『源氏物語』は, 紫の上を櫻とたとえている。『紅樓夢』は, 林黛玉を芙蓉, 薛寶釵を牡丹に比喩している。この三つの花は, 違う土壤に生まれ育てられたが, 同樣に美しく芳しい花が소いた。しかし, それぞれの特質を持っている。拙作は, 林黛玉, 薛寶釵と紫の上の相似と相違について探究することを試みた論である。これをもとにして, 二人の作者の女性觀についても分析したいと思う。 A century ago, The Tale of Gengi created by Murasakisikibu became the masterpiece of Japanese literature· Seven hundred years later, The Dream of the Red Chamber written by Cao Xueqin and Gao`e led Chinese classic literature to its peak· Although there was a long period between the two great works, there are many similarities with their major female characters: Lin Daiyu, Xue Baochai and Murasakinoue· All three were born in royal families with a bitter childhood and with the loss of parent· Beautiful and talented as they were, they suffered to the end· Nevertheless, they were different in their family backgrounds, deaths, and love· Murasakinoue was obedient and loyal to the society represented by Genji as a kind and reverent woman, while Daiyu had a strong aversion to hypocritical scholarly honor and social ranks, pursing her ideal love freely under the feudalistic marriage system, as a social rebel, but Baochai was another type with no love for Baoyu at all· But the most important thing is that the three characters had their unique personalities· In particular, as the ideal women figures under the social system, Baochai and Murasakinoue differed essentially· Baochai was sophisticated, thoughtful, and obedient but cold and snobbish· Similar to Baochai, Murasakinoue was integral and pure, which was actually very similar to Lin Daiyu· Compared with Baochai and Murasakinoue, Daiyu was a feature with flaws, but it is the flaws that make Daiyu lively· In The Tale of Genji, Murasakinoue is compared to sakura, and Daiyu and Baocha are compared to Furong and Mudan in The Dream of the Red Chamber· Sakura is the national flower of Japan, while Mudan and Furong are regarded in Chinese culture as the king of the flowers and the Flower Fairy· It is true that the three flowers root in various lands, but they are all well known for their fragrance· Based on the discussion about the similarities and differences in the three major female characters, the article intends to make a further study on the women`s view of the authors·

『源氏物語』と『紅楼夢』についての比較研究

Zhou Yan shu(周硯舒) 고려대학교 글로벌일본연구원 2014 일본연구 Vol.22 No.-

A century ago, The Tale of Gengi created by Murasakisikibu became the masterpiece of Japanese literature. Seven hundred years later, The Dream of the Red Chamber written by Cao Xueqin and Gao'e led Chinese classic literature to its peak. Although there was a long period between the two great works, there are many similarities with their major female characters: Lin Daiyu, Xue Baochai and Murasakinoue. All three were born in royal families with a bitter childhood and with the loss of parent. Beautiful and talented as they were, they suffered to the end. Nevertheless, they were different in their family backgrounds, deaths, and love. Murasakinoue was obedient and loyal to the society represented by Genji as a kind and reverent woman, while Daiyu had a strong aversion to hypocritical scholarly honor and social ranks, pursing her ideal love freely under the feudalistic marriage system, as a social rebel, but Baochai was another type with no love for Baoyu at all. But the most important thing is that the three characters had their unique personalities. In particular, as the ideal women figures under the social system, Baochai and Murasakinoue differed essentially. Baochai was sophisticated, thoughtful, and obedient but cold and snobbish. Similar to Baochai, Murasakinoue was integral and pure, which was actually very similar to Lin Daiyu. Compared with Baochai and Murasakinoue, Daiyu was a feature with flaws, but it is the flaws that make Daiyu lively. In The Tale of Genji, Murasakinoue is compared to sakura, and Daiyu and Baocha are compared to Furong and Mudan in The Dream of the Red Chamber . Sakura is the national flower of Japan, while Mudan and Furong are regarded in Chinese culture as the king of the flowers and the Flower Fairy. It is true that the three flowers root in various lands, but they are all well known for their fragrance. Based on the discussion about the similarities and differences in the three major female characters, the article intends to make a further study on the women's view of the authors. 『源氏物語』は、11世紀の初め、紫式部によって完成され、日本の古典文学の最高傑作だといわれている。『紅楼夢』は中国の清の時代、曹雪芹と高鶚によって完成され、中国の文学史上の頂点だと言える。この二作は、成立年代がかなりはなれているが、相似するところが多い。そして、この二作のヒロインと言える林黛玉、薛宝釵と紫の上についても、似ているところがたくさんある。大きく見れば、三人とも貴族の出身で、幼い時両親またはその一人が亡くなった。そして、三人とも才色兼備な女性であったが、どちらも結末は不幸であった。しかし仔細に見れば、この三人の身の上、結末についてもやはり違いがある。そして、恋愛についてもそれぞれである。紫の上は光源氏またはそのような社会には本心をもっての従順者で、本当の温良恭倹の人である。黛玉は虚偽な功名が嫌いで、婚姻の不自由な制度の下でも自由で理想的な愛情を求め、その社会の反逆児だとも言える。宝钗は紫の上また黛玉とは違う。宝玉には激しい愛情が見えない。また、最も重要なのは、三人の性格は異なっている。特に、紫の上と宝釵は古代の保守的制度の下で理想的な女性とされているが、二人には実は本質的な違いがある。宝钗は実は思慮深く、世渡り上手の賢い人である。表は温良恭倹のように見えるが、裏では冷たくて、功名心のある人である。宝钗と紫の上とは表面上において似ているが、素直で清い心をもっているほうから見ると、むしろ黛玉と紫の上は同様だとは言えよう。黛玉は宝釵と紫の上に比べたら、欠点のある人である。そしてこの欠点があるからこそ、黛玉は小説の中の人のように見えなく、現実の中で生きている人のように見える。『源氏物語』は、紫の上を桜とたとえている。『紅楼夢』は、林黛玉を芙蓉、薛宝釵を牡丹に比喩している。この三つの花は、違う土壌に生まれ育てられたが、同様に美しく芳しい花が咲いた。しかし、それぞれの特質を持っている。拙作は、林黛玉、薛宝釵と紫の上の相似と相違について探究することを試みた論

美しい葛藤-「雨の木」

周硯舒(Zhou Yan shu) 고려대학교 글로벌일본연구원 2017 일본연구 Vol.27 No.-

雨の木シリーズの作品は、最初一九八〇年から一九八二年に書かれた五篇の短編を、一九八二年に雨の木というモチーフで 雨の木を聞く女たちにした短編連作から始まったものである。それ以後、雨の木は、未完な課題として後の新しい人 よ眼ざめよ(1983)、いかに木を殺すか(1984)、宇宙大の雨の木(1991)、燃えあがる緑の木(1995)三部作などの作品の中で、何度も書き直され、補われている。雨の木シリーズの作品が、作者の思想世界に入り込み、作者自身の憂鬱な感情が入り込んでいるから、作品の中に現れる雨の木のイメージの葛藤から、癒しと暗闇グリーフと救済死と再生、さらに絶望と希望の間に行き交う作者本人の試練も見られるのではないでしょうか。だから、雨の木が安定したメタファというより、むしろ、様々な水準の語りのうちに変容しているとする。本稿はまずこれらの雨の木のイメージ、メタファーの意味を分析しながら、雨の木のメタファーの変容をたどりたいと思う。次に大江自身が自分の生に対する認識、人類と自然宇宙に対する認識の変化も検討したい。大江は現代の神話の創出によって、自分の窮屈を乗り越え、人間と自然、もしくは人間と宇宙の交感、共生といったモチーフが最後に明らかにした。 The five short stories of the “Rain Tree” series were first created from 1980 to 1982, and later incorporated into a collection of short stories entitled, The Women Listening to the “Rain Tree” with a common theme of the “rain tree,” which was constantly rewritten, enriched and improved after Kenzaburō Ōe as an incomplete literary image in the following works: New Man Wake Up (1983); How to Kill a Tree (1984); The Universal “Rain Tree” (1991); the trilogy The Flaming Green Trees; and more. The images of the “rain tree” were entangled with the writer’s thoughts, suggesting the multiple dualistic images about “dim” and “healing”; “grief” and “salvation”; “life” and “death”; “desperation” and “hope” and the like. Therefore, it can be said that the “rain tree” is not a fixed metaphor, but a varied image in different narrations. This paper will analyze the different images of the “rain tree” in these works one by one and study the forms and features of the varied metaphors of the “rain tree” to discover how these changes influence Kenzaburō Ōe’s perception of himself, nature, and the universe. Kenzaburō Ōe has broken through the barriers of his own mind by the creation of the modern mythology, the “rain tree” to seek hope from desperation, leading a harmonious life among human beings, nature, and the universe.

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마심초 ( Xin Chao Ma ),주연연 ( Juan Juan Zhou ),임봉수 ( Bong Su Lim ),허순욱 ( Soon Uk Heo ),곽미애 ( Mi Ae Kwak ) 한국물환경학회(구 한국수질보전학회) 2015 한국물환경학회·대한상하수도학회 공동 춘계학술발표회 Vol.2015 No.-

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임봉수 ( Bongsu Lim ),주연연 ( Juanjuan Zhou ),최찬수 ( Chansoo Choi ) 한국물환경학회(구 한국수질보전학회) 2016 한국물환경학회·대한상하수도학회 공동 춘계학술발표회 Vol.2016 No.-