세르반테스 소설에 있어 즐거움

나송주(Na Song-Joo) 한국외국어대학교 외국문학연구소 1998 외국문학연구 Vol.- No.4

우나무노 소설의 지역성 탈피와 모더니즘 수용

나송주(Na, Song-joo) 한국외국어대학교 외국문학연구소 2005 외국문학연구 Vol.- No.21

Love and Pedagogy, Fog, Abel Sanchez, Agony of Christian are the major works of Miguel de Unamuno who avoids realistic writing and defamiliarize the traditional writing rules. In his works, he frees himself from the tradition of 19th century, unity of the self and the esthetics, and pursues the "new" style. This new style passed from France, England, and other center of European literary countries of the 20th century to border countries and Unamuno has accepted this new style. The writers tried to expose the unstable reality that has been following them like a shadow after the development of the 20th century industrialism and ventilate the liquidity of the social life and uncertainty through the novel. The major works of Unamuno listed above confirms that he and other European writers wanted independence from the society so that they stood against the nation's political and nationalistic understanding and pursued their own special art-for-art principle or literary supremacy that are not related with the history or politics. The most autonomical, esthetical, and formalistic poetic vocabularies in his novel deny and resist the historical, political, and national problems and try to express the characteristics of the literature itself. After his Love and Pedagogy, he is interpreted as a writer who freed himself from the previous (98th generation) style, subjects, and localism of Spain and aimed for the modernistic value. He also is known as a writer with his own unique language system and literary style. He is not valued as 98th generation writer who seeks Spanish values but modernism writer who alienates from the tradition and follows the art-for-art principle. That is, he describe his world, study his characteristics of his characters, and deals various incidents of this world according to the new avant-garde esthetics of Europe. Therefore, his emergence of regionalism means his acceptance of modernism and viewing the new type of writing from the 98th generation's critical mind. Publishing Love and Pedagogy, Unamuno pursues the new style by freeing himself from the Spanish value of regionalism. Seeking esthetics from imitating shares simultaneity with European modernism and becomes his novel's characteristic. He not only tried to break and reform the previous literary or artistic customs but pursued subjective experiences, personal inner life, and fragments of modernism expression, form, and contents. As he was accepting European modernism, he Europeanized modernism thinking and method. His drastic change in Love and Pedagogy continues in the Fog and Abel Sanchez. In Peace in War and Don Quijote and the life of Sancho, he discards the major interest of realistic objectivity and focuses on the originality, individuality, and subjectivity. Esthetical experience that doesn't put importance to practical purpose and moral senses are not to reproduce the reality but having interest in human inner world, and he expresses the subject of consciousness and recognition problem into the new form and language.

중세 스페인에서 유대인의 수용 : 마이모니데스를 중심으로

나송주(Song-Joo Na) 고려대학교 평화연구소 2008 평화연구 Vol.16 No.2

중세 스페인에서 이슬람교, 유대교, 기독교 문호가 서로 공존했던 것은 중세의 이슬람, 유대교, 기독교 신앙을 바탕으로 한 신권 중심의 문화가 서로 다른 종교와 마주쳐 다른 문화를 평화롭게 수용해서 가능했다. 그러나 이슬람교과 기독교가 종교적으로 근본주의적인 입장을 취하고 종교적 광기와 열정으로 타 종교들을 탄압하면서 부터는 충돌과 배척이 그들의 모습이 된다. 결국 중세 스페인의 경우를 두고 봤을 때 중세 초기에 이질적인 문화와 종교가 서로 만나 서로의 이질성을 인정하고 공존하는, 요즘 용어로 표현하자면 다문화주의가 받아들여졌을 때는 문화적으로 융성했고, 서로를 배척하면서 자기 종교와 문화 중심주의로 나아 갈 때는 종교적 열정과 광기가 지배하는 그런 사회로 나아가고 결국은 문화적으로 쇠퇴해 버린 것을 볼 수 있다. In the Middle-Aged Spain, Islam, Judaism, and Christianity coexisted since they accepted other cultures peacefully based on their theocentric cultures. In case of the Middle-Aged Spain, during the early period of that era when a so-called ‘multiculturism’ was accepted, different cultures and religions were admitted to each other and their cultures prospered but as they started to reject each other and pursue their own religions and egocentric culturisms, the societies were subjected to their religious passion and insanity and resulted in cultural decline. Then, what was the driving force of allowing various cultures to be understood in a same space and time in the early Middle-Aged Spain? There can be various reasons for that such as political powers, spirits of the time, and attitudes toward other religions but the most direct and powerful reason for the cultural interaction was ‘book’. As a person of experiencing and accumulating the culture, accepting other cultures through translated books, which were the outcome of the time, meant that those books were the result of the culture. Maimonides was the model of showing aspects of coexistence and exclusion of cultures in the Middle Age. To understand the aspects of cultural clash, coexistence, and acceptance of the Middle Aged Spanish culture, it is possible to infer the process that multiculturism originated from the cultural relativism was changed into imperialism by observing the aspects of accepting writing by the Jews. In other words, it’s observing the process that how the cultural peculiarity and universality of the Jews had been changed into cultural coexistence, exclusion, and confrontation according to political circumstances and cultures. Maimonides was the respected philosopher and doctor from the Christianity, Islam, and Judaism during the most religious period and it implies many things that the thoughts of him were accepted widely. The culture bloomed when his thoughts and works were accepted by many religions of the same era but as his thoughts were rejected and religions hated each other, not religious but only his philosophical parts were mentioned in his writings. In a way, due to his philosophical works, it was possible to prevent Christianity into mysticism since his thoughts were attached to reason and that could lead the philosophy to popularization. Owing to him, the Jews didn’t need to be confined into their ghettos and the local governments couldn’t separate the Jews.

『뻬르실레스와 시히스문다의 모험』과 유토피아

나송주(Na, Song-joo) 한국외국어대학교 외국문학연구소 2006 외국문학연구 Vol.- No.23

Don Quixote and Los trabajos de Persiles y Sigismunda are the major works of Cervantes, the latter has the plot of experiencing strange, mysterious and unrealistic world and returning to the civilized world. This Byzantine novel is constructed by three themes of love, adventure and Christianity, and it is a story of searching for the unknown world, ideal love of two lovers, and deepening the Christian faith by long journey of pilgrimage. The two main characters of this novel, Persiles and Sigismunda’s final destination of their pilgrimage is Rome. However, by their long journey of pilgrimage and experiencing many incidents that sometimes, the summary discontinues and it gives difficulty of figuring out where the main characters are. The structure of this novel, the adventure of two main characters exploring the world, might bring Oddyssey in mind, their traveling island and space are filled with ideal images as following: “With the golden pieces and very expensive pearls in the island, they”, “With God’s grace, we have everything that is needed to live in the island”, “there were ruby fruits on the trees”, “golden sand and fine pearls”, “the residents of the island choose the most moral and wonderful man in the kingdom as a king.” We have seen how the Utopian space with various images overlaps in Los trabajos de Persiles y Sigismunda is specifically shown, and what meaning does Utopian space carry in that generation. The dream of Millenium kingdom and primitive nature like paradise cannot be separated from our lives. The dream in Los trabajos de Persiles y Sigismunda can be different from the Utopia that criticize definite contradictions and illness of the present society and suggests definite answer with analytical consistency. However, in political and religious meaning, what people dream of like disappearance of struggle, competition, war, sweat, and oppression and filled with reconciliation and love are so ingenuous and natural that lasts forever. Cervantes creates a character who can practice whatever the society requires in any way as a religious virtue in his Christian society. What we can confirm through the incidents in Los trabajos de Persiles y Sigismunda is that it can’t be free from the cultures of that times that distinguish good and evil from Christian perspectives and propagate Christian virtue in the name of civilization. In that sense, Los trabajos de Persiles y Sigismunda can be said to be the discourse of 17th century. Spain was in a similar situation in a political way like England where Utopia was published and abuses of medieval churches and aristocratic classes and social ills were prevailed. Therefore, Cervantes set politically ideal society as a king who were chosen in a democratic way and criticized the contradiction. In this sense, Los trabajos de Persiles y Sigismunda shares the same line with Thomas Moore’s lifelong monarchy system. However, it can’t come true in reality but a picture of ideal society what poets after Plato have been dreamt of.

『엘 끄리띠꼰』과 식민담론 비판

나송주 ( Song Joo Na ) 한국스페인어문학회 2003 스페인어문학 Vol.0 No.26

La cuestio´n sobre el colonialismo no se puede tratar so´lo de una forma visible, como la opresio´n poli´tica y econo´mica, sino tambie´n de la otra invisible de la que se muestran discursos sobre el colonialismo, sobre todo, en las obras de los siglos XVI y XVII en Espan~a. Concentrando la forma invisible del colonialismo, procuramos interpretar desde un nuevo punto de vista, no ya establecido, la obra El Critico´n de Baltasar Gracia´n, quien es considerado como un autor de la tendencia este´tica y barroca. La obra El Critico´n, compuesta en tres partes, tiene estructura muy complicada, apologi´a roma´ntica de la naturaleza y alegori´a sobre la vida, y en toda la obra se destaca su filosofi´a y sabiduri´a del autor. Por lo cual, se ha clasificado en una ti´pica obra barroca. Esta interpretacio´n habitual, sin embargo, es tan incompleta y sencilla que puede causar una vista limitada que no son onsideradas situacones social y histo´rica relacionadas a aquella e´poca. Evitando la simplificacio´n de la interpretacio´n puramente literaria, sin perder respeto a la vista literaria, tratamos del discurso colonialista y la dicotomi´a de salvaje y civilizacio´n que sirven de la teori´a invisible con la cual los espan~oles gobiernan a los indios de sus colonias.

께베도의 사랑의 시와 페트라르카 전통

나송주(Song Joo Na) 한국스페인어문학회 2001 스페인어문학 Vol.18 No.1

El amor petrarquesco es el de bu′squeda de idea.. Es no so′lo muy dificil encontrar en la realidad, sino tambie′n el amor irrealizable. Entonces, ¿Que′ es la esencia de este tipo de amor, y co′mo interpreta la repeticio′n del amor petrarquesco de Renacimiento en Queveso? Intentamos de explicar el amor desde punto de vista de poli′tica y poder escapandonos desde interpretacio′n traditional. El amor es el sentimiento y la relacio′n personal. La aproximacio′n desde la poli′tica, sociedad y historia puede ser una intencio′n extran?a.. Intentamos de investigar la falsedad de la creencia que la literatura es un acto de discurso auto′nomo con motivo del estudio de ese campo sicial-literario de las poesi′as. Quevedo escribio′ una serie de 65 sonetos de amor, acompan?ados de un madrigal y 4 idilios compuestos a lo largo de veintiu′n an?os. E′l dedico′ a Lisi-Li′sida o Lisis. Pero nos hace sospecharnos de que se trata de meros juegos poe′ticos. E′l suspiro′ por ideal pasio′n en vano a una dama real, don?a Luisa de la Cerda. El origen de este poesi′a amorosa se deriva del amor ideal de Provenza. Ellos persigue cortesano posei′do modales refinado, virtud y conocimiento como hombre ideal. La esencia de destacados caracteri′sticos de amor cortesanos es dedicar a una dama ideal inalcanzable. El intercambio de sentimiento interior nunca es posible y no tienen que manifestar su sentimiento verdadero a los otros. Se repite este tipo de amor en el Renacimiento. La tradicio′n de amor cortesano sigue en el Renacimiento espan?ol. Se mantiene comu′n en Garcilaso, Herrrera, Lope Go′ngora, etc. y sigue hasta Quevedo. Afirmamos que la li′rica amorosa de Quevedo pane de una portentosa herencia to′pico-cultural y que su sema′ntica no es original. El amor cortesano arriba mencionado se puede interpretar como una expresio′n de poder astuto. Esta expresio′n significa que se viste de armadura de la civilizacio′n al sentimiento humano, la pasio′n ma′s hermosa. Es la figura disfrazada y refractada. Es la interpretacio′n sobre la poesi′a amorosa relacionando con el poder. El poder reprime el sexo. El poder hace la ley y la reglamentacio′n para prohibir este deseo y represio′n. El escribir y leer es el trabajo determinado y se forma el individuo y el colectivo en el contexto social y histo′rico El autor no puede existir fuera del elemento ambiental.

공고라의 고전 신화와 바로크적 표현

나송주 ( Song Joo Na ) 한국스페인어문학회 2004 스페인어문학 Vol.0 No.31

Myth is invisible but describes the divine nature with transcendental power so it is reasonable to say it as `Divine Story`. The divine natures have their own independent possession from the actual world and they follow their own classic rules and regulations. This means that the supernatural gals of myths does not interfere human`s life nor they ever die so they are immortal beings with divinity and human instinct. To modern humans with experiences, rationalized minds with knowlelges and informations which we are all used to make us to believe that myth like a mysterious smoke that it is something unreal. In spite of an alienation of reality in myth, the further the distance from reality, the more stronger it pulls human to fall into it. The examples could be like Harry Potter or The Lord of the Ring. The fantasies and attractions are added by modernized image techniques are only been added to the stories which we are familiar with during childhood but tie roots of myths still maintains liveliness. This research is to look them briefly in Gongora`s works. He is the representative of Spanish Baroque literature who kept the continuous flow of myth in his works. This was found in his late works like Soledades and Fabula de Polifemc y Galatea. It is obvious for Spanish to have many influences of Greece and Rome myths in their literature due to the geographical closeness. Especially, many writers used mythical motives or themes us their main motif during Baroque period. But Gongora defined his core background with only as Baroque cultism. The use of Latin, frequent use of newly-coiner words, cultist features of inversion was used as a focal point to differentiate his poetries that his poems did not obtained any importance naturally. So his use of myth world, meanings nor messages were concerned. This research does not focus the farmer analysing methods of Gongora`s poem but focused the myths worlds in his work Gongora used classic myths as his motive to describe the confusing situations and extreme sense of futilities of Spanish at that time. He interchanged the world of myths and became inclusive with existing system of immortality to try to embody a perfect eternal world that dial he naturally introduced myths in his poem. In other words, he described through the use of myths. Therefore, myths which he introduced interchanges with frequently appeared transcendental beings of human world and was an instrument to convey an assimilated lifestyle world with them.

황금세기 민족적 정체성의 형성과 문학

나송주 ( Song Joo Na ) 한국스페인어문학회 2002 스페인어문학 Vol.0 No.22

N/A

프랑코 체제 동안의 소설에 대한 검열

나송주(NA Song-Joo) 한국외국어대학교 외국문학연구소 1999 외국문학연구 Vol.- No.5

언어,교육 : 문학텍스트와 문화적 해석 -「스페인 문학사」를 통한 모델 연구

나송주 ( Song Joo Na ) 경희대학교 비교문화연구소 2012 비교문화연구 Vol.26 No.-

Instructing「History of Spanish Literature」class faces various types of limits and obstacles, just as other foreign language literature history classes do. Majority of students enter the university without having any previous spanish learning experience, which means, for them, even the interpretation of the text itself can be difficult. Moreover, the fact that 「History of Spanish Literature」is traced all the way back to the Middle Age, students encounter even more difficulties and find factors that make them feel the class is not interesting. To list several, such factors include the embarrassment felt by the students, antiquated expressions, literature texts filled with deliberately broken grammars, explanations written in pretentious vocabularies, disorderly introduction of many different literary works that ignores the big picture, in which in return, reduces academic interest in students, and finally general lack of interest in literate itself due to the fact that the following generation is used to visual media. Although recognizing such problem that causes the distortion of the value of our lives and literature is a very imminent problem, there has not even been a primary discussion on such matter. Thus, the problem of what to teach in 「History of Spanish Literature」class remains unsolved so far. Such problem includes wether to teach the history of authors and literature works, or the chronology of the text, the correlations, and what style of writing to teach first among many, and how to teach to read with criticism, and how to effectively utilize the limited class time to teach. However, unfortunately, there has not been any sorts of discussion among the insructors. I, as well, am not so proud of myself either when I question myself of how little and insufficiently did I contemplate about such problems. Living in the era so called the visual media era or the crisis of humanity studies, now there is a strong need to bring some change in the education of literature history. To suggest a solution to make such necessary change, I recommended to incorporate the visual media, the culture or custom that students are accustomed to, to the class. This solution is not only an attempt to introduce various fields to students, superseding the mere literature reserch area, but also the result that reflects the voice of students who come from a different cultural background and generation. Thus, what not to forget is that the bottom line of adopting a new teaching method is to increase the class participation of students and broaden the horizon of the Spanish literature. However, the ultimate goal of 「History of Spanish Literature」class is the contemplation about humanity, not the progress in linguistic ability. Similarly, the ultimate goal of university education is to train students to become a successful member of the society. To achieve such goal, cultural approach to the literature text helps not only Spanish learning but also pragmatic education. Moreover, it helps to go beyond of what a mere functional person does. However, despite such optimistic expectations, foreign literature class has to face limits of eclecticism. As for the solution, as mentioned above, the method of teaching that mainly incorporates cultural text is a approach that fulfills the students with sensibility who live in the visual era. Second, it is a three-dimensional and sensible approach for the visual era, not an annotation that searches for any ambiguous vocabularies or metaphors. Third, it is the method that reduces the burdensome amount of reading. Fourth, it triggers interest in students including philosophical, sociocultural, and political ones. Such experience is expected to stimulate the intellectual curiosity in students and moreover motivates them to continues their study in graduate school, because it itself can be an interesting area of study.