후안 라몬 히메네스의 『플라테로와』나의 생태 인식

나송주(Songjoo Na) 한국동서비교문학학회 2021 동서 비교문학저널 Vol.- No.58

Ecosystem crises such as environmental crises and natural destruction, which have become the immediate reality of the entire Earth, including global warming, have become a reality that no one can avoid. Beyond protecting the environment with human infinite desire for development, it has reached a point that threatens the existence of all living things. Jimenez is showing us living in the era of environmental crisis a good sense of ecology to accuse capitalism through contaminated environmental criticism and to become one with nature symbolized by donkeys. It seems that modern people living in the values of materialism are urged to wake up from a deep mental sleep and at the same time respond to natural destruction and global climate change. Breaking away from values and worldviews stained with violent acts of belittling life with selfish desires and thinking nothing of environmental destruction for development, it seems to urge us to achieve happiness through the practice of reflection and simplicity on ecological problems. When environmental issues did not emerge in earnest in the early 20th century, He realized the importance of nature and showed the image of a foresight that evokes ecological consciousness. Prior to the times, it reminds humans who are insensitive to indiscriminate development and natural destruction of their importance with nature and presents a spirit of the times to escape from the goals of material abundance and economic success. Jimenez is a visionary of ecological problems, and 『Platero and I』are still loved by us, and are also a battleground of works that evoke the importance of nature and the environment. Jimenez plays a valuable role in showing deep meditation about nature, awakening the importance of life, and awakening the importance of ecosystem order, using all kinds of nature such as surrounding mountains, grass, streams, crickets, birds, and insects. It is easy to overlook because it is a simple landscape, but in order to solve human and social problems, it seems to insist on accepting the other person’s reason for existence, acknowledging its value, and respecting it further, and changing the devastating ecological paradigm within humans. The relationship between Platero and me is to establish a mental relationship, and to think of it as an object with the same attributes as mine. It is said that when dealing with the world with such perception, it can overcome the environmental crisis or ecosystem crisis.

아소린에 있어서 유토피아적인 자연 - 『의지』를 중심으로

나송주 ( Na Songjoo ) 한국스페인어문학회(구 한국서어서문학회) 2017 스페인어문학 Vol.0 No.82

Azorin is a representative intellectual who assumed the role of analyzing the miserable reality of Spain and tried to improve it with his severe criticism. To overcome lethargy and depression prevailed all over the nation, he argued the Europeanization of Spain which led Spain to enter the industrial society characterized by reason and rapidity. Still, the desire needs of curing the souls and finding real self were there. In La Voluntad, he attempted to resolve the contradictions from an angle of revolutionary anarchist and he suggested return to the nature as a solution of the problems of the era. In this respect, his argument goes along with that of Rousseau who claimed that humankind is good by nature. It is Azorin`s view that the romance and the lively society can be found in nature which recovers the lost innocence, comforts loneliness of marginalized souls, and enables the new way of life so that people reconcile with each other and live in harmony. In his opinion, the nature helps to emerge from one`s destined spiritual isolation, to find oneself in it and to get out of the repressive structure full of oppression and exploitation. Living in a nature means living in a fair and equal society and it lasts forever. Only after realizing the fact it possible to escape from the passion for worldly comfort and distinction. Crying out for the eternal restoration of the innocence is both seeking a new value wanting to get away from a feeling of helplessness and rising in rebellion in the history of Spanish literature and philosophy.

『구운몽』과 『인생은 꿈』의 세속적 욕망과 문화적 표상

나송주(Songjoo Na) 한국동서비교문학학회 2020 동서 비교문학저널 Vol.0 No.54

These two stories in The Cloud Dream of the Nine and Life is a Dream are based on different backgrounds, but reveal the worldly desires of the people of those days through a contrasting device called reality and dream. To reveal this, both works use different layouts that cross between reality and dreams, reality and fantasy. Also, the actions they have revealed in their dreams are the moments when secular desires are projected beyond the problems of ethics, and the desires hidden inside humans are freely vented. Their cultural representations are expressed differently. In The Cloud Dream of the Nine, the ethical consciousness of the ruling class is reflected and the ruling ideology of the those days. Similarly, in Life is a Dream the plot is a reproduction of the cultural representations of the Baroque period, which was believed to be a dream but felt confused between reality and dream. In the end, Yang So-yu and Segismundo’s outpouring of desire is only a possible desire in a dream, but it is expressed in two forms, namely, the embodiment of rising in the world and gaining fame and the dismantling of boundary between reality and dreams. In The Cloud Dream of the Nine, Yang So-yu imagine the reality without conflict or frustration, and in Life is a Dream, muddle up reality with dreams and create a cultural reenactment called ‘Baroque’ of disillusionment and instability. In order to talk about cultural representations of those days, they freely reveal their desires beyond the existing ethics, but their desires in the dream are also revealed in a different way in the face of the principles of reality. After all, secular desires are also relative to each culture, and its personality is also a cultural code that is edited.

바스크 문학과 소수문학

나송주 세계문학비교학회 2004 世界文學比較硏究 Vol.10 No.-

En Espan~a, tras la muerte de Franco, el noviembre de 1975, empezo′ a permitirse la administracio′n autono′mica en las comunidades como Pai′s Vasco, Catalun~a, Galicia, etc. a la vez que se admiti′a la tendencia de poli-cultura. A partir de entonces, en aquellas zonas, el fuerte intere′s en sus respectivas lenguas y culturas se incrementaba cada di′a ma′s y a medida de que el uso de las lenguas locales en sus regiones, las que hasta entonces se impedi′a su uso, se proliferaba, el estudio de la cultura y literatura tambie′n se avanzaba con un a′nimo imparable. La comunidad vasca, la regio′n que con este estudio se quiere investigar, sigue a esta tendencia. Desde la edad media, Pai′s Vasco junto con Catalun~a y Galicia, posee una historia de continuo conflicto entre acomodamiento y lucha por independencia y fusio′n administrativa con el central. La diferencia de la lengua, aspecto fi′sico y aislamiento geogra′fico les permiti′a vivir manteniendo mejor su propia unicidad que los de otra comunidad. Sin embargo, entrando en el siglo XX, por la abundancia en el recurso mineral y el desarrollo industrial basado en ella como trabajos de seccio′n metal y de construccio′n naval, se experimento′ una su′bita inmigracio′n de la gente de otras regiones espan~olas que buscaba trabajo y con ella, el conflicto por sus distintas culturas. Como bien sabe, despue′s de la finalizacio′n de la Guerra Civil, 1939, la poli′tica de Franco regi′a por la unificacio′n cultural de toda Espan~a a la tradicio′n de la regio′n Castilla en todo su aspecto. Intentaron esa unificacio′n de la tradicio′n hacia la de Castilla como nosotros intenta′bamos hacerlo mismo con la cultura americana, fundir toda la cultura estadounidense en un alto horno y unificarla a la de anglosajo′n. En consecuencia, los autores literarios de la zona que queri′an expresar su ideologi′a nacionalista no podi′an hacer otra cosa sino que exiliarse a Hispanoame′rica y otras zonas de Europa. Como se puede observar en el hecho de que no se pudo publicar ni un libro en esta lengua vasca en el perr′odo de la guerra civil (1936-1939), la unicidad vasca se habi′a prohibido extremadamente. Para poder superar este estancamiento, los escritores publicaron sus obras en los pai′ses extranjeros como Me′jico, Argentina (Buenos Aires), Guatemala, etc. Dentro del pai′s, no podi′a detectarse actividad, adema′s las voces de los escritores emigrados empezaron a oi′rse. Las generaciones de la posguerra iniciaron contactar con ellos y a partir del 1954, las obras antiguas vascas empezaban a publicarse y la academia vasca comenzo′ a funcionarse otra vez. En los an~os finales de los cincuenta la generacio′n joven empezo′ a destacarse. En los an~os sesenta, llega el renacimiento de la lengua vasca. Las escuelas con clases impartidas en euskera y aparecen diferentes medios de comunicacio′n de radio y perio′dicos como Agur, Argia. Sobre todo, la aparicio′n de libros escolares en euskera fue un hecho revolucionario.