문학,문화 : <테레사의 초상>에 투영된 쿠바 여성의 사회문화적 이미지 연구

박종욱 ( Chong Wook Park ) 경희대학교 비교문화연구소 2011 比較文化硏究 Vol.23 No.-

The principal purpose of this study is to analyse and critique how precisely the representation of women in the film Retrato de Teresa reconstructs the socio-cultural image of the female in the late seventies of Cuban society. The film of Pastor Vega is obviously an outstanding challenge on the new subject of ``women`s liberation`` against machismo in the context of the Cuban society. Teresa, the female character, as a socio-cultural image of the Cuban society don`t focuses on the declarative and iconic images of the women`s role as a revolutionary heroin that had appeared frequently in the films of the sixties, but she struggles for getting more realistic and pragmatic values such as women`s emancipation to take rights in daily life. Therefore, the declaration of the emancipation of Teresa against machismo of her husband Ramon has the special and symbolic meanings of social role and function of the film in the process of Cuban cultural revolution. The film concentrates on inducing the audience to make new perspectives such as women and gender issues in the daily experience of Cuban society where the machista ideologies and practices characteristic of a patriarchal society. Conclusively the female image of this film does not represent a national heroin, but reflects the women`s desire, hope, and dreams in the society. Teresa makes the audience think of representations of the true meanings of the revolution in daily life, the machista ideologies in the patriarchal society, and the women`s role and fuction in the Cuban society.

[하몽, 하몽]에 나타난 욕망의 문제와 여성주의, 그리고 문학치료적 독법

박종욱 ( Chong Wook Park ) 부산외국어대학교 지중해연구소 2008 지중해지역연구 Vol.10 No.3

The Desire can`t be satisfied to the gratification, because it`s a vacant hole where the every desire is just a shadow of a mere dream of dreams. [Jamon, Jamon] seems to follow the apparatus of films of eroticism with the masculine angle of the camera. Not only the male audience but also the female -brainwashed- one identify themselves with the voyeuristic gaze of the camera and justify the obscene conduct of the masculine characters in the film as a reward for their participation in the re-production of the socio-cultural frame of which the masculine desire is an apparatus. The first two-thirds of the film is mainly an exposition of the machismo. But the rest is a provocative proposal with the tragic end to make the audience think of the other side of the masculine desire as a fact. Women`ve been considered as ``others`` in the socio-cultural structure where the subjects of the desire have been always men who`ve exposed their phallus as the symbol of the power in the patriarchal society. But, the female characters such as Silvia, Carmen and Conchita have become the main characters in the narrative, experiencing the transformation of themselves. The reason why the director suggests the unusual final scene, making the female characters subjects of the narrative is to make the audience see that the patriarchal socio-culture frame is not the only way, but there is the another way to choose. The re-constructing of the plot or the frame to which one belongs is a good way to heal the traumas one has suffered under the frame. Through this refiguring interpretation process of the socio-culture paradigm the audience can participate in the literary therapeutic process.

스페인 신비주의(神秘主義)와 선(禪)에 있어서 종교체험의 특징과 유사성에 관한 연구

박종욱 ( Chong Wook Park ) 부산외국어대학교 지중해지역원 2005 지중해지역연구 Vol.7 No.2

Despues de estudiar la historia del budismo zen y del misticismo cristiano y sus formaciones, hemos llegado a una conclusion de que los misticos tanto cristianos como budistas zen, aspiran a la mortificacion para llegar o entrar a un estado de concienciacion espiritual, estado de prajna o extasis espiritual. Para llegar a tal estado, los misticos cristianos pasan por tres vias: purgativa, iluminativa y unitiva, mientras que los budistas atraviesan por cuatro etapas: vaciamiento, samadhi, ilusion y prajna. Estas dos religiones tienen un metodo semejante de adiestramiento. Las tres vias y las cuatro etapas se parecen mucho en el fondo. El zen busca la verdad y el estado de prajna a base de las experiencias personales e independientes del dogma y del canonismo. No los busca a base de la palabra. Aunque el misticismo no rechaza la Biblia y otros libros espirituales, como Imitatio Cristi, tampoco tiende al canonismo ni cree en que en la lengua quepa la experiencia mistica. La irracionalidad en la expresion es otro punto comun entre estas dos religiones cuyos metodos principales para el adiestramiento espiritual es la meditacion. Por el concepto de que la palabra no puede contener ni expresar la verdad, naturalmente las expresiones religiosas salen en forma abstracta, irracional, ironica y paradojicas.

알모도바르의 영화에 있어서 욕망과 소통의 문제

박종욱 ( Chong Wook Park ) 한국스페인어문학회 2005 스페인어문학 Vol.0 No.34

산 호세 시민의 “삶의 만족감” 인식 연구

박종욱 ( Chong Wook Park ) 한국세계지역학회 2012 世界地域硏究論叢 Vol.30 No.1

행복지수는 사회적 지표에 의한 통계자료의 조합이기 때문에 주관적 안녕감으로서 ‘삶의 만족감’을 의미하지는 않는다. 행복지수 최상위권 국가인 코스타리카의 수도 산호세의 거주민들을 대상으로 주관적 안녕감에 대한 조사를 실시한다는 것은 매우 긍정적 의미를 지닌다. 사회적 지표를 사용하지 않은 채 대상자들이 체감하는 인지의 정도를 측정하고 그 의미를 평가하는 것이기 때문이다. 따라서, 본 연구는 에드 디너 교수연구팀의 ‘삶의 만족감 척도 테스트’와 조선일보 갤럽ㆍ글로벌마켓인사이트의 행복도조사, 그리고 심층면접식 설문 조사 등 주관적 조사 방식을 통해 산 호세 시민의 삶의 만족감을 조사하고 평가하였다. 결과적으로 이들은 상대적으로 높은 만족감을 인지하고 있었으며, 생태환경에 대한 용이한 접근성을 지닌 도시의 삶에 대한 높은 만족감을 지니고 있었다. 이는 생태환경조건이 행복지수에 미친 긍정적 영향과 동일한 결과를 나타 내었으며, 느슨한 삶의 리듬과 ‘순수한 삶(pura vida)’을 ‘자기 스스로’가 이웃과 더불어 즐기고 있다는 자기인지가 높은 삶의 만족감의 본질적인 원인이라 할 수 있다. The Happy Planet Index doesn`t mean the life satisfaction as a subjective well-being, because it`s just a statistic combination of social indicators. However, it`s meaningful investigating the subjective well-being of the residents of San Jose, capital of Costa Rica, one of the high ranking countries in HPI. Because this investigation is no.to justify the social indicators, but to see how really they feel their lives in everyday life. Therefore this research gathers a test of Satisfaction With Life Scale(SWLS) of Ed Diener, a test of Chosun-ilbo & GallupㆍGlobal Maket Insight, and an In-depth interview survey to calculate the subjective life satisfaction of the citizens of San Jose and evaluate it. The essential reason of their high level of life satisfaction comes from the recognition of that they can enjoy themselves accompanied with the neighbors their pure life(pura vida) with loose rhythm and the easy access to ecology that is the same reason of the high ranking of HPI. of the “ticos”.

신대륙, 서구적 욕망의 그림자 : 영상물에 투영된 이미지를 중심으로

박종욱 ( Chong Wook Park ) 경희대학교 비교문화연구소 2009 비교문화연구 Vol.13 No.1

문화 교육을 위한 영상 자료의 활용 전략 - 스페인 문화 교육의 사례 연구 -

박종욱(Chong Wook Park) 문학과영상학회 2001 문학과영상 Vol.2 No.1

There are not many people who try to teach with visual support and create a methodology in the classroom to teach Spanish culture. In this article we are interested in the new wave of Cultural Studies, that believes that movies and their diverse socio-cultural contexts are necessary to understand a society or certain social group, opening to us in this way a new possibility to create a fresh methodology to teach he Spanish culture, because the movies are a good mean to motivate people, specially young people: the image generation. There movies will be useful to study and see the different cultural ingredients in a more efficient way. Movies are part, some years ago, of the teaching material in the culture or civilization classroom in the US. The focus of this investigation is hoe to make a program for the Spanish culture. Teaching Spanish culture is, by no means, offering a great deal of historical data. We don`t have to make the students to know and memorize the Spanish culture as long as they don`t have any reference to get such a goal. To know the Spanish culture is another matter. This article is the result of my experience teaching Spanish culture at the Dankook University for years, specially during the last two semesters, in which I did this study with a scholarship from the Korea Research Foundation. The main problem was to select the movies which were going to comprise the Spanish culture and civilization, the movies should be dubbed or subtitled in Korean. A problem arose; the number of movies are very limited, in number, types and topics. Here you can see a list of movies I teach with for a semester. Cuevas de Altamira, Daniel Herranz Escoba,TVE,1990 El Cid, Anthony Mann, 1961 1492, La conquista del parai′s (The Conquest of Paradise), 1992 Secreto de la Maja desnuda, KBS,1999 Carmen, Carlos Saura, 1983 Marcelino, pan y vin, Ladislao Vajda, 1954 Death in Granada, Marcos Zurinaga, 1997Belle Epouque, Fernando Trueba, 1992 Cet lbscur objet du desir, Luis Bun~uel, 1977 Jamo′n, Jamo′n, Bigas Luna, 1992 Mujeres al borde de un ataque de nervios, Pedro Almodo′var, 1988 Nadie hablara′ de nonotras cuando hayamos muerto, Agusti′n Di′az Yan~es, 1995 Todo sobre mi madre, Pedro Almodo′var, 1999 It has not been easy to teach Spanish culture through the movies. But the students are satisfied, despite the homework they had to do. This new try has been a success, although there are many problems to solve.

문학과 영화로 고찰한 성의 역사 - 스페인 및 남부 유럽 문화를 중심으로 -

박종욱 ( Chong Wook Park ) 한국스페인어문학회 2002 스페인어문학 Vol.0 No.24

Nuestro trabajo consiste en hacer un ana´lisis del cambio de la concepcio´n del sexo a trave´s de la Literatura y el Cine desde la perspectiva del transcurso del timpo para hacer a los estudiantes de la asignatura {Cultura Espan˘ola} comprender mejor la cultura en este tema ma´s concreto. La concepcio´n del sexo ha cambiado a lo largo del tiempo. Es decir, el sexo se ha venido alejando de la concepcio´n de su origen. El sexo se diferencia de la simple unio´n carnal para reproducir la raza humana. llegando a un concepto del sexo pla´stico. Para realizar este trabajo hemos analizado diferentes aspectos del sexo segu´n el cambio del tiempo: Amor puro, amor corte´s, amor neoplato´nico, amor adu´ltero, amor pla´stico, etc. Despue´s de hacer el estudio. hemos podido llegar a una conlusio´n de que la idea sobre la concepcio´n del sexo se esta´ siendo cada vez ma´s evolucionada y que la Cultura se forma con esta diversidad evolucionaria, admitiendo un nuevo paradigma de la concepcio´n del sexo.

『 돈 키호테 』 에 있어서 여성의 미와 그 개념의 변화 - 르네상스적 미의식에서 바로코적 미의식으로의 변천과정 -

박종욱 ( Chong Wook Park ) 한국스페인어문학회 1997 스페인어문학 Vol.11 No.1

Las mujeres que aparecen en 『Don Quijote』, tanto en la primera parte como en la segunda, viven y actu′an en el mundo literario como reflejos del concepto de la belleza femenina de la e′poca : R,enacimiento y Barroco. Como indico′ Ruth S. Lamb en su $quot;Las mujeres en el Quijote : contraste entre la mujer renacentista y la mujer barroca$quot;, las mujeres de Cervantes en 『Don Quijote』 pueden representarse por dos figuras : la de Marcela y la de Dorotea. Marcela representa la mujer idealizada en un ambiente arriesga a todo para conseguir activamente su objeto en el mundo real. El criterio con el cual dividimos a las mujeres en dos tipos se basa en comprobar si las aventuras de mujeres tienen motivos del idealismo literario o de la voluntad activa para conseguir algo en la realidad o en la posesio′n del interes por la responsabilidad moral. Para completar el estudio desde otra perspectiva, hemos observado el cambio revolucionario de las ima′genes este′ticas de Dulcinea como reflejos de los conceptos de la e′poca y del autor. Dulcinea es una creacio′n caballeresca de Don Quijote. Pero este concepto de la belleza influido del idealismo literario tiene que enfrentarse con la realidad. Ella es una mujer idealizada, hermosa, digna de ser amadam pero con el tiempo se transforms en una labradora fea. Una mujer dulce en suen~os de Don Quijote, caballero confuso que ya no tiene fe segura en la caballeri′a, aparece como una labradora fea en la realidad o en el mundo desidealizado. A trave′s de los estudios podemos asegurar el paralelismo o contraste entre dos puntos distintos acerca del concepto de la belleza femenina : idealismo y realismo. Pero este paralelismo pierde su equilibrio en la segunda parte de la obra. Mientras Don Quijote vacila en tener $quot;mucha fe$quot; en la caballeri′a, surfriendo por el encantamiento de Dulcinea, las mujeres, incluida Dulcinea, ya no representan exclusivamente la belleza literaria, sino que incluyen nuevos valores socio-culturales barrocos.

`그림 활용 활동` 을 통한 문화지도 (文化指導) 와 의사소통능력 향상을 위한 학습 전략

박종욱(Chong Wook Park) 한국스페인어문학회 2001 스페인어문학 Vol.18 No.1

Es bien sabido que el objetivo de la ensen?anza de una lengua extranjera se halla en desarrollar la competencia comunicativa. Pero, es insuflciente decir que los alumnos deben obtener la informacio?n tanto lingu¨i′stica como socio-cultural. En realidad, el intere′s por la informacio′n socio-cultural no se ha venido acentuado en el aprendizaje de E/LE. Debemos reflexionar si es eficaz el modo con el cual ensen?amos a los alumnos. Veamos el siguiente dia′logo: A : ¿Que′ es esto? B : Esto es un libro. Aqui′ es el lugar donde nos duele, porque aqui′ no hay comunicacio′n de verdad. Hacen falta oportunidades para desarrollar la competencia comunicativa. La verdad es que entre estos dos hablantes no hay nada que reflexionar ni pensar, sino reaccionar meca′nicamente. Es decir, si hubie′ramos preparado otro tipo de dia′logo desde una perspectiva socio-cultural, habri′a salido mucho mejor. Adema′s, hay que utilizar los $quot;huecos informativos$quot; `information gap` entre los hablantes y luego estos hablantes, alumnos de E/LE, tienen que procurar rellenar (:`proceso de respuesta`) este `hueco` por una serie de actividades de eleccio′n mu′ltiple. Como dij o Sapir $quot;La lengua no existe separada de la cultura. (Languaje does not exist apart from culture)$quot;. Por esta razo′n, nosotros vamos a hacer un plan de estudios a base de unas actividades de cuadros, puesto que las pinturas son productos que reflejan a interpretan la realidad histo′rica, arti′stica y socio-cultural de una e′poca y su cultura. Los cuadros, pinturas cla′sicas espan?olas, en este caso, son esti′mulos para motivar la necesidad de expresar sensaciones de los alumnos. Lo ma′s ba′sico para utilizar las pinturas, materiales educativos para estas actividades es delimitar los objetivos que pretendemos alcanzar segu′n el nivel en que los alumnos se encuentran : inicial, intermedio, avanzado. Aqui′ hay una lista partial de las pinturas con que pretendemos ensen?ar $quot;Pintura rupestre de la Cueva de Altamira$quot;, $quot;El caballero de la mano en el pecho$quot;, $quot;La Magdalena penitente con el crucificado$quot;, $quot;Las meninas$quot;, $quot;La maja desnuda$quot;, $quot;La maja vestida$quot;, $quot;El 3 de mayo de 1808$quot;, $quot;El guitarrista ciego$quot;, $quot;Guernica$quot;, $quot;Persistencia de la memoria$quot;, etc. Por ejemplo, en cuanto al primer tema : $quot;pintura rupestre de la Cueva de Altamira$quot;, los profesores pueden dirigirse a los alumnos de nivel `inicial` con algunas frases, utilizando verbos como `haber`, `tener`, y a los de nivel `intermedio` de expresiones ma′s complejas y vocablos como `herbi′voro`, `carni′voro`, `omni′voro`, y finalmente a los de nivel avanzado con el terra de arte paleoli′tico, etc.