초서의 궁정풍 사랑(courtly love) : 「시골유지의 이야기」(The Franklin’s Tale)를 중심으로

이동춘 신영어영문학회 2012 신영어영문학 Vol.52 No.-

Courtly love refers to a set of ideas about love that was commonly influential on the literature and cultures of the middle ages. Nearly all of Chaucer’s tales deal in some way with courtly love and courtly codes of conduct. Chaucer’s tales are awash with courtly lovers, courtly love language, courtly love situations and actions, and allusions to the love that can be recognized as courtly. In spite of the pervasiveness and outward trappings of courtly love, however, it is not easy to figure out what Chaucer’s attitude toward courtly love is, because Chaucer sways his thought on or avoids his direct statement on courtly love. It is only through the indirect and subtle ways that Chaucer reveals the fictitiousness and the falsehood of courtly love in his tales like The Franklin’s Tale and The Merchant’s Tale. Chaucer didn’t look upon courtly love in his tales as a viable way of expressing what occurs in the human heart. He seems to have regarded the courtly behaviors and the codes of courtly conduct as anything other than dangerous, even sham or pretense. In no tales did Chaucer ask us to consider courtly love seriously, but he simply employs the conventions of courtly love as some sort of ‘play’ or ‘game’ for his creation of the poetic works.

『공작부인의 서』에 나타난 화자에 대한 이해

이현주 한국중세근세영문학회 2009 고전·르네상스 영문학 Vol.18 No.1

In the 14th century Western Europe, Le Roman de la Rose, which was written by Guillaume de Lorris(1225) and Jean de Meung, became a canon of medieval courtly love literature. While Guillaume de Lorris tried to establish the conventions of courtly love idealizing this kind of love as ‘fine love’, Jean de Meung described the realistic aspects of this love adding philosophical colors such as Fortune and Nature. Geoffrey Chaucer, who translated only the first part of Le Roman de la Rose, was allegedly influenced by this poem. In his first long poem, The Book of Duchess(1368), he borrowed and adopted literary techniques, style, conventions and even the theme expressed in this poem. The Book of Duchess has the same structure of ‘dream-vision’ with that of Le Roman de la Rose, in that the narrator, who is also a courtly lover, listens to the story of courtly love between ‘Man in Black’ and ‘Fair White’ in his dream. But Chaucer’s narrator shows different attitudes to understanding their love story. His concern lies not only in idealistic courtly love but also in its realistic aspect such as insomnia. Instead of indulging in this courtly love symptom, the narrator shows his interest in Morpheus, the god of sleeping, even saying that he wants to bribe him in order to sleep if this kind of god really exists. Another attitude is narrator's naive responses as a listener of Man in Black’s love story. He does not catch up the deeper meaning of Man in Black’s sorrow. Repetitively does he ask, “Why is it so?” until he gets a direct answer, ‘She is dead,’ from Man in Black. Chaucer’s narrator who only understands the given facts could be Chaucer the reader who was born as bourgeois class and takes deep interest in fabliaux. And the narrator is also a poet who asks the reader the active interpretation. The narrator's comments that any great commentators can interpret his dream and he will write a poem based on his dream show the narrator as a poet. Chaucer’s unprejudiced attitudes to courtly love tradition expressed by ‘Man in Black’ and the narrator, and the narrator’s demands of interpreting this poem actively to the readers may be the elements that make The Books of Duchess great. In the 14th century Western Europe, Le Roman de la Rose, which was written by Guillaume de Lorris(1225) and Jean de Meung, became a canon of medieval courtly love literature. While Guillaume de Lorris tried to establish the conventions of courtly love idealizing this kind of love as ‘fine love’, Jean de Meung described the realistic aspects of this love adding philosophical colors such as Fortune and Nature. Geoffrey Chaucer, who translated only the first part of Le Roman de la Rose, was allegedly influenced by this poem. In his first long poem, The Book of Duchess(1368), he borrowed and adopted literary techniques, style, conventions and even the theme expressed in this poem. The Book of Duchess has the same structure of ‘dream-vision’ with that of Le Roman de la Rose, in that the narrator, who is also a courtly lover, listens to the story of courtly love between ‘Man in Black’ and ‘Fair White’ in his dream. But Chaucer’s narrator shows different attitudes to understanding their love story. His concern lies not only in idealistic courtly love but also in its realistic aspect such as insomnia. Instead of indulging in this courtly love symptom, the narrator shows his interest in Morpheus, the god of sleeping, even saying that he wants to bribe him in order to sleep if this kind of god really exists. Another attitude is narrator's naive responses as a listener of Man in Black’s love story. He does not catch up the deeper meaning of Man in Black’s sorrow. Repetitively does he ask, “Why is it so?” until he gets a direct answer, ‘She is dead,’ from Man in Black. Chaucer’s narrator who only understands the given facts could be Chaucer the reader who was born as bourgeois class and takes deep interest in fabliaux. And the narrator is also a poet who asks the reader the active interpretation. The narrator's comments that any great commentators can interpret his dream and he will write a poem based on his dream show the narrator as a poet. Chaucer’s unprejudiced attitudes to courtly love tradition expressed by ‘Man in Black’ and the narrator, and the narrator’s demands of interpreting this poem actively to the readers may be the elements that make The Books of Duchess great.

지젝과 <크라잉 게임>: 환상 가로지르기의 혁명

유현주 문학과영상학회 2010 문학과영상 Vol.11 No.3

This paper investigates whether the revolution of traversing the fantasy really occurs in Neil Jordan’s The Crying Game. Zizek claims that this film successfully transcends the libidinal economy of ‘courtly love’ (amour courtois). In the logic of courtly love, the relationship between the knight and the Lady is the same as the relationship of the subject-bondsman to his feudal master-sovereign. The knight is a victim of the Lady’s disavowal and the Lady, who is senseless, merciless, and exacting, has all the power to control their relationship. Because of the inherent impossibility of reaching the sublime object (the Lady), the knight can never directly access her and accomplish sexual reunion with her. Thus, the only thing he can do is to just detour around the Lady. However, in fact, the inaccessibility of the Lady is completely manipulated or fabricated for, in Zizek’s words, the knight’s most intimate desires or the total self-externalization of the masochist’s most intimate passion. To satisfy Lacanian death desire, although his Lady is easily accessible, the man intentionally postpones the final moment of sexual reunion with her. That is, the Lady loses all real substance and becomes nothing but an ‘abstract Ideal’ or a kind of ‘black hole’, i.e, an object of the knight’s desire in courtly love. Zizek emphasizes that The Crying Game suggests the revolutionary variation on the motif of courtly love through ‘love as a metaphor’ that Fergus and Dil share. According to Zizek, in this film, the two sexes ultimately succeed in establishing a symmetrical, reciprocal, and voluntary partnership. Accepting heterosexual love as a product of male oppression, this film shows absolute and unconditional love between two characters, thereby transgressing the barriers of class, religion, race, and even sexual orientation/sexual identification. The revolutionary aspect of this film lies in the way in which it transcends the logic of courtly love, not denouncing this symbolic structure. Yet, this paper attempts to raise the question about whether a new ‘formula’ capable of replacing the matrix of courtly love is truly invented in Jordan’s film, which incorporates many problematic images and acts indicating that Fergus still maintains an asymmetrical non-relationship with Dil and never gives up making Dil his inaccessible fantasy object. As such, this paper aims to prove that, regarding the issues of racial and sexual discrimination, The Crying Game contributes to reinforcing the stereotyped images of the racial and sexual Other, Dil, by continuously relegating her to the place of the ‘Thing’ or ‘Object a.’ Like the Lady in courtly love, Dil—deprived of every real substance—plays a role as Fergus’s femme fatale. As Zizek points out, no difference exists between the Lady and the femme fatale in that both of these seductive women serve as an ‘inhuman partner’ or a ‘traumatic object’ with whom no symmetrical relationship is possible. This signifies that this film does not clearly depict a sexual revolution of traversing the ideology of courtly love. In addition, merely being fascinated by a new fantasy about the new revolutionary structure—traversing ‘beyond’ the structure of courtly love while remaining ‘within’ this symbolic structure—Zizek seems to make this film itself ‘a fetish object’ or the ‘Thing,’ not trying to determine what is lacking in this film. Considering all of these aspects, The Crying Game cannot deserve to be prized as a film that overcomes the ideology of courtly love and suggests a new sexual subversion beyond the patriarchal symbolic structure.

Príncipes encobertos e princesas enamoradas: do disfarce por amor no teatro de Gil Vicente

Maria João Pais do Amaral 한국 포르투갈-브라질 학회 2008 포르투갈-브라질 연구 Vol.5 No.1

The main object of this essay is love disguise in two plays of Gil Vicente, Portuguese dramatist who developed his theatrical activity between 1502 and 1536 under the patronage of the monarchs Manuel I and João III. Widely spread in 16th century European literature, the motif of love disguise has its origins in chivalry romances, which are one of the many diverse sources of Gil Vicente's court theatre and also one of the dramatist's first spectators' favourite kind of books. I analyse it in Comédia do Viúvo and Tragicomédia de D. Duardos, where the protagonists, princes Rosvel and Duardos, hide their true identity and social rank from their beloved in order to prove the authenticity of their affection. In a first moment, I compare the way each of these two princes uses love disguise, reflecting on the function and meaning of the obvious differences this comparative analysis brings into light. In a second moment, I relate those differences with both the dramatic genre each of these two plays belongs and the conception of love that is on the basis of the stories enacted in Viúvo and Duardos, which, although originating in courtly love conventions, goes far beyond it. Finally, and because Gil Vicente's theatre is an art that strongly depends on circumstances, the date on which these spectacles were presented for the first time before the Portuguese king and court, as well as the purposes they were meant to fulfil, are also taken into consideration in this reflection on the innovative use of love disguise motif by one of the most important Portuguese dramatists of all times. The main object of this essay is love disguise in two plays of Gil Vicente, Portuguese dramatist who developed his theatrical activity between 1502 and 1536 under the patronage of the monarchs Manuel I and João III. Widely spread in 16th century European literature, the motif of love disguise has its origins in chivalry romances, which are one of the many diverse sources of Gil Vicente's court theatre and also one of the dramatist's first spectators' favourite kind of books. I analyse it in Comédia do Viúvo and Tragicomédia de D. Duardos, where the protagonists, princes Rosvel and Duardos, hide their true identity and social rank from their beloved in order to prove the authenticity of their affection. In a first moment, I compare the way each of these two princes uses love disguise, reflecting on the function and meaning of the obvious differences this comparative analysis brings into light. In a second moment, I relate those differences with both the dramatic genre each of these two plays belongs and the conception of love that is on the basis of the stories enacted in Viúvo and Duardos, which, although originating in courtly love conventions, goes far beyond it. Finally, and because Gil Vicente's theatre is an art that strongly depends on circumstances, the date on which these spectacles were presented for the first time before the Portuguese king and court, as well as the purposes they were meant to fulfil, are also taken into consideration in this reflection on the innovative use of love disguise motif by one of the most important Portuguese dramatists of all times.

『사랑의 헛수고』: 궁정 풍 사랑의 유행과 남성 주체의 자기 소외

김문규(Moon-Gyu Kim) 신영어영문학회 2007 신영어영문학 Vol.37 No.-

Love's Labour's Lost is the only comedy of Shakespeare which adopts 'love' as its title. But it does not follow the convention of romantic comedy which sets the ideological closure of final marriage for romantic love. It is because Shakespeare's concern with love in this comedy is the self-alienation of male courtly lovers and their fictions of masculine selfhood. Associating courtly lovers' labor with errors rather than with the remedies, the play represents, love, especially courtly love, as the symptoms of Imaginary Order. As is the play doubtful about the efficacy of romantic love, so the new form of marriage-the defer and the delay of it-alters the dramatic form. In addition, final songs which remind us that marriage is a beginning as well as an end, strengthen a critical view against courtly love as a fashion.

순수한 사랑을 위한 공백의 열망 -염상섭의 소설 ≪사랑과 죄≫를 중심으로-

조미희 한국언어문화학회 2018 한국언어문화 Vol.0 No.67

This study is an article that examines the void and pure love composed by the narrative of love centered on the work in “Love and Sin”. The superficial narrative of “love and sin” is that Yi Hae Chun and Ji Soon Yong overcome and finally combine all obstacles to complete love. This study, however, explores how the artist’s thesis, which is the pursuit of blankness for pure love, escapes from following the existing studies and reveals in the works. The love of Soon Yong and Haechun resembles the love of courtly style. Purity is the existence beyond the barrier that can not be reached by Haechun and becomes the object of despised desire. Therefore, as the situation of Soon Yong becomes miserable, the body and mind of Soon Yong become more conspicuous and in a position that can not be reached. The relationship between Haechun and Soon Yong and Haechun and Maria is divided into the relationship between Haechun’s love and Maria’s sexual desire As a result, they become shameful and self-defeating about physical relationships and promote mental relations, mystification of pure love. The mystification of pure love works as a fantasy, which gives practical meaning to the gap and the mechanism of creation. Spaces have spatial characteristics that include the possibility of not being absolutely perfect non - space. The desire for a blank that enables pure love preaches that the impure desire is part of the void in the imperative that all impure desires must be eliminated. The novel is composed of characters who are full of passion and doubtful doubts rather than intense desire and fateful attraction for a loved one. The characters represented by Yeom Sang-Seop do not fall into a hot romance or the passion of love while they consider themselves to be an intelligent and calm personality. Because enthusiasm and desire are not real love but a desire to be abandoned, and only the innocence that emanates from the space of pure neutrality is the love, which puts a rational and critical distance to desire. However, excessive fantasies about innocence can encourage mystification of love and disturb the love of reality by raising love from the domain of love to the noble. Thus, the characters of Yeom Sang-Seop keep their cynical attitudes in a cold-hearted and idiosyncratic nature by excluding passion to support reality. 본 연구는 염상섭의 작품 ≪사랑과 죄≫를 중심으로 순수한 사랑을 위한 공백이 무엇인지에 대해 고찰하는 글이다. ≪사랑과 죄≫의 표면적인 서사는 이해춘과 지순영이 사랑을 완성하기 위해 온갖 장애를 극복하고 결국에는 결합한다는 혼사장애의 관련성안에서 해석되어 왔다. 그러나 본 연구는 기존의 연구를 답습하는 데에서 벗어나 순수한 사랑을 위한 공백의 추구라는 작가의 테제가 작품 속에서 어떻게 드러나는지에 대해 주력하였다. 순영과 해춘의 사랑은 궁정풍 사랑의 현대적 변주의 양상을 보인다. 순수한 순영은 해춘이 도달할 수 없는 장벽 너머의 존재이며 억제된 욕망의 대상이 된다. 그렇기 때문에 순영의 상황이 비참해질수록 순영의 몸과 정신은 더욱 고결해 지며 닿을 수 없는 위치에 놓이게 된다, 해춘과 순영, 해춘과 마리아의 관계는 해춘의 사랑인 순영과 해춘의 성욕인 마리아로 분리되면서 육체적인 관계에 대한 부끄러움을 갖게 되고 정신적인 관계, 순수한 사랑에 대해 열망하게 된다. 순영의 순수한 삶에 대한 신비화는 표면적으로는 순영의 존재자체가 환상이며 해춘과의 사랑의 결합을 방해하는 장애물로 보인다. 그러나 순영과 해춘의 사랑은 이루어질 수 없는 내재적 불가능성이 잠재하고 있다. 해춘이 순영을 향한 사랑을 지속하게 하는 것은 장애물의 유무이며 이 장애물만이 사랑을 유지할 수 있게 하기 때문이다. 순영의 숭고함은 타락한 현실에 저항하는 순수함에 있다. 이 순수함은 해춘과 결합하는 순간 매혹의 힘을 잃게 되고 순영은 아편쟁이의 사생아 딸로 되돌아가게 된다. 현재의 순영이 온전하게 살아남은 것은 과거에서부터 지켜온 순수한 삶의 결과이었고, 반대로 마리아의 범죄와 구속은 과거의 타락한 삶이 이어져 온 것이라고 정리할 수 있다. 소급적으로 적용된 삶의 상반된 궤적은 순영의 운명이 어떻게 될 수밖에 없는지에 대한 예시를 보여준다. 순영은 끝까지 순수한 영혼으로 남아야 한다는 것이다. 공백에 대한 사유는 사랑을 향한 강렬한 충동이나 극대화된 낭만성의 배제에서 비롯된다. 대신에 이지적이고 냉정한 성격의 인물들이 번민과 회의, 자기반성을 통해 소급적으로 구성된 사랑의 방식에 대해 논한다. 이들은 뜨거운 연애에 빠지거나 사랑의 열정으로 파괴되지 않지만 오히려 자기의식으로 지나치게 함몰되어 스스로 오류에 빠지게 된다. 열정이나 욕망을 꿈꾸지만 이러한 사랑은 불가능한 환상 속에 존재한다는 냉철한 현실인식이 충동적이고 정열적인 사랑에 대해 이성적이고 비판적인 거리를 두게 한다.

相思歌類 가사에 나타난 사랑의 수사

길진숙(Gil Jin sook) 한국고전여성문학회 2003 한국고전여성문학연구 Vol.0 No.7

가사문학에서 夫婦의 情을 노래한 작품을 제외하고 남녀의 애정이나 애욕은 거의 상사가류 작품으로 재현된다. 문화사적으로는 사랑의 관념을 새롭게 보여준다는 점에서 그리고 조선후기의 애정과 애욕의 코드를 단적으로 드러내었다는 점에서 주목받을 만한 자료군이다. 이 자리에서는 상사가류 가사에 구현된 이 시대 남자와 여자들의 일반적 사랑의 감정과 수사가 무엇인지, 그 사랑의 의미는 무엇인지를 짚어보았다. 상사가류를 들여다보면 사랑이 지상 과제라는 점에서 남녀 구분은 없지만, 사랑의 수사에는 여성과 남성의 역할이 분명 존재한다. 구애의 담론에서도, 이별의 담론에서도 남성적 수사와 여성적 수사가 다르게 드러난다. 상사가류 가사에서 사랑의 열병에 빠지고, 사랑이 성취되기를 요구하는 주체는 남성이다. 남성만이 구애의 노래를 부른다. 여성은 사랑의 세레나데를 부르지 않는다. 그들은 사랑의 객체가 되어 사랑해주는 남성에 대해 반응을 보일 뿐이다. 남성들은 상사의 치유를 요구하며 집요하게 육박해 오는 애정공세와 그것을 문법화하고 있는 구애의 노래를 부르지만, 여성들은 열렬한 구애를 펼치며 사랑의 급박함을 호소하는 노래를 부르지 않는다. 여성이 구애하는 노래는 가사 작품 안에서 발견되지 않는다. 적어도 상사가류 가사작품 안에서 구애는 남성의 언어로 취급되었다. 別離는 남성과 여성에게 심각한 아픔이다. 그러나 대부분 별리의 아픔과 슬픔은 여성정감에 기대어 분출되었다. 가사문학에서도 은유든, 탈이든 헤어짐의 비통과 탄식은 여성정감에 의해 노래되었다. 상사가류 가사에 이르러야 본격적으로 남녀의 이별과 아픔을 남성 정감으로도 노래할 수 있게 된 것이다. 즉 사랑의 슬픔에 남성도 여성도 적극적으로 반응하기 시작한 것이다. 그런데 실제 작품에 들어가 보면 남성과 여성은 각각 그리움과 기다림의 정서를 다르게 표현한다. 남성들은 육체화된 사랑의 구체성으로부터 출발하여 님을 회상하고 그리움을 드러내면서 이별의 한시성과 재회의 가능성에 대해 토로한다면, 여성들은 별리 이후 찾아든 내면의 불안 심리와 정서적 반응에 주력하며 이별의 지속성을 더 의식한다. 남성들은 이별한 님에 대해 쟁취적인 태도를 취하면서 사랑을 복원하려고 하고, 여성들은 님의 사랑이 되돌아오기를 기다리며 님에 대한 그리움을 끝없이 심화시켜 표현하였다. 상사가류 가사 작품들은, 19세기 도시 유흥 문화의 전면적인 확산에 의해 대중적인 서정물로 소비되면서 더 많은 작품을 양산하게 되고 그 결과 통속화된 사랑의 감정을 더 양각화하는 양상으로 나아간 것이라 판단된다. 당시의 대중이 그리던 사랑의 관념 혹은 사랑 자체에 대한 형상화를 충실하게 대변했던 것이 바로 상사가류 가사 작품이다. 상사가류 가사의 사랑의 담론은 새로운 시대적 조류임에는 틀림없다. 사랑을 주고받으려는 남성과 여성을 문화 전면에 떠올려 사랑의 개인적 가치를 비중있게 만들었다는 점에서는 그렇다. 그러나 자의식이나 문학적 전위를 찾기는 어렵다. 사랑을 중시하는 점에서 근대적 개인주의에 다가섰다고 하지만 이들은 사랑이라는 당대의 통념을 깨는 전사가 아니다. 사랑의 통념을 대변하고 재생해줄 뿐이다. 당대의 사람들이 통념적으로 인지하고 기대했던 바, 남성과 여성의 사랑의 수사가 애정 노래로 전이되어 형상화된 것이다. 상사가류 가사는 남성의 수사와 여성의 수사를 극명하게 보여줌으로써 사랑의 포즈를 정형화하는 데 앞장섰다. Sang-Sa-Ga(相思歌)'s works appear love and sexual passion except for marital affection. This texts is worthy of note that have seen new sense of love in cultural history and directly code of love & sexual passion at that time. This paper examined into universal sense and rhetoric on love that gave concrete expression to Sang-Sa-Ga. Rhetoric of love distinguish between man and woman but love is a supreme order that didn't distinguish between man and woman in Sang-Sa-Ga. Discourses of courting and parting express that have been quite different from man's rhetoric and woman's rhetoric. Man is the subject who fall in fever of love and want to gain heart on Sang-Sa-Ga. Only man sing an amorous song. Woman don't sing an amorous song. Woman is the object of love who respon to man. The courting song of Woman is not found from Gasa's works. At least courting deal with man's discourses in Snag-Sa-Ga. Separation is a serious pain without exception man and woman. But sorrow of parting was expressed emotion of woman in Gasa literature. At Sang-Sa's Gasa, regularly divorce and sorrow of parting can sing by emotion of man. While man and woman express to difference from feelling of yearning and waiting each other. Man is expressive of yearning that have been based on erotic embodiment and speak out a limit of parting and possibility of meeting again. The other side woman focus on a sense of instability and a state of mind after separation and is conscious of durability from separation. According to spreded urban culture of amusement in 19th, Sang-Sa-Ga's works was consumed the popular lyricism and was mass-produced the text. After all Sang-Sa-Ga was embossed the popular feeling of love. Discourses of love sure certain that should be the new stream of the times. It rised to the surface of cultural history who man and woman fall in love. But this works revive a only common idea of love at that times. A common sense was constructed to Sang-Sa-Ga that rhetoric of courting is a discourse of man and rhetoric of waiting is a discourse of woman. Sang-Sa-Ga made typical pattern of love.

사랑의 신비: 로미오와 줄리엣의 르네상스적 사랑의 구조

이인직(Injick Lee) 한국영미어문학회 2016 영미어문학 Vol.- No.121

Since the Renaissance was the age where ancient and Medieval ideas came into contact with new perspectives, we find in Romeo and Juliet various types of love, consistent with the different periods they derived from. This paper aims to examine how the play reflects these types of love and represents the theme of mysticism in relation to love. The mysticism of love can be analyzed from the viewpoints of: the love of ancient New Comedy; Medieval courtly love; and the ‘ideal love’ of the Renaissance. To illustrate the dramatic plot of Juliet’s love for Romeo resisted by her father, follows the tradition of ‘New Comedy.’ Especially, the mysticism of love is fore-grounded well when their love has the meaning of religious martyrdom of courtly love. Juliet who prays for the night to come without shame shows an aspect of ‘ideal love’ of the Renaissance, which tries to escape from the ascetic viewpoint that sexual desire must be suppressed and women should be obedient. Their love also becomes mysterious by the love which brings sexual ecstasy transcending death.

낭만적 사랑(Romantic Love) 신화의 현대적 해석 : 『트리스탄과 이졸데(Tristan und Isolde)』를 중심으로

김공숙 문화예술콘텐츠학회 2012 콘텐츠 문화 Vol.1 No.-

우리가 흔히 대하는 영화, 드라마, 대중가요 등 많은 대중문화의 매 체들은 로맨스 없이는 존재하기 어렵다. 낭만적 사랑은 사랑의 한 형 태이지만, 누군가를 사랑한다는 것을 넘어서‘사랑에 빠져 있는’아주 특별한 심리적 현상이다. 본 논문은 오늘날 남녀의 모든 사랑하는 관계에서 가장 강력한 영향 을 발휘하는 낭만적 사랑의 본질을 알아보고자 한다. 이를 위해 낭만 적 사랑 신화의 원형적 요소를 가진 중세의『트리스탄과 이졸데』를 융 (Carl Jung)의 심리학의 관점에서 분석했다. 낭만적 사랑은 중세 기사와 귀부인의‘궁정연애’에서 유래했다. 낭 만적 사랑은 남성(또는 여성)이 지닌 내면의 반대 성인 아니마(또는 아 니무스)의 투사 때문에 발생한다. 아니마의 투사를 통해서 일어나는 낭만적 사랑은 종교적 체험과 흡사하다. 낭만적 사랑은 항상 자신이 투사하는 것, 자신의 기대와 환상을 향해 있기 때문에 결국 다른 사람 을 향한 사랑이 아니라 자신을 향한 사랑이다. 낭만적 사랑 신화는 오늘날 현대인의 연애와 결혼에 매우 강력한 영 향력을 미치고 있다. 그러나 투사가 거두어졌을 때 발생하는 부작용- 높은 이혼율- 또한 만만치 않다. 이는 낭만적 사랑의 특성을 알지 못 해서 일어나는 불행이다. 우리가 낭만적 사랑의 실체를 안다면 낭만적 사랑을 보다 차원 높은 인간적인 사랑으로 진화시킬 수 있을 것이다. 낭만적 사랑은 상대방에 대한 사랑이 아닌 자신의 내면에 대한 사랑이 라는 한계를 분명히 알아야 한다. 개개인이 가지고 태어난 원형적 잠 재력을 온전히 성취하기 위해서 진정으로 자신이 누군가를 발견하는 자기실현, 즉 그 과정으로써‘개성화’가 필요하다. 낭만적 사랑에 빠져 있다면 그것이 끝나는 순간이 바로 상대를 진정으로 사랑하기 시작할 수 있는 때임을 깨달아야 한다. Popular culture that involves films, dramas and pop songs to which the public is usually exposed is hardly appealing to them without having romance in it. Romantic love is a sort of love and a quite special psychological phenomenon that is‘falling in love,’not merely loving someone. The purpose of this study was to examine the nature of romantic love that had the most powerful impact among different kinds of love between man and woman. It’s specifically meant to analyze the work of the Middle Ages titled‘Tristan und Isolde’from the perspective of Carl Jung’s psychology. This work includes the archetype of a myth of romantic love. Romantic love originated from courtly love between knights and noble women in the Middle Ages. That is generated by the projection of anima(or animus) that is the internal opposite sex of man or woman. Romantic love that stems from the projection of anima is very similar to religious experience. Romantic love is toward someone whom one projects, and is built on his or her own expectation and fantasy. So that is love for oneself, not for someone else. Nowadays, myths of romantic love exert a very strong influence on modern people’s love and marriage, but it produces great side effects - a high rate of divorce - when the projection is withdrawn. That is unhappiness that happens due to ignorance of the characteristics of romantic love. If modern people know the substance of romantic love, they will be able to sublime it into lofty, humanistic love. They must clearly be aware of the limitation of romantic love, which is that it is love for their own inside, not for those whom they think they love. They should achieve self-realization to exert their native archetypal potentials, and they are in need of‘individuation’to make it happen. If one is in romantic love, he or she should realize that he or she cannot truly love the object of his or her love until the romantic love comes to an end.

사랑의 텍스트로서 《여인과 유니콘》 태피스트리

정은진 ( Eun-jin Chung ) 미술사와 시각문화학회 2017 미술사와 시각문화 Vol.20 No.-

이 논문은 《여인과 유니콘》 태피스트리를 1500년 당시 프랑스 귀족 사회에서 유행했던 오비우스-카펠라누스 전통의 궁정풍 사랑의 전통에 근거해 세속적인 사랑의 텍스트로 해석하였다. 특히 여인이 지닌 소품인 거울, 오르간, 화관, 새, 보석함, 유니콘의 뿔 등은 귀족 연인들 간의 선물이나 연애와 관련된 것이다. 궁정풍 사랑의 특징은 여인을 사이에 두고 유니콘과 사자가 경쟁하듯이 귀족과 그의 부인 그리고 그녀의 연인이라는 삼각관계, 예법, 사랑의 단계로 요약된다. 따라서 본 연구는 여인이 거울을 들고 있는 〈시각〉을 사랑의 대상을 찾는 물색으로, 여인이 오르간을 연주는 〈청각〉을 연인들이 사랑을 속삭이는 대화로, 화관을 만들고 있는 여인이 등장하는 〈후각〉을 당시 여자가 남자에게 화관을 선물하는 의미는 육체적 접촉을 허용한다는 신호였으므로 접촉으로, 새에게 모이는 주는 장면인 〈미각〉은 입맞춤으로, 또 여인이 남근을 상징하는 유니콘의 뿔을 만지는 〈촉각〉은 두 남녀의 육체적 결합으로 해석하였다. 마지막으로 〈나의 유일한 소망〉은 배경의 텐트에 주목하여 여인과 그녀의 애인이 사랑의 목표에 도달하는 쾌락의 장소로 보았다. 여섯 점의 태피스트리에 각각 다른 모습으로 그려진 여성들은 애인을 찾고, 사랑을 속삭이고, 화관을 선물하고, 모이로 새를 통제하는 것처럼 애인을 사로잡으며, 당당히 남성을 원하는 자신의 욕망에 충실한 여성이다. 따라서 이 작품의 후원자가 르 비스트 가문의 여성일 수 있다는 가능성과 함께, 사랑의 단계에 따라 오감의 알레고리를 읽다보면 그 배열이 현재 태피스트리의 순서로 알려진 〈촉각〉, 〈미각〉, 〈후각〉, 〈청각〉, 〈시각〉의 역순임을 밝히며 《여인과 유니콘》 연작에 시간성을 부여한 새로운 순서를 제안한다. This paper interprets the Lady and Unicorn tapestry as the text of secular love based on the courtly love tradition of Ovid-Capellan, which was popular among the French aristocracy around 1500. Courtly love is characterized by a triangular relationship consisting of a noble, his wife, and her lover. It symbolized in this picture, as a unicorn and a lion compete with each other over a woman. In addition, courtly love follows the well-defined stages of love with corresponding norms. Considering the salient features of the courtly love, I reinterprets various objects in the tapestry, such as a mirror, an organ, a garland, a bird, a jewelry box, and the horn of a unicorn. As they are related to the gifts and romance of noble lovers, this paper argues that one should interpret the five senses as follows. The sight of a woman holding a mirror and tempting a unicorn is Visus, a search for an object of love. The woman plays an organ, which suggests that hearing is a conversation between a man and a woman who have just become lovers. This is Alloquium whispering love. The steps after Visus and Alloquium are Contactus. In the sense of smell, the woman makes a garland with a fragrant flower and presents it to a man, as a signal to allow physical contact according to the contemporary custom. The taste is described as a scene of a woman feeding birds, which is a Oscula for lovers. The touch, physical Factum of lovers, is represented by a woman holding the horn of a unicorn symbolizing the penis. Finally, I interprets the tent in the sixth tapestry, Mon Seul Desir, as a place of pleasure where lovers share physical love. According to this study, other six women appearing in this tapestry turn out to be the women who are conscious of their desires. For example, they are consciously looking for a lover, whispering love, present a bouquet, and kissing each other, eager for physical love. To sum up, this tapestry can be interpreted to embody an order of woman in the Le Viste.