문학 공간의 문화콘텐츠화 -허구에서 실제로 :오르한 파묵의『순수 박물관』을 중심으로-

이난아 ( Nan A Lee ) 한국외국어대학교 중동연구소 2012 중동연구 Vol.31 No.2

『쿌올루』와 『홍길동전』의 비교문학적 고찰

이난아(Lee, Nana) 國際言語文學會 2014 國際言語文學 Vol.- No.30

한국의 터키문학 연구와 번역 현황 고찰

이난아(Nan A Lee) 서울대학교 아시아연구소 2013 아시아리뷰 Vol.3 No.2

1972년에 한국과 터키 간에 ‘문화협력’ 협정이 체결되고, 같은 해 한국외국어대학교에 터키어과가, 1989에는 앙카라대학교에 한국어문학과가 설립되었다. 이로써 대학 차원에서 양국 학문에 대한 연구가 시작되었고, 이 학과들은 양국의 학술분야 및 민간 교류 증진에 중요한 역할을 하고 있다. 문학 교육도 이 연구 분야의 한 줄기다. 현재까지 국내에 발표된 논문들을 살펴보면, 단일 작가의 작품이나 단일 주제 및 소재가 연구의 주종을 이루고 있는 편파성을 부인할 수 없다. 따라서 보다 다양하고 폭넓은 분야의 연구로 확대되어야 할 과제가 남아 있으며, 차세대 연구자들을 위해 터키문학사 관련 저서, 혹은 세계적으로 권위 있는 연구자들이 집필한 터키문학사의 번역 발행도 요구된다. 터키문학이 한국문단과 독자들에게 본격적으로 알려지기 시작한 중요한 전환점은 오르한 파묵의 2006년 노벨문학상 수상이라고 할 수 있다. 국내에 터키문학 번역이 활성화되면서 터키문학 연구자들이 다양한 학술지에 이 작가들의 작가 세계나 작품 세계를 다루며 학술 연구로 확장하고 있다. 번역이 활성화되고 발전하기 위해서는 한국에서 터키어가 확산되고 연구되는 저변이 확립되어야 할 것이다. 궁극적으로 세계 문학의 중심부를 향해 빠르게 성장하고, 확장되고 있는 터키문학 연구 기반 확대를 위한 지원이 시급하며, 학문 후속 세대 양성, 학제 간 연구 역시 강화되어야 할 것이다.

소설 『알리와 니노』에 나타난 여성 억압

이난아 ( Lee Nan-a ) 한국중동학회 2023 韓國 中東 學會 論叢 Vol.44 No.1

This paper focuses on the oppression of women in the novel Ali and Nino, covering the various forms of violence and vices that are implicitly inflicted on them in a society where women are not allowed to pursue their true selves. It is set in the historical maelstrom of Azerbaijan in the early 20th century, just before the First World War, and it centers on the love story of two men and women from different cultural backgrounds and identities. Through the religious and cultural confrontation between Ali from an orthodox Islamic family, and Nino from a Christian family, it depicts the harem culture that existed at that time, by addressing subjects such as male supremacy, the degrading culture of women that does not respect a woman's right to make decisions, the culture of kidnapped marriages committed when a woman's family or a woman refuses to accept a marriage proposal, and honor killings that threaten a woman's right to life. However, the main characters of the novel are portrayed as trying to overcome their different religions, values, and cultures to respect, compromise, embrace, and understand each other

터키 사프란볼루 전통 가옥 고찰 : 가옥구조, 주거문화, 생태적 요소 및 보호정책에 관하여

이난아(LEE, NanA) 글로벌문화콘텐츠학회 2010 글로벌문화콘텐츠 Vol.0 No.4

터키의 사프란볼루는 1994년에 유네스코 세계문화유산으로 지정된 곳으로, 터키전통가옥이 그대로 보존되어있는 마을이다. 사프란볼루 전통가옥은 오스만 제국 시대의 건축양식을 그대로 보여주고 있는 살아 있는 세계 문화자원이자, 수백 년의 세월 동안 형성된 터키도시 문화가 지금까지 지속되어 오고 있다는 것을 가장 잘 증명해주는 중요한 건축 구조이다. 사프란볼루는 특히 오스만 제국 당시의 서민들의 생활양식, 문화, 감각 그리고 고도의 건축 기술을 반영되어 있고 특히 그 건축 양식으로 세계인의 주목을 받고 있다. 사프란볼루 가옥의 가장 눈에 띄는 특징은, 우선 남녀의 출입구가 다르며, 각 방의 벽장에는 목욕탕이 있고, 벽과 천정의 나무 세공은 아주 섬세하다는 점이다. 또한 방안을 밝게 하기 위해 좁고 긴 많은 창문들이 나있다. 거실은 대가족 구조에 따라 넓게 설계되어 있어 가족회의와 의식을 치르기 데 아주 유용하다. 모든 집들은 다른 집들의 조망권과 일조권을 침범하지 않도록 건축되어 있는데, 이는 타인에 대한 배려 차원 뿐 만 아니라 더 나아가 인간과 주거 환경이 조화를 이루고 있다는 점에서 중요한 특징이라 할 수 있다. 또 다른 특징으로는, 부엌과 남자 손님들을 대접하는 방 사이에는 회전서랍 장치가 있다. 여자들이 부엌에서 음식을 만들어 접시에 담아 이 서랍 위에 올려놓으면, 남자들은 그 장치를 돌려서 음식을 받는다. 이는 안주인이 계속해서 부엌과 방을 오가는 번거로움을 없애줄 뿐 만 아니라, 여성이 가족 이외의 남자에게 얼굴을 보이지 않는 당시 터키 전통의 연장선이기도 한다. 한편, 며느리 방에는 며느리가 혼자 몰래 울 수 있도록 방음 장치된 작은 방이 달려있어 사생활 배려 차원의 건축 설계가 눈에 띄며, 방에 있는 옷장에는 귀중품들을 보관하기 위한 비밀 서랍도 제작되어 있다. 이러한 모든 특징은 가정의 각 일원들이 서로의 평안과 존엄성을 지켜주기 위한 배려 차원이라고 할 수 있다. 특히 모든 집에 손님방이 있다는 것은 방문하는 사람들을 존중하는 터키 문화를 반영하고 있다고 할 수 있다. 한편 사프란볼루 가옥은 오스만 제국 당시의 하수도 시스템이 아직도 사용하고 있다는 점 역시 당시의 기술력을 증명하고 있다. 이와 더불어 환경오염을 방지하기 위해 오염을 유발할 수 있는 수공업 제작소가 도시 거주지에서 떨어진 외곽에 위치하고 있다는 점은 생태적인 면에도 배려를 했다는 점을 나타내고 있다. 사프란볼루는 터키 전통 민간 건축의 주목할 만한 실례이자, 거대한 문화의 축적과 뛰어난 건축기술을 한 눈에 볼 수 있고, 환경과 조화를 이룬 세계문화유산의 걸작들 중 하나라고 할 수 있다. 우리는 사프란볼루 건축 문화를 통해 인간의 거주 생활에 대한 가치 판단을 이해할 수 있을 뿐 만 아니라, 인류의 정착 문화의 현존 상태를 고찰할 수 있다. Currently, as the world is industrialized by the industrial revolution and through the spreading of urbanization, the traditional life-style is gradually disappearing. It is very inspiring for UNESCO, acting as the main axis leading an international agreement and designating cultural assets as the World Cultural In 1994, UNESCO designated Safranbolu in Turkey as a world heritage site where the traditional housing of turkey is preserved as it was in the past. The traditional housings in Safranbolu are not only a cultural resource which show the architectural style of the Ottoman Empire era, but also a clear architectural proof of how the Turkish city culture has been formed and remained in Safranbolu particularly reflects the common people’s way of life, culture, sense and also their highly developed construction technique from the Ottoman Empire era. Especially, its style of architecture is drawing attention from all over the world. To briefly describe the features of the traditional housings in Safranbolu, first of all, the entrance for male and female are different. There is a bathroom in the wall closet in every room, and the wooden craftwork on both the wall and ceiling are very delicate. Also, there are lots of long narrow windows to enlighten the room. The living room is designed suitable for large families making it useful for family meetings and ceremonies. All housings have been designed not violating each others’ prospect rights and rights of light, and this is a crucial feature as it proves that consideration of others has been taken. For example, there are no houses where the windows are facing each other. It is an important feature as the residents are able to harmonize with their residing area. The kitchen and the room to host male guests are laid side by side, and in between lies a rotating drawer device. When the food is prepared from the kitchen by the women and put on the drawer, men can rotate the device to receive the food. Not only does it leave out the hassle for the mistress to continuously serve food back and forth from the kitchen to the guest room, but it is also part of the Turkish tradition of the females not showing their faces to any male other than the members of her family. Also, there is a sound proof room upstairs for the daughter-in-law to have her privacy, and there is a secret drawer within the wardrobe to keep their valuable belongings. All these characteristics to keep each family member’s peace and dignity are processed under thoughtful consideration. Especially, the fact that there is a guest room in every house shows that the Turkish culture of respecting the people who visit is reflected when building Safranbolu houses. Also, the fact that the sewer system from the Ottoman Empire is still used proves their advanced technology of the time. In addition, in order to prevent environmental pollution, handcraft factories were located at the outskirts of the residing area. This points out that they have thought about the ecological factors. Safranbolu in Turkey is not only a good example of Turkish traditional civil construction but also both the accumulation of its mega culture and the outstanding construction technique. Furthermore, it is one of the masterpieces of the World Cultural Heritage Sites famous for its harmonization with its surroundings. Not only can one understand the valuation of the residing lifestyles of the people through Safranbolu, but it is also a good research material for assessing the present condition of the settlement culture of the mankind.

터키에서의 한류의 현황과 전망

이난아(Lee, Nan-A) 명지대학교 중동문제연구소 2012 중동문제연구 Vol.11 No.1

As mutual exchanges between nations and regions increase, the understanding and exchange through diverse forms of cultural content also becomes a prominent issue. We encounter cultures of other countries through the diverse cultural content of each country to expand exchanges among contemporaries and experience cultural diversity. Basically, mutual understanding and exchange of cultural content is extremely important in understanding the mentality of humans and, furthermore, it has significant meaning in enabling true understanding among countries. This means that many cultures in the world are creating new value through mutual exchange and interaction. The main factors of the Korean Wave are that it has commercial value and a competitive edge against other cultural commodities in the market. In addition, all these aspects will turn into commercial value along with the craftsmanship and artistry of the Korean Wave being recognized, and the popularity being emphasized. So far, we have addressed the current status of cultural aspects of the Korean Wave in Turkey and, especially, the activities of ‘Koreafans’, the main Korean Wave fan club in Turkey. The activities of ‘Koreafans’ have great significance for its members are volunteers and active in introducing Korean culture to Turkey. It is highly likely that the Korean Wave in Turkey will spread more in the future considering the vigorous economic activity between two countries and the historical background. We usually create a specific image of a country through indirect experiences such as education, mass media, products and the influence of the environment. The experiences we get from movies, soap operas, music and celebrities are mainly through the intangible means of mass media. The food and fashion we acknowledge are through the intangible means of mass media along with tangible means of direct contacts. Korean culture was first introduced to Turkey through forms of mass media such as Korean movies, soap operas and music, which led to a preference for Korean products. Although the Korean Wave in Turkey is not as strong as it is in Japan, China and Southeast Asia, the Korea-Turkey relationship, which was already firmly established through the Korean War, is expected to be even stronger by tying the two countries culturally using a wide range of strategies to introduce Korean culture more aggressively to Turkish people who think of Korea as their second homeland. Nowadays, the activities of first generation war veterans as mediators between Turkey and Korea are not as common as before. However, the warm brotherly love and friendship between two countries as shown during the 2002 World Cup, is expected to drive a new Korean Wave through Turkish youth, the third generation. Meanwhile, the Embassy of Korea in Turkey contracted MOU with TOMER, the language institution of the National University of Ankara, to establish Sejong Hakdang at TOMER in 12 main cities in Turkey. Presently, it is running 11 classes with 100 students in Ankara and Istanbul. The Korean Cultural Center opened in Ankara, Turkey’s capital, in October of 2011. A variety of cultural events, such as Korean traditional musical performances, plays, and pop music concerts were held at its opening. The Korean Wave in Turkey is expected to be accelerated through these various cultural events. Furthermore, through cultural facilities Korea can introduce the diversity of Korean culture and imprint with Turkey an image of a traditionally, friendly Korean nation.

백석이 번역한 나즘 히크메트의 『나즘 히크메트 시선집』 고찰

이난아(Lee, Nan- A) 명지대학교 중동문제연구소 2021 중동문제연구 Vol.20 No.3

이 연구는 나즘 히크메트의 현재까지 한국에서의 소개 및 연구 현황 그리고 1956년에 북한의 수도 평양에서 단행본으로 출간되었다가, 2021년에 남한에서 단행본으로 재출간된 시인 백석이 번역한 『나즘 히크메트 시선집』이 터키와 한국에서 어떤 의미를 내포하고 있는지를 탐구하는 글이다. 이는 터키 문학 작품이 최초로 한국어로 번역되어 단행본으로 출간된 작품이라는 점에서 그 의미가 특별할 뿐 만 아니라, 이 시집의 번역자가 한국 시문학사에서 천재 시인으로 평가 받을 뿐 만 아니라 모더니즘 조류에 커다란 획을 그은 백석이라는 점에서 한국 문단에서도 특별하다. 이 작품에는 58편의 시가 수록되어 있으며, 터키어에서 러시아어로, 그 후 러시아어에서 한국어로 번역되었다. 이 연구가 한국 문단, 백석 독자, 백석 연구자들에게 중요한 자료가 될 것이며, 나즘 히크메트 역시 국내에서 진지하게 조명되어야 할 세계 문단의 거장 중 한 명이라는 점에서 유의미한 시발점이 될 것으로 사료된다. This study is based on the current state of publicity and research on Nazım Hikmet in South Korea. Nazım Hikmet’s work, translated by Korean poet Baek Seok, was first published in Pyongyang, the capital of North Korea in 1956, and republished in South Korea in 2021. The purpose of this paper is to examine the position of the work titled Selected Poems of Nazım Hikmet in Turkish and Korean literature. This work is special in that it is the first Turkish literary work translated into Korean. Baek Seok is an important poet in the history of Korean poetry and is fluent in several foreign languages, including English, Japanese, Russian, and Chinese. In this work, there are 58 poems that which have been translated from Turkish to Russian and then from Russian to Korean. In the preface of this work, Baek Seok not only approached Nazım Hikmet as a translator by giving information about his life and analyzing his poems, but also examining the literary value of Nazım Hikmet by wondering what kind of poet he was. His Korean translation shows that he faithfully translated the poems into Russian. However, the names of the translated poems are quite different from their original Turkish titles. Nazım s poems and personality are expected to be more intensively examined and explored in the South Korean academic world with Nazım Hikmet’s book being republished in South Korea 65 years after it was first published in North Korea.

투르크 세밀화 연구

이난아(Lee, Nan-A) 명지대학교 중동문제연구소 2017 중동문제연구 Vol.16 No.3

This paper will briefly outline different miniature paintings by distinguishing miniature paintings of Central Asia, miniature paintings of the Seljuk-Turk era, and miniature paintings of the Ottoman Empire. Then, it will examine miniature paintings portrayed in the novel My Name Is Red, which gives an account of the decline of miniature painting style. Miniature paintings in Islamic art were considered as elements incorporated for the purpose of supplementing the text rather than an independent style of art. A broad range of general knowledge on various topics regarding miniature paintings is embedded in the novel such as the introduction of miniature painting in the Ottoman Empire, the history of miniature painting, the process of creating miniature painting, well-known miniaturists, famous miniature paintings and techniques and styles used in miniature paintings. The spread of miniature paintings throughout Anatolia during the Seljuk era gave birth to the first Turk-Islam miniature style. The Turks created their own unique style of aesthetic by incorporating diverse styles of art during the course of settling down in Anatolia by way of Central Asia. This merge of different artistic styles and the formation of an exclusive realm of the Turks’ art spawned the birth of miniature painting style characterized by universality within the Islamic art history.

터키 문화 코드에 관한 소고

이난아(Nan-A Lee) 글로벌문화콘텐츠학회 2013 글로벌문화콘텐츠 Vol.0 No.10

터키 문화를 한 마디로 혼종성, 다양성으로 특징지을 수 있지만, 한편으로는 그 안에 내포되어 있는 여타 요소들이 간과할 수 없을 정도로 중요하며, 이러한 요소들은 터키를 이해하는 이정표 역할을 하고 있다. 또한 다양성이나 혼종성으로 명명할 수 있는 카테고리 안에는 많은 문화연구자들이 공통으로 도출할 수 있는 문화코드들이 존재한다. 이 글은 터키를 이해하기 위한 핵심적인 요소를 몇 가지 문화코드로 정리 분석해 보고자 한 시도이다. 문화코드는 쉽게 이해하자면 문화적 특색이라고 할 수 있으며, 이 문화적 특색이 오늘날의 터키를 대변하고 표상하는 요소들이라고 할 수 있다. 이 연구에서 터키를 이해하기 위한 문화코드로 이슬람, 다문화 사회(혼종성), 집단주의, 가부장적 사회, 명예, 관용, 환대, 음식 등을 선별해 정리 및 분석하는 시도를 하지만, 문화의 가변성을 감안하면, 물론 다른 코드들이 첨가될 수 있을 것이다. 우리는 터키가 다양한 문명을 품고 있으며, 동양과 서양, 이슬람과 세속주의, 전통과 현대 등 이중적이며, 복합적이며, 다양한 층위가 있는 국가라는 점을 감안하여, 이에 다가가는 자세가 필요하다. 터키인의 문화적 특징과 가치관을 이해하고 반영하는 대표적인 코드들은 터키인들의 의식 형성 패턴과 사회문화 이해에 지침이 되는 요소들이라고 할 수 있다. To understand the social values of a society, one can take various paths out of which culture is one of the most important key concepts. This is because culture is the means that enables one to effectively understand foundation and ethics, which allows a nation or a society to form. To understand the Turkish culture and Turkish people’s ethnicity as a cultural code, an attempt to understand the values which are oriented or embedded in Turkish society has been made by analyzing Islam, multicultural society (cultural hybridity), collectivism, patriarchal society, honor, hospitality, tolerance, food culture and so on. If cultural code can be briefly defined as the DNA and social instincts of accumulated social behavior, these codes, derived in an attempt to understand the Turkish culture, can serve as guidelines to estimate the disposition or characteristics, thoughts, and behaviors of Turks. French scholar Clotaire Rapaille said,“Culture code of a society is equivalent to a lock with a password.”This means the key to understand a culture depends on whether the password to the lock is found or not. Culture code can be said to be an academic field that displays race and identity of a society, and also, researching its footsteps, history, language, religion and diverse distribution can be directly said as the password to the DNA of social behavior. Turkey is consisted of various civilizations, and there is a need to approach the Turkish culture, considering the fact that Turkey has various social levels and dualities such as Eastern and Western cultures, Islam and secularism, customs and modern time. Although representative codes that reflect the Turkish cultural aspects and values are important to understand the pattern of the formation of Turkish consciousness and their social culture, from now on, a more in-depth and comprehensive research needs to be set forth.

오르한 파묵의 소설, 소설관 그리고 포스트모더니즘에 관한 이해

이난아 ( Nan A Lee ) 한국외국어대학교 중동연구소 2006 중동연구 Vol.24 No.2

To the present, there have been great attempts in changing the structure of turkish novels, but it still possesses the impressions of the traditions in realistic novels. This writing is based on Orhan Pamuk`s novel which created a sensation in turkish literature, focusing on the subjects, techniques, and configuration of his description. In fact, it is quite difficult to classify his novel into a certain current, because he ventures various methods in his novels. If you put into consideration that Orhan Pamuk first wrote his novels with a traditional and realistic standpoint and then shifted his concentration on the application of meta-fiction and mutual-text factors, it can be seen that he is on the post-modernist side. The fact that he used `writing` as a major motive in his novel 『Black Book』 directly shows that he is a post-modernism writer. If you try to find similarity in his work you will find that the subject of this novels have great weight on the problems of individuals and the society. The subjects are mostly drawn from historical rituals, philosophy, and religion, and he uses parody, allegory, and surrealistic techniques. The grammar is simple but rather complex in structure. Orhan Pamuk wrote experimental novels(meta-fictions) which intentionally dismantled the structure of existing novels. When you read his novels, you can find the traces that he thought deeply of his views in novels, the techniques he used, and the problem of the configuration. He tried to blend western factors, which he was influenced by when he read books written by the pioneers in western literature and philosophy, and distinct turkish factors together and assemble it into his novel with great organization. Orhan Pamuk expresses through all his novels that he is a person of sensitive nature and is one that possesses self-examining intellect. His inner-directed attitude and the search for deep meaning shows that he is a post-modernism writer.