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- 저자 : 정동섭 ( Jung Dongsup ) (검색결과 3 건)
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20세기 돈 후안 비교연구 - 하신또 그라우의 『농락하지 않는 농락자』와 곤살로 또렌떼 바예스떼르의 『돈 후안』을 중심으로
정동섭 ( Jung Dongsup ) 한국스페인어문학회(구 한국서어서문학회) 2017 스페인어문학 Vol.0 No.82
In this study, we compare the works of Jacinto Grau and Gonzalo Torrente Ballester -El burlador que no se burla(1927) and Don Juan(1963), respectively- with the exemplary works of Don Juan, El Burlador de Sevilla y convidado de piedra of Tirso de Molina and Don Juan Tenorio of Jose Zorrilla. As we know, through the works of Tirso de Molina and Jose Zorrilla, two fundamental elements of Don Juan works have been developed: the depravation of the protagonist and the double invitation of stone. But in the works of Jacinto Grau and Gonzalo Torrente Ballester, Don Juan becomes a seducer, not a mocker, and the anecdote of the stone`s invitation disappears. In previous works, the double invitation episode carried out the function of punishment against the threat of social structure and blasphemy. However, in the two works of the twentieth century, when modernity is built, the story of the double invitation is replaced by another because it is not scientific. Also, by the development of psychoanalysis, the protagonist becomes the focus of interest. The protagonist of the works of writers of the twentieth century neither deceives nor mocks women. In addition, the hero of Torrente Ballester is very religious and intelligent. The novelist invented a new myth through a reinterpretation of Don Juan.
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루이스 부뉴엘의 <비리디아나>(1961)에 나타난 정신분석학적 요소들 - 지그문트 프로이트의 이론을 중심으로
정동섭 ( Jung Dongsup ) 한국스페인어문학회(구 한국서어서문학회) 2017 스페인어문학 Vol.0 No.84
The Spanish director, Luis Bunuel`s 1961 work, Viridiana, created a sensational scandal. It was the first Spanish film to win the Golden Palm of Cannes. But it is more famous for the trials the movie has experienced. The failed charity of the protagonist, Viridiana, and the parody of Leonardo da Vinci`s `Last Supper` caused the Vatican to label this work with blasphemy. So the film has been banned in Spain for a long time. This study distanced itself from the evaluation of anti-Christianity or anti-Catholicism and analyzed the psychoanalytical elements inherent in the movie. There are many psychoanalytic elements in the works of Luis Bunuel, who had read Freud from his youth. But in the case of Viridiana, the research has been insignificant. Through this study, not only the obsessive compulsive disorder and the hysteria of the protagonist Viridiana, but also the scopohpilia, the fetishism and the depression of Don Jaime have been interpreted by the perspective of psychoanalysis. We think that this study contributes greatly to the understanding of the work with the breadth of Luis Bunuel`s knowledge on Freud`s psychoanalysis.
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20세기 돈 후안 비교연구 -아소린의 『돈 후안』과 바예-인클란의 『사자(死者)의 예복』, 우나무노의 『사제 후안 또는 세상은 연극이다』를 중심으로
정동섭 ( Dongsup Jung ) 한국스페인어문학회 2015 스페인어문학 Vol.0 No.76
El mito de Don Juan sobrevive en la sociedad contemporanea. Por este estudio queremos comparar los donjuanes del siglo XX con los de su modelo, y ver su forma metamorfoseada. Los objetivos de nuestro estudio son Don Juan de Azorin, Las galas del difunto de Ramon del Valle-Inclan y El hermano Juan o El mundo es teatro de Miguel de Unamuno. Los criterios del estudio comparativo se derivan de dos obras representativas, El burlador de Sevilla y convidado de piedra atribuida a Tirso de Molina y Don Juan Tenorio de Jose Zorrilla. La historia de Don Juan como modelo se divide en dos partes: la burla y la invitacion doble con piedra. Pero los donjuanes del XX no se burlan de las mujeres sino son sus objetos de la seduccion. La invitacion doble no funciona en las obras posteriores. Cada escritor transforma a Don Juan en su protagonista. En consecuencia, resulta que la perspectiva de la generacion 98 esta reflejada en el don Juan de Azorin, que el protagonista de Valle es el esperpentizado y que el hermano Juan es un caracter muy unamuniano.
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