北韓社會에 대한 南韓住民의 認識調査 : 전후 세대를 중심으로

李璋鉉 弘益大學校 東西文化硏究所 1996 東西文化硏究 Vol.4 No.-

AbstractThis study is designed to find out how those South-Korean people who were born after Korean War think about North Korean society. To summarize the results o( this study are as follows:1. About 62% of the respondents say that the idolization policy of Kim 11-Sung and Kim Jung-11 is what they have in mind whenever they think of North Korea.2. About 78% of the respondents believe that the upward social mobility -social success- in North Korea depends upon family background and party loyalty.3. About 82% of the respondents think that in North Korea the Kim 11-Sung and Kim Jung-11's instructions are ranked higher that the North Korean constitution.4. About 48% of the respondents say that Kim ll-Sung is just the person who failed in developing the North Korean economy while 22% of the respondents believe that he is the person who maintained the policy of independence in foreign affairs.5. With regard to the question why the North Korean regime hesitates to open its territory to outside world, 81% of the respondents thinks that the open policy will greatly contribute toward the destruction of its regime.6. About 48% of the respondents thinks that the political system of Korea after unification should be capitalism while about 39% of the respondents prefer social democracy to other political systems.7. It should be kept in mind, however, that the results of this study have been obtained from 1,102 persons who were born after the Korean War, the results can not be generalized to the South Korean people in general.

Sons and Lovers의 비평적 수용

윤효윤 弘益大學校 東西文化硏究所 2001 東西文化硏究 Vol.9 No.-

It is interesting that the early reviews and interpretations of Sons and Lovers fully anticipated the diverse approaches to the work according to different schools of criticism in the 20th century. most of the early reviewers, suspecting the novel to be based on the writer's actual experiences, commented on the realistic rendering of the life in a mining village around the turn of the 20th-century Britain. The psychological approach, represented in this paper by A. Kuttner and F. Kermode, seeks to interpret the relation between the hero and the female characters in terms of Oedipus Complex as explained by Freud. Kermode, however, puts more emphasis on the aspect of a distinctive cultual event to explain the psychical disorder. Technique and artistry in a work of art are very important concepts to the formalist critics. While M. Schorer takes issue with a discrepancy in the themes and point-of-view in the novel, Julian Moynahan finds the three different formal orders enrich one another. The Marxist approach concentrates on the disturbing social truths of the author's time in his novel. According to Scott Sanders, however, Lawrence was unconscious of the impact of society on the individual. G. Holderness, interpreting this novel, emphasizes on the social, rather than the individual, experience as a source of value. Feminist criticism has been severe on Lawrence. Kate Millett was frankly political: she attacked Lawrence for representing male domination as an inevitable condition, while H. Simpson tried to be more objective in giving a historical contest to the author and feminism in his time. The critics of the last section doubt about the book's claim of realist objectivity. If L. Martz is interested in the way in which Miriam emerges from a narrative told primarily from the hero's point-of-view, Diane Bonds has more interest in interpreting the subtexts revealed through contradictions and evasion. They both show the poststructuralist concern with the instability of the language as attested in the recent Lawrence criticism.

Jay Gatsby and thomas Sutpen : A Comparison of F. Scott Fitzgerald's The Great Gatsby and William Faulkner's Absalom, Absalom!

Ryu, Doo-Sun 弘益大學校 東西文化硏究所 1994 東西文化硏究 Vol.1 No.-

이 논문은 F.Scott Fitzgerald의 The Great Gatsby와 William Faulkner의 Absalom, Absalom!의 주인공인 Gstsby와 Sutpen을 비교함에 있어서, 자수성가라는 미국의 꿈과 그 꿈에서 비롯하는 좌절과 비극을 중심으로 고찰한다. Gatsby와 Sutpen의 가장 두드러진 공통점은 이들이 갖고 있는 꿈의 강렬함이다. 각기 어린시절에 겪은 뼈저린 체험을 통해 이 사회의 진실을 알게 된 이들은, 잘 알려지지 않은, 혹은 불법적인, 방법을 통해 치부한 후 그들의 불우한 과거에서 빚어진 결과를 원상태로 돌려 놓으려 한다. 이 과정에서 이들에게 보이는 특징은, 시간의 흐름을 인정하지 않고 과거를 반복하려고 한다는 것이다. 하지만 바로 이 점이 이들을 파멸로 몰아넣는 요인이 되며, 여기에 이들의 "영웅성"이 엿보인다. 이 두 주인공에서 보이는 중요한 차이점은, 이들 작품의 배경이 되는 역사적 시기의 차이에서 비롯한다. Absalom. Absalom!이 다루는 시기는 The Great Gatsby보다 한 세대 앞선 시대로, Sutpen은 Gatsby의 원형이 아니라 오히려 Tom이나 Daisy의 앞선 세대로 나타난다. 이러한 점들에서 이 두 작품의 사회비평으로서의 의의를 찾아 볼 수 있다.

텍스트해석에 있어서의 주관성과 객관성

高委恭 弘益大學校 東西文化硏究所 1997 東西文化硏究 Vol.5 No.-

< Zusammenfassung > Das Problem der Korrelation zwischen Objektivitat und Subjektivitat beim Textverstehen ist die Kemfrage hermeneutischer Erkenntnistheorie. Da aber es in der bisherigen Hermeneutikforschung nur teilweise behandelt worden ist, stellt die vorliegende Arbeit seine Erorterung zur selbstandigen Aufgabe. Im Blick auf die Entwicklung hermeneutischer Theorie lafit sich unser Thema in drei Fragenkreise gliedem. Erstens soil der Grundfrage nachgegangen werden, in welchem Verhaltnis die antithetischen Verstehensmethoden, namlich die "grammatische" und "psychologische" oder "technische" Interpretation stehen. Sie ist am besten anhand der Schleimacher-Relekture Franks zu beleuchten. Dabei wird deutlich, dafi beide Interpretationsarten keinesfalls lediglich in ihrer Eigenheit und in der widerspruchlichen Beziehung beobachtet, sondem erst in der wechselseitigen Abhangigkeit begriffen werden muBten. Das Theorem der 'Divination', der Hauptfaktor der "psychologischen" oder "technischen" Interpretation, das in seiner Rezeptionsgeschichte verschiedentlich verstanden worden ist, beeintrachtigt diese Grundthese nicht; vielmehr unterstutzt es sie, indem es die synthetische Vermittlung beider polarer Verfahrensweisen fordert. Somit erganzt sich die dualistische Auffassung der Verstehenstheorie, wobei die Trennung der objektiven und subjektiven Textinterpretation hervorgehoben wird, durch dialektische, die auf ihre ideale Vereinigung zielt. Solch eine integrative Methodologie, die von Frank begriindet wird, gilt tatsachlich als praxisfahiger Weg, wirkliche Literaturtexte angemessen auslegen zu konnen. Die lebhafte Debatte zwischen Gadamer und Betti-Hirsch ist als ein Spitzenfall anzusehen, die Problematik der Alternative zwischen objektiver und subjektiver Interpretation in die Front zu stellen. Wahrend Gadamer auf das durch 'Wirkungsgeschichte' motivierte subjektorientierte "Sachverstehen" insistiert, hält sich Hirsch an der traditionellen Interpretationsregel, welche die Autorintention zum einzigen Maβstab der "richtigen" Auslegung erhebt. Die Kontroverse zwischen beiden Lagern ist zu groβ, als daβes, auf den ersten Blick, kaum möglich erscheint, irgendeinen Beruhrungspunkt aufzufinden. Man konnte aber dabei dem anderen, jedoch zentralen Aspekt nicht weichen, daβ sich beide Momente der Textobejktivitat und Lesersubjektivitat im Verstehensvollzug begegnen. Die Formel des "hermeneutischen Zirkels" ist hier als Beweisgrund anzufuhren. Daran ist also feststellbar, daβ sich der "philologische" Zirkel und der Zirkel der "Geschichtlichkeit des Verstehens" im Lauf des Textverstehens zu "einem" groβeren Zirkel integriert. Und die Bewegungen, wodurch diese Integration durchgefuhrt wird, sind einer Art von Unendlichkeit und Offenheit, insofem sie auf die Interaktion von Text und Leser gestimmt sind. Wahrend der fortwahrenden zirkelhaften Bewegungsvorgange verschmelzen sich auch die kontraren Elemente der Textbeobachtung. Beide divergente Seiten des literaturwissenschaftlichen Erkennens, namlich Methode und Antimethode, objektive und subjektive Auslegung und Empirie und Deutung vereinheltlichen sich in der Interpretationspraxis. Die hermeneutische Aporie der "Richtigkeit" der Interpretation, die auch im Mittelpunkt der Gadamer-Hirsch Diskussion steht, ist auch unter diesem Zusammenhang zu losen. Es ist hierbei eine Perspektivenwechsel notig; wichtig erscheint fur Hermeneutiker weniger die Aufarbeitung irgendwelcher objektiver Kriterien als die Entfaltung sinnvoller und relevanter Leseweise. Das Gewicht der Texthermeneutik sollte also nicht mehr auf das "was" der Textbeschaffenheit, sondem auf das "wie" der Lekture seitens des Interpreten gelegt werden. Nur muβ er immer wieder danach fragen, inwieweit die Art und Weise seines Lesevollzugs und das daraus resultierende Deutungsergebnis intersubjektiv nachpriifbar seien. Erst auf Grund der sachgemaBenen Antwort auf dieser selbstreflexiven Fragestellung lafit sich beurteilen, ob die vorgenommene Interpretation von wissenschaftlichem Wert sei.

한국 근대 소설론 연구

張師善 弘益大學校 東西文化硏究所 1997 東西文化硏究 Vol.5 No.-

< Abstract > This is an attempt to analyze and estimate the distinguished Korean criticism about novel during 1919-1945. It will help us not only to get a new prospect of whole history of Korean literary criticism, but also to take another look at Korean literary history itself. The noteworty articles are divide into next five categories. (1)a concepts of a novel (2)a thesis of a writer(Lee, Kwangsoo and Choi, Suhae) (3)a thesis of a workCKohang' and 'Sarang') (4)a genre, and (5)a history of a novel. We can meet the respectable critics in this process. They are (l)Hyun, ChuKconcepts of novel) (2)Kim, Dongin(research on Lee. Kwangsoo) (3)Lim, Hwa(genre) (4)Kim, Namchon(genre), and (5)Kim, Taejoon(history of a Korean novel).

새뮤엘 리차드슨의 「클래리사」에 나타난 비극적 비젼

蔡洙桓 弘益大學校 東西文化硏究所 1994 東西文化硏究 Vol.2 No.-

Modern novel came into being in line with the upsurge of the middle class in the 18th century. And it became the chief vehicle to convey the middle class values of individualism and empiricism and belief's in material success and class mobility. But like a double-edged blade the novel form cuts both ways : it not only reflects and embodies the hopes and fears, the energy and vitality of the middle class but also exposes and criticises the limitations and contradictions inherent in their value system. Samuel Richardson's Clarissa, unlike Pamela which upholds and celebrates, through its heroine's worldy success, middle class ideals, performs this double function of modern novel form. The book remains both the most powerful dramatization of the rising middle class's secularized motivations and desires and the devastating attack against the inhumanity and destructiveness of middle class modus vivendi. The novel exhibits an exceptionally dark and tragic vision and thus sharply distances itself from the dominant optimistic and comic pattern of the contemporary novels, and the protagonist of the novel, Clarissa Harlowe, remains a unique tragic heroine in the whole 18th-century fiction. The worldly-wise middle class of the century tended to regard marriage system as a means to accumulate their wealth and thus to "raise the family." The marriage of the times couldn't but take the form of property marriage. Hence the reification of woman and fetishism of female virginity. A middle class girl is likely to be treated as an asset and her virginity the most valuable treasure. In the novel, Clarissa is persistently coerced by her family to marry the hateful parvenue Solmes who promises a substantial dowry. Moreover, she is haunted by lustful Lovelace and, after her elopement, is contantly persecuted by him to agree to living in sin ("cohabitation" in Lovelace's word). She is thus beset by double threats that are intent upon to reduce her into an object of exchange and possession. Clarissa, however, refuses in an adamantine fashion to bow her head to either force. Being frustrated in his repeated attempts to break down her will, Lovelace finally resorts to a most desperate and outrageous method. Her "proud and invincible" character, however, comes to be more markedly manifest when she loses her virginity. Instead of consenting to his proposal of marriage to cover up the crime, she willfuly chooses to die. Her self-imposed death amounts to the vindication of her "inviolable" selfhood. and is equivalent to her vanquishing the external world that has treated her not as a person but as a thing. With such a crowning gesture that completes her life, she achieves a tragic stature after the model of Antigone, Oedipus and Tess. The novel is a tragedy of personality(or will) that stands firmly in the tradition of heroic tragedy dating back, through the Elizabethans, to the Greeks.

에. 테. 아. 호프만의 『수 코양이 무르의 인생과』에서의 상호텍스트성 : 영문학과 불문학 텍스트를 중심으로 Unter besonderer Beru¨cksichtigung der englischen und franzo¨sischen Texte

장진길 弘益大學校 東西文化硏究所 2002 東西文化硏究 Vol.10 No.-

Die Hauptfigur ‘Kreisler’ in E.T.A. Hoffmanns "Kater Murr" ist der Hamletsche Ku¨nstler, der sich an die Konflikt zwischen dem Ku¨nstlertum und dem Bu¨rgertum leidet, wa¨hrend sich der Shakespearesche Hamlet als der reflektierende, gebrechliche und sentimentalische Mensch zeigt, der zwischen der alten bo¨sen und der neuen besseren Welt in die Konflikt gera¨t. Kreisler wie Hamlet ist der Ironische Mensch. Der Autor des "Katers Murr" bezieht sich auf Shakesperes "As you like it", "Romeo and Juliet", "A Midsummer-Night’s Dream", "Henry VI", "Macbeth" und "The Tempest" in der Figuren-und Raumgestaltung. Zum Beispiel stammt die Atmospha¨re des Sieghartsweiler Parks wie die Figurengestaltung in ‘Kater Murr’ aus derjenigen des ‘Forest of Arden’ in "A Midsummer-Night’s Dream". In "Kater Murr" verdankt der Autor Laurence Sterne und F. Rabelais die humoristischen Charakteristiken und das moderne ‘Trickster’-Bild. Es ist bemerkenswert, dass Hoffmann die zwei grundlegenden Postulate, Ironie und Humor auftellt, indem er das zynische, satirische, ironische und zugleich humoristische Menschenbild von "Rameaus Neffe" von Diderot leiht. Nicht zum letzten muss man sich an die These erinnern, dass der Humor endgultig das beherrschende Element des "Katers Murr" ist, wenn Hoffmann durch die Zunge des Katers Murr auf die konsequente Weise den Sterneschen Stil und dessen Aufbauweise des Romans aufnimmt.

휠덜린 후기 시에서의 인용과 조립

장영태 弘益大學校 東西文化硏究所 1997 東西文化硏究 Vol.5 No.-

문예학 인식방법에서의 경험과 해석 : 통합적 방법론 설정의 가능성 Zur Begrundungsmoglichkeit einer integrativen Methodologie

高委恭 弘益大學校 東西文化硏究所 1996 東西文化硏究 Vol.4 No.-

Celan 서정시의 시론적 변환 : 후기작품을 중심으로

高委恭 弘益大學校 東西文化硏究所 1995 東西文化硏究 Vol.3 No.-