Thomas Mann에 있어서의 <二重視覺>의 理論과 實際

崔淳鳳 서울大學校人文大學 1978 人文論叢 Vol.2 No.-

A Comparative Study of August Strindberg's Miss julie & A Dream Play

朴熙鎭 서울大學校人文大學 1978 人文論叢 Vol.2 No.-

Miss Julie represents, first of all, its author's most determined endeavor to win the modern stage for naturalism. When he sent Miss Julie to his publisher, he wrote, "I take the liberty of hereby offering you the first naturalistic tragedy of the Swedish drama" Strindberg wrote Miss Julie in July and August of 1888, at the age of thirty-nine.

셰익스피어 first Folio : 서지학적 서론

李京植 서울大學校人文大學 1978 人文論叢 Vol.2 No.-

세익스피어 First Folio는 세익스피어의 첫 전집이고, 전집류로서는 세계에서 제일 비싼, 아니 돈으로는 이제 더 이상 살 수 없는 책이 되었다. F₁는 36편의 극을 수록하고 있어서 세익스피어 정정의 추축을 이루고 있다. F₁는 또한 여기에 처음 활자 화된 18편의 극들에 대해서는 유일한 권위를 갖고 있다. 이 사실들은 모두 F₁의 중요성을 말해주고 있는 것이다. 한편 F₁는 누가 언제 어떻게 출판하였는가하는 순전히 외적인 문제로부터 본문의 전달과 관계된 여러가지 내적인 문제에 이르기까지 많은 문제를 지니고 있다. 유수한 셰익스피어 본문학자들이 20세기에 들어와서 분석서지학(analytical 혹은 critical bibliography)의 도움을 얻어 이 문제들을 해결하는데 심혈을 기울였으며 그성과 또한 다대한 바 있다.

推古遺文에서의「烏」「都」「奴」「布」의 表寫에 對하여

李鍾徹 서울大學校人文大學 1978 人文論叢 Vol.2 No.-

근자 여러 사람의노력에 의하여 심오세기이후 한자음이 동국정운식 규범음을 제외한다면 체계상 그리 큰 변화(후세자료에서 보이는 구개음화, △음소실현상을 제외)을 가져오지 않았음이 확인되었다. 이런 사실에 근거하여 강신항 교수(1975)는 조선한자음의 근간을 이루는 체계가 아주이른 시기부터 굳어졌으며 십오세기 현실한자의 체계를 가지고 5~7세기이전의 한자음에 대한 역시도 가능할 것이라고 보았다. 그런데, 5~7세기이전의 한자음 자료가 없는 우리로서는 그 확정이 곤란하지만, 일본의 상대문헌 즉 일본서기나 고사기에 인용된 삼국시대의 인명, 지명, 관명의 한자음 표사자라ㅛ와 이 '記紀'가 만엽의 시대보다 백여년이나 앞선 것으로 추정되는 추고유문을 채용한다면 어느 정도까지는 가능하지 않을까 한다. 일본서기나 고사기에 의하면 응신십육년에 이미 우리 선조들이 논어십권과 천자문을 가지고, 도왜하여 그들에게 한문학습을 지도했고 그들로부터 후대를 받았던 기록이 있다. 위의 '기기'의 기록을 사실로 인정한다면 한반도가 중국한자음을 일본열도에 전달한 경유지 구실만 한 것이 아니라, 한자음이 한반도에 수입되어 일부는 동음에 동화되고, 이것이 다시 일본열도로 전달되었다는 가정이 더욱 나당한 것이 아닐까 한다. 일본의 만엽가명가 '자음'은 물론이고 그 표기법까지도 향찰식 영향을 지대하게 받았으리라고 추정되므로 , 일본상대문헌에서 가명표사례중에는 당시 동음의 반영으로 추정되는 것이 많을 것이다. 서기에 의하면 응신16년 '아직기'와 '왕인' 등이 도왜한 이후 간혹 '기록을 행한 사실'이 있었던 것 같다. 인덕기 41녕에 기각숙미를 백제에 처음으로 보내서 각군강장을 나누어서 향토의 소출을 기록했다고 하며 이중기 4년에 처음으로 제국에 「국사」를 두고 기사를 기록ㅎ게 했으며, 4방지에 통달했다고 한다. 또 윤공기 4년에 '맹신탐탕'로서 성씨를 바로잡게 했는데 이때에는 별로 기록한 것을 국가에 바치게 한일은 없었는데, 홍인사기 서주에 의하면 대화국 고시군에 있던 '부'에, 후세제왕이 피복차를 보고 매세에 본계를 장서도료에 바치게 했다는 기록으로 미루어, 이때부터 집집마다 대대로 내려오던 성문, 본계첩, 전통 및 고사등을기재한 것을 모두 나라에 바치게 했던 일이 있엇음을 짐작ㅎ게 한다. 또 추고기 28년에 황태자인 도대신과 함께 의논해서 천황기와 국기를 기록했고, 신연, 반조, 국조, 180부와 '공민등'의 본기가 있을 당시에는 이런 기록문서는 모두어마자가 비조천근처에 있던 집에 퇴적했던 것 같다. 그런데 소이부자가 황극 4년에 사형을 당할 때 아직 탈고한 채로 국사와 함께 풍포의 집에 두었다가 이것이 모두 회신되었고, 선혜척가 타다남은 국기를 중대형에게 바쳤다고 적혀있다.

Peter Handke의 演劇論

宋東準 서울大學校人文大學 1976 人文論叢 Vol.1 No.-

In der Einleitung habe ich Ausgang der Handkeschen Dramatik beschrieben. Handkes Dramatik laβt sich im wesentlichen auf die moderne Dramatik sowie Kunst zuruckfuhren. Die Sprachtheorie Wittgensteins, der V-Effekt Brechts, Pop art, Happenings, Beatles, Konkrete Poesie, Formalismus wie auch Struktualismus haben auf die Dramatik Handkes entscheidenden Einfluβ geiibt. Dieser Ausgang seiner Dramatik konnte in seinen Stucken den Charakter der blinken Modernitat auspragen. Im Hauptteil habe ich Handkes Dramatik in drei Aspekten betrachtet: Antibeschreibungs-dramatik, Sprache als das zentrale Thema, und Kritik am Mechanismus von Bewnβt-sein und Benehmen. In der <Antibeschreibungsdramatik> habe ich Handkes Gegenposition gegen die engagierte Dramatik der Neuen Realisten beschrieben. Sie weist auf, daβdie Literatur bzw. Dramatik kein Mittel zur Vermittlung, sondern das Ziel selbst ist und ihre Aufgabe in der Funktion besteht, bewuβter und genauer zu machen. Handke sagt ausdrucklich, eine engagierte Literatur sei ein Widerspruch in sich, weil die Literatur formal bestimmt sei, wahrend das Engagement materielle Bestimmung abgebe. Darum stellt die Buhne fur Handke keinen Bedeutungsraum, sondern einen Spielraum dar, wo Spiele von Formen ermoglicht werder konnen Er lehnt alle Methoden der Beschreibungsdramatik ab. Im Sprechstuck Publikumsbeschimpfung werden alle Methoden der tradierten Dramatik negiert: keine Auftritte, keine Dialoge, kein Buhnenbild, keine pausenl, kein Erlebnis, keine Ilusion von Wirklichkeit, keine Handlung, keine Dramenzeit, kein Gegenuber von Akteuren und publikum, keine Intrige und keine Hintertur. In der <Sprache als das zentrals Thema> bin ich von der Sprachtheorie von L. Wittgenstein ausgegangen und habe die Sprache seitens deren automomer Funktion betrachtet, um ihre Problematik feszustellen. Die Problematik der Sprache liegy in deren unbewuβten Aufnahme durch Gewohnung an ihr. Denn dadurch ergibt sich, daβsich der Sprachge braucher nicht der Sprache bedient, umgekehrt, sie sich seiner bedient. Da die Sprache mit ihrer autonomer Funktion auf das Denken und Handeln des Menschen unmittelbar bezogen ist, kommt er mit dem Erlernen der Sprache gleichzeitig under ihrer Macht zu stehen, Die Dramatik Handkes will diese Funktion der Sprache bewuβt machen, um die Automatisierung des Bewuβtweins zu verhindern. Sie stellt einen Kampf gegen die Verhexung unseres Veratandes durch die Mittel unserer Sprache" dar. Anhand des Stuckes Kaspar hale ich diese Funktion der Sprache demonstriert, indem ich aufzeigte, wie das Spracherlernen Kaspars vor sich geht und zugleich sein Bewuβtsein durch die erlernte Sprache beherrscht und automatisiert wird. In der <Kritik am Mechanismus von Bewuβtsein und Benehmen> habe ich aufgewiesen, wie die Automatismen bei der Bewuβtseinsabwesenheit zur Wirkung kommen konnen. Da die Gewohnung an der Funktion der schablonenhaften Ausdrucke sowie Methoden, die Handke 〃Flieβbanderzeugnisse des Bewuβtseins" nennt, die Antomatisierung des Bewuβtseins und des Binehmens bewirkt, soll man solche Ausdrucke und Methoden nicht einmal verwenden. Der Mechanismus von Bewuβtsein une tritt sowohl in seiner glatten Funktion als auch in seiner Storung auf. In er letzten Funktion hat die Wirkung die des Brechtschen V-Effekts. Diesen Mechanismus habe ich an den Beispielen aus dem Stuck Der Ritt uber den Bodensee gezeigt. Im Schluβ habe ich die Modernitat der Handkeschen Dramatik aufgrund der bisherigen Betrachtung noch einmal resumiert.

Der Romananfang in fontanes "Effi Briest" und seine Funktion im Zusammenhang des Romanganzen

許昌雲 서울大學校人文大學 1976 人文論叢 Vol.1 No.-

이 연구는 비단 폰타네의 장편소설 "에피 브리스트"의 해석에만 그치지 않고 소설형식의 일반성에까지 문제의 촛점을 확대투자 하려는 의도를 내포하고 있다. 서론에서는 주어진 논제의 문제점이 어디에 있으며, 과연 소설의 도입부에 이미 소설의 전체상이 투명되어 있을까 하는 점을 가설로 설정하고 이 문제를 제2하의 본론부에서 세부적으로 그 증명을 시도한다. 즉 소설의 도입부의 한계를 공간적으로 보아 호엔-크렘멘 내에서 전개되는 사건의 범위로 제한하고 이 소설의 전체 상이 이미 이 속에 함축되어 있음을 지적한다. 소설구조 구성요소 중에서 중요한 기능을 지닌 예시들이 이 작품의 통일성을 위해서 담당하고 있는 지대한 역할을 텍스트 자체의 해석을 통해서 확정시킨다. 모험심과 경솔성을 타고났지만 순수하고 온화한 순진한 여주인공 에피, 이와는 대조적으로 철두철미 사회적 허식의 굴레에서 벗어나지 못하는 냉정하고 이성적이며 원칙에 사는 인스테텐, 바로 이 두 사람의 상반된 성격의 결합 속에 이미 후기에 생길 비극적 운명의 씨앗이 뿌려져 있는 이 소설의 구조; 소설의 도입부가 전개되는, 자연적 요소의 원천인 호엔-크렘멘과 소설의 귀결부가 전개되는 인간적 요소의 보금자리인 호엔-크렘멘의 대비관계 속에서 인간의 의식도 다른 차원으로 탈바꿈하다는 "내적 발전과정"; 그리하여 자연과 사회와의 긴장관계 속에 비극적 좌표가 설정되어 있다는 결론에 이른다. 결국 이 논문은 렘메르트가 피력한 그의 산문형식이론 중 예시부분에 대한 언급을 또 한번 증명하는 하나의 논거를 제공하는데 공헌하고 있다.

現象學과 藝術 : M. Meleau-Ponty에 있어서의 藝術과 制度의 槪念에 이르기까지

吳昞南 서울大學校人文大學 1979 人文論叢 Vol.4 No.-

The first part of this paper is to sketch the main line of what has been called the phenomenologists' aesthetic doctrines. The purpose of such a sketch is not simply to introduce them in chronological order, but to examine their basic assumptions and appropriate phenomenological methods, i.e., the disinterested aesthetic appreciation (M.Geiger), the nature of the aesthetic object as purely intentional object (R. Ingarden), and the imaginative artistic creation (J.P.Sartre). These examinations are intended to show that, however phenomenology has been applied to art, each of them appears to be made as if art could be explained in terms, respectively, of appreciation, work, and creation, and, thus, to be structurally limited. The second part of this paper is, therefore, to suggest the corrective to such misleading and narrowly defined approaches to art. I think it may be suggested not by breaking art into its constituent elements of appreciation, work, and creation, but by considering it as a whole process. If then, art process becomes a communication of some sort and naturally implicates a social hebaviour. That is, art has to be explained in terms of an institutional means of some sort. Here arises a difficulty for the understanding of the conception of art as an institution. This is mainly due to various old assumptioms that art is primarily an individual, imaginative expression, that artist must seperate himself from social controls in order to achieve the aristic autonomy. But these assumptions involve the fundamental mistake to suppose that there is no continuity between the organized responses of individuals and the formal customs of the general society. In order to examine the concept of the continuity I turned to the phenomenology of M.Merleau-Ponty who wrote "phenomenolgy of perception" already prepared in his first work, "the structure of behaviour", dedicated to the metaphysical problem of mind-body interaction. He gives such a wide interpretation to the notion of behaviour as to include the sheer physical reaction, and traces the evolution of human cultural activity through a dialectic of orders-physical, vital, and human-in which varous kinds of from-syncretic, mutable, andsymbolic- are organized in the behaviour of a living organism. The superiority of human behaviour is, however, that the subject may transcend its purely physical and vital nature in the construction of a symbolic situation. And applying his revised gestaltism to the facts of perception, Merleau-Ponty concludes that an essence is but a conventional or arbitrary name tacked on to an already experienced from of behaviour. The first and pre-rational experienced from he calls a primary expression, which he claims may be analyzed and resynthesized in any fashion whatsoever by a human subject in secondary expressions. Therefore, the totality of primary expressions constitutes real human history and forms the subject matter of written history which is also likewise a secondary expression as science and philosophy. Here he links primary expressions with the individual 'parole', that is, individual assimilation of the living `langue', by appealing to Saussure's general theory of linguistics. Thus, for him primary and secondary expressions which may remind us of Croce's distinction of intuitions and concepts interact in such a way to enrich or impoverish the established language. If then, there is no individual activity aside from the insignificant release of tensions within individual organism, just as there are no completely determined examples of socially controlled response. That is, all human activity is more or less individual and at the same time more or less social. The final part of this paper is to indicate that for Merleau-Ponty art assumes its role as a primary expression in this system, and that it is of institutional nature. What follows is then to take into account some problems which issue from this argument. First, we have to analyze the institutional nature of art in such a way as to isolate the special function played by that institution. In a general way this purpose may be stated as the development of novel meanings for Merleau-Ponty and then art must be expounded in the general theory of knowledge for him. This suggests that there is another kind of knowledge, though pre-rational, and that art is likewise a from of cognitive activity as science though diffrent from each other in their nature. I think it is really a philosophical point in question whether such an argument can be supported. But it is significant that, if it will be accepted as having a valid ground, a bright prospect would be promised for the foundation of philosophy of art. In comparision with it, it is worth noting that even the minimum ground has been difficult to be arranged for philosophy of art in Anglo-American philosophy, and that this philosophy has advanced philosophy of art criticism instead, though there is an aesthetician like Virgil C. Aldrich who has tried to work out a philosophical ground for the foundation of philosophy of art with difficulty. Thus, we can now say as follows: art is a watershed, and is offered as a battle field, between two camps of philosophy. Secondly, what I have found interesting is that the notion of art as an institution is also analyzed by G. Dickie, an analytical philosopher who put the definition of art in terms of the art world suggested by A. Danto. Indeed., there are incompatible differences in many respects between Merleau-ponty's and G. Dickie's notion of it, but I think we can easily discern a difference in that, whereas the former tries to expound how art with its institutional nature comes into being, the latter tries to argue for the existence of the art world by describing a considerable amount of information about it. Here we can find a certain relation between both of them. For, if Dickie's conception of the institutional nature of art is based on the existence of the empirical art world and thus a possible ground of it has to be affirmed in any way whatsoever, Merleau-Ponty's explication of art as an institution would be a philosophical ground for, and a point of contact with, that existence of the art world. Thirdly, since the argument that art is an institution implies in itself that it is a communication as a kind of social activity, art may not or can not be isolated from the other institutions of society, i. e., religious, political, and economic. Thus we have to take into account the effects of art upon the society. That is, these effects is not external to the nature of art, but is already implicit in the notion of art as a social institution of the communication of the novel meanings. So, the philosophy of art can be consummated only when it is extended to relate itself to the social psychology of art. I think that this new approach is to be pursued for the solution of the dilemma of contemporary aesthetics.

《Le Rouge et le Noir》小考

오현우 서울大學校人文大學 1976 人文論叢 Vol.1 No.-

Si le schema dramatique du Rouge et le Noir est tres voisin de celui de l'affaire Berthet, le heros du roman est peut-etre plus proche de l'affaire de Lafargue, tel, du moins, que Stendhal a voulu voir ce personnage. On doit considerer que l'argument remanesque du Rouge et le Noir puise a desx sources diverses. Nous avons considere jusqu's a maintenant des faits qui, quoique oublies, furent de notoriete publique et qui pouvaient donc etre consideres comme des sources proprement historiques du Rouge et le Noir. Mais le roman est riche, en outre de toute une experience particuliere, qui est celle du remancier. Retrouver les elements epars de cette experience, tel est l'objet de notre etude, que se referera souvent a des realites obscures, mais proches de Stendhal, et qui fournira ainsi de nouvelles donnees pour l'enquete de genese. Parmi ces elements, les uns sont etrangers a la vie personnelle de l'ecrivain, qui s'inspire parfois de teztes anterieurs, d'autres, qu'il s'agisse de paysages ou de personnages, sont etroitement meles a ses aventures; beaucoup lui sont consubstantiels au point de nous imposer la necessite d'un parallele entre son heros et lui-meme. Ls passion essentielle, c'est naturellement l'amour. Stendhal en distingue quatre formes. Une des theses classiques de l'amour est celle de la "cristallisation des sentiments". L'idee de Stendhal, c'est que l'amour, sentiment subjectif, depend plus de celui que aime que de la personne qu'il aime. Donc, subjectivite de la vie amoureuse. L'amour n'est qu'une forme de folie, puisque, dans l'amour, nous voyons les etres autrement qu'ils ne sont, mais, pense Stendhal, c'est une folie delicieuse et c'est ha seule qui rende la vie digne d'etre vecue. Ces idees, Stendhal a essaye de les exprimer a l'aide de Julien Sorel. Julien, des qu'il a revu Madame Reanl parfaitement simple et naturelle, qui jamais n'enfle ses sentiments, a su qu'il n'aimait qu'elle. Enfin, il comprend. Le seul vrai bonheur est dans ces instants de tendresse, passes a dire des riens entrecoupes de baisers. L'amour vrai, ce parfait accord avec soi-mome qui est l'effet de la sincerite, voila les seuls biens dont l'homme puisse etre sur.

Jane Austen 硏究

朴熙鎭 서울大學校人文大學 1979 人文論叢 Vol.4 No.-

Jane Austen wrote most of her novels when Wordsworth was emphasizing the value and dignity of ordinary experiences and simple language in poetry. She was the very novelist that was aware that a novelist's duty is not to demonstrate a certain theory, nor to evoke the stereotyped emotional responses mechanically. She was born a daughter of a country clergyman and remained in the country all her life. Consequently her scope of knowledge is limited. She compared her work to a 2-inch-square ivory and this comparison is a proper one. The surface of the ivory was really small, but the sculptor who worked on it is one of the greatest artists. Even today one needs professional literary training in order to appreciate her excellent merits properly, for one cannot grasp the thing beyond the surface without special training. Already at 15, in her Love and Friendship, Austen showed how she was well aware of the folly of the sentimental novels. All through her life she saw through the absurdity, contradicitons and vain modifications which were prevalent in the novels of that period. She managed to avoid these defects with care. This fact can be said to be a revolution of the concept of the novelist's duty. Miss Austen wrote the following six novels: Northanger Abbey(1797∼1803∼1816), Sense and Sensibility(1797∼1811), Pride and Prejudice(1796∼1812), and Mansfield Park(1811∼1813), Emma(1814∼1815), and Persuasion(1815∼1816). The material dealt in the works is small in scope. But if we consider how she dealt with the material artistically, we are not to be disappointed. From the viewpoint of plot, these novels can be said trivial, whereas the dramatic truth and the vivid characterization are almost equal to Shakespeare's. Austen limited the scope of her works on purpose. She united the tradtion of poetic satire and sentimental novel in her works. She revealed in her works her interest in man and his actions as a dramatist. She intended to reveal her character by his or her words and actions. Analyzing the satire and various emotions, we come to perceive how dramatic Austen's characters' conversations are. By `dramatic,' we mean that the author does not describe the character directly but let him or her reveal himself or herself. Austen's satire depends on her sense of the character's mutability and complexity. But her vision is not proust's relative one. Her sense of the mutabitity is full of vigor and well balanced by her positive belief in man. Trivial conversations are constantly illuminated by her excellent sense and her firm belief in the possibility that she can pass a sound judgment. Jane Austen analyzes man, a civilized monster, in her novels. As one critic pointed out, we can notice "controlled hatred" in her attitude of the analysis. In other words we are shown that man clothed in grand constumes do so many unreasonable things. Through the analyses of these absurd behaviors, sensitive individuals are revealed to struggle with various social conditions delicately and laboriously. Austen was satisfied with the fact that she was only a novelist, nothing less or more. That is to say, she let the story stand on its own. She did not seek to justify the novel with grand themes and extravagant ethics. Austen's balance, economy and self-control in her art made her perform the task of unifying all the materials of the work marvellously. Her detachment is closely related to her balance. Keeping artistic distance lets her describe her characters more realistically. Thus she tried to let the readers see for themselves. In shis respect, she is one of the pioneers of modern novelists. Actually we do not go too far when we say that the so called James's"Mutual Irradiation" method is a highly developed form of Austen's technique. All in all, Jane Austen is the writer who let us see the profound feelings beyond the surface.

Klinger의 <Sturm und Drag> 考

千冀泰 서울大學校人文大學 1978 人文論叢 Vol.2 No.-