갈등하는 통일 속의 예술들 / Die konfliktive Einheit der Künste (original) (raw)
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불어불문학연구, 2007
La critique des traductions est une considération évaluative et critique sur les pratiques traductives, et elle est en rapport incon- tournable avec l'interprétation. Pour pouvoir surmonter les problèmes de ‘traductions fautives', point vulnérable de la 'culture de traduction' coréenne, et dépasser la fidélité et la lisibilité qui sont des critères et des tâ̂ches basiques de la critique des traductions, la nécessité de la réflexion sur le rapport en question s'impose. Pour cela, nous tentons de réfléchir d'abord sur la nature du langage humain et celle de la traduction, en recourant, entre autres, à la 'sémantique générale' de Korzybski. Nous parlons ensuite d'une grammaire de traduction qui peut servir à lire et à analyser minutieusement le texte original et le texte traduit, et à les comparer d'une façon évaluative et critique. C'est un travail très largement herméneutique et rhétorique, qui dépasse la distinction binaire et simpliciste de traduction correcte/ fautive et laisse des places au choix multiple pour diverses raisons, surtout lorsque le texte original comporte une densité herméneutique, qui demande des ’lectures épaisses'. comme dans la plupart des textes de sciences humaines, y compris les textes littéraires. A la suite, nous nous interrogeons sur le processus de la traduction et celui de la critique des traductions, qui peut ê̂tre envisagée de façon interne ou externe, à l'aide d'un certain nombre de herméneuticiens et de rhétoriciens, afin de trouver une alternative à notre pratique actuelle de la critique des traductions. C'est un chemin qui peut nous conduire, espéronsnous, à une nouvelle 'science humaine traductive', qui deviendra sans doute des facteurs de l'innovation et de la réfor mation des sciences humaines coréennes actuelles.
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고전과 해석, 2022
Sŏ Gŏ-jŏng (徐居正)’s opinion on the usefulness of poetry is a critical element which not only defines the fundamental character of Tonginsihua (東人詩話, “Criticisms on the Poems by Korean Poets”), but also influences the criteria of literary criticism in Tonginsihua. This is closely related to the intent of the work, which is to elevate the stature of literature. This study explores the discussions on the usefulness of poetry in Tonginsihua, and examines how they have manifested in actual literary criticism. The usefulness of poetry discussed in Tonginsihua, which be abridged to “having to do with teaching (關於世敎)”, comes from the creative perspective. In regards to the usefulness that is teaching, the most important principle of creation is to allegorize (諷諭). It is to enlighten and encourage the inferior, and tacitly advise the superior. In the aspect of the reader or appreciation, the usefulness of the poetry is ‘to be moved (感動) and to act subsequently (感發)’. The unique poetic mode of expression is one of the most effective instruments in conveying the earnest emotion of a person; poetic expression moves one’s mind, and brings out the transformation of thought and actions on an ethical level. By reading an allegorical or encouraging poetry, one becomes enlightened; should a ruler acts upon reading the allegorical poetry, a country might be saved. In short, the author’s intentions in writing – ’to teach (世敎)’ – could be materialized in ‘being moved (感動)’ and ’being pushed to act (感發)’. Such perspective on the usefulness of poetry has influenced the specific criteria of literary criticism in Tonginsihua. Throughout Tonginsihua, works with the messages of loyalty, patriotism and love for the people, and allegory were highly rated. It is revealed that theme of a poem is prioritized over the elegance of its expressions, and sometimes only the message of a poem is sported without commenting on the expressive side of the work. Also, pros and cons of a certain poetry are discussed centering on their connotations, and an emphasis is placed on the usefulness of the allegorical poetry. Next, the inquiry moves on to examine the bases for differentiating between renewals (點化) and imitation (蹈襲) of references, which has been a long time subject of debate in academia when discussing the arguments on yongsa (用事, using reference) presented in Tonginsihua. Successfully using an existing phrase while adding sophistication to expression and producing a new meaning constitutes a renewal, whereas a failed attempt constitutes an imitation. Sŏ Gŏ-jŏng differentiates the two in accords to these general standards; however, he applied relatively ‘lax’ standards to the works with messages of satire, encouragement, loyalty, and love for the people - which are beneficial in ‘teaching’ - and rated highly the works that showcased outstanding expressions and the usefulness of the teaching. Also, he argued that works by poets like Ch’oi Hae (崔瀣), who have great character, need not be concerned on whether they are a renewal or an imitation. This is an instance in which the thematic aspect – the implications of the theme - had been applied to the fullest. One of the main creative objective of Tonginsihua was to raise the stature of literature. To fulfill the aim of the Guo Feng (國風) and contribute to teaching was the ideal of literature shared by bureaucrat writers of the early Chosŏn period. Tonginsihua is a work which actualized such ideas in literary criticism. While the criteria of criticism which Sŏ Gŏ-jŏng employs on renewal/imitation may seem arbitrary, when bearing in mind that such criteria are based on the thematic aspects centering on the usefulness of teaching/moving, a structurality of some extent can be found. This provides important grounds in reevaluating the value of Tonginsihua as a professional literary criticism.
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The Comments on the Korean Classical Texts, 2020
This paper analyzes Yang Ju-dong(1903~1977)’s research on the Korean classical poetry, focusing on its contexts of the ‘Korean Parnassus’ group in the late Japanese colonial period of Korea, from the late 1930s to the early 1940s. At the time of the second Sino-Japanese war, writers of “Munjang”, a popular coterie magazine founded in 1939, tried to ‘invent’ the language and literature of Joseon(Korea). Yang Ju-dong’s research on the Korean classical poetry, particularly interested in lexicology of ancient Korean language and literature, were related to such tendency of Munjang and its writers at that time. Concerning the discourse of ‘Korean classical literature’, Yang ju-dong conceived double boundaries of the Korean classical literature, the diachronic ‘past’ and the spatial ‘Korea=Orient.’ By fusing these concepts of time and space, he organized a singular ‘function’ of space-time of the Korean literature, that the Korean classical literature was valuable because it came from the past(classical antiquity), which meant it preserved Korean=Oriental aesthetics very well. These imagined boundaries and their function relied on two inventions. The first was the invention of the continuity of Korean language, from the language of Silla dynasty to the modern Korean. The second was the invention of the genealogical extension of Korean language toward Manchurian or Mongolian, based on the hypothesis of ‘Ural-Altaic language family.’ It seems that Yang ju-dong’s research internalized, to a certain degree, the logic of Japanese Imperialism, especially on its Orientalism or direction of ‘post/anti-westernization.’ To quote Homi Bhabha’s words, however, the invention of Yang ju-dong’s research can be analyzed as ‘resistance,’ because it interpellated Joseon(Korea), which was completely eliminated, into the Japanese imperialistic initiative of ‘Greater East Asia’, and therefore, implied “the signs of cultural difference and reimplicate them within the ‘deferential relations’ of colonial power.”
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고용위기와 일자리 나누기 -독일 폭스바겐 모델을 중심으로
2014
독일의 폭스바겐 모델은 노사의 전략적 선택과 국가의 제도적 지원이 결합된 대표적인 노사정 협의 모델로 알려져 있다. 이 글은 노동시간단축을 통한 일자리나누기를 독일 폭스바겐 사례를 중심으로 분석한다. 첫 번째로, 고용감소형 사회로의 전환에 따른 고용위기에 대한 논의를 탈산업사 회론과 노동의 종말론을 중심으로 살펴봄으로써 노동시간단축을 통한 일자리 나누기가 갖는 의미를 살펴본다. 두 번째로는 노사간의 협의를 통한 사회적 대화 모델로서 독일 폭스바겐의 주 28.8시간제도와 5000x5000 프로젝트를 검토한다. 이를 위해 일자리 나누기에 대해 노사의 전략적 선택이라는 관점으로 접근한다. 세 번째로는 독일 폭스바겐 사례 연구의 결과 및 시사점을 토대로 향후 우리나라 일자리 나누기에 대한 전망 및 발전방향을 제시한다. 폭스바겐 모델의 핵심은 생산성 증대와 고용안정 및 고용창출이다. 생산성 증대는 노동시간단축과 노동시간 유연화를 추구하는 사용자의 전략과 연계되어 있으며, 고용안정 및 고용창출은 노동자의 시간주권 확보를 지향하는 노동조합의 전략과 이어져 있다.
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A Contrastive Study of ‘isang/yĭshàng’, ‘iha/yĭxià’ and ‘inae/yĭnèi’ in Korean and Chinese Language
Korea Journal of Chinese Linguistics, 2021
한국어의 한자어 ‘이상’, ‘이하’, ‘이내’와 중국어의 ‘yĭshàng’, ‘yĭxià’, ‘yĭnèi’는 모두 한자 ‘以上’, ‘以下’, ‘以內’로 표기할 수 있다는 점에서 같은 語形을 지닌다고 할 수 있다. 또한 이들은 문장 속에서 수량을 뜻하는 단어 바로 뒤에 위치한다는 점도 동일하다. 이런 공통점으로 인하여 한국어와 중국어의 화자들이 상대방의 언어를 학습하거나 번역할 때, 두 언어에서 쌍을 이루는 이 단어들의 의미와 용법을 동일하게 여기기 쉽다. 그러나 실제 언어 사용을 살펴보면 그렇지 않다는 사실을 금방 깨달을 수 있다. 이들 단어 앞에 수량이 기준으로 제시될 때, 그 수량이 범위에 포함되는지 여부는 두 언어 사이에 차이가 있으며, 같은 언어를 사용하는 사람들 사이에서도 인식에 따라 다르다. 본고에서 사전과 문법서를 중심으로 한국어의 ‘이상’, ‘이하’, ‘이내’와 중국어의 ‘以上’, ‘以下’, ‘以內’의 정의를 살펴본 결과, 다음과 같은 내용을 알 수 있었다. 첫째, 한국어의 ‘이상’, ‘이하’는 기준의 포함 여부에 대해 명확한 사전적 정의가 존재하는 반면, ‘이내’는 그렇지 않았다. 둘째, 중국어의 ‘以上’, ‘以下’는 습관적인 용법이 있는 것으로 보이지만 기준의 포함 여부가 명확하지 않을 때도 있으며, ‘以內’는 아예 ‘습관적 용법’이라고 할 만한 쓰임조차 없었다. 이 단어들의 용법을 보다 정확하게 파악하기 위해 필자들은 한 달 간 두 언어의 화자를 대상으로 설문 조사를 실시하였다. 총 122명의 한국어 화자와 108명의 중국어 화자가 조사에 응하였으며, 조사 결과는 다음과 같이 요약할 수 있다. 첫째, 99.2%의 한국어 화자가 ‘X 이상’을 ‘X와 같거나 X의 위’라고 생각한 반면, 61.1%의 중국어 화자만 ‘X以上’을 ‘X와 같거나 X의 위’라고 생각하였다. 둘째, 91%의 한국어 화자가 ‘X 이하’를 ‘X와 같거나 X의 아래’라고 판단하였는데, 86.1%의 중국어 화자는 ‘X以下’를 ‘X의 아래’라고 생각하여 ‘X’가 범위에 포함되지 않는다고 판단하였다. 셋째, 53.3%의 한국어 화자는 ‘X 이내’의 ‘X’가 범위에 포함된다고 생각하였으며, 중국어 화자의 64.8%는 ‘X以內’의 ‘X’가 범위에 포함된다고 판단하였다. 이 조사 결과를 통해 한국어 ‘이상’, ‘이하’, ‘이내’와 중국어 ‘以上’, ‘以下’, ‘以內’의 공통점과 차이점을 다음과 같이 정리할 수 있다. 우선 짝을 이루는 이 세 그룹의 단어 중, ‘이내’와 ‘以內’가 가장 유사하다. 앞에 있는 수량이 범위에 포함된다고 생각하는 화자가 과반수이고 그렇지 않다고 생각하는 화자는 40% 내외로, 그 비율이 비슷하게 나타났다. 그 다음 ‘이상’과 ‘以上’도 어느 정도 유사하다고 할 수 있다. 그렇지만 수량이 범위에 포함된다고 생각하는 응답자는 한국어 화자의 99.2%로, 중국어 화자의 61.1%보다 38.1%나 많다는 점을 주의해야 한다. 즉, ‘이상’에 대한 한국어 화자의 판단이 거의 일치하는 반면 중국어 화자들은 그렇지 못하다는 것이다. 가장 뚜렷한 차이는 ‘이하’와 ‘以下’에서 나타났다. 한국어의 ‘이하’에 수량이 포함된다는 응답자는 91%에 달했는데 중국어의 ‘以下’는 오히려 그 반대로 86.1%의 응답자가 포함되지 않는다는 답을 주었다. 이러한 두 언어의 차이를 한국어교육과 중국어교육에서 반드시 강조해 주어야 학습자들이 해당 언어에서 알맞은 표현을 사용할 수 있을 것이다.
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Exploring the Problem of “Name” in Pak Chiwŏn’s Prose
The Research of the Korean Classic, 2021
This study explores the problem of “name (myŏng, 名)” in Pak Chiwŏn’s prose works Sŏn’gyultanggi (蟬橘堂記), Kwanjaegi (觀齋記), Palsŭngamgi (髮僧庵記), and Yŏngjaejipsŏ (泠齋集序). While Sŏn’gyultanggi discusses the emptiness and constraints of names, it also expects that they will induce efforts to discover the “true form” of the things themselves. Kwanjaegi observes how all things, from the self(ah, 我) to the name(myŏng, 名), change and die through the teaching of “obediently receiving and conveying.” While both works talk about the emptiness of names, they paradoxically also demonstrate their possibilities. Moreover, Palsŭngamgi highlights the contradictory existential condition of humans’, particularly literary intellectuals, ceaseless attempts to make a name for themselves, while Yŏngjaejipsŏ explores what this means through literature. The analysis can also be contrasted with Pak’s political treatise Myŏngnon (名論) in which he describes how the property of pursuing fame, that is, making a name for oneself, is a fundamental element that decides human action. In sum, the aforementioned works do not refute the making of names and making a name for oneself, but reflect Pak’s anxieties regarding such actions. Within his strong repudiation and doubt, he indirectly expresses the possibilities and necessity of leaving a name behind through humor, concealment, reversal, and twists.
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Brush Talks and Poetry Exchange in Travel Journals by the T’ongsinsa of 1711 and 1719
The Research of the Korean Classic, 2022
This study aims to review the brush talks and poetry exchanges included in the 18th century travel journals produced by the T’ongsinsa (通信使, the Chosŏn envoy to Tokugawa Japan) of 1711 and 1719. First, the brush talks from the T’ongsinsa travel journals of each era were examined. The T’ongsinsa of 1711 produced three different records. Cho Tae’ŏk’s Tongsarok includes exchanged poetry—95 verses under 74 titles. Im Sukwan’s Tongsailgi contains an independent account of brush talk titled Kangguanp’iltam, while Kim Hyŏnmun’s Tongsarok only documented significant episodes from the brush talks and poetry exchanges. Regarding the T’ongsinsa of 1719, the letters exchanged while negotiating diplomatic procedures were included in Haesaillok by Hong Ch’ijung. Chung Hukyo‘s Pusanggihaeng, in its diary portion, provided summarized accounts of the brush talks and poetry exchanges that took place in each era, and then provided 74 verses of exchanged poetry and 11 verses of original rhymes written by the Japanese. Sin Yuhan’s Haeyurok contains nearly 70 entries in diary, and Munkyŏnjapnok provides 36 accounts of brush talks and poetry exchange, showing a clear difference from the records produced in the previous era. Three aspects of the inclusion of the brush talk in these travel journals—produced by the T’ongsinsa of 1711 and 1719—are noteworthy. First, the T’ongsinsa travel journals of this period include more accounts of brush talks, as more such talks were held then. Second, people were becoming more open to the idea of leaving records of the brush talks. The term “brush talk” (筆談) appears frequently in the travel journals of this era, implying its increased recognition as a mode of communication that could be distinguished from the spoken word. Such notion led to a greater focus on “what was being said” in the brush talks than the mere fact that they occurred. The third aspect relates to the characteristics of narrative style. There are two stylistic characteristics apparent in 18th century brush talks in T’ongsinsa travel journals: recapitulation and reproduction of conversation. The former was widely used in T’ongsinsa travel journals of this era, while the latter was partly employed in Pusanggihaeng, and openly utilized in Haeyurok. Haeyurok in particular strategically employed the records of the brush talks in relations to the purpose of writing his travel journal—an important characteristic succeeded by the travel journals of later eras, including Wŏn Chunggŏ’s Sŭingsarok. The most crucial trait of the records of brush talks in 18th century T’ongsinsa travel journals is that an active consciousness formed regarding the utility of “brush talks” as a means of communication, and that its end product came to be employed as an object “worth documenting.” These findings may well be given consideration when examining the accounts of brush talks from Chosŏn envoys’ travel journals produced in later periods.
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