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유럽사회문화 update

European Society and Culture

  • : 연세대학교 유럽사회문화연구소
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수록정보
수록범위 : 1권0호(2008)~25권0호(2020) |수록논문 수 : 222
유럽사회문화
25권0호(2020년 12월) 수록논문
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KCI등재

1테러리스트 메데아 하이너 뮐러의 황폐한 - 『물가 메데아 자료 아르고호 선원들이 있는 풍경』

저자 : 김용민 ( Kim¸ Yong-min )

발행기관 : 연세대학교 유럽사회문화연구소 간행물 : 유럽사회문화 25권 0호 발행 연도 : 2020 페이지 : pp. 5-35 (31 pages)

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In seinem 1982 geschriebenen und 1983 in Bochum erst aufgeführten Drama Verkommenes Ufer Medeamaterial Landschaft mit Argonauten setzt sich Heiner Müller mit dem Mythos Medea auseinander. Durch die neue Gestaltung der in der europäischen Literatur immer wieder herausgerufenen griechischen Mythenfigur Medea stellt Müller sowohl die Gewalttätigkeit und Grausamkeit der europäischen Zivilisation als auch die Probleme des Patriarchats in Frage. In der Argonautensage sieht Müller den Anfang der europäischen Kolonialgeschichte und deren symbolisches Ende: Jason wird “der erste Kolonisator, der auf der Schwelle vom Mythos zur Geschichte von seinem Fahrzeug erschlagen wird”. Er interpretiert die Argonautenfahrt als einen den „Offensivgeist der Griechen“ reflektierenden kolonialen Aufbruch und Medea als das erste Opfer der Kolonialisierung. Medea bleibt aber nicht nur als ein Opfer von Gewalt, sondern tritt auch als die Täterin auf, die sich zum ersten Mal gegen den Kolonisator erhebt. Durch den Verrat Jasons erkennt Medea schließlich, dass sie bisher als Sklavin, Hure und Kuh gelebt hat und versucht, sich von ihrem Rolengefängnis zu befreien. Medea tötet ihre Nebenbuhlerin Glauke und schließlich ihre eigene Kinder. Diese Mordtat wird aber in Müllers Werk nicht als eine private Rache einer von ihrem Mann verlassenen Frau, sondern als eine universelle Tat dargestellt, da ihre terroristischen Taten greifen die Heiratsriten durch geheime Zauberformeln an, mit denen sie das Hochzeitskleid entzündet. Und sie zerstört die gesellschaftliche Einheit der Familie durch den Mord an ihren Kindern. Nach der Zerstörung scheint es nichts übrig bleiben. So will Medea “die Menschheit in zwei Stücke brechen”. Aber gleichzeitig äußert sie eine Hoffnung, dass sie “in der leeren Mitte” wohnen will, als ein “Ich”, das “kein Weib kein Mann” ist. Dadurch wird “eine über das Schöne vermittelte utopische bzw. messianische Perspektive” eröffnet. Nicht die Verzweifelnung und Ohnmacht stehen damit am Schluß dieses Werkes, sondern die appellativ an das Publikum delegierte Frage nach dem Ausgang der Geschichte, die die Zuschauer in einen Denk- und Entscheidungszwang hineinversetzen soll.

KCI등재

2슐라이어마허의 '상호영향으로서의 사교성'(Geselligkeit) 이론 연구

저자 : 최문규 ( Choi¸ Moon-gyoo )

발행기관 : 연세대학교 유럽사회문화연구소 간행물 : 유럽사회문화 25권 0호 발행 연도 : 2020 페이지 : pp. 37-87 (51 pages)

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Die vorliegende kleine Studie zielt darauf ab, den Begriff “Geselligkeit” und seine Bedeutung in F. Schleiermachers < Versuch einer Theorie des geselligen Betragens > von 1799 genau zu analysieren. Die Geselligkeit geht zwar auf das antike Symposion zurück, wo man gemeinsam-geselliges Trinken und Unterhalten genießt. Aber seit der modernen europäischen Aufklärung, die mit der Wiedergeburt des antiken Geistes in der Renaissance beginnt, gilt sie als Hauptmovens für Einrichtung einer bestimmten, menschlichen Gesellschaft, die mit einem instrumentalen Bewusstsein bzw. einer diskursiven, praktischen, zweckorientierten Verhaltensweise eng verknüpft ist. Schleiermachers 'romantische Geselligkeit' weicht jedoch von einem solchen Konzept der aufklärerischen Geselligkeit ab: Sie ist weder zweckorientiert noch instrumental, sondern trägt den Zweck in sich selbst.
Schleiermachers theoretischer Aufsatz < Versuch einer Theorie des geselligen Betragens > ist ein Produkt, der mit seinen Erfahrungen in Berliner Salons zusammenhängt, die von den jüdischen intellektuellen Salondamen wie Henriette Herz und Rahel Levin eröffnet sind. Dennoch ist der Aufsatz keine getreue Widerspiegelung des realen Salons. Er ist vielmehr ein Versuch von Ästhetisierung bzw. Romantisierung der Geselligkeit als 'dialogischer Wechselwirkung'.
Die Geselligkeit als 'dialogische Wechselwirkung' definiert Schleiermacher als “ein freies Spiel der Gedanken und Empfindungen, wodurch alle Mitglieder einander gegenseitig aufregen und beleben”, was seit Kant und Schiller als ein wesentliches Merkmal für ästhetische Bildung erkannt worden ist. Durch das gesellige Betragen im Sinne vom wechselseitigen Gespräch soll die antagonistische Beziehung zwischen Manier und Ton, Individuum und Gesellschaft überwunden werden, die Kant paradoxerweise als “ungesellige Geselligkeit” bezeichnet. Die ideale Wechselwirkung und das utopische Zusammenleben könnten Schleiermachers Ansicht zufolge vor allem in einer “besseren Gesellschaft” verwirklicht werden, in der die Frauen die Hauptrolle als Akteur und Stifter spielen würden. In solcher idealen Gesellschaft können auch alle religiösen, ständischen und nationalen Grenzen übersprungen werden. Als Fazit lässt sich feststellen, dass “eine freie, durch keinen äußeren Zweck gebundene und bestimmte Geselligkeit” eine wesentliche Bedingung für die Bildung einer idealen utopischen Gesellschaft ist.

KCI등재

3카스파 다비드 프리드리히와 티크의 『루넨베르크』를 매개로 샌정의 회화 읽기

저자 : 신성엽 ( Shin¸ Sungyup )

발행기관 : 연세대학교 유럽사회문화연구소 간행물 : 유럽사회문화 25권 0호 발행 연도 : 2020 페이지 : pp. 89-117 (29 pages)

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This thesis uses Tieck´s Der Runenberg (1804) to interpret the symbolic placement of C. D. Friedrich's characters in his paintings and use this as a lens to analyze Sen Chung's works.
Tieck's Der Runenberg (1804) is a Kunstmärchen, or folk/fairy tale, that begins in reality but enters into fantasy, making it an important piece of mystic romantic literature. In most folk tales and legends, the story focuses on nature or the character's actions, yet Tieck's Der Runenberg (1804) appears to centralize on an “independent opposing force” (Tismar 1997, 41). Although Friedrich and Tieck's works hold similar icons of romanticism, their realizations differ in the fact Tieck's protagonist Christian succumbs to the mountain under the force of nature, while Friedrich paints characters that seem to observe and contemplate the mountain that lead Christian to insanity. These works show the complex correlation between nature and the subject.
Der Runenberg constructs an image of the deadly power of nature as a competitive constraint of civilized society and asks about the absoluteness and perniciousness of art. Friedrich's painting in turn shows a contemplative and openness towards nature, opening a phase of abstraction through the expression of subjective feeling in his landscape paintings.
Chung is an artist that creates oil paintings influenced by oriental techniques expresses the spirit of German Romanticism in an original way. Using subjectivity, he interprets the world romantically, painting it as a floating image of lines, squares and rectangles, and recently introduced hexagons to his works. Chung ś paintings float between tension and relaxation, solitude and passion, East and West. His works asks viewers to expand their mind and dissolves the object of reality.
By examining Tieck's Der Runenberg (1804) composition and symbolism through the question of art and comparing Friedrich's natural elements in parallel with Chung's pictures I will delve into how elements of early German Romanticism influenced and manifested in later works.

KCI등재

4괴테의 자연풍경화와 광학도구 - 이탈리아 ㆍ 바이마르 ㆍ 보헤미아 풍경화에서 카메라 옵스쿠라 사용에 대해

저자 : 이상면 ( Lee¸ Sang-myon )

발행기관 : 연세대학교 유럽사회문화연구소 간행물 : 유럽사회문화 25권 0호 발행 연도 : 2020 페이지 : pp. 119-145 (27 pages)

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This paper investigates the use of the optical device, camera obscura by Johann Wolfgang Goethe (1749-1832) in his nature landscapes (drawings and watercolors) drawn in Italy (1786-88) and Weimar/Bohemia (1800-15). Since the late 1770s Goethe posessed two Camera obscuras in his house (now Goethe Memorial House), one pyramid type and the other one mini box-type, and used them for scientific research (optics etc.) as well as for sketches and drawings outside.
In some works of the early Italian journey (1787) it is to assume that Goethe used the camera obscura in order to delineate the perspecive lines, light/shade, colors etc. But from the late Italian journey (1788) he tried to picture, first of all, the impressions and feeling of the nature without aid of the optical device. And also noticeable is his tendency for abbreviation of natural objects that hereafter became more remarkable in Weimar/Bohemia landscapes. Based on poetic sensibility than scientific observation, Goethe's Weimar/Bohemia landscapes can be reconized as a 'poetic landscape'.

KCI등재

5탈경계 언어학적 분석에서 텍스트 개념에 관한 연구

저자 : 김휘택 ( Kim¸ Hui-teak )

발행기관 : 연세대학교 유럽사회문화연구소 간행물 : 유럽사회문화 25권 0호 발행 연도 : 2020 페이지 : pp. 147-174 (28 pages)

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Cet article a pour but d'examiner le concept de texte en termes de translinguistique. L'analyse translinguistique étudie la signification du sujet en tant que sémantique de l'énonciation. Selon Emile Benveniste, les objets de cette étude sont des textes et des oeuvres. Nous devons remarquer dans cette article la définition du terme, “texte”. Tout d'abord, nous avons présenté la définition large suggérée par Yong-ho Choi. En nous concentrant sur la « signification », nous avons également examiné la notion de dénotation et connotation de Barthes et la relation existante entre les textes et discours dans la théorie d'Adam à leur tour. En outre, dans cet article la définition du texte dans l'analyse de translinguistique a été examinée. Pour atteindre l'objectif de cet article, il était nécessaire de présenter le rôle réel du texte lié à la dimension du sens plutôt qu'en termes de définition universelle et pratique du texte. Par conséquent, nous avons étudié la théorie de Julia Kristeva en le comparant aux théories de Paul Ricoeur et Roland Barthes.

KCI등재

6안드레이 즈뱌긴체프 감독의 영화 <옐레나(Елена)> 연구 - '경계'의 모티프를 중심으로

저자 : 홍상우 ( Hong¸ Sangwoo )

발행기관 : 연세대학교 유럽사회문화연구소 간행물 : 유럽사회문화 25권 0호 발행 연도 : 2020 페이지 : pp. 175-196 (22 pages)

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Andrei Zbyaginchev's film Elena(2011), released in July 2011, is a work that focuses on a kind of physical or abstract boundary. Unlike the previous work, which mainly used biblical and mythological motifs, the movie Elena is set in a spatial confrontation between the capital city of Moscow and its surroundings.
The main narrative of the film unfolds around the protagonist, Elena, but its formal characteristics, such as an extreme long take that creates a cold atmosphere on the screen, inherits the tradition of Russian art-house films. Since the camera focuses on and emphasizes static objects rather than dynamic movements, the overall atmosphere of the film is cold and gloomy, and that atmosphere is also inside of Elena herself.
This film depicts the conflict between a woman named Elena, a former nurse, and her husband, who is financially wealthy, and living a seemingly unfavorable life. Because the worlds are completely different from each other, Elena does not belong to either and is reciprocating both sides. In this respect, the motif of “border” inevitably emerges above all in the movie Elena. In the film, the boundaries of the geographical level of economically divided living spaces, and the boundaries of Elena's past and present are compounded to form a narrative.
I will analyze this work, noting that the film Eelena exclusions dynamic spectacles or unexpected dramatic effects through these boundaries, but gives an emotional shock to the audience and sharply captures the essence of life.

KCI등재

7메타픽션으로서의 「우리들」 - 자신을 찾아가는 글쓰기 여정

저자 : 문준일 ( Moon¸ Joonil )

발행기관 : 연세대학교 유럽사회문화연구소 간행물 : 유럽사회문화 25권 0호 발행 연도 : 2020 페이지 : pp. 197-228 (32 pages)

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This article is an attempt to interpret Evgeny Zamytin's We, which was evaluated only as utopian literature and dystopian literature, with a new reading method. We is a very complex and interesting text from a genre perspective. Genre experimentation is done to the extreme in We. If you look closely at this novel, covered with a utopia, the genre elements of love novels, adventure novels, and psychological novels are organically intertwined with each other, and they have a structure that finally results in a philosophical novel. So, the expansion and deepening of the interpretation of the structure of the genre provides decisive moments for the interpretation of We. The reason is that this text is not simply a combination of several genre elements, but an organic complex genre structure that allows in depth interpretation of this text only by applying a frame of various genre structures. The important point in this context is that the inter-relationships between genres do not proceed in parallel within this text, but organically, in such a way that one genre flows from another genre.
The most basic genre structure in We as such a complex genre is the metafiction genre. This is because the novel begins when the protagonist D-503, the construction engineer of the Integral, decides to write an epic about the greatness of the One State on the first page of the novel. In other words, We is “a novel about writing novels,” and this genre's characteristics determine the basic narrative structure of this work. However, in the process of creating an epic poem, an unexpected transformation of D-503, that is, a transformation from mathematician to poet occurs. This transformation process causes ontological confusion of D-503, and is accompanied by psychological agitation and pain. Interestingly, the characteristics of the metafiction genre structure and the narrative structure based on it become the device that can best capture the change in the psychological state of D-503. So in the process of developing novels, the structure of the metafiction genre works as the basis for the birth of new novels, that is, psychological novels. The purpose of this article is to examine the role of metafiction genre elements, which is the most basic genre structure of We, in the semantic structure of works, and to reveal the process of metafiction genre transforming into a psychological novel.

KCI등재

8러시아의 캄차카 원정대에 대한 고찰

저자 : 강성희 ( Kang¸ Seonghee )

발행기관 : 연세대학교 유럽사회문화연구소 간행물 : 유럽사회문화 25권 0호 발행 연도 : 2020 페이지 : pp. 229-259 (31 pages)

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This paper examines the historical background and overall exploration process of the 1st Kamchatka Expedition (1725-1730) and the 2nd Kamchatka Expedition (1733-1742) and aims to highlight the meaning of the expedition. The task of the first expedition was to determine whether Asia and America were connected or separated. The leader of the expedition was V. Bering. A. Chirikov and M. Spangberg were appointed as his assistants. They spent first two years on traveling from Saint Petersburg to Okhotsk. They moved from Okhotsk to Nizhnekamchatsk and sailed north and then north-east along the shore, exploring Kresta Bay, Gulf of Anadyr, and St. Lawrence Island. They passed the Bering Strait between Asia and the Americas, but the thick fog prevented them from seeing America with their own eyes. This led Bering to propose the second expedition to Kamchatka. The 2nd expedition had been a long-term project that took 10 years. Again, V. Bering was the leader of the expedition and A. Chirikov and M. Spanberg assisted him. Representative achievements of the expedition include the discovery of Alaska, Aleutian Islands, Commander Islands and Bering Islands, as well as detailed mapping of the northern and northeastern coasts of Russia and the Kuril Islands. In addition, the academic portion of the expedition, which conducted ethnographic, historical and scientific studies of the Siberia and Kamchatka regions are noteworthy. Their achievements provide an academic foundation for future researchers.

KCI등재

9시베리아 투바족의 동식물관 연구

저자 : 김태옥 ( Kim¸ Tae-ok )

발행기관 : 연세대학교 유럽사회문화연구소 간행물 : 유럽사회문화 25권 0호 발행 연도 : 2020 페이지 : pp. 261-287 (27 pages)

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This study investigated the significance of several home animals, wild animals and plants that are considered to be most closely related to their daily life or considered as totems among the various animals and plants in Tuva.
The Tuvines, who live in the middle of the Siberian coniferous forest and the Mongolian grasslands, are affected by a variety of climatic zones, such as the taiga and the steppes in the north, and the desert and semidesert in the south.
Tuvine traditionally considered animals to be shaman's spirit helpers, mythical ancestors and they believed that the beasts(звери) belonged to the Master spirit (дух-хозяин) of a taiga. They also were close and worshiped home animals such as sheep, horses, dogs, vwild animals such as wolves, bears, rabbits, and birds, such as eagles, swans, crows. Among the plants, broad-leaved trees including white poplar and birch were considered sacred. So Tuvine worshiped the broad-leaved tree, called as the “shaman tree,” “tree of life,” “the world tree,” “the axis of the world,” and “the universe tree.”

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1연안해역에서 석유오염물질의 세균학적 분해에 관한 연구

(2006)홍길동 외 1명심리학41회 피인용

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2미국의 비트코인 규제

(2006)홍길동심리학41회 피인용

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2미국의 비트코인 규제

(2006)홍길동41회 피인용

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