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- 저자 : 許汶澤 (검색결과 6 건)
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허문택 東亞大學校 學生生活硏究所 1970 學生硏究 Vol.1 No.-
결론은 간명하게 요약된다. 대도시화 시대에는 현대적 기계 앞에서 적응될 수 있는 과학적 기능 기술인을 양성하는 것이 그 하나이고 인간성 상실, 인간기계화를 극복하고 그 병폐를 막고 인간 영혼의 참된 본선을 회복 시켜 인간 상호간의 인정 어린 유대를 회복하는 것이 또 하나이다. 인간성을 회복하고 생의 의의를 발견하고 자중 자애 하고 타중타애 할 수 있는 인간을 도로 찾는 일이다. 인정을 화폐단위로만 측정할려고 들고 성실성을 인종으로 판정하고 겸허를 열등자의 복종으로 오인하고 믿음을 무지의 독단으로 돌리고 자유와 방종을 혼동하고 자학과 타학을 인간의 정상성인양 생각하고 고역과 책임은 약한 자에게만 가해질 짐이라고 생각하는 따위의 뒤틀린 인정 풍조를 지양하고 인간 상호의 운명적 심연을 사랑으로 정으로 굽어 보며 협동하고 공평히 분배하고 하는 인간들의 사는 도시를 형성 함으로서 대도시화 시대는 인류 역사의 가장 행복된 문화 문명을 향유하는 시대로 될 것이다.
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文學作品에 있어서의 幻想과 現實의 Unity : From a Psycho-Analytical Point of View 精神分析學的 觀點에서
許汶澤 東亞大學校 大學院 1984 大學院論文集 Vol.8 No.1
The aim of this paper is to analyze A Midsummer Night's Dream and examine if the concrete, structural principle of this work as an artistic work corresponds with Freud's psychological theory. Three threads are woven into the fabric of this work. The first of these concerns the pending marriage of Theseus, Duke of Athens, to Hippolyta, Queen of the Amazons. The second thread concerns the world of the lovers (i.e., Hermina, Lysander, Demetrius and Helena) whose love is repressed and frustrated. The third concerns the world of a group of Athenian tradesmen, Bottom, Quince, Snug and Others. Against these three worlds is set the world of the fairies, and people in the real world experience the fantastic on a midsummer night. As Shakespeare says, "Lovers and Madmen have such seething brains, such shaping fantasies, that apprehend more than cool reason ever apprehend. The lunatic, the lover and the poet are of imagination all compact." In the course of the play, there develops a dream, revealing in its center the repressed instinct. Eroticism takes on much more intensity. We notice that symbols in Shakespeare's play and sex symbols in Freud's interpretation of dream corresponds with each other and that the analytical process of the symbols in a dream and that of the symbols in a literary work are based on the identical theory. It is also to be noticed that the symbols in a dream are derived from the raw of the material, whereas those in a literary work is sublimated and given a logical unity by the writer. The writer gets his material from a dream or daydream, transforms, selects, adds and restructures the material and presents a finished work of art (i.e. a novel, or a poem, or a play). Three hundred years separates A Midsummer Night's Dream and Freud's theory. Even though one is a literary work and the other a psychological theory, we notice that there is in principle a great mutual correspondence between these two in dealing with fantasy and reality. That is to say, a literary work interweaves reality and fantasy, and dialectically integrates and unifies them, so that the finished work is not of reality alone, nor of fantasy alone, and it is of much higher dimension, namely, of the artistic reality. Therefore we find in a literary or artistic work alone the truth of an integrated and unified human life.
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許汶澤 東亞大學校 1966 東亞論叢 Vol.3 No.-
Art in primordial society was of a collective and communal nature. With the growth of individualism in the modern society however, individuality in art has gained importance. Hence, a controversial question has been raised between critics as to which should be given major emphasis in art, personalism or impersonalism. I attempted to find a scientific pertinence of impersonality of art, with the theoretical support from psychoanalysts Freud and Jung and a]so from such literary critics who applies psychoanalytical theories upon art and literature as Herbert Read and Maud Bodkin. My major endeavor has been to defend the appropriateness of impersonalism in art with particular aid from Jung's assumption on archetype and critical theories of S. E. Hayman. I tried to define this impersonal archetype as an artistic chain which transcends time and space and constitutes an organic link between the artist and the work of art and the reader.
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