체코시 연구 (1)

김규진,Kim Kyu Chin 한국외국어대학교 외국학종합연구센터 동유럽·발칸연구소 2000 동유럽발칸연구 Vol.8 No.-

수도 수묘대의 조류방제에 관한 연구

김규진,함영수,Kim Kyu Chin,Ham Young Soo 한국응용곤충학회 1976 한국식물보호학회지 Vol.15 No.3

This experiment was conducted to several agricultural chemicals such as cuperic sulfate, lime sulfur, swep 80 wp, dithane A-40 and dichlone 50 wp for use as algaecide in wetted nursery of rice, and chemicals were applied at 5 day before and after sowing. The results are summarized as follows. 1. It was found that the effective chemicals as algaecide in wetted nursery were dichlone 50 wp and swop 80 wp, but chemical damage appeared to plant when dithane A-40 and swep 80 wp was applied. 2. Cuperic sulfate was identified to control algae, but it seems to be injurious to seed germination when applied in wetbed nursery. 3. Results were revealed that except dichlone, 50 cuperic sulfate, lime sulfate, swep 80 wp and dithance A-40 decreased the number of roots, rate of dry matter production and plant height compared when no chemical was applied. 4. Dichlone 50 wp was recognized as the most suitable algaecide in view of the plant growth and algae control in wetbed nursery. 수도 수묘형 육묘에 있어서 종자침하에 의한 부패, 발아지연, 종자의 부유에 의한 종자가 한쪽으로 몰리는 등의 해를 야기시켜 발아율이나 성묘율율 저하시키는 조류나 괴불방제를 시도하여 수묘대에서 파종전후 5일에 Cuperic Sulfate, Lime Sulfur, Swep 80wp. Dithane A-40, Dichlone 50wp를 처리하여 다음과 같은 결과를 얻었다. 1. 조류 및 괴불방제의 효과가 뚜렷한 약제는 Dichlon 50.wp, Dithane A-40, Swep 80 wp 였으나 Dithane A-40, Swep 80wp는 약해등으로 성묘율이 낮었다. 2. Cuperic Sulfate는 조류 및 괴블에 대한 약제효과는 인정되었으나 약제처리후의 파종시 발아억제 및 종자침하현상이 심하였다. 3. 파종후 25일묘 조과결과 Dichlone 50wp를 제외한 기타 약제처리구는 Check구에 비하여 지하부의 근수, 지상부의 생체중 및 건물중비율이 낮았고 초장은 약제처리구가 전반적으로 낮은 편이었다. 4. Dichlone 50wp는 조류 및 괴블 방제효과 과 뚜렷하여 종자발아 및 성묘비율을 높일 수 있었으며 약효의 지속기간은 처리후 4일 정도임이 인정되었다.

체코문학의 슬라브주의와 민족주의

김규진(Kim Kyu-chin) 한국외국어대학교 외국문학연구소 2002 외국문학연구 Vol.- No.10

With the Enlightenment in Austria a new age commenced in the Czech Lands. The propagation of knowledge, although it was spread for the welfare of the enlightened despot, aroused a curiosity to search the Czech past history In the days of Joseph Ⅱ a coterie of learned friends, led principally by Dobner, Pelcl and Dobrovsky, cultivated the critical examination of Czech history and philology and gave stimulus to a number of popularizers, who brought the findings of the scholars to the lower classes At first scholars renovated the vestiges of old Czech culture and reboot the national language by the use of philological principles And scholars, writers, priests, teachers wrote simple stones and tried to teach common people Ironically thanks to the Napoleonic war, Romanticism with all its adoration of national traditions and history spurred on the efforts begun in the past Jungman introduced the revival to the middle classes Literature and history were mustered into service by patriots, and Panslavic relations, indications of which were already found m Dobrovsky's time, were persistently cultivated The Panslavic ideal grew out of the Pangermanic complex, assiduously cultivated by the student societies and by the various groups of patriotic Germans Palacky and ?afa?ik came to Prague from the group of descendents of the Protestant emigres in Slovakia and they earned on revival work with the assistance of Czech nobles Kollar gave Bohemia his Slavy Dcera, and Palacky wrote The History with the idea of binding the national program with a moral and cultural elevation of the people If anything characterized the Czech Romantic Era it was the work of its representatives' Joseph Jungmann m Philology, Kollar in Slavistics, Palacky in history, ?afa?ik in archeology, ?elakovsky and Karel Macha in poetry, and Havli?ek in journalism and politics Out of Palacky's efforts and those of his contemporaries grew national societies and organizations propagating the idea of Bohemian individuality among the younger generation By the 1840s a Czech nation of commoners obtained and began to formulate a political and social program for the future Even the nobles, anxious for a change that might bring them power, joined the nation in its effort to overthrow the existing Austrian regime Czech literature of this period served as means for national awakening and national revival rather than the original purpose of literature itself During this period Karel Macha, who wrote The May, contributed to literature itself Without paying attention to the national movement.

중·동유럽의 문예정책: 체코문학과 정치와의 관계를 중심으로

김규진(Kyu Chin Kim) 한양대학교 아태지역연구센터 1991 중소연구 Vol.15 No.1

밀란 쿤데라의 문학과 체코문학의 국제성 : 희곡 「야곱과 그의 주인」을 중심으로

김규진(Kim Kyu-chin) 한국외국어대학교 외국문학연구소 2006 외국문학연구 Vol.- No.22

Milan Kundera's literature and Czech literature are deeply rooted in the tradition of European Literature. Not only does Kundera see his creations as a contribution to eastern or central European life but also as a contribution to the European culture as a whole. The concept of ‘globalism’ or ‘internationalism’ in Czech literature was actively developed near the end of 19th century which was the age of modernism. After the May generation, for the writers of cosmopolitan viewpoint who pursued the internationalization of Czech literature of the 1860's, the most pressing task of Czech literature at the end of the 19th century was to follow the Western Europe. The Lumir generation (Lumirovci) of the 1880s led this movement. Vrchlicky and Zayer played leading roles in this movement. By the efforts and achievements of these writers Czech literature advanced to the level of Europe and soon, it was able to continue to stay in par with the West European tradition. In 1918 the Czech Republic along with Slovakia formed the independent country of Czechoslovakia and was able to create a vibrant literature. However with the advent of Hitler's invasion, World War II and the communism of Czechoslovakia, the progress of Czech literature seemed to stray away from the European tradition. Not only that, the modern trend of liberalism that was brought about during the 1960's also cultivated a new environment in Czech literature. It was in this setting that Milan Kundera started writing his works in earnest. When the ‘Socialist Movement with a Human Face’ of Czechoslovakia was oppressed by Russian tanks in 1968 many writers including Kundera felt the crisis of losing their national identity. In this period, also considered as the 2nd period of Kundera's literature, the political chaos stabilized into the undesirable form of communism, also called ‘Normalization.’ The internationalism of Kundera's literary world began to appear more clearly in his new works. It is well known that Czech literature and other fields of Czech culture have deep roots in European cultural tradition. It can be said that the literature of Josef Skvorecký, while he was active in Toronto, Canada after 1968, and Kundera, while he was active in Paris after 1975, are cosmopolitan in nature. In this paper, I will look into Kundera's life and works and try to examine the internationalism of Czech and Kundera's literature focusing mainly on Jacob and His Master. It was written by Kundera during the ‘Prague Spring’ incident when Russian tanks occupied Prague, the capital of his homeland, Czechoslovakia. This work is not considered as the basis of Kundera's literature, Laughable Loves and The Joke written before the incident. The relationship between Jacob and his master is reminiscent to the relationship between Martin, who plays the role of Don Juan, and the narrator, his erotic disciple, and also pertains hints of Life is Elsewhere and The Farewell Party. Besides these two distinctive qualities of this dramatic work, no other elements of Kundera's writing appear. It is said that whenever Kundera had a chance he showed a heightened interest in European literature, especially in 17th and 18th century French literature, in his essays and literary debates. He read the works of French satirical writers of that time and was deeply impressed by their works that can be easily inferred that he was highly influenced by these writers in his creativity. He even admits that his play Jacob and His Master can be considered as a variation of Diderot's novel Jacques Le Fataliste. Diderot says that the father of his literature is Cervantes and Laurence Stern; in the same light, Kundera also shows his reverence to the great writers of the Renaissance and Enlightenment Age.

중부유럽의 '신'민족주의 : 체코슬로바키아를 중심으로

김규진(Kyu Chin Kim) 한양대학교 아태지역연구센터 1990 중소연구 Vol.14 No.3

『웃음과 망각의 책』에 나타난 '웃음'과 '망각'의 의미

김규진(Kyu-Chin, Kim) 한국동유럽발칸학회 1999 동유럽발칸학 Vol.1 No.-

"The Book of Laughter and Forgetting" structurally takes on the view point of deconstructualism. As mentioned above in the beginning, it is an experimental novel, that is to say, it is the destruction of the traditional novel form or it is a novel of new form. The large variety of material and the independent nature of almost all the chapters in the novel threatens its artistic unity. Christian Salmon even asked Kundera if "The Book of Laughter and Forgetting" could be considered a novel during a discussion about structural 따t, at which Kundera answered thus: "What keeps it from looking like one is that there is no unity of action. It is hard to imagine a novel without that unity. Even the 'nouveau roman' experiments were grounded in a unity of action{or of inaction)----In "The Book of Laughter and Forgetting", the coherence of the whole is created solely by the unity of a few themes{motifs), which are developed in variations. Is it a novel? Yes, to my mind. The novel is a meditation on existence as seen through the medium of imaginary characters. As Kundera and Chvatik pointed out, the structure of Kundera’s novel is not a unity of events and actions but it is a unity of themes, which is portrayed in the characters. In other words it shows the unity of themes in the novel, as polyphony and variation show the unity of themes in music. Kundera uses this technique to artistically unify the diffused structure in his experimental novel. Furthermore the author himself appears as the narrater in the novel and speaks to the readers. As Kundera mentions above, as the narrator in the novel, the theme of the book is ’ laughter' and ’forgetting'. In Kundera’s "The Art of the Novel" he speaks of the role of theme in his novel thus: "A theme is an existential inquiry. And increasingly I realize that such an inquiry is, finally, the examination of certain words, theme-words. Which leads me to emphasize: A novel is based primarily on certain fundamental words.---In "The Book of Laughter and Forgetting", the ’tone-row’ goes: forgetting, laughter, angels, litost, border. Over the course of the novel, those five principal words are analyzed, studied, defined, redefined, and thus transformed into categories of existence." Here we must pay attention to the theme-words which are transformed into the realm of existence. As Chvatik points out the theme-words unite the diffused structures of the novel into a single novel.. Kundera composes "The Book of the Laughter and Forgetting" into a typical fictional story, but completes the novel using the unique method of extending the above mentioned themes on top of the story. He draws out unity with these themes while unfolding the events or the stoη. He also deeply deals with additional themes besides the diffused plot. He adds to the joy of reading his work by introducing us to many interesting things, which he does by inserting themes of music and art or various episodes in the form of essays. The reason he emphasizes the greatness of novels like Cervantes’ s "Don Quixote", Rabelais' "Gargantua and Pantagruel" and Stem’s "The Sentimental Journey of Tristam Shandy" is that they already used this method in the 17th and 18th century. Kundera directly deals with theme of Moravian folk music and folk festival in his first novel "The Joke" and theme of Kitsch and motifs of music and art in his "The Unbearable Lightness of Being" in the form of essays. In "The Book of Laughter and Forgetting" Kundera deals with the discord of love and sex as the main motif also used in "Laughable Love", "The Joke" and "The Unbearable Lightness of Being". In particular 'Mother’ and ’The Boarder' paradoxically describe sex in modem society. Kundera philosophically and speculatively deals with the role of sex in his novels.

체코 시 연구 (1): Poetismus를 중심으로

김규진(Kyu-Chin Kim) 한국외국어대학교 동유럽발칸연구소 2000 동유럽발칸연구 Vol.8 No.-

Czech Poetism is a unique literary avant-garde movement during the Golden age of Czech literature between the two wars. Poetism is not itself art, but a style of living, an attitude, and a form of behaviour. It is favourable to the growth of art which is playful, unheroic, unphilosophical, mischievous, and fantastic. It flourishes in an atmosphere of gaiety and fun, and aims to draw the attention of its audience from the gloom of the factory and the home to the bright lights of man-made amusement. According to the Karel Teige's manifesto, ‘Poetism seeks to turn life into a magnificent entertainment, an eccentric carnival, a harlequinade of feeling and imagination, an intoxicating film track, a marvellous kaleidoscope. Its muses are kindly, gentle, and smiling, its glances are as fascinating and inscrutable as the glance of lovers.’ The poetists' preoccupation with the man-made world and the life of imagination always led them back to the theme of conflict - the antithesis between life as it is and life as it might be. Among poetists Vitěslav Nezval(1900-1958) is the most energetic. Originally he began his career in the 1920s as a proletarian poet, with Seifert and Teige, and Wolker, but reacted against doctrinaire rhetoric and propaganda infavour of what he called ‘Poetismus’. He then came under the influence of French dadaism and surrealism. He defended his deliberate exploitation of bizarre and illogical juxtapositions of imagination with an argument that language had to be dislocated into meaning. In 1922 Nezval had published his first book of verse, ‘The Bridge’. The title was suggested by Nezval's vision of Prague by night. The river which runs through the city is crossed by series of bridges, and to the poet looking over the moving water, each appeared as a flaming rosary connecting two pools of darkness, a symbol of human life in transit between two unknowns. In the same year he also published the poem ‘The Amazing Magician’, an epic of fantasy on an ambitious scale. This long, and at first sight chaotic poem gained much of its effect from the constant juxtaposition of the familiar and the unreal, set in a world uninhibited by convention or logical association. Nezval explained his methods in an essay included in his new book Pantomime. The essay rejected logic as a basis for poetry, whose themes could more properly be connected by associated sounds than by sense. In 1927 Nezval published the poem ‘The Acrobat’. It was a return to the theme of the poet-liberator, as in the earlier ‘The Amazing Magician'. In 1928 appeared the epic poem ‘Edison’. The theme once more is the liberation of mankind, but now the liberator is no longer the magician but the scientist. It is an epic in a new setting, an elaborate hymn to the technical miracles of the electric age. In 1929 appeared the beautiful poem ‘The Unknown Girl taken from the Seine’. Having taken all the world as his literary province, Nezval finds his theme in the body of a drowned girl drifting down the river in Paris. In 'The Unknown Girl' Nezval expresses, with very great delicacy, the fascination of the death-theme, combining the macabre with the erotic in a wealth of metaphors and images reminiscent of Freudian free play. In 1932 Nezval published two important collections of verse, The Glass Cape and Five Fingers. Both books contain many charming lyrics which show Nezval as a master of personal poetry. From 1933 he made trips abroad to Vienna, Paris, Milan, Venice, Provence, Marseilles and Monte Carlo. In Paris he met for the first time leaders of the French Surrealist Movement, a meeting which considerably affected his poetic development. After his return to Prague, and following a visit by Paul Eluard and Andr Breton, Nezval openly embraced the cause of Surrealism in poetry and art, and soon became the leader of a group of enthusiasts which included some associates from his earlier Poetist phase.

쿤데라의 <우스꽝스러운 사랑>에 나타난 돈 후안과 부조리한 사랑의 모티프 연구

김규진(Kim, Kyu Chin) 아시아·중동부유럽학회 2005 동유럽발칸학 Vol.7 No.2

쿤데라는 단편집 <우스꽝스러운 사랑>과 <참을 수 없는 존재의 가벼움>에서 현대판 돈 후안의 주인공을 처음으로 본격적으로 형상화한다. 그의 포스트모던 시대의 돈 후안은 더 이상 여자들을 정복하는 것이 아니라 그저 수집할 따름이다. <우스꽝스러운 사랑>의 이야기들이 비록 행동의 통일이 결여되고 각각의 단편들이 다른 주인공들을 보여주고 있지만 불확실성의 시대에 진실의 어려운 특성, 현대판 돈 후안주의, 에로틱한 상황에서 육체와 영혼의 불협화음 또는 부조리한 사랑 등의 테마가 7개의 단편의 맥을 이어주는 통일된 주제라고 할 수 있다. 4번째 이야기와 6번째 이야기에 공통 으로 나오는 닥터 하벨의 포스모던 시대의 돈 후안 신화의 주문은 세 고전적인 돈 후안들, 즉 바람둥이로 변하는 정복자, 음탕한 신성 모독자,그리고 천재적인 유혹자를 무시하고 대 수집가의 타입으로 변형시킨다. 일곱 편의 단편에서 쿤데라가 보여주는 것은 전체주의 사회에서 정체성의 위기와 제한된 삶의 반경이라는 테두리 내에서 상대방을 성적인 것으로 지배하려는 상황 때문에 벌어지는 부조리한 사랑의 장면이 그려진다. 이러한 괴팍한 사랑 속에서 성의 문제는 더욱 부조리하게 나타난다. 소설 속에서 묘사된 마르틴과 하벨 박사와 기타 여러 연인들과 희생자들이 발버둥치는 세계는 제한된 사회주의의 작은 나라이다. 거의 대부분의 남녀 주인공들은 서로서로를 성적으로 지배하거나 추구하면서 지루한 사회적인 조건의 익명성으로부터 성적인 순간의 환상에 젖고자 하나 삶의 진정한 의미를 찾기는 힘들어 보인다 Kundera introduces the modern version of Don Juan in his Laughable Loves and Unbearable Lightness of Being. The theme of Don Juanism makes its first appearance in “The Golden Apple of Eternal Desire”, the second of the seven stories in Laughable Loves. Although Laughable Loves lacks unity of action and has independent sets of characters(the only exception being Dr. Havel, who appears in the fourth and sixth stories), the short story series achieves internal coherence through three major themes; relativism of truth in an age of uncertainties, modern Don Juanism and the discord between love and sex in erotic situations. Dr. Havel, who appears in the fourth and sixth stories, acts out all three classical versions of the hero - the conquistador turned playboy, the licentious blasphemer, and the genius of seduction - is a kind of post-modern Don Juan. In Laughable Loves, the perfection of the modern Don Juan is the intellectual and sexually practiced Dr. Havel, a man with wit who figures as the main character in two of the stories. In these modern days, when sexuality is no longer taboo, and the mere description or confession of sex has become noticeably boring, Kundera's scenes of physical love generate an extremely sharp light which suddenly reveals the essence of the characters and sums up their life situation. It is extremely absurd when lovers try to control each other sexually while lacking self identity and restricted in the boundaries of life in a socialist country.

차펙의 소설『평범한 인생』연구

김규진(Kim, Kyu-chin) 한국외국어대학교 외국문학연구소 2011 외국문학연구 Vol.- No.41

차펙은 20세기 전반기 활동한 작가로 체코 국내뿐만 아니라 외국에도 가장 잘 알려진 체코 작가이다.『평범한 인생』은『호루두발』과『유성』에서 제기한 인식론 문제를 계속해서 다루는데 이는 철학 3부작의 대단원이라 할 수 있다.『평범한 인생』은 1934년 신문에 연재하던 것을 같은 해에 단행본으로 발표하였다. 이 작품은 회상 형식으로 써졌으며, 전체 회상은 독백체와 내적인 대화로서 34개의 장으로 구성되어있다. 주인공은 그다지 특별하지도 않고 뛰어난 업적을 이룬 위인도 아닌 그저 평범한 인물이다. 나의 인생에서도 기록으로 남길 만한 무엇인가가 있는가라는 물음으로 이 소설은 전개 된다. 평범한 인생이라 할지라도 평범할 수 없고 그 속에는 어떠한 의미를 지니고 있다는 것을 말하고자 하는 작가의 철학적인 입장이 소설 속에 표현되어 있다. 평범한 사람인 주인공은 자서전을 쓰면서 내면의 또 다른 자아가 생겨나서 그의 삶은 그의 말대로 그저 평범한 인생인가, 아니면 이와는 반대로 출세를 위해 끊임없이 노력했던 끔직하고 억척스런 인생인가에 대해서 고뇌함으로써 소설의 전개는 긴장감을 띄게 된다. 『평범한 인생』은 인간의 자아 탐구라는 주제를 다루고 있다. 자서전을 쓰면서 자아를 탐구하는 과정을 그린『평범한 인생』에 나타는 인간 성격에는 단일성과 복합성이 존재한다. 우리들 안에 있는 그 인간의 복합성이 바로 다른 사람과의 관계를 가능하게 하다는 것을 이 소설은 보여주고 있다. 여기서 차펙은 개인주의의 소외의 감옥으로부터 현대인들을 위한 탈출의 가능성을 지적한다.『평범한 인생』에서는 자신의 인생을 회고하며 서술되는 앞부분의 언어는 차분한 반면에 자신과 여러 다른 자신의 분신들이 격렬하게 논쟁하는 뒷부분에서 사용하는 언어는 더욱더 열광적이다. 차펙이 사용한 구어체 체코어는 담화자체의 새로운 고안과 효과를 발전시키는 새로운 담화체 언어의 기반이 된다. Karel Čapek's trilogy Hordubal, Meteor and An Ordinary Life, which is considered his master works, assigns trust in relativity rather than absolute truth in the context of a novel. Karel Čapek was active in the first half of 20th century and at that time he was one of the best known writers not only in the Czech Republic but also in the world. An Ordinary Life deals with epistemology which was suggested in the previous two novels Hordubal and Meteor and this novel is a conclusion to the trilogy. It was first printed in the newspaper as a serial in 1934 and later in same year it was published in a book form. This novel written as a retrospect sequence consisted of 34 chapters. A main hero is not a special dramatic person neither he did accomplish great things, he is just an ordinary man. The novel develops with a question "does an ordinary man have something to leave in the world after his death?" Even if his life is ordinary there is something of special meanings. This is author's philosophy. While the ordinary man starts to write his autography the Altar Ego appears and joins in dispute with hero that his life is really just ordinary or contrary he is tough enough to be successful in life. Now there big tensions start in the further development of the novel. An Ordinary Life deals with a theme of self-pursuit. There exist singleness and plurality in a human character in An Ordinary Life which describes the process of self-pursuit while writing autobiography. This novel shows that human plurality in us makes possible relationships with others. Here Čapek shows us the possibility of escaping the loneliness in contemporary society. The language of the retrospective sequence in the first half of the novel is smooth and quiet, but in the second part where the hero and his other self begin to dispute language is loud and excited. The colloquial style of Czech used in Čapek's work becomes a base for new narrative style that develops the device and effect of narrative itself.