http://chineseinput.net/에서 pinyin(병음)방식으로 중국어를 변환할 수 있습니다.
변환된 중국어를 복사하여 사용하시면 됩니다.
- 中文 을 입력하시려면 zhongwen을 입력하시고 space를누르시면됩니다.
- 北京 을 입력하시려면 beijing을 입력하시고 space를 누르시면 됩니다.
RISS 인기검색어
- 검색키워드
- 저자 : 이희구 (검색결과 94 건)
- 무료
- 기관 내 무료
- 유료
-
샤일록과 예화: 베니스의 상인에 나타나는 자본의 윤리 서사 전략
이희구 한국고전중세르네상스영문학회 2017 중세근세영문학 Vol.27 No.1
Countless papers devoted to one of the most controversial characters, Shylock, have generated the incompatible two interpretations: merciless Jewish usurer or scapegoat of Christian merchants. Recent criticisms siding with the latter Shylock decry Christian practice of burgeoning capitalist economy not less morally questionable than that of Jewish usury, and in turn argue that Shylock is not a villain but a scapegoat of Christian capitalist mercantilism who must be cleared away before the new era of capitalism. This paper goes one step further from this position to claim that Shakespeare characterized Shylock modeled on medieval exempla which were inserted in sermons to illustrate moral lessons. It is with his language of literalism on the one hand and with his characterization from the typical medieval Jews (a stock character in medieval sermons and absent from England since 1290) on the other hand that Shakespeare created Shylock as a subject of a sermon exemplum. For the early modern capitalist economy then coming of age which was in desperate need of a narrative to reconcile itself with ethical imperative from Christian abhorrence against selfish accumulation of capital, the conversion or death of Shylock, a symbol of “bad old money,” in the Merchant of Venice guaranteed a narrative excuse of its being new entrepreneurship of moral standing as Max Weber’s Christian ethic a few centuries later did for the spirit of capitalism. Howard Jacobson’s My Name is Shylock recreated a new Shylock from the puppet-like Shylock, but his Shylock is still uncomfortable under 21st century capitalist economy probably because of its same underlying nature as that in Venice ceaselessly face lifting itself as CEOs of “liberal communist” persuasion in Davos forum are doing even at this moment.
-
-
-
-
-
『예루살렘 공성전』과 『워킹 데드』: 서구 피포위 심리 연구
이희구 한국중세근세영문학회 2017 중세르네상스 영문학 Vol.25 No.2
We find the same mentality in these two very different narratives with an enormous time gap: Siege of Jerusalem, an alliterative poem of the 14th century and the Walking Dead, a zombie apocalypse graphic novel of the 21st century. Both narratives are centered around siege warfare where Roman soldiers and zombies lay siege respectively to Jews behind walls and to survivors inside a prison, and develope the extreme fear of being surrounded and killed by enemies. This siege mentality explains the ways in which a nation (an individual) reacts to hostile situations of real/imaginary isolations. Siege of Jerusalem retells a traditional narrative of vindicta salvatoris whose anti-semitism caused its unusual popularity among 14th century English people who had anxiety and fear of being surrounded by Jews with their blood libel and monetary might. Sadistic enjoyment of violence on Jewish others was justified by political theology of exception status (Christians) and “bare life”(Jews). Walking Dead reflects fear of others in the US in the form of a zombie narrative. The prison episode depicts a situation in which survivors are stranded in a prison surrounded by zombies. Prison in the narrative is a felicitous metaphor of America surrounded by terrorist attacks as well as prisons themselves full of young black Americans. Unlike the Roman emperors and the soldiers of Siege of Jerusalem, the American survivors in the prison of the graphic novel are justified to use merciless violence on zombie others (and readers are allowed to enjoy the pleasure of it) only because of the pretense of being victims in the zombie apocalypse. This self-victimization in the narrative mirrors the ethics of the formal democracy and political correctness against the others. It is with critical comparison of the two narratives that this paper aims to ask ethical questions of how we can love our neighborly others within a western/westernized construct of siege mentality.
-
-
-
이희구 한국문학과종교학회 2016 문학과종교 Vol.21 No.2
『마저리 켐프 서』는 영국 역사상 최악의 종교 검열의 시기에 탄생했다. 롤러 드 이단을 막기 위해 제정된 아룬델의 칙령은 종교 활동뿐만 아니라 자유로운 신학적 글쓰기를 마비시켰다. 이 책에서 마저리는 롤러드로 오인될 수 있는 행 동을 할뿐만 아니라 롤러드 이단으로 몰려 감금당하기도 한다. 그럼에도 책에서 종교 검열에 대한 두려움은 발견하기 힘들다. 검열에 대한 긴장감은 책의 서사 보다는 형식적인 차원에서 드러난다. 책의 서문뿐만 아니라 서사의 끝과 마지막 기도문 사이에 놓인 ‘아멘’이라는 단어와 ‘공백’같은 하찮은 서사의 부속물들은 검열의 긴장감을 나타낸다. ‘아멘’은 초서와 같은 작가에게 서사의 전략을 제공 했다. 존재하지 않기에 존재하는 ‘공백’도 중세 종교 문화에서 다양한 기능을 하는 공간이었다. 『마저리 켐프 서』에서 ‘아멘’과 ‘공백’은 서사의 종결의 의미 를 부여함으로써 ‘만인구원’이란 이단 시학을 선포하는 뒤의 기도문과 앞의 서 사를 분리시킨다. 본 논문은 특수한 단어와 공간에 나타나는 종교 검열에 대한 마저리 켐프의 의식과 긴장감을 살펴보려한다. The Book of Margery Kempe was born in the worst censorship of heretics in English history. Arundel’s Constitutions for the Lollardy paralysed not only the religious practices proper but also the vernacular theological writings. Margery in this book did what people sometimes mistook for the heresy, and she was even imprisoned for their accusation of her Lollardy. Despite the hostility, it is difficult to sense the fear for the censorship in its narrative. If anything, it is in the paraphernalia like a word “amen” and the blank space after the word that we detect the tension between the censorship and the divine call from God to write her experience. “Amen” and the space endow Margery’s narrative with a sense of ending while breaking the narrative off the following prayer in which “universal salvation,” another heresy, is flagrantly proclaimed. This paper aims to show how these formal trivia sometimes bring out the significant narrative turns.
-
코리아스칼라연관 검색어 추천
이 검색어로 많이 본 자료
활용도 높은 자료
