近代以後の紫式部像の変遷 —三つの肖像とその背景—

永井久美子 한국외국어대학교 일본연구소 2018 日本硏究 Vol.0 No.75

The portraits in which Lady Murasaki is sitting at a desk have often been created. This image is based on the legend of the Tale of Genji; when the Lady Murasaki confined herself in Ishiyama-dera Temple, she came up with the idea for the tale. Lady Murasaki, who had a monumental achievement, was regarded and worshiped as Kannon, Bodhisattva, which is the principal image of the temple. In modern portraits made for the schools, the elements that represent Ishiyama-dera Temple were omitted. That means it was not the miracles of Bodhisattva, but Lady Murasaki’s own academic ability and her literary talent that created the literary masterpiece. While the sitting-at-a-desk image was predominant, two other types of Lady Murasaki’s portraits were published after the Meiji era. One of them drew her reading, and another one represented her lecturing Chinese classics to the Empress. The former regarded her scholarship as a factor of the birth of the tale, while the latter indicates that the great writer Lady Murasaki was one of the vassals of the imperial family. Although diverse types of portraits indicate the different focal points in her life, the modern images of Lady Murasaki were influenced by the empirical research attitudes of Japanese classical scholars. The image of ideal women was searched inside Lady Murasaki, and she herself was started to be worshipped, detached from the Bodhisattva belief. 무라사키 시키부는 모노가타리(物語) 작가를 의미하는 책상을 마주한 모습으로 초상화에 반복되어 그려지고 있다. 이 그림은 이시야마절(石山寺)에서 기도할 때에 『겐지모노가타리』의 착상을 얻었다는 전승에 의해, 대작을 저술한 시키부를 관음과 동일시하여 숭배하는, 중세로 거스르는 무라사키 시키부 신앙에서 그 기원을 찾을 수 있다. 메이지 이후 초상화에도 책상을 마주한 무라사키 시키부가 많이 그려졌다. 다만 그 그림은 수신 교과서나 벽그림 등 학교 교육에서 사용되는 초상화의 경우, 이시야마절이라는 장소를 특정하는 요소가 생략되어, 관음의 영험이 아니라 스스로의 학문적, 문학적 재능에 의해 걸작을 만든 존재로 부각시켜, 시키부를 위인으로 숭배하게 하였다. 근대 이후 시키부 숭배의 태도는 국학자 안도 다메아키라에 의한 실증적인 『겐지모노가타리』 연구방법의 영향으로 볼 수 있다. 다만 메이지 이후 초상화에는 다른 시키부상이 나타났다. 그 하나는 메이지 원년(1868)에 간행된 기쿠치 요사이의 『전현고실(前賢故実)』이다. 『전현고실』에서는 기필(起筆)전설을 배격하는 자세가 계승되어 시키부의 다독이 『겐지모노가타리』의 탄생을 계기로 독서하는 시키부의 모습을 그린 것이 선택되고 있다. 또 하나는 메이지 20년(1887)에 궁내성에서 간행된 『부인감』이다. 『부인감』에는 악부(樂府)에서 강의하는 시키부를 그린 것이 선택되었다. 그 선택에는 중궁 쇼시와 이치조 천황에게 인정받은 시키부의 학식을 칭송하는 의도와 함께, 황실을 중심으로 하는 국가의 형성기를 맞이하여 위대한 문학자 시키부가 황족을 섬기는 입장이었던 것을 나타내려는 취지를 엿볼 수 있다. 전현고실 및 부인감의 시키부상은 그 이후의 초상화로 정착하는 데는 이르지 못했다. 다만 근대 이후 시키부를 향한 숭배의 태도가 극단적인 형태로 나타난 예로 주목할 만하다.

T. S. 엘리엇 시에 나타난 헨리 제임스의 영향:여인의 초상을 중심으로

한현숙 한국T.S.엘리엇학회 2005 T.S. 엘리엇 연구 Vol.15 No.2

This paper purports to read “Portrait of a Lady” in terms of Henry James’ influence. Unlike the influence of French Symbolist poets, H. James’s influence has not drawn many critical attentions. Eliot is greatly indebted to H. James in many ways. First of all, it is James from whom Eliot had learned that poetry ought to be as well written as prose. Also, as Eliot himself said, he was stimulated by the method to make a place real not descriptively but by something happening there and to let a situation, a relation, and an atmosphere give only what the writer wants in James’s stories. Under the inspiration of James, Eliot can cultivate his gift for dramatic verse. So, we can say the dramatic quality of Eliot’s poetry which is no less than in James’s stories, is not irrelevant to the Jamesian method. Considering such influence of James, this paper aims at comparing Eliot’s “Portrait of a Lady” and James’s The Portrait of a Lady and “The Beast in the Jungle”, in the light of the character’s failure and frustration. Especially, Eliot’s “Portrait of a Lady” and James’s “The Beast in the Jungle” portray a man who fails in having relations with a woman in common. In both of works, each man is distinctively selfish. We can investigate more concretely in what ways “the egotism of a man” is expressed and presented as a hindrance in human relations in both works.

“살지 않은 삶”에 대한 비전: 「여인의 초상」에 나타난 청년 화자의 초상

허정자 한국T.S.엘리엇학회 2010 T.S. 엘리엇 연구 Vol.20 No.1

T. S. Eliot as a “moralist” or “critic of life” shows deep concern for the moral question, ‘how to live.’ Because Eliot experienced the tragic vision of life, he apprehended clearly the differences between failed “unlived life,” and genuine “buried life” or “fullness of life” as expressed in the characters of Henry James and in Matthew Arnold’s poem. “Portrait of a Lady” is a prime example of the “unlived life.” Like a spectator of life, the young male speaker in “Portrait of a Lady” leads a spiritually and morally dead “unlived life.” He shrinks away from his real life and a human relationship with the older lady, who wants friendship or sympathy from him. His passivity and selfishness toward life result in frustration, self-destructiveness and nothingness. So he as a force of evil obstructs the spiritual growth of the other people like a lady, and cannot change his fake life into a new meaningful life in a society. Eliot understands well the negative aspect of life, and by describing it vividly in “Portrait of a Lady,” he warns us not to waste life vainly but try to “live fully” finding a kind of deep, vital, satisfying, emotional “buried life” as a whole human being.

엘리엇 시의 다성적 목소리:「여인의 초상」을 중심으로

김구슬 한국T.S.엘리엇학회 2005 T.S. 엘리엇 연구 Vol.15 No.1

How does T. S. Eliot represent women in his poetry? One of the recent arguments puts forward stresses Eliot’s way of describing negative aspects of women in his poetry, while ignoring any good qualities that they may have had. However, a careful study of Eliot’s early poetry shows women torn by the pain of abandonment, betrayal, fear, isolation and loneliness. Furthermore, it is not easy to find the poet’s sympathetic attitude toward women throughout his early poetry. This study aims at investigating the sources of the frustration, failure and unhappiness through the polyphonic voices of man and woman heard in “Portrait of a Lady,” while considering the real sense of Eliot’s attitude toward women. The poem ends in unresolved pain and uncertainty, suffered by men and women alike, which implicitly shows the agony and isolation that people must encounter in human relationships. It is usually apparent when they recognize their own destiny and their confused feelings and longings. In the final analysis, it basically derives from the existential recognition of human beings.

엘리엇과 마티스: 여인의 초상화를 중심으로

김영희,김혜정 한국T.S.엘리엇학회 2022 T.S. 엘리엇 연구 Vol.32 No.1

보스턴 초기시들 중 하나인 「여인의 초상화」에서 T, S. 엘리엇은 여인들의 다양한 측면들을 세밀하게 그리고 있다. 이들은 결혼이나 사랑의 실패로 인해 깊은 좌절감에 빠졌던 여인이나 소녀들이다. 이들에게는 이제 우정이 사랑의 자리를 대체하게 되며, 타인들과의 진정한 교제는 이들의 일상에서 가장 중심적인 관심/배려가 된다. 하지만, 이 다양한 여성을 표상하는 한 여인을 예리하게 관찰하며 그녀의 내면을 깊이 파고 들고 있는 이 시의 남성 화자는 자신이 연인이 될 가능성을 의식하고 있다. 이러한 가능성으로 벗어나려는 화자는 그녀를 떠나게 되며 가까운 미래에 그녀가 죽을 것이라고 갑작스럽게 상상한다. 극도로 자의식적인 화자의 내면의 흐름을 집중적으로 조명하는 이 시는 시간과 기억에 대한 베르그송의 사상의 흔적을 지니고 있다. 「여인의 초상화」의 시공간은 실제적 공간이라기보다, 화자의 의식과 지속으로서의 기억에 의해 구성되었다. 베르그송은 모든 생명이 끊임없이 유동적이며, 그가 “지속”[durée]이라고 부르는 생성적 과정에 있다고 주장한다. 한편, 남성화자의 지속적으로/극적으로 변화하는 감정은 베르그송의 사유와 친밀한 관계에 있는 마티스의 미학 이론으로 설명될 수 있다.

『여인의 초상』에서 인식의 문제 ―관찰 경험에서 현실 경험으로

문영희 ( Younghee Mun ) 21세기영어영문학회 2018 영어영문학21 Vol.31 No.3

This study analyzes the way in which Isabel Archer, initially a romantic idealist, faces and then willfully decides to embrace the painful experience of actual reality. While she is eager to “see” life for herself, she wants to escape from the obligation and burden of ideals. Inevitably, she lacks a sense of reality until her zeal for ideals is tested by the crucible of her matrimony. Isabel goes through two different phases of experience before and after her marriage to Osmand. While staying in Europe, she first imagines, then observes, and finally lives the life of a young lady with an inherited fortune. This experience transforms Isabel’s vision of life from a romantic idealist’s to that of a moral fundamentalist. At the beginning she yearned for freedom and independence, but in the end she accepts her moral obligation, responsibility, and life of oppression. In a sense, such a change in her vision and attitude can be interpreted as a case of so-called “felix culpa,” meaning “fortunate fall.” Isabel's marriage to Osmond might be seen as a channel to her maturity. In sum, the whole process of Isabel's experience represented by her will to see the world, her marriage to Osmond, and then her reflection on her married life in the scene of “night vigil” enables her to have a perceptive growth.

『여인의 초상화』와 ‘열린 종결’

여경우 ( Yeo Kyung-woo ) 대한영어영문학회 2005 영어영문학연구 Vol.31 No.4

This paper examines to analyze open-ending method in Henry James' Novels, especially in The Portrait of Lady. To close the novel James employs two methods. One is a series of staged farewell scenes Within each of these farewells, the heroine Isabel Archer discovers herself through experience, and she chooses a future that defines the ending of the novel. The other is the appended scene between Henrietta and Goodwood which achieves an artistic distance from the emotional intensity of Isabel's last encounter and provides an overview of the preceding events, just as an epilogue. But instead of closing off the issues, it opens them out once again. All these methods are to represent the illusion that life continues indefinitely. (University of Incheon)

헨리 제임스의 『여인의 초상』: 이자벨 아처의 선택과 결말의 해석문제

최정선 ( Jung Sun Choi ) 근대 영미소설 학회 2007 근대 영미소설 Vol.14 No.1

This essay intends to interrogate Isabel Archer`s choices and the problematic ending in Henry James`s The Portrait of a Lady. Many critics agree that her choices are related to the problem of her liberty and independence. In this respect, this work is about her growth, which shows how Isabel`s choices and her liberty conflict with convention, and how she is assimilated to the society. Then, did Isabel Archer renounce her liberty and independence when she returned to Rome where her egoistic husband, Gilbert Osmond, lived at the end of the novel? This essay maintains that this problematic ending as well as her choices is constructed on James` intention to search into the New Woman Isabel`s interaction to the realities and her consciousness. This article ultimately argues that James investigates the subjectivity of the New Woman, making Isabel choose constantly in her life. James explores her consciousness especially in her confronting the problem of marriage which was the biggest problem to the New Woman. Unlike other contemporary novels which ended with marriage, this work continues to show Isabel`s life after marriage, which enables James to examine Isabel`s consciousness of her choices. In this regard, the so-called problematic “open ending” is consistent with James`s representation of Isabel`s choices which exhibits the stream of the consciousness of the New Woman through psychological realism.

이사벨의 인식의 성장과 서술기법

고영란 ( Young Ran Koh ) 한국근대영미소설학회 2013 근대 영미소설 Vol.20 No.3

This study examines the process of Isabel`s growing awareness and narrative technique which is employed to effectively represent it in Henry James`s The Portrait of a Lady. James uses various narrative methods such as focusing on Isabel`s consciousness as well as conveying the comment of omniscient narrator and observation of many satellites who locate and illustrate Isabel. Each different narrative method is employed before and after the enlargement of Isabel`s consciousness and the growth of her awareness. At first Isabel`s consciousness is limited, not knowing her inner contradiction between her conscious commitment to individualism and an unconscious yearning for safety and stability, which is the reason for her dread of herself. In this stage the comment of omniscient narrator and observation of many satellites as well as Isabel`s limited consciousness are conveyed. Isabel`s consciousness gets focused on with the enlargement of consciousness and her growing awareness. Thereafter Isabel becomes the center of consciousness. Through mid-night meditation (in chapter 42), she recognizes the reason and background of her marriage to Osmond, admitting her mistakes and inner problem. Her growing awareness becomes complete at the last confrontation with Goodwood (in chapter 55). Isabel, with sudden awakening, affronts the source of her dread, confronts and overcomes it. This leads her to return to Rome, bravely facing the consequences of her error. Thereby she becomes a tragic heroine. James explores Isabel`s consciousness both as a subject and an object of observation. Through the comment and observation of narrator and many satellites including Ralph, James guides readers to sympathize Isabel who is vulnerable to criticism and sneer. James`s effective use of light and dark image corresponding to Isabel`s growing awareness contributes to this novel`s well-proportioned organic form as well.

근대 이후의 무라사키 시키부상(像)의 변천 ―세 가지 초상과 그 배경―

나가이구미코 ( Nagai Kumiko ) 한국외국어대학교 일본연구소 2018 日本硏究 Vol.0 No.75

무라사키 시키부는 모노가타리(物語) 작가를 의미하는 책상을 마주한 모습으로 초상화에 반복되어 그려지고 있다. 이 그림은 이시야마절(石山寺)에서 기도할 때에 『겐지모 노가타리』의 착상을 얻었다는 전승에 의해, 대작을 저술한 시키부를 관음과 동일시하여 숭배하는, 중세로 거스르는 무라사키 시키부 신앙에서 그 기원을 찾을 수 있다. 메이지 이후 초상화에도 책상을 마주한 무라사키 시키부가 많이 그려졌다. 다만 그그림은 수신 교과서나 벽그림 등 학교 교육에서 사용되는 초상화의 경우, 이시야마절이라는 장소를 특정하는 요소가 생략되어, 관음의 영험이 아니라 스스로의 학문적, 문학적 재능에 의해 걸작을 만든 존재로 부각시켜, 시키부를 위인으로 숭배하게 하였다. 근대 이후 시키부 숭배의 태도는 국학자 안도 다메아키라에 의한 실증적인 『겐지모노가타리』연구방법의 영향으로 볼 수 있다. 다만 메이지 이후 초상화에는 다른 시키부상이 나타났다. 그 하나는 메이지 원년(1868)에 간행된 기쿠치 요사이의 『전현고실(前賢故實)』이다. 『전현고실』에서는 기필(起筆)전설을 배격하는 자세가 계승되어 시키부의 다독이 『겐지모노가타리』의 탄생을 계기로 독서하는 시키부의 모습을 그린 것이 선택되고 있다. 또 하나는 메이지 20년(1887)에 궁내성에서 간행된 『부인감』이다. 『부인감』에는 악부(樂府)에서 강의하는 시키부를 그린 것이 선택되었다. 그 선택에는 중궁 쇼시와 이치조천황에게 인정받은 시키부의 학식을 칭송하는 의도와 함께, 황실을 중심으로 하는 국가의 형성기를 맞이하여 위대한 문학자 시키부가 황족을 섬기는 입장이었던 것을 나타내려는 취지를 엿볼 수 있다. 『전현고실』 및 『부인감』의 시키부상은 그 이후의 초상화로 정착하는 데는 이르지 못했다. 다만 근대 이후 시키부를 향한 숭배의 태도가 극단적인 형태로 나타난 예로 주목할 만하다. The portraits in which Lady Murasaki is sitting at a desk have often been created. This image is based on the legend of the Tale of Genji; when the Lady Murasaki confined herself in Ishiyama-dera Temple, she came up with the idea for the tale. Lady Murasaki, who had a monumental achievement, was regarded and worshiped as Kannon, Bodhisattva, which is the principal image of the temple. In modern portraits made for the schools, the elements that represent Ishiyama-dera Temple were omitted. That means it was not the miracles of Bodhisattva, but Lady Murasaki’s own academic ability and her literary talent that created the literary masterpiece. While the sitting-at-a-desk image was predominant, two other types of Lady Murasaki’s portraits were published after the Meiji era. One of them drew her reading, and another one represented her lecturing Chinese classics to the Empress. The former regarded her scholarship as a factor of the birth of the tale, while the latter indicates that the great writer Lady Murasaki was one of the vassals of the imperial family. Although diverse types of portraits indicate the different focal points in her life, the modern images of Lady Murasaki were influenced by the empirical research attitudes of Japanese classical scholars. The image of ideal women was searched inside Lady Murasaki, and she herself was started to be worshipped, detached from the Bodhisattva belief.