바하 따히르 소설 속의 1967년 아랍 이스라엘 전쟁

박재원 한국아랍어아랍문학회 2020 아랍어와 아랍문학 Vol.24 No.1

The Article aims at surveying the image of 1967 Arab Israeli war as shown in Bahā’ Ṭāhir’s Novel, with special reference to Khālatī Șafīyah wa-lDayr(1991). War is a political process that causes many-folded influences on the relevant society. In view of its social, historical and cultural meaning, a lot of Arab novelists used to adopt the 1967 war as a main subject of their works, and it contributed to achieve abundant fruits in literary sphere. The 1960s’ generation of Egyptian writers will be the ideal case. It was expected that Bahā’ Ṭāhir deals with the war themes in his works of novel, particularly the one that covers Egyptian society in 1960s. However, the writer did not mention about the war except a few times in Khālatī Șafīyah wa-l-Dayr, and it came with lesser importance. I came to a conclusion that writer’s political beliefs have an effect on his choice of subject, narrator and the way of presenting events. Bahā’ Ṭāhir’s Nasserist ideology and diverse forms of censorship that were exerted in Egyptian cultural arena, and the author’s unpolitical stance were at the background of the treatment of 1967 war. 바하 따히르가 1967년 전쟁에 대해 직접적인 언급을 회피하는 방법은 여러가지가 있다. 첫째, 소설이라는 형식이다. 소설은 픽 션이고 상상의 산물이므로 굳이 밝히지 않아도 사건과 작중인물 은 실제가 아닌 것으로 간주된다. 바하 따히르는 『나의 이모 싸 피야와 수도원』 속 표지에서 “소설의 사건과 인물, 지명 등은 상 상의 산물이며 현실의 그것과 유사하다면 순전히 우연일 뿐이다” 라고 강조한다. 이러한 발언은 소설의 허구성을 강화함으로써 현 실과 한층 더 거리를 두기 위한 장치에 다름 아니다. 둘째, 소설에서 서사의 주체는 텍스트 내의 화자이지 작가가 아 니다. 작가는 소설의 화자나 인물과 거리를 둠으로써 자신의 입장 을 가릴 수 있다. 셋째, 『나의 이모 싸피야와 수도원』의 화자는 나이 어린 일인칭 화자(경험자아)이며, 그는 겉으로 드러난 외형 의 보고자적 서술에 만족한다. 그는 또한 자신의 세계관이 생기기 전의 어린이이므로 인물과 사건에 대해 비판적 시각을 가지지 못 하는 게 자연스럽다. 작가는 성숙한 성인 화자(서술자아)의 것으 로 추측할 수 있는 서술을 어린 화자에게 떠넘김으로써 선택적으 로 사건과 작가 간의 거리를 멀게 할 수 있다. 넷째, 작가는 서술 대상의 선택에서 자유롭다. 검열이든 판매고 때문이든, 민감한 사 안의 서술을 은밀하게 회피할 수 있다. 다섯째, 비유법이나 상징, 아이러니 등 우회적인 언어를 선택하여 대상을 간접 방식으로 서 술할 수 있다. 바하 따히르가 『나의 이모 싸피야와 수도원』에서 사용한 소 설적 기교들은 결국 서술 대상으로부터 최대한 거리를 두고, 작가 자신의 목소리를 숨기기 위한 장치이다. 이것은 최고권력자와 군 을 비판하면 안 된다는 검열제도를 용인하는 것과 다르지 않다. 1967년 전쟁에 대한 직접적 언급을 회피하는 것은 바하 따히르 가 스스로 말한 자기검열의 일종이다. 이집트에서 1960년대를 살면서 그 사회의 내막을 지켜본다는 것 자체가 정치 행위이다. 바하 따히르는 정치에서 탈피하여 순수 하고 새로운 문학을 원했고, 정치적인 주제를 회피하려 했지만 정 작 자신은 정치적으로 친 낫세르, 반 사다트 노선에 묶여 있었다. 1967년 전쟁을 정면으로 마주하기를 거부하고 무슬림 주민(이슬 람)과 수도사(기독교)가 사이좋게 지내던 시절을 내세우며 종교 간의 화합과 관용을 찬양한다고 해서 전쟁의 정치적 의미를 축소 할 수 있는 것이 아니다. 바하 따히르는 지식인으로서 사회적인 책임은 다하겠지만 그것 이 정치는 아니라고 주장하는 것처럼 보인다. 하지만 문학은 정치 이다. 전쟁 또한 그 여파가 국가와 국민 전체에 미치게 되는 고도 의 정치행위이다. 문학이 본래 정치적이기 때문에 그의 모든 소설 은 정치적이었다는 역설이 가능하다. 소설을 쓰면서 검열을 피할 수 없다면 정치 또한 피할 수 없다. 그의 탈정치는 정치를 회피하 기 위한 노력이며, 그것은 사회적 책임을 지닌 작가로서 자신의 정체성을 부정하는 것이다.

현대 이집트 사실주의 소설에 사용된 아랍어 방언의 연구

정규영(Jung Kyu-Young) 한국아랍어아랍문학회 2012 아랍어와 아랍문학 Vol.16 No.2

The modern Arab writers had to write their literary works only in Modern Standard Arabic owing to various reasons such as political, social, practical, and cultural reasons. But after appearance of the realistic literature, they have been facing the problem whether or not they would use Ammiyah in their literary activities especially in the dialogue part. There is no doubt that the dialogue written in Modern Standard Arabic not in Colloquial Arabic tends to decrease the sense of livelihood and realism. Therefore some Arab novelists tried to write down conversational expressions in seemingly Modern Standard Arabic but actually Colloquial Arabic in order to maximize the literary efficiency. This study examined the subject by dividing the main study into 3 chapters; the style of the colloquial expression, hybridization, and the borrowed expressions. And this study also tried to prove the colloquial expressions by applying the Insertion Test and the Dictionary Test. It is interesting to note that the writers such as Nagib Mahfuz in Egypt used the Arabic dialect in his literary works even though he is well known for criticizing the use of Colloquial Arabic in the written texts.

자말 알기따니 소설의 역사와 당대 현실 -『알자이니 바라카트』를 중심으로

박재원 한국아랍어아랍문학회 2014 아랍어와 아랍문학 Vol.18 No.1

Park, Jae Won, 2014, History and Reality in Jamal al-Ghitani``s Novel: with Special Reference to al-Zayni Barakat. Arabic Language & Literature, Vol. 18, No.1, pp. 19-38. The study deals with the issue of history and modern reality in Jamal al-Ghitani``s novel, focusing on his novel al-Zayni Barakat in particular. Like the Arab writers who regarded themselves as the Sixties Generation of Arabic literature, Jamal al-Ghitani went through rapidly changing reality which surrounded Egyptian society in the 1960s. He sometimes confronted, in the course of writing, the harsh political oppression and compromised the other times with the ruling bureaucrats. Jamal al-Ghitani won a distinctive reputation by deep inquiry into the historical records and documents of medieval Egypt. The study shed light on the social background, objectives, methods, techniques and the artistic accomplishments that the writer could establish through the use of historical contents in al-Zayni Barakat. The study analyses the similarities and differences that lie between the characters, events and social conditions of the medieval reality and the social reality of Egypt in 1960s. The study concludes that al-Zayni Barakat is primarily a political novel, though it covers itself with a mask of historical representation.

알라 알디브 소설의 공간 - 「레몬 꽃」을 중심으로

박재원(Park Jae Won) 한국아랍어아랍문학회 2010 아랍어와 아랍문학 Vol.14 No.2

This study aims at examining the space and place in Egyptian writer Alaa al-Dib's fictional works, focusing particularly on 󰡔Zahr al-Laymun󰡕(Lemon Blossom). Alaa al-Dib employed various kinds of space and place in an elaborate manner that attained aesthetic effects. The study classifies the space into three categories; geographical space, constructed building and spatial element. As a result the study shows that Alaa al-Dib allocated each space and place a distinctive feature, e.g. he attributed isolation and alienation to Suez city where the main character lived, while Cairo was depicted as a city of life and vitality. The study concludes, after analyzing the writer's strategies in narrating process, that he employed the space and places to perform various missions in the novel; as trigger to a series of reflection and retrospection, as device of economical narration, device of creating the fictional atmosphere, device to embody the characters, and as vehicle of simile, metaphor and metonymy.

순으 알라 이브라힘 소설의 중산층 인물 연구

박재원(Park, Jae-Won) 한국중동학회 2012 韓國 中東 學會 論叢 Vol.32 No.3

The paper aims at analyzing the middle class characters represented in Şun`'Allāh 'Ibrāhīm's novels, particularly in Dhāt. Şun` 'Allāh 'Ibrāhīm is one of the famous writers who belong to so called 'Sixties Generation' in literary arena in twentieth century Egypt. As a novelist he has searched for hidden factors and causes of social change in his country. The paper consists of four chapters: introduction, the definition of social classes in Egypt, middle class characters in the novel and conclusion. The introduction examines Şun` 'Allāh 'Ibrāhīm's life, important novel works and the outline of his fictional world. The second chapter surveys the yardsticks of classification of social classes; higher, middle and lower ones. In doing so the paper followed some social science specialists when they consider the economic elements as most significant criteria. The third chapter, main body of the paper, analyzes characters such as 'Amīnūfīs Faltas Qultah, `Abd al-Majīd, Şafīyah `Abbās and Dhāt. As the main character par excellence of the novel, Dhāt proves to be a typical middle class woman who lived in the Egyptian society in the periods of Nasser, Sadat and Mubarak which went through drastic transformation and changes. The paper concludes that Dhāt is a common housewife and working woman and that she has a love for amassment of fortune and strong desire for climbing up the social class ladder. The paper also points out that Dhāt's life, as well as that of the whole middle class Egyptians, has been influenced enormously by the regimes' policy such as Nasserian socialism, Sadat's open door policy.

알라 알디브 『레몬 꽃』의 회고 서술에 관한 연구

박재원(Park Jae Won) 한국아랍어아랍문학회 2017 아랍어와 아랍문학 Vol.21 No.1

The paper aims at surveying the aspects of flashback or analepsis as shown in Egyptian writer Alaa al-Dib’s novel Zahr al-Laymun(Lemon Blossom). The novel consists of the protagonist Abd al-Khaliq al-Masiri’s weekend trip from Suez to Cairo where his family and friends live. The trip is primarily a spatial transfer;but the author attempts to expand the dimension of narration in order to contain time-related experiences of the past. The novel’s flashback characterizes three main groups; the protagonist’s family and neighbors;his comrades in the association and prison;and his lover and wife Muna al-Misri. The flashback does not present the past events in a consecutive way. On the contrary;reversed sequences are frequently observed. Nevertheless the events are not so hard to understand;because the novel’s language is in common literary style. The ups and downs of the flashbacked events bear a close parallel to the deteriorating social conditions of Egypt in the 1970s. The novel does not offer any brand new narrative technique;but succeeds in reflecting the Egyptian intellectual class’s growing alienation from the society.

『나일강 위의 잡담』에 나타난 1960년대 이집트 지식인의 이미지

박재원 ( Jae Won Park ) 한국아랍어아랍문학회 2016 아랍어와 아랍문학 Vol.20 No.1

The article aims at surveying the image of intellectual class in Egypt in the 1960s as reflected in the novel Thartharah Fawq al-Nil (Adrift on the Nile) by Najib Mahfuz. Egyptian society under Nasser’s rule was so authoritarian and undemocratic that the majority of the people suffered from suppression in various fields. The novel deals with frustrated intellectuals who gathered in a houseboat to be absorbed in morally ruined life; hashish addiction, alcohol and sex. The main focus of the article consists in Najib Mahfuz’s strategy employed to describe intellectuals and the wider society at that time. He relied on representing meaningful places like the Nile and houseboat as settings, and adopting characters who criticise the regime, but are not trustworthy because of the influence of drug, and the absurd language that is different from the author’s widely-known style. Mahfuz saw the intellectual class, and the regime which brought about the political and social degradation with a critical eye. It seems, however, that he was waiting for a better society and a real reformer when he made the main character Anis Zaki hear a voice saying that the head of the whale would appear soon from the deep water. Mahfuz did not lose hope while it was in the intellectual’s conscience.

번역 : 하난 셰이크의 단편소설 「페르시아 양탄자」, 「사막의 장미」

김능우 ( Neung Woo Kim ) 한국아랍어아랍문학회 2005 아랍어와 아랍문학 Vol.9 No.2

무함마드 알비사띠 단편소설의 서술 기법 : 「약한 빛은 아무 것도 드러내지 않는다」를 중심으로

박재원(Park Jae Won) 한국아랍어·아랍문학회 2014 아랍어와 아랍문학 Vol.18 No.3

The paper surveys narrative techniques as shown in Muhammad al-Bisati's short story. Along with his fellows of the Sixties Generation writers in Egypt, al-Bisati endeavored after appropriate techniques that may reflect the social and political changes, and express the spirit of his times properly. His short story A Dim Light Reveals Nothing can be regarded as an exemplary work that witnesses the author's continuous efforts. The short story is about a small village The Revolution, a troop of soldiers, has come to. The people of the village experience an unprecedented day with the soldiers who utterly refrain from communication. The paper finds that the author, while narrating the scenes, adroitly utilizes metaphor and metonymy, inducing the reader to participate positively in the narrative. The author attempted to represent the places and the characters through metaphorical and metonymic description, and finally projected an image of a panopticon on the village captured by The Revolution. However, the author posed -or seemed to do so- a question; who is the real prisoner? It was ironical that The Revolution/watchers were in fact the watched, as they were surrounded by the people, and could move only in the darkness like the criminals. The paper concludes that the literary work is a political discourse in the first place, and is at the same time an allegory of the power and the powerful. The work is narrated alternatively by the first person of a little boy, and the third person of a grown-up, that renders the irony of the panopticon more lively and vivid.

소설 『야쿠비얀 빌딩』에 나타난 이집트 사회의 결혼 규범

박재원 韓國中東學會 2014 韓國 中東 學會 論叢 Vol.35 No.2

The study surveys norms of marriage that are shown in Arabic novel Yacoubian Building by Egyptian author Alaa al-Aswani. Modern novels are created in certain societies reflecting the traits of their members, who think, act, react and conflict. Man’s nature is so compound that he acts instinctively at times, and sensibly at other times. Human society imposes moral standards upon its members to comply. The various norms used be regulating factors. So man experiences conflict between desires and norms, and his attitude toward the norms is regarded as a key to understand his characters in the real and fictional world. Yacoubian Building contains a lot of actions and events, and there are three cases of marriage among them; that of Hajj Azzam and Suad, Taha and Radwa, and Zaki Bek and Buthayna. These characters represent respectively their social classes in Egyptian society. Their marriages reveal that they exploit or succumb to the social and religious norms. It is interesting that every couple unites a man and a woman who keep the similar distance from the norms. Azzam and Suad utilize them to realize their own benefits, and Taha and Radwa adapt themselves, while Zaki Bek and Buthayna stand aloof from what the religious norm demands. This means that the norms function as a means to enhancement of verisimilitude in the fiction in spite of the disparity in the characters’ social classes. The paper draws a conclusion that a part of the Yacoubian Building’s success consists in the realistic representation of contemporary Egyptian society that was, in turn, attained by the author’s keen concern for factual reproduction of the social and religious norm, while constructing fictionally the characters and events. On the other hand the inner conflict between the norms and desires affects behavior of an individual. Therefore the understanding the deep conflict in Yacoubian Building elevates positively the level of understanding of the literary work’s characters and actions.