Hölderlin's "Mnemosyne": Philology, Literary Nationalism, and the Myth of the Monolingual

애들러안소니 한국비교문학회 2013 比較文學 Vol.0 No.60

When literary scholars speak of "bilingual" and "multilingual" writers, they usually presuppose a very restricted understanding of what it means to "have" a language, in which the norm is the "native" competence of the speaker of a mother tongue. This understanding of "multilingualism" rests on the modern science of linguistics, which, rejecting the methods of traditional philology, privileges the oral over the written in conceiving of "language" as the subject of investigation. Yet it is also rooted in the aesthetic ideologies of both Classicism and Romanticism, which agree with each other in insisting on a "monolingual" philosophy of history, where history involves the departure from and return to the One language in which meaning is secured and becomes immanent to itself. I will argue, against this, that a very different concept of bilingualism and multilingualism is possible, on the basis of an experience of language that is not linguistic and oral but grammatical and philological. Such a concept, I further claim, is exemplified in the poetry of Friedrich Hölderlin. While many readers of Hölderlin have sought to conceive of his relation to ancient Greece and Greek as if they were his true native land and mother tongue, and have, at the same, stressed his authentic and singular relation to the German language, I call attention to the central importance of his learned, scholastic relation to Ancient Greek, a language that he learned in school in preparation for a clerical vocation. To this end, I offer a reading of Hölderlin's hymn "Mnemosyne." Named after the mother of the muses and the goddess of memory, this poem presents a very different concept of poetic memory, conceiving of it not as the recollection of authentic experience but as the revival of scholarly lore that has never been experienced first-hand. In this way, Hölderlin seeks to turn his own "native" German into a learned, scholarly language.

흔적 읽기로서의 번역과정 연구 - 횔덜린의 시 < 반평생 Hälfte des Lebens >을 중심으로

김재혁 ( Kim Jae Hyeok ) 한국헤세학회 2011 헤세연구 Vol.25 No.-

Mit „Übersetzen“ meint man normalerweise eine sinngemäße und möglichst wortgetreue Übertragung eines meist schriftlich fixierten Textes von einer Ausgangssprache in eine Zielsprache. Aber reichen diese Kriterien aus, um von einer erfolgreichen Übersetzung eines literarischen Textes in die eigene Muttersprache zu sprechen? Falls es sich um die Übersetzung eines fremdsprachigen Gedichts handelt, ist es sehr schwer, mit diesem einfachen Verfahren eine dem Ausgangstext würdige Übertragung hervorzubringen. Worin liegt der Grund dafür? Der Grund dafür liegt meistens in der Tatsache, dass der Übersetzer die zugrunde liegende ästhetische Struktur, die sich in dem betreffenden Gedicht nicht immer sofort offenbart, missachtet. Jeder Text enthält verborgene Spuren, die der Dichter beim Schreiben des Textes mehr oder weniger unbewusst hinterlassen hat und die es erst möglich machen, den Text zu verstehen, nachdem wir sie aufgespürt und entziffert haben. Wenn sich eine Übersetzung jedoch nur auf die deutlich sichtbaren Zeichen der Textoberfläche beschränkt - sie sozusagen auf der Ebene der Denotation stehen bleibt -, lässt sich eine vollständige Wiederbelebung des Textes in andere Sprache – etwa im Sinne von Goethes Gedicht Ein Gleichnis - schwerlich erreichen. Der Begriff der „Spurensuche“ soll diesem textexegetischen Sachverhalt Rechnung tragen, da er in adäquater Weise zum Ausdruck bringt, wie man sich im Labyrinth des zu übersetzenden literarischen Textes orientieren sollte. Spurenlesen ist ein Vorgang des Verstehens, weil es in den sichtbaren Zeichen der Textoberfläche viele unsichtbare Spuren gibt, die man finden und entschlüsseln muss. Unsere Arbeit ähnelt der des Archäologen, insofern wir die unterhalb der Textoberfläche versteckten Spuren ans Licht bringen müssen, um erfolgreich in unserem Tun sein zu können. Was ist das für ein Erfolg, den wir daraus ziehen können? Zuerst kann man die Tiefe des betreffenden Textes ausloten, um dadurch einen besseren Einblick in das Funktionieren des Textes zu gewinnen und so in der Übersetzung das nachzuvollziehen, was der Dichter in seinem Schreiben vollzogen hat. Kurz gesagt, man kann die Koordinaten, an denen man sich befindet, richtig lesen und die einzuschlagende Richtungen auerkennen. Am Gedicht Hälfte des Lebens von Friedrich Hölderlin, eines seiner meist Genannten und vielmals Vertonten, soll diese Methode beispielhaft demonstriert werden. Stilistisch gesehen, ist das Gedicht so einfach, dass man glauben könnte, es bereite nicht allzu viele Probleme in der Auslegung. Jedoch stecken in diesem Gedicht viele Spuren, die eine gewöhnliche und an der Oberfläche orientierte Auslegung zwangsläufig übersieht. So wurde es mit Verweis auf den Titel Hälfte des Lebens häufig aus der Perspektive des an einer Midlife-Crisis leidenden Ichs interpretiert. Die 1. Strophe wird als Reflexion der hellen glücklichen Seite der Jugend betrachtet, während die 2. Strophe die dunkle Seite der bevorstehenden ängstlichen Jahre des Alters betrachtet. Diese Interpretation ist möglich, weil das Gedicht aus zwei inhaltlich extrem polaren Strophen besteht, jedoch übersieht sie einiges. Beispiele dafür, welche Art von Spuren Hölderlin in diesem Gedicht hinterlassen hat, sind etwa die sprachlichen und philosophischen Referenzen zur griechischen Sprache und Kultur, zu seinem ästhetischen Ideal(Adonis) sowie Spuren zum Entstehungsprozess dieses Gedichts. Eine Übersetzung darf daher die Lebensspuren des Dichters und dessen ästhetische Vorstellungen nicht unberücksichtigt lassen und sollte sich ganz auf die Wiederbelebung des Textes konzentrieren, ohne die narzisstische Vertikal-Bewegung des lyrischen Ichs in der 1. Strophe und die leere Landschaft der 2. Strophe dabei außer Acht zu lassen. Ein Übersetzer, der solche scheinbar bedeutungslosen, weil scheinbar absichtslosen Text-Spuren aufdeckt und mit neuem Leben füllt, ermöglicht einen größeren übersetzerischen Reichtum und ein tieferes und genaueres Verständnis des zu übersetzendenTextes.

발터 벤야민의 「프리드리히 횔덜린의 시 두 편: ‘시인의 용기’와 ‘수줍음’」에 나타난 “시화된 것”

이용란 ( Rhee Yongran ) 한국미학회 2019 美學 Vol.85 No.2

이 논문의 목적은 발터 벤야민의 “시화된 것”(das Gedichtete)의 개념을 밝히는 것이다. 횔덜린의 시 분석을 위해 방법적 개념으로서 도입한 이 개념은 작품 해석에서 작가 개인을 영웅시하는 경향에 반대할 뿐 아니라, 작가의 의도나 주관성 그리고 예술제작에서의 도취나 열광적 요소를 중시하는 경향과도 거리를 둔다. “시화된 것”은 개별적인 작품 자체 안에 구현된 시어들의 연관과 구성에 주의를 기울인다. 일반적이거나 보편적인 개념적 특징들로 작품을 평가하거나 재단하는 방식과 달리, “시화된 것”은 개별적인 시를 이루는 구체적인 구성 요소들 자체의 현실적 혹은 잠재적으로 가능한 연관들을 밝히는 내재적 비평을 과제로 삼는다. “시화된 것”은 예술과 삶이 관계 맺는 영역으로서 예술과 삶의 한계 개념으로 정의된다. 또한 “시화된 것”은 시어들의 연관을 통일적 전체 속에서 고찰하는데, 이 통일성 자체는 개념이 아니라 예술의 이념을 향하고 있다. “냉철함”에 바탕을 두고 있는 “시화된 것”의 개념에는 이후 전개되는 벤야민 예술비평 개념의 핵심 요소들이 담겨 있다. This paper aims to elucidate the concept of Walter Benjamin’s ‘the poetized’(das Gedichtete). ‘The poetized’, which is introduced as a methodological concept for the analysis of Hölderlin’s poetry, not only opposes the tendency to interpret the artist as a hero in interpreting the work, but also distances itself from the tendency to focus on the intention and subjectivity of the artist and the intoxication and enthusiasm of art. By contrast, ‘the poetized’ takes care of the connectedness and composition of the individual poem itself. Unlike the way in which works are evaluated or judged with general or universal conceptual features, ‘the poetized’ is a concept of an immanent criticism defined as a poetic task, which reveals actual or potentially possible connectedness of the concrete components of individual poetry. ‘The poetized’ is defined as the limit concept of art and life, and it is also the sphere where art and life are related. ‘The poetized’ considers the relationship of the poem in a unity. This unity itself is not a concept, but an Idea of art. The concept of ‘the poetized’ based on ‘sobriety’ contains some key points of Benjamin’s art criticism to be developed in his later works.

예술로서의 시, 예술가로서의 시인- 조정권 시에 나타난 예술가적 자의식을 중심으로 -

강호정 배달말학회 2020 배달말 Vol.66 No.-

The statement that poetry is art and poet is an artist seems natural. However, the self-consciousness of 'poetry as an art and poet as an artist' is only revealed by some poets in our modern poetry, but it is not revealed much.,This thesis is about Jo Jung-gwon's poem, one of the representative poets who are strongly revealing the artist's self-consciousness in Korean modern poetry. The purpose of this thesis is to examine the artistic self-consciousness of his poems and poets, and to examine the manifestation of the perception of artists and works of art. Chapter 2 of this thesis examined the poet's universal perception of art and the artist itself. Poems such as 「Dokrakdang(獨樂堂)」, 「Cosmos」, and 「Awl Eye(송곳눈)」 were targeted. The attitude as an artist in these poems is the basis of the poet Jo Jung-gwon to live as a spiritual being. Chapter 3 looked at the poet's self-consciousness about 'poetry as art'.Through poems such as 「Blank1(白紙1)」, 「Killing the Blue(殺靑)」, and 「Graveyard on Mountaintop11」, it was confirmed that poetry is not a creative activity as a literary act, but a poetry art and it is a thought process of the spirit that seeks an ontological origin. Chapter 4 looked at self-consciousness about 'a poet as an artist'. I was able to identify the aspect of a monk-like artist through the poems of 「The Seven Forms of Mind Looking at the Rain」, 「The Fundamental Thoughts」 and 「I try to put myself to sleep」 Through his poems, Jo Jung-gwon has pursued a "spirit" with self-consciousness as an artist. The spirit could be narrowed down to the spirit of an artist. He lived as an artist. And what he was trying to express was the sacredness of the object rather than the content of the expression. From the awareness that poetry is art, his poetry confirms that it is a departure. 시는 예술이고, 시인은 예술가라는 진술은 당연해 보인다. 그러나 그 당연해 보이는 진술의 역술(逆術)로서 ‘예술로서의 시와 예술가로서의 시인’에 대한 자의식은, 우리 현대시에서 몇몇 시인에게서만 드러날 뿐, 크게 드러나지 않는다. 이 논문은 한국 현대시에서 예술가의 자의식이 강하게 드러나고 있는 대표적인 시인 중의 한 명인 조정권의 시를 대상으로 시와 시인에 대한 예술가적 자의식을 살펴보고, 예술가와 예술 작품에 대한 인식의 발현 양상을 살펴보았다. 2장에서는 「독락당」, 「코스모스」, 「송곳눈」 등의 시를 통해 예술과 예술가 자체에 대한 조정권의 보편적 인식을 살펴보았다. 이들 시에서 보여준 예술가로서의 태도는 정신적인 존재로 살기 위한 조정권 시인의 밑바탕이라고 할 수 있다. 3장에서는 ‘예술로서의 시’에 대한 조정권의 자의식에 대해 살펴보았다. 「백지1」, 「살청(殺靑)」 등의 시를 통해 조정권의 시가 단순한 문자 행위로서 창의적 활동이 아니라, 시가 예술이고 그것은 곧 존재론적 근원을 찾아가는 정신의 사유 과정이라는 것을 확인하였다. 4장에서는 ‘예술가로서의 시인’에 대한 자의식에 대해 살펴보았다. 「비를 바라보는 일곱 가지 마음의 形態-일곱」, 「밑생각들」, 「山頂墓地 11」 등의 시편을 통해 수도자적인 예술가의 면모를 확인할 수 있었다. 조정권은 자신의 시세계를 통하여 예술가로서의 자의식을 지니고, 하나의 ‘정신’을 추구해왔다. 그 정신은 예술가 정신으로 좁혀 말할 수 있을 것이다. 그는 예술가로 살았고, 그가 표현하고자 한 것은 표현의 내용보다는 대상이 지니고 있는 신성성이었으며, 무엇보다도 시가 예술이라는 자각에서 출발하고 있다는 것을 확인하였다.

규범에 순응하는 번역·저항하는 번역 : 인식론적 토대와 사례 분석

안미현 이화여자대학교 이화인문과학원 2014 탈경계인문학 Vol.7 No.2

Norms of translation include various rules and customs that translators must necessarily acquire. Translators must learn these norms if they wish their products to be recognized and circulated in a certain society. Such products contain the preferred value and knowledge system of a certain period, such as the structure of emotion, among other things. In this network of norms inhere political, cultural, and verbal ideologies. Norms don’t operate separately, but build a network, even while they connect with or contradict each other. When translators depend excessively on dominant norms, their translations have the effect of ultimately excluding exotic factors and strengthening their own culture and language-system. We have examined such an example in Wilamowitz-Moellendorff ’s translations of ancient Greek texts: He replaces the Greek mythologies and gods by the Christianity of his time and place, and in this way reveals the national or imperial ideology of his era. Even though most translators tend to follow the ruling norms, a few translators resist these norms. We have seen such resistance in Höolderlin’s translations of Sophocles, for Höolderlin mediates new images of the Greek gods, in contrast to the images presented by other writers of his time. This art of translation transforms the fixed images of foreign culture through resistance to the ruling norms.