『오만과 편견』을 통해서 본 관계 상실과 회복에 대한 연구

홍남주(Hong, Nam Ju) 한국독서치료학회 2020 독서치료연구 Vol.12 No.2

본 논문은 인간이 관계에서 겪게 되는 어려움에 대해 제인 오스틴(Jane Austen, 1775-1817)의 『오만과 편견(Pride and Prejudice)』 속 두 인물이 관계에서 보인 정서와 상호작용에 의한 변별력의 상실과 회복과정을 알아보고자 한다. 제인 오스틴의 『오만과 편견』은 영국 시골 마을의 평범한 베넷가 집안 딸들의 이야기다. 당시 봉건적 귀족사회는 산업사회의 발달을 계기로 성장한 신흥계급들에 의해 점점 몰락하면서 평등사회로 변화되었다. 또한 사회적 배경은 남자 위주로 상속을 한정시키는 ‘한정상속제도’라는 전통적인 결혼풍습이 있었다. 두 주인공은 모두 변별력이 있다고 자부(Pride)하는 존재이다. 그들의 첫 만남은 자부심을 부끄럽게 여기면서 어떤 특정한 사회집단 및 그 집단에 속한 개인을 향한 부정적·비우호적·혐오적인 태도로 편견이 작동하고, 고정관념화된다. 두 인물은 이 사건으로 인해 자신들의 판단력이 흐려진 것을 자각하지 못하면서 오만에 빠져서 부정, 분노, 우울의 정서를 거친다. 두 주인공은 부정, 분노, 우울의 감정을 외현화시켜서 부정적인 상호작용으로 관계의 손상과 상실에 이른다. 그 이후에 그들은 변별력이 편향, 오만, 편견에 의해 어리석은 판단을 했다고 통찰하며 객관화한다. 남녀 주인공은 서로의 잘잘못을 사과하는 과정에서 동등관계를 획득하고 긍정적인 상호작용으로 사랑과 애정이 회복되며 급속도로 관계가 개선된다. 두 주인공은 관계 상실을 이끌게 된 왜곡된 사고와 행동에 대한 책임을 지고 수용하게 되면서 자부심과 변별력을 되찾는다. 그들은 적극적이고 주체적인 태도로 그들을 신뢰하는 가족, 친구, 지인들의 관계회복에도 견고한 가교역할을 하게 된다. 게다가 적대적인 대상과의 관계에서도 지혜가 발휘되면서 유연한 대처가 가능해진다. 이로써 『오만과 편견』의 인문 서사에서 두 주인공은 부정, 분노, 우울의 정서 단계와 객관화, 수용으로 변별력을 회복하고 조절하게 된다. 그들은 관계 상실과 회복을 통해 자부심을 되찾아 동등관계를 형성하고 긍정적인 상호작용으로 관계의 개선과 유연한 대처가 가능해진다. The purpose of this study is to examine the emotional aspect of the relationship loss and recovery and the role of discernment in the interaction through the two characters in 『Pride and Prejudice』 by Jane Austin(1775-1817) regarding the difficulties suffered by human in the relationship. Jane Austen’s Pride and Prejudice is the story of the daughters of an ordinary Bennet family in the rural countryside. At that time, Britain’s feudal aristocracy bagan to decline and turned into an egalitarian society along with the development of the industrialization era. This novel also has a social background of conditions at that time, when the inheritance system influenced the traditional wedding customs. Moreover, both of the main characters also display pride in self-esteem and discernment. Their first encounter was suffered shame from self-esteem as they prejudice each other toward a particular social group and individuals belonging to that group. The two characters are unaware that their judgment has been clouded by this incident that leads them to fall into arrogance and go through feelings of denial, anger, and depression. They externally express and interact with their feelings that have changed into negative emotions that lead to damage and loss of relations. Since then The bias, pride and prejudice are then objectified by the discernment that they have made each other did foolish judgment. In the process of apologizing for each other’s mistakes, the main characters acquire equal relationships, recover love and affection through positive interactions, and quickly improve relationships. They regain self-esteem and discrimination as they take responsibility for the distorted thinking and behavior that led to the loss of relationships. The two main characters are active and self-reliant, playing the role of connection in restoring relationships between family members, friends, and acquaintances who trust them. Furthermore, they show wisdom and flexible in responding to their enemies. Through the humanities narrative of Pride and prejudice, The two main characters regain and control their discernment through emotional stages of denial, anger, depression, objectification and acceptance. They regain their pride through loss and recovery of relationships, form and equal relationship, and through positive interactions, it is possible to improve and flexible in responding relationship.

제인 오스틴의 <오만과 편견> 각색 영화 분석 - <신부와 편견 (2004)>을 중심으로

전미경,한희정 한국영상학회 2020 한국영상학회 논문집 Vol.18 No.3

The article compares Jane Austen’s British novel, Pride and Prejudice, and the Indian film adaptation of the novel, Bride and Prejudice, and does so from a feminist perspective. Despite the limitations of the 18th and 19th centuries, Pride and Prejudice starkly reveals the reality of women in a patriarchal society, whereas Bride and Prejudice fails fully to present the feminist consciousness of the reality of women in Indian society, which may correspond to women’s reality in the original novel. Additionally, unlike the original novel, Bride and Prejudice strengthens the theme of romantic love and the spiritual union in marriage. This article analyzes Bride and Prejudice using feminist sociologist Eva Illouz's view of love, focusing on its narrative aspects and key characters, revealing that the fantasy of romantic love in the modern era is growing in popularity. According to Illouz, this movie's narrative and images reinforce a fantasy about love, creating the “institutionalization of imagination,” which suggests a model for what people should desire. This allows audiences to indulge in a consumer culture, which induces them to consume merely for the fulfillment of their emotions. Thus, audiences become slaves to consumption and are manipulated to feel certain emotions and may not be aware of the true nature of love. 이 글은 제인 오스틴의 영국소설 <오만과 편견>과 각색 영화 <신부와 편견>(2004)을 여성주의적 관점에 서 비교 분석했다. <오만과 편견>은 작가 당대의 남성 주도 문단 현실에도 불구하고 아이러니 등의 간접 적 표현기법을 사용하여 가부장적 사회와 이로 인한 여성의 종속적 현실을 드러냄으로써 진보적 가치를 지닌다. <신부와 편견>에도 가부장적 사회에서 비롯되는 여성의 현실, 민족주의 등 제반 문제의식이 제 기되기는 하나, 볼리우드 풍의 영화 기교 및 근대적 여성주의 인식으로 인해, 작품은 인도 전통사회로부 터 유래하는 여성 현실에 대한 진지한 문제의식을 보여주지 못하고 있다. 이뿐만 아니라 <신부와 편견> 은 원전과는 달리 낭만적 사랑과 영적 결합의 숭고한 의미를 더 강화하는 효과를 가져왔다. 이에 대해 이 글은 여성주의 사회학자 에바 일루즈의 사랑에 대한 관점을 활용하여 서사와 주요 캐릭터를 중심으로 분석함으로써 작품이 현대의 낭만적 사랑의 판타지를 강화하고 있음을 밝혔다. 일루즈에 의하면 이러한 영화 상품의 이야기 전개와 이미지는 사랑에 관한 판타지를 심어주어 일정 틀을 자극하고 고무하는 상상 력의 제도화를 이루게 한다. 이로써 수용자들은 개인의 감정 충족을 상품 소비로 유도하는 소비문화에 빠지게 되어 특정 감정을 주문받는 소비 노예가 되므로 사랑의 진정한 본질을 인식하지 못하게 된다.

『오만과 편견』에 나타난 희극적 전복성

전미경 ( Mi Kyoung Jeon ) 한국18세기영문학회 2012 18세기영문학 Vol.9 No.1

This paper aims to examine the correlation between the comic elements and author`s feminist perspective in Pride and Prejudice, one of the most popular novels of Jane Austen. As Audrey Bilger properly observes, at a time when overt feminist statements could ruin a woman`s reputation, comedy enables certain authors to "smuggle" feminism into their writing. Among the above mentioned authors is Jane Austen. Pride and Prejudice is the most remarkable as a subversive novel among her writings for its feminist tactics and the comic elements, which have offered the consistent popularity to Pride and Prejudice. The comic elements include irony, parody, satire, and unconventional characters, etc. The women characters deviating from the feminine ideals are also created with the purpose of criticizing the society. For instance, the heroine of this novel is without strict class consciousness, and in this sense, very unconventional. Another female character, though minor, laughs and makes the conventional sense of virtue worthless by committing improprieties. In short, the tactics employed in Pride and Prejudice compose a double vision in the novel and contribute to making Pride and Prejudice a subversive comedy. There are basically two conflicting standpoints in the novel. While the first-person narrator pretends to conform to the values and views that suppress women and their self-expression, the other persona inherent in the novel assumes critical attitude toward the ideological pressure on women. In particular, the literary device of irony enables readers to laugh at and criticize the absurdity and injustice inherent in the patriarchal society which distorts the femininity and in which women are supposed to be inferior to men in their social status.

Reading Transatlantic Pride and Prejudice From Literary Journals to Antebellum New York City: Kemble, Trollope, and Dickens

추재욱 한국비교문학회 2010 比較文學 Vol.0 No.52

To English people, America was a new country, but the country had made rapid economic and cultural growth. Still, in the nineteenth century English pride for its own culture and nobility was sustained, while Americans' pride had begun to appear in many aspects of their life along with its prejudice against England. This kind of thought can be grasped by looking at several journals written by British writers after their travel to America: Fanny Kemble, Fanny Trollope, Charles Dickens, and Anthony Trollope. Among other places, New York City was one of the most important cities that they never failed to visit and mention as a typical American city. Although English writers intends to express in their journals the negative aspects of American culture and tradition which seemed shallow and superficial to them, some other positive views of the cultural status quo of antebellum New York City can be read from their vivid depictions on Broadway, its theaters and culture. Above all, the thing that Americans took pride in was its spirit of liberty, freedom, and equality. The free blacks walking along Broadway, the public schools crowded with boys and girls, and the omnibuses full of passengers were symbols of the spirit of liberal New York City. As the busiest part of this beautiful city, Broadway is still the central route across Manhattan Island from Downtown through Mid-town to Up-town. Times Square was also the heart of the dynamic New York City, where new arts and culture are created and consumed. In that sense, the New Yorkers' pride has been justified, despite the arrogant European prejudice. As a 'transatlantic study,' my research has examined the prejudice and pride that both countries' people began to have against the other country.

결혼 플롯과 그 불만: 제인 오스튼의 『오만과 편견』에 나타난 여성 주체의 욕망을 중심으로

조선정 ( Son Jeong Cho ) 영미문학연구회 2004 영미문학연구 Vol.6 No.-

It is widely acknowledged that heterosexual romance is the primary impulse and ultimate telos of Jane Austen`s Pride and Prejudice. The nucleus of controversy of the marriage plot in the novel lies in the extent to which the emplotment of marriage resolution contains the textual dissemination of the novel. Approached with a holistic emphasis on narrative closure and its effect of ideological containment, Pride and Prejudice hardly escapes the verdict of conservative ``wish fulfillment`` as the apparent employment of the marriage plot is accepted as a sign of the endorsement of the status quo. This essay aims to take issue with such a conventional claim on Austen`s marriage plot, arguing that Austen, rather than overthrowing the institution of marriage plot, creates a form of marriage as a very flexible and accessible social space of multiple possibilities of resistance against the hegemony of marriage, in which diverse complaints, anxieties, and everyday desires are played out and negotiated around one another. The very persistent relevance of Pride and Prejudice in this age of ``Austen cult,`` the essay further discusses, comes from the elasticity of the marriage plot which allows the telos of the plot to be deconstructed and even subverted internally. The deconstruction of the marriage plot in Pride and Prejudice is facilitated by the flamboyance of the heroine, Elizabeth Bennet. Empowering the heroine with assertive confidence, complex emotional capacity and willful pursuit of personal happiness, Austen affirms Elizabeth as a strong female erotic subjectivity who dictates male authority.

『오만과 편견』에 나타난 아이러니의 양상

강평순 한국중앙영어영문학회 2008 영어영문학연구 Vol.50 No.4

This article examines aspects of irony in Pride and Prejudice, especially analyzing Elizabeth’s judgment on various characters and their dialogue. In fact, Pride and Prejudice is the novel in which irony plays the most important role among Austen’s six novels. And Austen uses irony not as a skill but a means of revealing her serious and intense moral interest. In the first chapter, Austen shows the materialistic basis of society and the marriage market theme. So, we can know that marriage is the main theme of this novel. Elizabeth, as a student of character, gives an exact judgment on the simple characters, such as Mrs. Bennet, Lydia and Collins. But she often gives a misjudgment on the intricate characters. In case of Charlotte, Wickham, and Darcy, she doesn’t understand economical hardship and social environment. And, in the process of Darcy and Elizabeth’s meeting, their pride and prejudice cause a lot of trouble and conflicts all the time. The irony of this novel, however, comes to light when we realize the reversal of their pride and prejudice. Like this, Austen enlightens us upon man’s lack of discretion, inconstancy, ignorance and stupidity through irony. She recognizes the contradictory double faces of human beings and society deeply, and shows the irony of life through the common subject matter of the relation between the sexes

『오만과 편견』의 언어적 아이러니 번역 고찰

김태훈 ( Kim Taehoon ),최희섭 ( Choi Hiesup ) 건국대학교 동화와번역연구소(구 건국대학교 중원인문연구소) 2018 동화와 번역 Vol.36 No.-

제인 오스틴은 『오만과 편견』을 한편의 희극처럼 구성하여 당시 영국인들에게 만연한 물질주의와 그로 인해 생기는 사람에 대한 편견, 사랑보다 재물을 중요시하는 결혼관 등을 언어적 아이러니를 통하여 비판하고 있다. 번역은 원문의 내용을 살리면서 작가의 창작의도를 충실히 살려야 한다. 이 작품의 경우 아이러니 수법을 충실히 살려야 작가의 창작의도를 잘 번역했다고 할 수 있다. 이 작품은 최근에도 매년 두 세 종의 번역본이 새로 출간될 만큼 수많은 번역본이 출간되었고, 많은 연구가 이루어진 상태이다. 원전에 대한 연구는 사회적 연구 및 시대상황에 대한 연구가 주를 이룬다. 번역본에 대한 연구는 대부분 오역의 문제를 다루고 있으며 아이러니의 번역에 대한 연구는 거의 없다. 본 연구는 최근 번역본 3종을 선택하여 오스틴의 언어적 아이러니를 어떻게 번역하였는가를 살펴보았다. 그 결과 지나친 오역이나 변조 등은 거의 보이지 않아 내용의 충실성은 어느 정도 담보된 것으로 밝혀졌다. 다만 언어적 아이러니를 잘 살리지 못하였다. 이는 『오만과 편견』이 대중성이 높은 소설이기 때문에 다양한 독자층을 만족시키기 위해 가독성 높은 번역 전략을 택하면서 언어적 아이러니의 번역에 특별한 전략을 수립하지 않았기 때문으로 생각된다. The purpose of this study is to examine the translation of verbal irony in Jane Austen’s Pride and Prejudice and identify the translation strategy used in translating verbal irony. Austen used irony in her Pride and Prejudice as a way of revealing the characteristics of the main characters and satirizing her contemporary society, focusing on the duality and vulgarity of common people. This novel deals with love stories between men and women at the age of marriage. Austen criticizes materialistic view of life of her contemporary people and their prejudice in the way of irony. In this paper, three of Korean translated versions of Pride and Prejudice are examined with emphasis on the translation of verbal irony. The examination shows that the source text was most translated into target text in word-for-word translation method. There were few mistranslations in spite of some omission to enhance the readability of target language readers. But we can conclude that the translators exerted no special strategy of irony translation, though a special strategy was needed. We can surmise that’s because the translators worked without deep understanding of the role of verbal irony in 『Pride and Prejudice』. In addition, as this novel is very popular to Korean readers of various ages from teenagers to adults, the translators may have focused on readability-first translation strategy ignoring the importance of verbal irony. We cannot find any special translation strategy in translating verbal irony in the translated three versions.

결혼의 의미 : 『오만과 편견』

이광희 공주문화대학 2000 공주문화대학·논문집 Vol.27 No.-

Marriage is the most important thing in one's life for both the rich and the poor. Jane Austen portrays the picture of marriage, pursued by the upper having pride and arrogance and pursued by the middle having money-oriented attributions. There are many characters in Pride and Prejudice. The main plot is the marriage of Elizabeth and Darcy. One subplot is the marriage of Jane and Bingley, Others are that of Charlotte and Mr. Collins and that of Lydia and Wickham. Elizabeth comes from the middle class family and Darcy comes from the upper class family. The process of their goaling the marriage is the main point in this novel. Darcy proposes to Elizabeth confidently but he is rejected unexpectedly because of his pride and arrogance. A few months later some ugly accident happens to Elizabeth's family. It is the escape of Lydia, Elizabeth youngest sister and Wickham, a handsome and playboy without their marriage. In this case Darcy devotes himself for Elizabeth's family problem. In the course of it Elizabeth approves of her family weakness candidly and Darcy understands other's family without his priority. Elizabeth and Darcy understands each other truly. In the end they are married and live happily. Marriage is the combination of a man and a woman personally and it is the combination of man's belonging society and woman's belonging society. So we can say that marriage is not only individual matter but also social matter.

섭정 시대로의 시간 여행: 대중문화의 『오만과 편견』 각색과 <오스틴에 빠져 있는>

박하정 ( Hajeong Park ) 한국근대영미소설학회 2020 근대 영미소설 Vol.27 No.3

This essay examines popular culture’s rewriting of Jane Austen’s Pride and Prejudice by drawing attention to the modern reader’s time travel in the 2008 ITV miniseries Lost in Austen. Lost in Austen features an Austen devotee, Amanda Price, who is dissatisfied with her work and love life and habitually escapes into the genteel world of Regency England by re-reading her favorite novel Pride and Prejudice. While Elizabeth Bennet, Austen’s heroine, first visits Amanda’s London flat, Amanda’s aspirations for the ideal Regency world are the “key” that opens the magical door to Regency Longbourn. The drama series shows how an Austen reader becomes an author rewriting Austen’s novel when she enters into the world of Pride and Prejudice and engages with the metafictive situation of living with Austen’s characters. If characters in person show their reality, telling stories slightly different from those described in the novel, Amanda’s presence alters the reality of the original story. The all-knowing reader eventually fails when she is rigid about the original text and insists on moving along to the “authoritative” plot. In the end, Amanda learns to regard those characters as real people with a life and accept changes to their stories. Exploring the relationships between the original and reinventing and between the past and the present, Lost in Austen ultimately offers a new insight for the future project of Austen rewriting.

『오만과 편견』의 역설적 비전: 장자상속제의 문학적 재현

전미경 ( Mi Kyoung Jeon ) 한국근대영미소설학회 2013 근대 영미소설 Vol.20 No.2

Pride and Prejudice is well known for its heroine`s moral and social growth. In addition, it ends with a romantic marriage based on personal affection, not on any material motive or familial interests. However, Austen was not a naive or daydreaming novelist, as is evident from her letters to her niece, Fanny Knight. In one of the letters, Austen states that “single women have a dreadful propensity for being poor, which is one very strong argument in favour of matrimony.” This propensity is attributable to the special kind of inheritance system in England, which limited an inheritance to the eldest son. As a material basis for almost all the people`s lives and consciousness in the novel, this social system, the practice of primogeniture or entail, causes many troubles to those in the novel, especially female characters. Women in material crisis have no choice but to marry whoever offers marriage to them, as is shown especially in the cases of the Bennet daughters` search for husbands and of Charlotte Lucas`s decision to marry Collins “solely from the pure and disinterested desire of an establishment.” In short, although her treatment of it is not only light and comic but also paradoxical, it is apparent that Austen`s concern with the inhuman and antifeministic inheritance system and its effect on women`s existence is very great.