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Variations on History and Herstory: An Invisible Intruder’s Politics in Pinter’s Ashes to Ashes Heejung Na (Chonnam National University) The Polish-Jewish playwright, Harold Pinter (1930-2008), was influenced by the traumas of World War II, and the memories of that violence deeply affected his internal landscape. These traumatic memories are not easily transformed into narrative or welded into dramatic prose. These unsettled narratives evolved for over 40 years in Harold Pinter's works. Except his Revue Sketches, Pinter's works consistently introduce various “intruders” in his twenty-nine oeuvres. The amorphous natures of Pinter's intruders are the source of many of his plays' intense dynamics. From absurdist intruders to political intruders, Pinter's plays encompass a wide spectrum of these intruders. Pinter's plays are generally categorized into three stages. The three phases generally agreed upon by critics are: Comedies of Menace (1957-1966), Memory Plays (1967-1982), and Political Plays (1984-2000). In Ashes to Ashes, a Political Play, the intruder is Rebecca's “remembered” Nazi lover, who most probably did not exist. Here, Pinter, engaged in the representation of history and political issues, and chooses to investigate the problems of representing and receiving history, rather than simply assumes that the stage is a proper forum for dispensing historical information, fostering identification, or engendering compassion for the victims of “wrongful” politics and history. The present work is an investigation of the “Invisible Intruder,” who exists solely in the memories of Rebecca and Devlin. In Ashes to Ashes, Pinter interweaves an examination of a difficult personal relationship with public and political issues. By adopting a more malleable view of history, by deforming the conventions of realism, and by not settling the theme of personal reconciliation with the outside world, Pinter ultimately shapes an obscure and political landscape, and thus his play resonates with the audience in ways that are not always easy to identify.

This essay attempts to extend and critically sublate Jameson’s historicist understanding of narrative texts by engaging the theoretical underpinning that runs through the expansive range of his investigative endeavors: namely, his central hypothesis that “History is the experience of Necessity.” The notion of historical inevitability or “History as Necessity” is limited, I argue, to the extent to which such a concept necessarily eclipses or covers over the historicizing or temporalizing dimension of critical and textual practices, including the inaugural and originary impulse of figurative presentations (Darstellung). As a consequence, historical necessitarianism forecloses the possibility of a differential dimension in time. A developing theme of this discussion is the idea that as a historicizing as well as historical operation, the double orientation of origin points to a qualitative “leap” (Sprung), which immediately opens onto the possibility of a future in time, and is to that extent preconceptual: that is, it operates as a principle of subversion with regard to any synchronic determination of the field of history in terms of necessity.

Ford Madox Ford, the early twentieth-century writer most famous for his novel The Good Soldier, perceived his "business in life [as an] ... attempt to discover and to try to let you see where you stand." With this grand purpose in mind, Ford disregarded distinctions of genre in his prolific output of what we would consider novels, memoirs, literary criticism, travel writing, and history. Claiming that "the Novelist ... [is a] historian of his own time," Ford sought his own version of the "truth," a truth that was more faithful to his own subjective impressions than to verifiable "fact." Among these works that depict his age are a series of "memoirs" or "reminiscences," works published from the 1910s to the 1930s which carry out his Impressionistic purpose. What lies behind these memoirs is Ford′s view that his own individual history can be understood as his contemporary society′s collective history. This article explores Ford′s experimentation with boundaries of fact and fiction, and history and narrative, as he employs and expands the memoir form. In particular, 1 focus on two works, Memories and Impressions (1911) and It Was the Nightingale (1933), and Ford′s techniques in these memoirs, such as 1) the adoption of fictional personae from which to comment on his society at large and 2) the use of emblematic "parables" to encapsulate larger lessons of life within the minutiae of existence. Current theorists on the memoir form share interests in these questions of genre and of the social role of the memoir Nancy Miller, for instance, terms the memoir "the record of an experience in search of a community." This article engages these current discussions of the memoir genre by examining Ford′s early twentieth-century examples as innovative experiments that play with the boundaries between fiction and history, and personal impressions and collective truth.

This paper introduces how historians and linguists can benefit by incorporating an interdisciplinary approach. By examining primary sources not only from a purely historical point, but also from a linguistic based model heretofore unknown discoveries could be made. By looking at what history and linguistics, especially historical linguistics, share in common and their differences, a solid foundation can be laid on which to build further historical (linguistic and historical) analysis. From the evidence presented historians and linguistic historians can be seen as two sides of the same coin, so to speak, in that they both try to recover meaning from primary source materials. The historian does this from a societal viewpoint and the linguistic historian does this by examining linguistic changes over time and, consequently, discover older lexical denotations and sentence structures that can affect connotation. Our conclusion is that the two fields can be complimentary, furthermore, both fields should consider exploring the other more deeply.

｢내란기의 사색｣은 아일랜드 내란이 촉발한 예이츠의 시들 중 하나이다. 시에 내재된 주제인 유산이 예이츠의 윤리관이 반영되고 있는 것을 찾기 어렵지 않다. 이 시에서, 예이츠 자신은 예술가로서 혹은 시인으로서 역사에 참여하는데, 과거와 미래를 다루는데 중심적 역할을 한다. 또한, 그는 자신을 역사적 유산의 상속인과 피상속인으로 본다. 그는 건강한 역사적 상속을 받았으며 미래의 세대들에게 전할 자신의 건강한 유산을 만든다.

“Meditations in Time of War” is one of W. B. Yeats’s poems triggered by the Irish Civil War. It is not difficult to find a theme latent in the poem, i.e., inheritance, which reflects W. B. Yeats’s ethical sense of history about heritage. In this poem, Yeats himself plays a central role as an artist or poet in involving himself in history, say, in dealing with the past and the future. Besides, he views himself as both an inheritor and an inheritee of historical heritage. He is not only an inheritor of historical heritage but also expects to contribute to the heritage for the coming generations to inherit.

서평

A book review

본 논문은 역사의 형태를 묘사하는 데 쓰이는 흔한 도해−즉 블레이크는 소용돌이, 예이츠는 가이어−를 점검하여 블레이크와 예이츠의 역사관을 간결하게 비교한다. 본 논점은 두 시인의 2가지 형태가 그들로 하여금 계시와 역사에서의 이탈의 가능성에 대해서 전혀 다른 견해를 견지하게 한다는 것이다.

This essay offers a brief comparison of William Blake and Yeats’s ideas of history and historical change by examining the prevalent figures used to delineate the shape of history: the vortex in Blake and the gyres in Yeats. It is argued that the two shapes allow the poets to represent radically distinct views on apocalypse and the possibility of release from history.

From 1960 creates and perpetuates a new field of knowledge: educational. This science, which studies particular teaching methods, fits into a context where the school system enters an area of great difficulty extending to the current period. Therefore, the role of social sciences taught in school, college and high school takes a special importance on educational policy and plans. Thus the analysis of textbooks and teaching methods of geography, history and citizenship education over forty years deserves careful study.

A partir de 1960 se crée et se perpétue un nouveau champ de la connaissance: la didactique. Cette science, qui étudie plus particulièrement les méthodes d’enseignement, s’insère dans un contexte où le système scolaire entre dans une zone de grandes difficultés qui s’étendent jusqu’à la période actuelle. Dès lors, la place des sciences sociales enseignées à l’école, au collège et au lycée prend une importance extraordinaire sur les plans pédagogique et politique. C’est ainsi que l’analyse des manuels scolaires et des méthodes d’enseignement de la géographie, de l’histoire et de l’éducation à la citoyenneté sur plus de quarante ans mérite une étude attentive.

This paper analyzes Michelle Cliff’s Abeng as a literary reconstruction of Caribbean history, focusing on the interplay of history, gender, and shame. The White Creole protagonist, Clare Savage, occupies a position at the intersection of colonial privilege and colonized resistance, as the novel exposes the complex entanglement of race, gender, and class. Clare integrates the resistant narratives of Queen Nanny and the Maroon community into her exploration of identity, creatively transforming suppressed histories and contradictions into alternative narratives. This transformation functions as a literary mechanism that connects the past and present while envisioning new possibilities for the future of the Caribbean. Cliff combines autobiographical storytelling with historical fiction in Abeng to restore suppressed histories and reconstruct silenced identities. Through the narrative of resistant figures like Queen Nanny, Cliff reimagines the Caribbean as a space of hybridity and resistance, challenging Western-centric narratives. Clare’s evolving identity explores the impact of history, gender, and shame on individual and collective identities, presenting possibilities for transformation within the colonial legacy.

The French Republic is built around an imaginary shaped by symbols and Republican hero. During the “thirty glorious years” young French and European young immigrants adhered to these unrestricted and customs widely distributed by the “black hussars of the Republic.” However, the current economic crisis affecting the entire nation, but also and especially young sensitive suburbs from a primarily African immigration (Maghreb and sub-Saharan Africa) refers to the colonial past which is made of non--said. These silences allow imaginary constructions that affect the understanding of the world and the need for consistency of a nation. Therefore, the confrontation around the colonial empire disappeared between publicized studies of historians and imaginary media also children of immigration became inevitable.

La République française s’est construite autour d’un imaginaire façonné par les symboles et les héros républicains. Durant les «trente glorieuses» les jeunes Français et les jeunes immigrés européens adhéraient sans restriction à ces us et coutumes largement diffusés par les «hussards noirs de la République». Toutefois, l’actuelle crise économique qui frappe l’ensemble de la nation, mais aussi et tout particulièrement les jeunes des banlieues sensibles issus d’une immigration essentiellement africaines (Maghreb et Afrique subsaharienne) les renvoie à un passé colonial qui est fait de non-dits. Ces silences permettent des constructions imaginaires qui nuisent à la compréhension du monde et à la nécessaire cohérence d’une nation. Dès lors, la confrontation autour de l’empire colonial disparu entre les études médiatisées des historiens et les imaginaires eux aussi médiatiques des enfants de l’immigration devint inévitable.

『환상록』은 신화에 바탕을 둔 예이츠의 상상적 사상 체계를 집대성한 책으로 그의 작품을 이해하는 데 사상적 골격을 제공해 준다. 본 논문의 목적은 『환상록』에 나타나는 역사적 상상력을 예이츠가 말년에 발표한 조각상 과 불벤산 기슭 에서 어떻게 투영되어 나타나고 있는 가를 고찰하는 데 있다. 조각상 에서는 예이츠 가 세 개의 조각상을 통해 궁극적으로 아일랜드 민족의 우수성을 강조해 켈트 신화에 서 시작한 그의 신화적 상상력이 신화의 순환구조처럼 아일랜드로 회귀함을 상징적으 로 드러낸다. 불벤산 기슭에서 는 아일랜드 민족의 재건이 과거의 이상적 모형을 현실에 재현하는 것으로서, 예이츠는 문화와 예술의 우월성이 민족의 정체성을 유지할 수 있음을 인식하고 예술가의 역사적 사명을 중시하고 있다.

A Vision, elaborating mythical system, has a tremendous influence on Yeats’s poetry and plays. In A Vision, Yeats offers a picture of history: the civilization of human race runs through cycles of two thousand-odd years. This article is an attempt to study how Yeats expressed persuasively his personal imaginative historical view in his poems, “The Statue” and “Under Ben Bulben.” In “The Statues” Yeats depicts the distinct genius of Europe and contrasts it with the Asian brooding on formless infinity and asserts the Irish who were ‘born into that ancient sect’ will be the heir of European civilization. In “Under Ben Bulben,” Yeats argues that Ireland’s poets and artists must build up a new national culture and a literature based on the Irish myths and legends. Yeats holds that true art can shape life and that civilization can not be reborn except from creative joy.

August Wilson pointed out the psychological crisis encountered by the black living in modern times through The Piano Lesson and would find a solution to that in the race’s traces. The drama develops the process in which a brother and a sister, who represent the young black generation, and disagree on the disposal of the piano symbolizing the history of their family through dramatic situations. This study would present Carl Gustav Jung’s concept of the ‘collective unconscious’ and the main ‘archetypes’ constituting it for a detailed discussion of the work. The collective conscious handed down genetically, keeping the race’s universal characteristics and the piano preserved through three generations, symbolizing the tragic history of the black, help an understanding of the theme of the work, being functionally equivalent. Moreover, Jung’s theory provides a chance to expand the cause of the conflict between the main characters as an outcome of the confrontation of individuals’ internal/external personalities, instead of looking at it as a difference in their views of history. In addition, the transcendental affect of the collective conscious provides experiential evidence and validity at the end of the work that overcomes the crisis in supernatural ways.

이 글에서는 한국어 학습자가 역사 문화를 통해 한국 사회에 대한 이해를 넓히고 상호 문화적 의사소통 능력을 신장시킬 수 있음을 전제로 하여 한국어 교육에서 다루고 있거나 다루었으면 하는 역사 문화 내용을 살펴보고 내용 구성의 체계화 방안에 관해 논의해 보고자 하였다. 우선 2장에서 역사 문화 교육 내용의 구성 요소와 구성 방식을 추출하고, 다음으로 3장에서 한국 역사 문화 교육 내용의 구성 현황을 외국인 대상 및 재외동포 대상의 교수요목 측면에서 검토해 보았다. 이어서 4장에서는 한국어 교육의 틀 안에서 적용 가능한 역사 문화 교육 내용의 구성 방안을 제안해 보았다. 문화는 범위가 방대하고 그것을 보는 관점 또한 다양하기 때문에 교육 내용을 체계화하는 것이 만만치 않은 과업이다. 그동안 한국어 교육에서 다루었던 문화 항목들은 표층적이거나 단편적이었다는 지적이 많았던 것도 사실이다. 그리고 앞선 연구들에서 제안한 내용들이 문화 교육의 목록으로서는 큰 의미가 있지만 대부분이 내용 간의 응집성이 부족한 편이었다. 역사 문화라는 개념을 중심으로 한국어 교육에서 다루는 문화 내용의 체계화 가능성을 탐색하고 역사 문화 교수요목 설계의 단초를 제공한 것은 이 연구의 의의라 할 수 있을 것이다. 그러나 여기에서 논의된 내용들을 실제 교수학습 현장에 접목하는 방법에 대해서는 추후 좀 더 구체적으로 살펴야 할 것이다.

This paper examines historical and cultural contents that are or should be dealt with in teaching Korean as a second or foreign language (L2). Many teachers and researchers have pointed out that in the field of teaching Korean as an L2, culture has often been dealt with in only superficial or fragmentary ways. This paper discusses ways to systematically organize the content around Korean history and culture to enable nonnative learners of Korean to broaden their understanding of Korea and enhance their intercultural communicative competence. Section 2 of the paper presents factors and methods of constructing contents for teaching history and culture that have been extracted from relevant prior studies. Section 3 examines the conventional syllabus and approach to constructing contents for teaching Korean history and culture to foreign students and overseas heritage learners. This study explored the possibility of basing the content of Korean language courses on the concepts of history and culture to provide a starting point for more effective and engaging syllabus design. Therefore, section 4 of the paper proposes alternative methods for constructing the contents of history and culture that can be applied in teaching Korean as an L2.

This essay examines the reconstruction of the past in Kazuo Ishiguro’s debut novel, A Pale View of Hills. The novel shares a postmodern understanding of the past with ‘historiographic metafiction’ that blurs the boundary between truth and fiction, or history and story. Etsuko, the unreliable first-person narrator of the novel who now resides in the English countryside after her daughter’s suicide, offers an unauthoritative account of her past in Nagasaki that centers on her brief friendship with Sachiko. Her recollections are full of self-justification, gaps, omissions, inconsistencies, and ambiguities that partly stem from the mysterious relationship between Etsuko and Sachiko. Although many critics have explained Sachiko as one side of Etsuko’s split personality, I suggest that the parallels between the two women are constructs of Etsuko’s memory. Instead of faithfully re-collecting post-war Japan, the narrator reconstructs her past by reinterpreting the significance of the choices she made and by using Sachiko’s story as a detour to her painful past that she does not want to recall. The past reconstructed through Etsuko’s memory defies the distinction between what is fictional and what is real. On the other hand, A Pale View of Hills diverges from ‘historiographic metafiction’ by privileging private memory over public history. In A Pale View of Hills, Ishiguro raises doubts about any attempt to monopolize, finalize, or idealize meanings of the past.

문학과 역사를 과학적으로 연구할 수 있다는 믿음 이래로 역사와 문학 연구자들은 각기 자기 분야에서 독자적인 연구를 해왔다. 이런 경향은 이야기를 문학연구자들의 연구 분야로 한정시키는 결과를 가져왔으나, 20세기 후반에 들어와 이야기는 다시 여러 분야의 연구자들이 관심을 갖게 되었다. 그러나 아직도 이야기는 주로 문학 연구자들의 연구대상이다. 1979년 로렌스 스톤은, ‘새로운 역사가’들에 의한 서사에 대한 운동은 한 시대의 종언을 의미하는 것으로, 과거의 변화에 대한 정합적인 과학적 설명을 만들어내려는 시도는 끝났다고 했지만, 과학적 역사에 대한 역사학자들의 믿음은 별로 흔들리지 않는 것 같다. 문학 연구자들도 허구가 사실을 얘기하는 것보다 진실을 더 잘 전달할 수 있다고 믿고 있다. 게다가 대학의 분과학문으로 문학과 역사는 각자의 배타적인 영역을 굳건히 지키고 있으므로 역사와 문학은 분명한 경계를 갖고 있다. 그러나 개별 연구자의 실제 연구에서 역사와 문학의 경계가 그렇게 명확한 것은 아니다. 때로는 그 경계가 매우 모호해서 사실과 허구라는 기존의 역사와 문학을 대표하는 개념으로는 설명할 수 없는 경우도 있다. 객관적 사실과 문학적 진실, 또는 단순히 사실과 허구라는 식으로 역사와 문학을 나누는 일은 앞으로 점점 어려워질 것이다. 문학 분야에서 이런 문제에 대해 관심을 갖고 있는 연구자는 대부분 현대문학 분야의 연구자들인데, 고전문학 연구자들도 여기에 관심을 가질 필요가 있다. 이 글에서 필자는, 문학과 역사의 경계에 서있는 몇몇 작품을 제시하고, 이 작품들을 잘 설명해내기 위해서는 이야기에 대한 매우 정치한 분석이 필요함을 강조했다. 필자는 네 작품을 예로 들었다. 󰡔용비어천가ꡕ는 역사를 편찬하는 일이 이야기의 수집에서 시작된다는 것을 보여주기 위한 것이다. 그리고 현재 고전문학 연구자들이 소설이라고 여기고 있는 1780년에 간행된 한글본 󰡔임경업전ꡕ이 간행될 당시에는 임경업의 실제 전기라고 생각했을 가능성이 더 크다는 점에 대해서 말했다. 또 중국소설 󰡔설인귀정동(薛仁貴征東)ꡕ을 번역한 󰡔설인귀전ꡕ에서 당(唐)나라 장수 설인귀가 고구려의 연개소문을 무찌르는 이야기를 조선 독자들이 즐겨 읽었다는 ‘사실’을 둘러싼 논의는 어떤 의미가 있는가, 그리고 󰡔고려보감ꡕ이라는 조선후기 소설에 등장하는 허구적 인물을 족보에 올려놓는 것은 어떻게 해석해야 하는가 하는 문제 등을 간단히 언급했다. 사실과 허구라는 단순한 구분만으로는 이런 문제를 제대로 설명할 수 없는데, 이를 해결하기 위해서는 이야기라는 문학과 역사의 오랜 전통을 불러올 필요가 있을 것 같다. 그리고 이야기를 잘 분석해내기 위해 우리가 갖춰야 할 능력은 무엇인가도 아울러 생각해보아야 할 것이다.

The researchers in the fields of history and literature had developed their original works under the belief that scientific method could be applied to these fields. This trend brought the result of confining the characteristics of narrative only to the object of academic interest in literature. Although it can be said that narrative is still the subject of literary researches mainly, it has also become a focus of academic attention from other fields since the late twentieth century. In 1979 Lawrence Stone said that the movement to narrative by the "new historians" marks the end of era: the end of the attempt to produce a coherent scientific explanation of change in the past. The belief in the scientific history still seems to remain quite firm among historians. Many literary researchers also seem to believe that fiction is a better tool to convey truth than telling facts. Besides, literature and history exist as independent departments in the university academism and this makes a clear distinction between them. However, this distinction between literature and history is not so much clear when it comes to the level of actual research. It is so ambiguous that sometimes such notions as ‘history representing fact’ and ‘literature representing fiction’ cannot simply be applied. And it will get more and more difficult to define literature and history in such simple ways. In the field of literature, it has mainly been the researchers of modern literature who have shown interest in this problem, but I think it is also necessary for the researchers of classic literature to have interest in this problem. In this paper, I introduced some of the works that stand on the borderline of literature and history, and emphasized the necessity of precise and detailed analysis of the narratives. I introduced four pieces as examples. First, I mentioned Yongbieocheonga(龍飛御天歌) as to show that editing a history book began with collecting stories. Second, Im gyeongeop-jeon(林慶業傳). This is a piece, which was published in the 1780’s and researchers consider it as a literary work i.e. novel nowadays. However, I think that people at the time regarded it as an actual biography of Imgyeongeop rather than as a fiction. Third, Sol Ingui-jeon(薛仁貴傳). This is a piece, which was translated from Chinese novel Xue Rengui's Campaign to the East(薛仁貴征東). It is a story of General Xue Rengui of Tang(唐) defeating Yeongaesomun of Koguryo(高句麗). Here, I ask the meaning of the debate revolving around the ‘fact’ that such story was actually popular in Choseon. Last, I raised a question of how to interpret action such as putting the names of fictional characters of late Choseon dynasty novel Koryobogam(高麗寶鑑) onto actual genealogy book. Such simple way of categorizing, i.e. ‘fact and fiction’, is not enough to answer to these questions. In order to solve this problem, I think that it is necessary to call on long-standing tradition of narrative in literature and history. And also, it is necessary for us to think about the requirements for analyzing narrative.

Several thinkers had predicted the end of history, Marx in the nineteenth century, most recently Francis Fukuyama on the occasion of the fall of the Soviet empire. Yet history is very much necessary to understand the emergence of a global society driven by information technology and communication as well as rapid transport networks. Yet history and its rival, the philosophy, no longer able to analyze the tensions resulting from the birth of this new information society and cannot respond individually to the challenges posed by globalization. Clio and Athena must recognize the need for collaboration with other human sciences today to explore the intricacies of humanity evolving.

Plusieurs penseurs avaient prédit la fin de l’histoire, Marx au XIXe siècle, plus récemment Francis Fukuyama à l’occasion de la chute de l’empire soviétique. Pourtant l’histoire reste bien nécessaire à la compréhension de l’émergence d’une société globale portée par les technologies de l’information et de la communication ainsi que par la rapidité des réseaux de transport. Pourtant l’histoire et sa rivale, la philosophie, n’arrivent plus à analyser les tensions issues de la naissance de cette nouvelle société de l’information et ne peuvent plus répondre isolément aux défis posés par la globalisation. Clio et Athéna doivent admettre la nécessaire collaboration avec les autres sciences humaines pour explorer aujourd’hui les méandres d’une humanité en pleine évolution.

Human hairstyles that have enriched one era provide the basis for gender discrimination, birth year, personality and the trend of the times. In particular, you can find out in detail through the autobiography of barbers and wigs, the theme of plays, professional magazines, etc. in Western Lee Yong Temple. However, our ancestors regarded the act of beautifying appearance as the exclusive possession of women and considered cleanliness negative about male beauty in addition to the act of purpose. As a result, most hairdressers are focused on hairdressers, and because of their access in the fields of doubles, private studies, and art, their hair is not the main focus, and women's hairstyle changes, makeup culture, and costumes are biased toward women. In this study, therefore, Western hairstyles, Danballyeong the beginning of the instrument introduced into bloom in the Japanese occupation (1876 to 1945) (from 1945) following the liberation and to a decade.Hair style is a man divided in terms of how and what effect is due to features, according to the social and cultural phenomenon I would like to find. For research methods, literature, leading papers, and the Internet were referred to.The purpose of this study is to provide the basis of hair design and beauty industry by classifying male hairstyles as characteristic elements and systematically considering and organizing the transformation of male hair styles in Ewha and Beauty Temple.

The law of intellectual property is born with printing in the fifteenth century. He took all his legal dimension in the nineteenth and twentieth centuries with the constant advances in printing and reproduction means of printed works. However, recent existence of the Internet disrupts the legal structure of intellectual property itself. Because the law separates the author, the provider and the consumer. However, recent developments in practice shows that often informed consumer is a wise author. Should we oppose to achieve effective protection of intellectual property?

Le droit de la propriété intellectuelle est né avec l’imprimerie au XVe siècle. Il a pris toute sa dimension juridique au cours des XIXe et XXe siècles avec les progrès constants de l’imprimerie et des moyens de reproduction des oeuvres imprimées. Toutefois, l’existence récente du réseau Internet bouleverse les structures juridiques de la propriété intellectuelle elle-même. Car le droit sépare l’auteur, le fournisseur d’accès et le consommateur. Toutefois, l’évolution récente des usages prouve que bien souvent le consommateur éclairé est aussi un auteur avisé. Faut-il les opposer pour obtenir une protection efficace de la propriété intellectuelle?

이 글은 헤겔 역사철학에서 정념의 역할과 의미에 관해 감정과 행위이론의 관점에서 논의했다. 헤겔에게서 정념은 실천적 의지의 계기로서 관심과 함께 행위를 추동하는 주요한 요인이다. 헤겔은 정념을 행위자의 개성이 드러나는 의지라고 규정한다. 즉 우리는 행위주체를 추동하는 정념을 고려하지 않고서 의미있는 행위에 관해 말할 수 없다. 행위의 만족은 정념, 그리고 관심의 목적과 결과의 적합 여부에 달려있으며, 개별 행위 차원에서 정념은 자체로 선하지도 악하지도 않다. 즉 정념에 따른 행위가 모두 불량하거나 이기적인 것은 아니다. 다만 개별 행위와 보편성의 관계를 고찰해야 한다. 헤겔에게서 정념과 관심은 인지적 내용을 갖기 때문에 우리는 정념에 따른 개별 행위, 나아가 역사적 행위의 보편성 여부를 판정할 수 있다. 헤겔은 역사를 구성하는 두 가지 요인을 이념과 정념으로 파악한다. 헤겔에게서 역사란 정념이 추동하는 개별적이고 구체적인 행위들로 이루어져 있지만, 다른 행위들과 구별되는 역사적 행위의 특성은 그 행위가 행복을 목적으로 하지 않는다는 점, 그리고 의도하지 않은 결과에 있다. 모든 행위는 의도하지 않는 결과를 야기할 수 있으며 행위자는 그 결과에 책임을 진다. 그러나 역사 속 행위자의 의도하지 않은 결과는 헤겔에게는 다른 측면을 갖는다. 즉 세계사적 대변혁을 이끈 세계사적 개인 또한 정념에 따라 행위하며, 자신이 무엇을 하는지 알고 있다. 그러나 그 인물이 의도하지 않은 행위 결과에서 우리는 역사 속 이성을 찾을 수 있고, 이를 헤겔은 이성의 간지라고 표현한다. 이러한 이성의 간지 개념을 두고 역사 속 행위자들을 마치 꼭두각시로 간주한다는 비판이 제기되기도 하지만, 이 글에서는 역사 속 정념에 관한 논의를 통해 헤겔 역사철학이 행위 주체에 대한 관점을 배제하지 않았음을 제시하고자 했다.

This article discusses the role and the meaning of passion in Hegel’s philosophy of history. In Hegel, Passion is the major moment that gives rise to action with interest. According to him, we couldn’t mention the meaningful action without passion. The satisfaction of an action depends on the appropriateness of the aim and the result of passion and interest and passion itself in the individual action is neither good or bad. That is, all the action with passion is neither delinquent or selfish. But we should consider the relation of the individual action with the universality. For passion and interest have the cognitive contents in hegel, we could judge whether individual actions with passion including historical actions is universal. Hegel asserts idea and passion two major factor of history. In hegel history consists of individual actions with passion, but characteristics of historical actions is two points. First, these actions do not aim at happiness, and second, cause unintended consequences. All actions could cause unintended consequences, and actors are responsible for these. But unintended consequences of historical actions have other side in Hegel. Historical individuals leading historical revolution act with passion and recognize what is to be done. But regarding unintended consequences of their actions we could find the reason in history, and Hegel called that the cunning of reason. The concept is criticized for making actors in history marionette. But this article asserts Hegel’s philosophy of history does not exclude human agent.