Earticle

본 연구는 나카지마 한지로의『교육학원리』와 유근의 번역본 ｢교육학원리｣를 검토하여 1900년대 한일 성교육 지식의 정체성과 재편의 양상을 살펴본다. 헤르바르트 학파가 일본 교육계를 주도하던 1900년 전후, 나카지마는 학생의 몸과 욕망에 관한 문제를 환기하고자 병리학의 논의를 끌어왔다. 그는 강의록『교육학원리』에서 성욕을 생의 원동력으로 활용할 수 있도록 선도하는 ‘성욕적 교육학’을 제시했다. 이후 1906년 유근은 나카지마의『교육학원리』를 번역하여 새로운 지식으로 재편했다. 그는 병리학적 성욕 개념이 부재한 상황에서 ‘성욕적 교육학’을 ‘정욕적 교육학’으로 번역하고 정신을 무장시키는 국민윤리의 지식으로 재해석했다. 두 사례는 학생의 욕망을 교육학의 경계 안에 편성하여 근대적 성교육의 가능성을 연 동시에, 기존 윤리교과서가 강조해 온 수양의 가치를 환기했다는 점에서 과도기적 성격을 보였다. 더불어 양국 간 지식의 흐름을 증언하면서 1910년대 이후 등장할 다양한 성교육을 예고했다.

This study compares Nakajima’s Principles of Pedagogy and Yu Geun’s translated version to examine the reorganization of knowledge on sex education in Korea and Japan in the 1900’s. Around 1900, Nakajima reinterpreted the Herbart School and paid attention to the body and sexual desire of the student. Based on the discussion of medicine, he presented the theory of ‘Sexual pedagogy’ in the lecture book Principles of Education. He regarded it as the mission of sexual pedagogy to lead students to control their sexual desire. Meanwhile, Yugeun translated Nakajima’s Principles of Pedagogy in 1906 and reorganized it into knowledge for national ethics and moral, regardless of the original intention. Although they had similarities with previous ethics education in the methods, they found a new agenda, student’s sexual desire and foretold the sex education controversy of the 1910’s.

本稿は中島半次郎の『教育学原理』と柳根(ユグン)の翻訳書の｢教育学原理｣を検討し、1900年代の韓日性教育知識が再編される様相を調べる。ヘルバルト学派が日本の教育界を主導する1900年前後、中島は学生の体と欲に対する問題を喚起するために既存の議論を再解釈した。同時に生･病理学の議論を基づいて｢性欲的教育学｣論を提示した。学生が性欲を制御して個人と社会の営為のための原動力として活用できるよう先導することを教育学の使命と考えた。一方、柳墐は中島の󰡔教育学原理󰡕を翻訳して新しい知識に再編した。彼は性欲の概念と知的土台がない状況の中で｢性欲的教育学｣を｢情欲的教育学｣に翻訳する一方、精神を武装させる修身と国民倫理の知識として再解釈した。両事例は学生の欲望を教育学の領域下に編成して性教育の可能性を開いた同時に、既存の倫理教育の修養の価値を換気したという点で過渡的な性格を示した。さらに、両国間の知識の流れを証言し、1910年代以降登場する様々な性教育を予告した。

Soseki Natume is the Japanese modern writer who does not believe God nor Christianity. We can see that his suffering to western culture in his many works means the conflict with Christianity. His idea of nature in Sorekara and Mon appears the old Japanese native spirit which is against Christianity. Such a Soseki wrote the spiritual love and conflict between mind and body in the latter three works. Especially the idea of Platonic love and dualism is described here and there in Kokoro. This is like as the idea of western Christianity. According to the conclusion of Kokoro we can see that Soseki got such a idea of true love by Tokoku Kitamura who wrote about Platonic love and dualism 10 years before than Soseki.

이 글은 대하소설에 나타난 호방형 남성주동인물을 본격적으로 살피기 위한 전단계의 글이다. ‘호 방’과 그 유사 단어의 용례를 살펴, 이른바 호방형 인물의 명칭과 개념을 정립하는 것을 목적으로 한다. ‘호방’을 비롯하여 그 유사 단어인 호일, 호탕, 호협, 호종, 호매, 호걸, 호준, 영웅, 풍류의 10 가지를 선택하여, 각 단어에 대해 먼저 사전에서의 정의를 살핀바, 이들 단어는 ‘호방’류와 ‘영웅’류, 풍류의 세 가지 부류로 나뉠 수 있다. 문헌에서의 용례와 대하소설에서의 용례를 살폈을 때, 이들 단어는 사전에서의 정의를 보완할 수 있는 의미 자질을 지니고 있음을 확인할 수 있다. ‘호방’류 단어는 ‘호방’으로 통칭할 수 있는데, 이 단어가 지닌 의미는 ‘호색’, ‘기상’, ‘방탕’, ‘외모’, ‘비례(非禮)’를 핵심 자질로 하고 ‘과단’, ‘해학’, ‘강 직’, ‘음주’, ‘시문’을 부가 자질로 한다. ‘영웅’류는 대하소설 인물의 실상과 달리 긍정적인 자질 위주 이며 ‘풍류’는 대하소설에서 문헌의 용례와는 달리 ‘음악’의 의미로 가장 많이 쓰였다. 대하소설에서 이른바 호방형 인물은 긍정적 자질과 부정적 자질을 함께 지니고 있는데 이에 가장 부합하는 용어 는 ‘호방’이라 할 수 있다.

This is a preceding text that consider manly and broad minded males in long novels. Considering the examples of the similar words with "manly and broad minded," it is aimed to define the title and concept of manly and broad minded males. Choosing the words like "Hoil"(호 일), "Hotang"(호탕), "Hojong"(호종), "Homae"(호매), "Hohyeop"(호협), "Hogeol"(호걸), "Hojun"(호 준), "Yeongung"(영웅), "Pungryu"(풍류) including "manly and broad minded," and considering their definitions, they are classified into three kinds of words; "manly and broad minded", "Yeongung" and "Pungryu". Considering the examples in the books and long novels, we can see that these words have meaning features that supplement definitions in a dictionary. The words in class "manly and broad minded" are called "manly and broad minded," which has key features like "lust", "spirit", "profligacy", "appearance", "rudeness" and added features like "decision", "humor", "integrity", "drinking." The words in class "Yeongung" have positive features unlike real characters in long novels and the words in class "Pungryu" in long novel were used as meaning of "music" unlike the examples in books. The "manly and broad minded" characters in long novels have positive and negative features at the same time, with which the term that accords can be "manly and broad minded."

<춘향전>에 대한 연구는 풍부하고 다양한 업적을 남기고 있다. 그러나 미진한 연구도 없지 않다. 본고는 <춘향전> 인물의 의식세계에 주목하고 여기에 초점을 맞추어 고찰한 논문이다. 논의한 핵심사항을 요약 제시하면 다음과 같다. 첫째, 춘향의 수절의식은 순애적 자세에서 연유된다. 이는 춘향의 유교적 사고의식, 즉 애정윤리 때문이다. 따라서 춘향의 신분상승은 자신에게만 국한되는 부수적인 것이다. 둘째, 이도령의 인간주의는 당시의 양반들과는 달리 자각한 상태에서 하층계급을 인간적 ․ 긍정적으로 이해하려고 했으며 양심적이었다. 따라서 그의 인간주의는 이러한 차원에서 이해되어야 한다. 그러나 사대부로서 봉건주의적 세계관을 탈피하지 못했다는데 그 한계가 있다. 셋째, 변학도의 색탐 및 수탈의식은 무자각한 지배의식을 기반으로 한 그의 색욕과 탐욕에서 기인한다. 넷째, 방자의 노비근성의식은 현실주의자인 자신의 신분을 고수하기 위한 노예 근성적 사고관의 소산이다. 다섯째, 월매의 천기의식은 기생 생활을 통해 생리화 된 노예적 ․ 속물적 근성의 소산으로, 이는 신분적 열등감과 굴종감 때문이다. <춘향전> 인물의 의식세계는 유교윤리로 무장된 당시의 보편주의적 세계관을 극복하지 못했다. 이것이 그 한계이다. 필자가 논한 <춘향전> 인물의 의식세계에 대한 구명은 미진한 감이 없지 않다. 그럼에도 불구하고 인물의 의식세계는 어느 정도 파악되었다고 본다.

There have been rich and various achievements in the study of <Chunhyangjeon> although there are still incomplete aspects. This study takes note of the mentality of characters in <Chunhyangjeon>, and the key aspects of the study are as follows: First, it is thought that the chastity of Chunhyang is out of her pure love.This is rooted from the Confucian way of thinking, or ethics of love. Thus, Chunhyang's advancing to a higher status is an unordinary, additional result that she did not expect from her charity. Second, the humanity of the young man, Lee, represents that he has perspectives different from those of noblemen at that time and tries to understand the lower class people humanely, positively, and conscientiously. His humanity should be understood in consideration of these factors although he still cannot break away from the views of feudalism as a man of noble birth. Third, Byeonhakdo's lust and tendency of exploitation represents the sexual desire and greed of thoughtless the ruling class. Fourth, the slave's nature of Bangja results from point of view trying to settle for the present. Fifth, Wolmae's nature as a humble gisaeng is rooted from the slavery and materialistic nature formed throughout her life as a kisaeng as well as her inferiority complex and submission. The mentality of characters in <Chunhyangjeon> does not overcome the view of universalism based on Confucian ethics, which is the limit of this work. This study on the mentality of characters in <Chunhyangjeon> is still unfinished although the general consciousness of the characters is grasped to some extent.

Purpose: To analyze lust, which is Enneagram type 8 passion, in order to utilize it as a base data to provide directional guidance for inducement of maturity that can rediscover and bring about positive change of awareness with respect to passion by investigating the characteristic of Enneagram type 8. Methods: This study used Walker and Avant’ process of concept analysis. Results: The conceptual attribute of the lust of type 8 enneagram appeared as 'natural leaders', 'followers of power', 'Enigma Energizer', 'those who refuse to face self' and 'acknowledge true nature'. And the leading factors were 'logic of power', 'refusal to be controlled', 'want to control the environment', and negative result of lust was 'violent destroyer'. Also, the mature result of positive consciousness change appeared as 'generous leader' and 'gentle leader'. Conclusion: The lust that is passion of the type 8 is that a typical lust is strong desire for real power, but in a broad sense lust is a desire to possess and control others, that is a desire to have 'total power' to others like gods. When they understand and become aware of their passion, their passion, they will no longer seek to possess others, and will no longer try to control them. And they will realize self-growth that is transformed into a generous person.

대하소설 <유이양문록>의 이차염은 ‘애정애욕형-악인’에서 ‘여사지향형-선인’으로 경계넘기를 하는 입체적 캐릭터다. 이차염은 ‘간악한 성품으로 악행을 일삼는 단계’와 ‘첫눈에 반한 사랑의 단계’를 거치면서 ‘애정애욕형-악인’이었다가 나중에 ‘여사지향형-선인’으로 거듭난다. 이차염 캐릭터는 첫 단계에서는 간악성, 자기중심성, 감정적 성향을 띠다가, 그 다음 단계에서는 이율배반성, 결벽성, 율법주의적 성향을 띤다. 이율배반성과 결벽성은 애정애욕적 행태를 반성하고 죄악시하는 이차염 개인의 차원에서나타나는 성향인데, 그것은 이차염이 여사지향적 성향을 철저하게 수용․내면화하는 것과 표리관계를 이룬다. 그리고 ‘애정애욕형-악인’과 ‘여사지향형-선인’의 틀은 개인의 차원을 넘어서 공동체 차원에서 강한 율법주의적 성향을 띠며, 그 성향은 초월계 차원으로 확대․심화된다. 율법주의적 성향은 가문중심주의와 긴밀한 관련을 맺는데, 초월계 차원으로 확대․심화된율법주의적 성향은 다시 지상의 공동체 이념인 가문중심주의를 강화하는 양상을 띤다. 그와 관련하여 애정애욕형 여성은 가문중심주의에 배치됨에 반해 여사지향형 여성은 가문중심주의에 부합하다는 것이 이차염 캐릭터의 경계넘기가 지니는 일차적인 의미다. 나아가 이차염과 같이 선천적으로 애정애욕적 성향을 띠는 여성일지라도 후천적으로 여사지향형 인물로 거듭날 수 있으며 그렇게 되어야 바람직하다는 것, 이것이 이차염 캐랙터의 경계넘기에 들어 있는 또 하나의 의미다. 그리고 극단적 가문중심주의에 따른다면 ‘애정지향형-악인’과 ‘여사지향형-선인’ 사이에 넘어설 수 없는 이분법적 틀이 견고하게 유지되므로 ‘애정지향형-악인’은 시종일관 변모의 기회를 얻지 못한 채 정죄되고 말았을 텐데, 이차염의 경계넘기는 거기에서 틈새를 확보함으로써 극단적 가문중심주의의 ‘완화’라는 궁극적인 의미를 획득한다. 대하소설은 초창기부터 ‘애정애욕형-악인’과 ‘여사지향형-선인’을 설정하여, 그 이분법의경계를 견고하고 극단적으로 하는 흐름을 형성했다. 이차염은 그런 선악의 이분법으로 회귀하는 캐릭터다. 그런데 이차염 캐릭터는 ‘애정애욕형-악인’에서 ‘여사지향형-선인’으로 경계넘기를 하는바, 그 자체로 견고하고 극단적인 선악의 이분법을 깨는 여성 캐릭터로 창출되었다는 점을 새롭게 볼 만하다. 작품 세계 안에서 이차염 캐릭터는 ‘애정애욕형-악인’의 연결고리를 느슨하게 하는 자장을 형성하기도 했다. 그리고 공시적 차원에서 여타의 대하소설과 비교할 때에 이차염(<유이양문록>)에서 장혜앵(<유씨삼대록>) 쪽으로 다시 여미주(<임화정연>) 쪽으로 나아가면서 ‘애정애욕형-악인’의 연결고리가 느슨해지는바, 이차염 캐릭터는 여성의 애정애욕을 긍정화하는 길을 터서 장혜앵, 여미주처럼 한 인물 안에 애정애욕적 성향과 여사지향적 성향을 한데 묶은 캐릭터로 나아가는 지점의 앞쪽에 서 있다. 요컨대 이차염은 애정애욕형 여성을 징치하는 힘과 애정애욕형 여성의 설 자리를 인정하는 힘이 부딪치는 지점에서 작품 내적으로는 긴장감을 형성하면서, 대하소설 작품들 사이에서는 애정애욕형 여성을 수용하는 지점에 서게 되었는데, 이것이 이차염 캐릭터의 작품 내적 위상이자 소설사적 위상이다.

‘Leechayoum’ is a three-dimensional character -passing boundary from affection and lust type to woman virtues type in Uiyangmunlok. She revealed the wicked tendency, egocentrism and emotional tendency in phase of ‘affection and lust type-the wicked’. And while she was passing boundary from affection and lust type to woman virtues type, she revealed antinomy tendency, fastidiousness and commandment tendency. Antinomy tendencies and fastidiousness are tendencies which appears in the course of her thorough reflection on the behavior of affection and lust. Those tendencies form a relationship between the front and back as she thoroughly accept and internalize ‘woman virtues type-the good’. And the dichotomous frame of ‘affection and lust type-the wicked’ and ‘woman virtues type-the good’ appears a strong commandment tendency in the community level beyond the personal level, and such tendency is enlarged and deepened to transcendental world. Especially legalistic and commandment tendency bears a close relation to the ideology of family-centrism. The first meaning of her passing boundary from affection and lust type-the wicked’ to ‘woman virtues type-the good’ is that ‘affection and lust type’ doesn't meet the ideology family-centrism but ‘virtues type’ meets the ideology family-centrism. Furthermore, the ultimate meaning is that a priori ‘affection and lust type’ woman must reborn ‘virtues type’ woman by effort. ‘Leechayoum’ demonstrates going back to the dichotomy of good and evil, on the other hand forms a magnetic field which loosens the link between ‘affection and lust’ and ‘the wicked’. And in synchronic dimension of saga novels ‘Leechayoum’, ‘Janghyeaeng’(in Yusisamdaelok) and ‘Yemiju’(in Limwhajengyoun) loosen the link between ‘affection and lust’ and ‘the wicked’. In short ‘Leechayoum’ is a woman character which forms tension at the point that two thoughts bump against each other: one thought exit ‘affection and lust type’ woman, the other thought accept ‘affection and lust type’ woman. This is key point that ‘Leechayoum’ character had not only in Uiyangmunlok but also in the genre of saga novel.

The aim of this paper is to analyze the gender and nationalism in 〈Lust│Caution〉 which was directed by Lee An in the year of 2007. 〈Lust│Caution〉 is the adapted film from an original fiction 〈Lust│Caution〉(色, 戒) written by Chang Eileen(張愛玲) Chang Eileen was a female writer who played an active part mainly in Shanghai in the 1930's. In an original fiction 〈Lust│Caution〉, she described the fatal love above and beyond the nation and state. The movie's tragic heroine, Wong Chia Chi (played by Tang Wei 湯唯), pull a badger game in order to assassinate Mr. Yee (played by Tony Leung 梁朝偉), who was a high-ranking official of the pro-Japanese group. Wong Chia Chi, college woman disguised herself as Mrs. Mak and approached Mr. Yee. However, she was swayed by sexual sentiment to Mr. Yee, neglecting her special mission of assassinating him, one of the pro-Japanese group. At last, she delivered Mr. Yee out of danger, on this account, she herself and her hit team were arrested and then killed. Chinese audiences leveled criticism at 〈Lust│Caution〉 on the ground that this film damaged the history of the struggle against Japan's imperialism and hurt the Chinese's national pride. The Chinese audiences called all of them, the hero Lee An, heroine Wong Chia Chi, and writer Chang Eileen, down as traitors. The Chinese became angry because 〈Lust│Caution〉 valued the gender and sexuality of women above nation or state. On the other hand, Korean audiences regarded this film as an art film. They lavished praise on the dramatic interpretation of the movie director, and on the acting ability of Tang Wei and Tony Leung Chiu-Wai, and on the fatal love story. Unlike Chinese audiences, Korean audiences appreciated this film freely, breaking from the closed and exclusive nationalism. China is now pursuing great-power chauvinism. Chinese audiences understanded 〈Lust│Caution〉 as making a fool of the great-power chauvinism. In China this film was appreciated only as nationalism. On the contrary, Korean audiences took the affirmative standpoint about the gender and sexuality of female in 〈Lust│Caution〉 amicably. 〈Lust│Caution〉 is the film that operates as a very important media in constructing the identity of nation, state, race, gender.

This essay examines the domestic and external roots of Turkey’s activism in the Middle East through the lens of role theory. Within this context, the essay falls into three sections. In the first part, the conceptual tools that are going to be used in decoding the roots of Turkish activism will be examined. The second section will discuss the national role conceptions of Turkish foreign policy elites for the Middle East, while the third section will examine the expectations of external actors about Turkey’s role in the region. In the empirical sections of the essay, the methodology will involve a close examination of both Turkish foreign policy elites’ and external actors’ speeches, which are assumed to deliver cues about Turkey’s role conceptions in the Middle East.

Examining three dramatic scenes of performance in Ang Lee’s 2007 film Lust, Caution, based on Eileen Chang’s short story of the same name, this essay proposes to read Lee’s film as an epilogue to a long-running narrative highlighting the intersection of performance and politics in twenty-century China. It argues, through a close examination of Lee’s creative use of such elements as popular music, political theater, and leftist cinema from the 1930s, that nationalism and revolution staged an intriguing comeback in Lust, Caution, intensified, rather than negated, by its intricate intertwinement with sexuality and ethics. In particular, the two popular film songs from the 1930s with lyrics penned by Tian Han quoted in the film, and their fascinating afterlives in contemporary popular culture represented by Leehom Wang, highlight the power of performance in shaping a complex range of gender, ethical, and political identities. The intersection of performance, politics, and popularity works magic throughout the film. It enables Lee’s film to go beyond Chang’s story in reinvigorating the political through the performative and the popular.

According to previous literature, love involves a feeling of emotional bonds, attachment, and commitment to a specific target from a long-term perspective. In contrast, lust is defined as a sexual desire to engage in sexual activities from a short-term perspective. This research investigates the influence of feelings of love or lust on consumers' long-term benefit-seeking and risk-taking behaviors. Study 1 examined whether consumers' long-term benefit-seeking behaviors depend on feelings of love or lust. As a result, consumers who experienced feelings of love were more likely to prefer products that provide long-term benefits (e.g., a hybrid car) than those who experienced feelings of lust. Study 2 investigated consumers' risk-taking behaviors, depending on feelings of love or lust. The results showed that consumers in the lust condition were more willing to take a risk (e.g., a trip to a hazardous area) than those in the love condition. Taken together, this research demonstrates that consumers' long-term benefit-seeking and risk-taking behaviors depend on feelings of love or lust. Practical and theoretical implications are further discussed.

Ang Lee's film “Lust, Caution” is an adaptation of Zhang Ailing's novel. Zhang Ailing titled her novel “Spy, Ring” in English. Therefore, ‘色’(Lust) refers to Wang Jiazhi's identity and role, while ‘戒’(Caution) signifies the Chinese word for ring, ‘戒指’(jiezi). However, Ang Lee interpreted “色･戒” as “Lust, Caution.” By replacing ‘色’ and ‘戒’ with abstract terms rather than concrete objects, he expanded the interpretation of the film to include the conflict and transcendence of these values. When interpreted through the external meaning of the film's narrative, ‘色’ can be seen as Wang Jiazhi's seduction of Mr. Yee, and ‘戒’ as Mr. Yee's caution against this seduction. However, considering the setting of 1940s Shanghai and the relationships of those who lived in that space, the meanings of ‘色’ and ‘戒’ can be further expanded. This paper categorizes the spaces the two characters inhabit into personal space, social space, and fantasy space, and analyzes the characters' relationships within these spaces to understand the film's narrative structure and message. Specifically, it examines how the characters' desires relate to the dominant order of their respective spaces, how these desires are formed and fail, and how they attempt to escape the constraints of their spaces to pursue their desires and love. Through this exploration, the paper aims to uncover the thematic consciousness of the film as it relates to the relationship between space and the individual.

Zhang Ailing “explored the domains that cannot be discriminated between objects and time, gender and genre, and language and world,” and described the true nature that exists in the abyss of humans in such domains rather than formats such as reproduction and imitation, and creative ego of romanticism, etc. Although she wrote a love story between a secret agent of Kuomintang of China using badger game and the subject of assassination, Hanjian, in Lust, Caution, she ultimately attempted exploration of the existence of ‘I’, significance of ‘I’ and place where ‘I’ should be. Meanwhile, Ang Lee described the process of Wang Jiazhi, who was coerced to live life that deserves to be lived by the Sovereign Power, beginning to share emotion with the subject of assassination, Yi Xiansheng, and eventually to voice her thoughts. Although she lived an existence similar to Polis and Zoe, harboring the memories of Primitive Absence, she was able to live in Polis by being chosen as the scapegoat of Biopolitics. However, through physical union with Yi Xiansheng, she managed to secure active capabilities to vocalize her own words by breaking out of the framework of passive ego that had previously been governed by sorrow and depression, and ‘affect’ provided by the Sovereign Power. As stated by Zhang Ailing, ‘Love’ blurs the boundary between the good and evil, and right and wrong, which led to the attempt to find ‘I’ by demolishing certain limitations by Wang Jiazhi presented as the author herself, thereby being explained by ‘Affective Turning’ by Ang Lee. In the movie, Wang Jiazhi resisted the phenomenon of the mechanism of the authority manipulating her life and told Yi Xiansheng to “快走(Go)!” who filled in the deficiencies of other even for momentarily although he is a traitor and protecting him leads to destruction of herself. As such, the novel and the movie displayed the process of Zhang Ailing ― Wang Jiazhi exploring her existence and ontological implications of ‘Affect’ that enables the birth of new entity.

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Das Lesen der Literatur sucht nicht nur nach dem Gluck der Erkenntnis, und somit nach der moralischen Erbauung, sondern vielmehr nach emotionaler Lust, wie Vergnugen, Wohlgefuhl erotischem Genuß etc. Aber aus guten Grunden zeigt sich die Leseerziehung noch von der Lust noch wenig beruhrt, um so mehr von der intelligiblen Interpretation. Man hat sogar die Lust am Lesen schamhaft verschwiegen oder den Lesern systematisch ausgetrieben. Ich denke, einer der Grunde liegt darin, dass die Lust als irrationale Große keiner ernsthaften Forschung entspricht. Die Literaturforschung der schulischen Lehrer insgesamt versucht immer wieder, die Inhalte und poetischen verfahrensweisen von Texten zu untersuchen. Die Asthetik des deutschen Idealismus und der Freudschen Psychoanalyse haben auf diese Katastrophe nicht weniger Einfl?u?ss genommen. Kant erklart gleich zu Beginn seiner Schrift die Lust zur Basis aller asthetischen Urteilskraft, die eigentlich von der intelligiblen Welt vermeint. Allerdings hat Kants Lust-Begriff eine andere Bedeutung als der mit Sexualitat gebundene Begriff Freuds. Aber der Trieb-Theorie der Freudschen Lust fehlen auch wie der Lteraturwissenschaft von heute die lebendigen Menschen, die die Texte lesen oder schreiben, und die keine Aussagen uber die Lust an Literatur machen konnen. Es gibt keine Lust ohne Lebendige, denen das Objekt gefiele. In dieser Studie versuche ich die Phanomene der Lust beim literarischen Lesen zu untersuchen, da die literarische Hedonistik nicht danach fragt, was literarische Texte bedeuten und wie man ihre Bedeutung auf intelligible Weise hervorbringt, sondern untersucht, was sie Lustrepetoire bereitstellen. Aber da Texte selbst kein Lustempfinden haben, sondern nur Menschen, soll sich die Leseerziehung bzw. Literaturwissenschaft mit Texten und Menschen befassen. Ich fuhre daher als Beispiel fur erotische Lust eine Szene aus Goethes Faust an: Liebesszene mit Margarete. Wahrend wir diese Passage lesen, staunen wir, dass wir gleichzeitig zwei Distanzen einnehmen und eine dritte ausschließen: wir sehen das unmittelbare Handeln von Margarete in der Szene, und nehmen zugleich mit der Ferne des Geruchts vorlieb, keinesfalls machen wir einen Versuch, das Ungeheuer der Legende als wirkliches anzunehmen. Das Lesen und die Lekture bestimmt sich nicht nach der intelligiblen Erklarung der Welt, sondern nach der Lustempfindung, und nach dem Vergnugen. Ohne Lust ware die Motivation zum Lesen weniger stark entwickelt. Es scheint gleichsam eine Liste der Leseerziehung zu sein, uberlebensnotwendige Intelligenzen und Aktivitaten durch schamhafte Lustpramien oder interessenlose Spiele zu motivieren, weil das Motiv, uberleben zu wollen, nicht allein aus Nutzlichkeiten der Lebenspraxis, sondern aus dem Flow-Erlebnis mit Lust- und Unlustempfindung kommt.

《詩經》古時有三千餘篇，孔子‘去其重’，定《三百》，‘始於衽席’， ‘關雎之亂以爲風始’。<關雎>是《詩經》三百篇中卷首之作。因此司馬遷說的‘衽席’和‘亂’就是<關雎>居《詩經》之首的兩大意義，也是司馬氏所能體會到的孔子意圖。‘衽席’含蘊男女的本性，‘亂’則指禮樂。<關雎>本是男女相悅之詞，但經過孔子的手，就變成了輔佐禮的樂章。《孔子詩論》所云“<關雎>以色喻於禮”可說是孔子注重<關雎>的緣故。孔子歎息“未見好德如好色者”，又強調‘戒色’。不過孔子的‘戒色’並不是抑制本性，以教化的方法來調和，使人的動物本能上升到人性，以詩（樂）明禮，以禮節制本性，這就是孔子注重樂禮的原因。再來從《韓詩外傳》載有子夏問孔子‘<關雎>何以爲國風之始’與孔子的答復“天地之間，生民之屬，王道

이 논문은 근대 이전까지의 아스케제의 개념사를 추적한 후, 칸트와 벤담에서 ‘도덕의 원칙으로서의 금욕주의’는 부정되지만, 칸트에서 ‘도덕의 방법으로서의 아스케제’는 긍정됨을 보이고, 이러한 ‘공적 쾌락과 사적 금욕’의 기획의 현재적 의의를 아리스토텔레스의 덕 윤리 기획에 비추어 드러내 보인다.

Nach der Skizze der Begriffsgeschichte von Askese, möchte ich zeigen, dass Bentham und Kant, die Askese als Moralprinzip‘ nicht akzeptieren können, dass Kant doch, die Askese als Moralmethodik‘ verteidigt. Die Bedeutung dieses Entwurf von ,öffetlicher Lust und privater Askese‘ kann, meine ich, im Kontrast zum Aristotelischen Tugendbegriff klar werden.

염상섭의 『광분(狂奔)』은 부르주아의 퇴폐광분(頹廢狂奔)과 민중의 광란분주(狂亂奔走)가 교차하는 식민지 조선 사회의 풍경을 통해 그 사회적 성격을 ‘과학’적으로 해부한 탁월한 리얼리즘 작품이다. 작품에서 염상섭은 <카르멘>에 대한 변용을 통해 현대 조선 여성의 이데올로기, 나아가 현대 조선인들의 근대적 전환에서의 주체성을 문제 삼으며, 또 그러한 <카르멘> 주제와 광주학생항일운동을 연결시키는 것을 통해 민족 부르주아지의 문제를 동아시아 약소민족해방운동의 정치 담론과 연동시킨다. 1920년대 말에 이르면 세계는 적과 백의 정치적 이데올로기의 구도로 재편되는데, 그것은 사회주의와 자유주의의 대립의 문제의 이면에 국가와 시장의 관계에 대응하는 일국 사회주의와 파시즘의 대항 관계가 자리한다는 것을 말해준다. 세계대공황 시기에 식민지의 민족 실업가가 처한 딜레마는 자본-제국주의가 기반하고 있는 자유주의 경제가 독점자본화 시대에 들어섬에 따라 노동과 자본의 불평등이 더 이상 생산과정에서가 아니라 유통과정에서 주로 생겨난다는 것을 보여준다. 따라서 염상섭은 더 이상 협동조합생산이 아닌 자본과 경영의 분리의 방식을 통해 민족자본 세력과 무산계급이 연대하는 새로운 방식에 주목하게 된다. 특히 추리서사의 기법은 민족부르주아지의 사회적 위기 및 무산계급과의 정치적 이데올로기의 대립 양상을 효과적으로 부각시키는 장치로 작용한다. 이 시기에 이르러 염상섭은 식민지 조선에서 민족부르주아지의 리버럴리즘이 파시즘을 내면화하기 쉽다는 판단 하에, ‘데모크라시’에서 제3세계 및 아시아 민족해방운동의 민주주의 담론으로 이행해간다. 이때 주체적 근대성의 원리를 구성하는 오리엔탈리즘이란 ‘미(美)’와 ‘사랑(愛)’의 논리로써 자본-제국주의의 물질문명의 축적과 합리적 개인주의로 구성된 패권적 서구주의에 대결하는 성질의 것으로 드러난다. 민족부르주아지와 무산계급을 민족과 계급의 혁명 주체로 포섭하기 위해서 염상섭은 유물론적 계급관을 내면화한 리얼리즘 작품의 통속화 전략이라는 스타일을 고안해냈으며, 그것이 내포한 사상성의 높이는 당대 한국 문단에서는 단연 독보적이었다고 할 수 있다.

Eileen Chang was born and raised in Shanghai and had experience of a colony, concession, and war. However, she did not handle wars and resistance to Japan as important matter in her works. In the Eileen Chang’ works, these themes are used as background and a story of everyman or a love story between men and women strikes the keynote of the works. Moreover, it happens that metaphysical value is inverted by ordinary stories in her works. Lust, Caution is a story between a female spy and a traitor based on an actual assassination of the Nationalist Party officer. If the malefemale relationship is focused on unsophisticatedly when reading Lust, Caution, this novel could be interpreted into a story of touching devotion of a woman who sacrifices herself for love. However, not only Lust, Caution but Eileen Chang is not free from a bitter controversy in consequence of political issues brought by positions of two main characters. In the traditional ethical standards, female are recognized as the second sex and subordinate to men. The only choice female could choose was self-sacrifice in this ethical society. Since the entry into the modern era through revolution in through, female was endowed ‘Nora’ as the new phases of the times but nothing changed in reality. This article is aiming to interpret Lust, Caution with ‘female’ as a keyword. This writer would examine that how Wang Jiazi distorts herself when she was become ‘Nora’ in the actual battlefield of revolution even though she reached the grade of ‘Nora’ through participation of anti-Japanese play after answering the call of ‘revolution’. In addition, it would be analyzed that how she leaped after breaking out of Nora’s role. It is expected that this article could help to make a step forward for consideration of position and presence of ‘female’.