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“The Beast in the Jungle” can be considered as a companion piece of “The Altar of the Dead” in that both tales are concerned partly with the English Decadence of the 1890s and partly with the classical modernism in the early twentieth century. The heroes in both tales make an escape from ‘everyday routines’ into their own particular inner world of imagination or fantasy in which they build a strong fortress of egotism or narcissism. John Marcher in “The Beast in the Jungle” makes a journey of “a great negative adventure” in his own world of fantasy, waiting for his own “exceptional” fate with May Bartram. But his journey ends with the nightmarish attack by “the beast in the jungle” representing his own final fate. The beast represents John Marcher himself who rejects May's true love and his own life. Thus, it can be said that this tale treats the existential themes of alienation and absurdity in the modern world.

D.H. Lawrence's later novels Aaron's Rod, Kangaroo, and The Plumed Serpent make up a trilogy. So far many of Lawrence's critics have regarded the trilogy as ‘leadership novels,' focusing solely on the single issue of power. However, there are two more issues in these novels that are equally important - selfhood and sexuality - on which Lawrence lays equal emphasis. This paper attempts to confirm Lawrence's vision of complete accord of the three vital forces by analyzing the second novel in the trilogy, Kangaroo. Kangaroo as a whole seems to be possessed by indifference. In regard to the goals of renewal and accord, it appears as a great lull between the pulses of Aaron's Rod and The Plumed Serpent. No balance is achieved in Kangaroo: instead, there is a fierce struggle between the principle of power and that of selfhood. It is noticeable that in the struggle Somers, the champion of selfhood, wins over Kangaroo, who represents the principle of power. Kangaroo thus functions as the bridge which links Aaron's Rod with The Plumed Serpent. After the long rest-condition of Kangaroo, the complete accord of the three vital forces seems to be achieved in The Plumed Serpent, realizing Lawrence's vision at last.

본 논문은 아미타브 고시의 순다르반 3부작을 에코페미니즘의 관점에서 분석하며, 여성과 자연, 그리고 저항의 문제를 탐구한다. 고시는 이 3부작을 통해 여성과 자연을 상품화하는 가부장제 및 자본주의 구조를 드러내며, 환경 위기가 특히 주변 화된 공동체와 여성에게 어떻게 영향을 미치는지를 보여준다. 『헝그리 타이드』(2004) 에서는 모리치자피 학살 사건을 통해 국가 주도의 보존 정책에 내재된 폭력을 고발하 며, 생태 보존이 어떻게 쿠숨과 같은 취약한 이주민들을 몰아내는 억압의 도구로 작용 하는지를 묘사한다. 『건 아일랜드』(2019)는 기후 변화, 강제 이주, 젠더 기반의 불안정 성을 세계 자본주의 구조와 연결시키며 비판을 확장한다. 『정글 나마』(2021)에서는 가 부장적 서사를 전복하고 자연의 주체성을 강조하는 본 비비(Bon Bibi)의 신화를 소개 한다. 고시는 이러한 작품들을 통해 자연/문화, 여성/남성, 신체/정신의 이분법을 해체 하고, 공존에 기반한 대안적 생태 의식을 옹호한다. 신화, 역사, 환경 비판을 직조해내 며, 젠더화된 생태 정의에 대한 긴급한 요구를 전면에 부각시킨다. 그의 서사는 인간 중심적, 남성 중심적 패러다임을 흔들고, 인간 생존이 자연 및 주변화된 목소리들과의 윤리적 관계에서 불가분함을 상상한다. 본 논문은 가부장제와 자본주의 하에서 여성과 자연의 관계, 그리고 신화와 유토피아 속에서의 그들의 위치를 함께 고찰한다.

This paper examines women, nature and resistance in Amitav Ghosh’s Sundarbans trilogy through ecofeminist approach. In the trilogy, Ghosh presents the patriarchal and capitalist forces that commodify both women and nature, illustrating how environmental crises affect marginalised communities, especially women. In The Hungry Tide (2004), the Morichjhapi massacre exposes the violence embedded in state-led conservation policies, where ecological preservation becomes a tool of oppression, dispossessing vulnerable populations like Kusum and other settlers. Gun Island (2019) extends this critique, linking climate change, forced migration, and gendered precarity to global capitalist structures. Jungle Nama (2021) explains the myth of Bon Bibi, which challenges patriarchal narratives and reasserts nature’s agency. Through these texts, Ghosh tries to dismantle the binaries of nature/culture, women/men, and body/mind. He also advocates for an alternative ecological consciousness rooted coexistence. By weaving myth, history, and environmental critique, Ghosh foregrounds an urgent call for gendered ecological justice. His narratives disrupt anthropocentric and androcentric paradigms, envisioning a world where human survival is inextricable from ethical engagement with both nature and marginalised voices. This paper explores relationship of women and nature under patriarchy and capitalism along with their condition in myths and ‘utopia’.

This article contends that realism is still a valid aesthetic for literature from the periphery of the world literary system through examining Sok-yong Hwang’s East Asia trilogy: The Guest, Shim Chong, and Princess Bari. As a representative writer of Korean realism, Hwang would not give up trying to represent the reality of the voiceless and powerless people and make their voices heard, but he had to develop a more marketable form and content for international readers. His “poetic narrative” is what he has developed as a way to hold the realist spirit in a new form, and the trilogy is its outcome. Despite ghosts’ appearance, the use of shamanistic motifs and ceremonies, and the use of multiple perspectives, his fiction always engages with real politics. By discussing the Sin’chŏn massacre in The Guest, the history of women exploited by capitalism in Shim Chong, and the migrants living on the periphery of the neoliberal world-system in Princess Bari, this article delves into how Hwang’s experiments with realism make the voices from the periphery more accessible to international readers.

This research combines Shelly’s three poems Alastor, Mont Blanc and Marenghi into a so called Travel Trilogy. The unprecedented combination allow us to see Shelley’s eco-consciousness in a different light. Usually he has been considered as a radical revolutionist, as indicated by one of his representative nickname “meliorist.” Inevitably, the myth around him attributes his eco-consciousness to “Social Ecology,” which finds all reasons for the ecological crises in the human society and seeks the management of them in the system of society. Conventionally, most quest myths have as their frame the deep-rooted stereotype of “separation-initiation-return.” In combining three poems, this frame provides a meaningful coherence for the combination. The first work, Alastor, which deals with the separation from the anthropocentrism through the travel of a young poet, can be considered to be the first stage of the quest, “separation.” In Mont Blanc, Shelley expresses ecocentrism, provoked by the overwhelming sublimity of the mountain. In many ways, the travel to the mountain is the quest for the inversion of human’s superiority over nature. The last travel in Marenghi leads to the complete return to nature and also completes the cycle of the quest myth. Consequently, Shelley’s quest in the travel poems results in man’s symbiosis in nature. In these three poems, the trajectory of the travel shows a gradual shift from anthropocentric to ecocentric consciousness. And the Rousseauian return to nature reveals that Shelley is a Romantic forerunner of “Deep Ecology.”

본고는 냉전시대에 한반도와 일본을 둘러싼 이슈를 재일의 관점에서 그려낸 정의신의 재일 삼부작에 대하여 살펴본 것이다. 먼저, 1950년대 한국전쟁기 배경 의 ｢마치 들에 피는 꽃처럼｣을 통해 일본이 한국전쟁에 개입해 전쟁을 수행한 사 실을 드러내고 과거 일본의 침략전쟁에 동원된 기억을 소환하여 일본사회를 비판 하는 재일 사회의 시좌를 밝혔다. ｢제비꽃 미용실｣에서는 1960년대 경제성장을 떠받친 탄광 노동자들의 열악한 노동환경과 산재에 노출된 재일코리안의 굴곡진 삶이 일제강점기의 강제동원으로 시작된 탄광 노역의 역사임을 확인하고, 규슈 탄 광촌 사람들의 소외된 삶을 살펴보았다. 그리고 ｢야키니쿠 드래곤｣을 통해 한일· 북일 관계가 새롭게 재편되는 냉전시대에 분단이 고착화되고 북한으로 이주하는 재일코리안을 조명하였다. 정의신의 삼부작에 등장하는 재일의 목소리는 식민과 전쟁을 거치며 뒤틀린 냉전시대의 삶의 기록이자 증언이다. 재일사회는 한반도와 일본을 둘러싼 통시적 역사와 포괄적 관점을 담지하는 위치에 있기 때문에 한일과 북일 사이에서 분단 되고 이산된 냉전시대의 문제를 비판적으로 성찰하고 소통과 연대로 나아갈 수 있는 실천적 가능성을 보여준다.

This paper examines the archival trilogy by Chong Wishing during the Cold War, which depicts the issues surrounding the Korean Peninsula and Japan. First, through “Like a Flower Blooming in a Field” based on the Korean War in the 1950s, it reveals that Japan intervened in the Korean War, and recalls the memories of Japan's war of aggression in the past. And in “The Violet Beauty Salon”, it focuses on Zainichi Koreans who have worked under the substandard working environment at the coal mine and supported Japanese economic growth in the 1960s. Lastly, “Yakiniku Dragon” whose background is stop and restart of ‘The Repatriation Project’ depicts the fixed division and separated families between South & North Korea and Japan. As mentioned above, Zainichi Koreans’ voices in the Chong Wishing’s trilogy are the record and testimony of the Cold War twisted through colonization and war.

This study aims to analyze the deboundarization in posthuman novels from Gilles Deleuze’s perspective. Deleuze draws the aspect of deboundarization through a continuously fluctuating act of desire which deviates with endless versatility and mutation. This study analyzes The MaddAddam Trilogy, in which Margaret Atwood points to the political, economic, cultural, and environmental destruction intertwined with scientific and technological ethics. Posthuman novels shed light on the diverse forms of life produced: the fundamental coexistence of human beings and posthumans created by boundless scientific imagination. This thesis elucidates The MaddAddam Trilogy from the Deleuzian viewpoint of deformation through the use of the concepts of difference, becoming, and abstract machine. Reading posthuman novels through the Deleuzian perspective traces the line of flight of non-humans that destroys the existing governing structure and hierarchy.

이효석 문학은 방대한 연구가 축적되었음에도 불구하고 이분법적 사유에서 벗어나지 못하고 있다. 전기/후기, 도시/농촌, 향토성/이국정서로 나누거나 에로티시즘, 엑조티시즘, 심미주의의 틀에 갇힌 연구경향은 지양되어야 하는데, 이효석은 삶과 인간의 문제를 천착한 작가이기 때문이다. 전기적 관점에서 볼 때 5살 때 어머니를 여의고 아버지가 곧 재혼한 사건은 그에게 고향상실, 외로움, 오이디푸스 콤플렉스, 고아의식, 이방인의식을 갖게 했다. 이러한 유소년기 체험은 인간을 환멸하고 불신하며 쭉정이 혹은 동물과 다르지 않다는 부정적 인간관을형성하게 하였다. 서구를 지향했던 그의 삶과 문학에도 불구하고 이효석 문학의 백미이자 대표작은 영서 삼부작이라고 할 수 있다. 스스로 고향을 외면하고자 했지만 <메밀꽃 필 무렵>, <개살구>, <산협>의 문학적 완결성과 리얼리티는 높은 완성도를 보여주고 있다. 세 작품은강원 영서 지역인 봉평, 진부, 대화, 원주, 문막, 횡성, 대관령, 오대산 월정사를 배경으로 작가의 고향과 그 근방의 풍습과 민속, 연례행사 등을 사실적으로 재현하고 있다. 가부장적 · 보수적 · 집단적인 전근대 농경문화를 지닌 영서지방은 가문과 족보, 피붙이의식, 남아선호가 강하며, 남자들은 축첩을 통해 자식을 생산하고자 한다. 그러나 불륜과 패륜 더나아가 근친상간이라는 비정상적이고 비윤리적인 방법으로 이루어진 출산과 핏줄선호는 비극적 결말로 끝이 난다. <메밀꽃 필 무렵>의 허생원은 일생동안 아들의 존재조차 모르는 허망한 삶을 영위하며, <개살구>의 김형태는 아들과 첩의 불륜을 목도하고, <산협>의 공재도는 본처와 첩이 임신한 자식이 자신의 씨가 아님을 알게 된다. 이는 식민지 현실에 대타자인 ‘아버지의 이름’이 부재하는 시대이면서 아버지의 권위와 위선을 조롱하고 비난하고자 하는 작가의 시선이 투영된것이다. 영서 삼부작은 전통과 모더니티, 욕망과 규범 사이를 객관적이고 냉철하게 묘사하고있다. 현실인식이나 역사의식의 부재라고 비판받는 이효석 문학은 영서 삼부작에서 식민지 현실의 모순이나 근대의 유입, 전통의 잔재, 추하고 타락한 인간의 모습을 자신이 가장 잘 알고있는 고향을 배경으로 생생하고 리얼하게 그린다. 이 소설들은 당대의 생활상과 전통의례가 보존된 자료로서의 가치를 지닌다. 근대의 유입과정과 개화의 흐름뿐만 아니라 혼례식, 소금교환행사, 단오제 씨름대회, 곰사냥, 치성의례 등 작가의 기억 속에 남아있는 고향의 삶을 재현하기 때문이다. 그동안 <메밀꽃 필 무렵>과 <화분>, <벽공무한> 등의 도시소설과 <산>, <들>과 같은 심미주의적 소설들이 주목받아왔는데 이효석 문학의 본령은 영서 삼부작이므로이에 대한 지속적인 연구가 요구된다.

Researches on the literature of Lee Hyo-seok have been stuck with dichotomous thinking despite the extensive accumulation of previous ones. Researchers should keep themselves away from the research trends that are in line with dichotomous distinction such as the former and latter period, urban and rural, and local and exotic sentiments or trapped in the frameworks of eroticism, exoticism, and aestheticism since Lee delved into the issues of life and man. From a biographical perspective, a series of events including his mother passing away due to illness and then his father getting remarried when he was five made him develop a sense of loss of hometown, solitude, Oedipus complex, and consciousness as an orphan and stranger. Going through such experiences during childhood and boyhood, the writer got to disillusion and distrust people, believe that man was not different from empty grain or animals, and eventually form a negative view of man. In spite of his life and literature oriented toward the West, the best of his major works is the Yeongseo Trilogy. Even though he tried to look away from his hometown himself, his Yeongseo Trilogy, which consists of When Buckwheat Flowers Bloom, Wild Apricots, and Sanhyeop, boasts a very high level of literature and reality completion. Set in the backdrops of Bongpyeong, Jinbu, Daehwa, Wonju, Munmak, Hoingseong, Daegwalryeong, and Woljeong Buddhist Temple of Mt. Odae in the Yeongseo region of Gwangwon Province, the three works reproduce the custom, folklore, and annual events of his hometown and its surrounding areas in very realistic ways. The Yeongseo region, where the patriarchal, conservative, and collective pre-modern agricultural society culture prevailed, was characterized by the emphasis on the family and genealogy, bonding of the same flesh and blood, and strong preference for sons with men trying to produce their descendents by keeping a concubine. Childbirth and preference for the same flesh and blood, however, ended in tragedy because they took place in abnormal and unethical ways including adultery, immorality, and even incest. Mr. Heo of When Buckwheat Flowers Bloom leads a vain life without knowing the existence of his son throughout his entire life; Kim Hyeong-tae of Wild Apricots witnesses his son having an affair with his own concubine; and Gong Jae-do of Sanhyeop finds out that both his wife and concubine are pregnant with a child that is not his. The three works reflect the era of absence of father that was regarded as a pinch hitter of the colonial reality and project the writer's view of mocking and criticizing the authority and hypocrisy of father. His Yeongseo Trilogy offers his objective and cool-headed descriptions of tradition and modernity and also desire and norm. His literature has been criticized for lack of awareness of reality and absence of historical consciousness, but in his Yeongseo Trilogy he depicted the contradictions of colonial reality, advent of modern times, remnants of tradition, and aspects of ugly, decadent man against a backdrop of his hometown, which he was the most familiar with, in most vivid and realistic manners. The three novels also hold their values as materials to understand the aspects of life and traditional rituals in the 1930s, reproducing the life of his hometown in his memory including the wedding ceremony, salt exchange event, bull wrestling on Dano Day, bear hunting, and prayer ritual in addition to the advent of modern times and the flow of civilization. Previous researches have focused on his urban novels such as When Buckwheat Flowers Bloom, Flowerpots, and Byeokgongmuhan and his aesthetic novels such as The Mountains and The Fields, but there is a need for ongoing researches on his Yeongseo Trilogy since it is the province of his literature.

This paper attempts to examine Shakespeare’s political attitude toward the populace presented in Henry VI Trilogy. Shakespeare’s history plays contain not only the voices of ruling class but those of the commoners. Therefore the monopoly of historical interpretation can bring forth the critical interpretative fallacy. While Tillyard perceived the divine harmony, stability and order in Shakespeare’s texts, New Historicists try to read the economic and political grievances of the oppressed and exploited. So the New Historicism approach toward Shakespeare’s history plays offers an useful tool to understand the political situation of the populace and the power mechanism at that times. Henry VI Trilogy involves contemporary economic and political problems of the populace in England and contemporary political conflict between the commoners and the patricians. Shakespeare depicts the commoners in 2 Henry VI not only as favorable and rational but as violent and fickle. Cade’s revolt is not only the parody of York’s sedition and self-promotion but the travesty of all mismanagement of the authority. In conclusion, Shakespeare’s political attitude toward the populace is dynamic and complicated.

이효석은 리얼리즘과 모더니즘, 주제의식과 형식미학에서 모두 부정적 평가를 받고 있음에도 불구하고 진폭이 큰 문학세계로 주목받고 있다. 그러나 전기문학/후기문학, 농촌문학/도시문학, 버터문학/메주문학, 친일문학/저항문학이라는 이분법적 기준과 에로티시즘, 엑조티시즘, 서정성 등 소재적 관점, 1933년 <돈>을 기점으로 전기와 초기문학으로 나누는 연구경향은고착화되었으며 후기문학에 비해 전기문학은 폄하되거나 관심받지 못하고 있다. 본고는 이효석의 문학적 특징이 후기문학과의 단절이라기보다는 초기부터 일관되게 나타남으로써 전기문학의 중요성에 대해 재인식하고자 한다. 영서 삼부작에 비해 인정받지 못한 북국 삼부작 <상륙>, <노령근해>, <북국사신>을 대상으로 탈국경 구조와 디아스포라 인물을 통한 식민지궁핍상과 작가의 인간이해를 고찰하였다. 고국인 식민지 조선 동해안에서 출발하여 배안 그리고 타국 아라사 해삼위까지의 여정을 그린 세 편의 소설은 무산계급/유산계급의 갈등양상과식민지 조선현실을 배안에서 압축적으로 재현하고 있다. 외부지향성을 보인 이 시기에 해삼위는 계급 없는 이상사회를 구현하는 사회주의 체제를 갖춘 공간이다. 감시와 추적을 따돌린 망명자가 지하 석탄고에 잠입하여 온갖 고초를 겪은 후 도착한 타국은 “부자도 없고 가난한 사람도 없는” 희망과 꿈이 실현되는 곳이다. 식민자본주의 근대사회인 1920년대 후기는 정치적․경제적 이유로 디아스포라가 양산되었고, 우리 민족은 억압되고 궁핍한 식민지 조선에 정착할 수 없는 극단적 상황에서 탈국경 이주를 감행했다. 농민에서 도시노동자 그리고 부유하는 유이민은 혁명을 꿈꾸거나 일확천금을 노리거나 아들의 시체를 찾아가거나 몸 팔기 위해떠나는 타자들이다. 살롱공간의 상층민인 상인, 삼등선실의 서민 및 유이민, 지하 석탄고의 화부들 그리고 갑판과 지하를 오가는 망명자는 1920년대 후기를 살아가는 우리 민족의 모습으로 계급과 공간이 분할되어 나타난다. 인간탐구를 일생동안 고구했던 작가의 인간이해는 동일자적인 이성적 근대인이 아니라 성과 정치, 정념과 이념, 육체와 정신, 관능과 이성 사이에서갈등하고 길항하는 분열적이고 경계적인 인간형으로 도출되고 있다. <북국사신>에서의 혁명과 이념을 꿈꾸는 주의자인 청년은 카페여급의 키스경매에 낙찰되어 이국여성의 키스와 사랑을 독점하면서도 성찰하고 반성하는 인물이며, 아름다운 육체를 지닌 러시아여성 사샤는 밤엔 아버지를 도와 카페여급일을 하지만 낮엔 부두에서 국가보안부 여서기로 선객들을 취조하며 성적 자기결정권을 지닌 주체적인 여성이다. 두 남녀 주인공은 이효석의 원형적 인물유형으로 불완전하고 본능적이면서도 나약하고 반성적인 인간상이다. 제3인터내셔널 활동, 이국여성과의 연애, 외국인 지향이 나타난 전기문학에서 코스모폴리턴적이고 다문화주의적인 세계주의적 태도가 구축되고 있다. 북국 삼부작은 후기문학의 특징을 내포한 이효석 문학의 시발점이자 원형성을 지님으로써 <메밀꽃 필 무렵> 같은 서정소설이나 <화분>, <벽공무한> 등 후기에 발표된 모더니즘소설 못지않게 문학적 가치와 문학사적 의미를 지닌다.

Even though previous researches on the literature of Lee Hyo-seok have all made negative reviews of it in terms of realism, modernism, thematic consciousness, and formal aesthetics, his works still manage to attract attention for their colorful and appealing world of novels. There are, however, dichotomous criteria fixated in the research of his works including early/late literature, rural/urban literature, butter/fermented soybean lump literature, and pro-Japanese/resistance literature along with material perspectives such as eroticism, exoticism, and lyricism and the division of his works into early and late ones around The Money in 1933. In addition, his early works are disparaged or garner no attention compared to his late ones. This study thus set out to overcome the severance from his early works and recognize their importance anew, believing that the characteristics of his late works were conceived in his early works. Given that his north country trilogy had not attracted attention compared with his Yeongseo trilogy represented by When Buckwheat Flower Blooms, the present study examined the meanings of his north country trilogy including The Landing, Noryeonggeunhae, and The Envoy from the North Country in terms of border-crossing structures and diaspora characters. The three novels depicting the journey from the East Coast of Korea through the time aboard to Vladivostok, Russia reproduce the reality of colonized Joseon on board including the conflicts between the proletariat and the bourgeoisie and the emergence of diaspora. While Harbin represented modern times, civilization, and the West during the period that displayed orientation toward outside, Vladivostok signified the space of socialist system to embody an ideal society with no classes. The exiles underwent all sorts of hardship before arriving in a foreign country, which was deemed as a place where people's hopes and dreams would come true with no “rich and poor men.” In the latter half of the 1920s when Joseon witnessed a capitalist colonial modern society, many diasporas were produced for political and economic reasons with many people crossing the border to move to another country in an extreme situation in which they were not able to settle down in colonized Joseon of suppression and poverty. Farmers, urban workers and wandering people were others to move for another place to try a get-rich-quick idea, claim the bodies of dead sons, or sell their bodies. The merchants of upper class in the salon, the common and wandering people in the third class cabin, the stokers in the coal cellar, and exiles moving back and forth between the deck and basement exhibit the typical aspects of Korean people living in the second half of the 1920s. Lee, who sought after to make an inquiry into human being throughout his life, understood people as splitting boundary individuals that suffered conflict and contention between sex and politics, between sentiments and ideologies, between body and mind, and between sensuality and reason rather than reasonable modern beings as the same entities. In his The Envoy from the North Country, the protagonist is a young man dreaming of revolution and ideology. He wins a kiss auction at a cafe and gets to have monopoly over the kiss and love of the foreign waitress. He still manages to do self-examination and reflection on himself, though. Sasha, a Russian woman with a beautiful body, is a filial daughter that works for his father's cafe as a waitress at night. She has enough intellect to interrogate passengers at the wharf as a clerk of National Security Department during the daytime. She is an independent lady with a right to self-determination. Those two main characters represent the archetype of characters in Lee's literature, being incomplete, instinctive, vulnerable, and reflective. His north country trilogy has received no literary evaluation or been neglected compared with his Yeongseo trilogy including When Buckwheat Flower Blooms, but the findings clearly show that his early works are the origin and archetype of his literature, containing the characteristics of his late works.

This paper discusses the shaping of a tragic plot from traditional myth in Aeschylus' Oresteia trilogy. To analyze its plot-structure, it is assumed that the plot is shaped by a combination of story patterns repeated and varied in traditional myth as well as in the genre of tragedy. The story patterns we can find in Aeschylus' Oresteia trilogy are as follows: return(nostos), discovery(anagnōrisis), intrigue(mēchanēma), revenge, sacrifice, exile, supplication(hikesia), and salvation(sotēria). The shaping of a tragic plot in this work, as this paper intends to show, depends mainly on the principle of reversal. The conqueror, for example, is turned into the defeated one, the deceiver into the deceived, the sacrificial to the sacrificed, and the revenger into the one being revenged upon, etc. To sum up, the tragic myth generated by the shaping of the tragic plot in this work can be characterized by the following points: 1. The tragic myth highlights the conflict of the gods, the ambivalence of their plan for humans, and the evolution of the gods, especially on the concept of justice. 2. The tragic myth emphasizes not only the inevitable fate determined by the gods for humans, but also human free will and its consequences. 3. The tragic myth mainly dramatizes the conflict and murder in a household (oikos) which forms the core of city state(polis). 4. The tragic myth reveals the city state of Athenai's strategy to appropriate the myth of Pelops line.

이 연구는 주권자의 비극적 결단이라는 관점에서 독일 정치학자 칼 슈미트의 정치사상과 일본의 영화감독 신카이 마코토의 작품들이 오늘날 인류 위기의 시대에 정치적 함의를 내포하고 있음을 주장하려 한다. 이를 위해 본 연구는 신카이 마코토의 영화, 특히 그의 대표작이라 할 수 있는 재난 3부작 <너의 이름은.>, <날씨의 아이> 그리고 <스즈메의 문단속>을 슈미트의 개념인 예외상태와 카테콘을 활용하여 분석하고, 이를 통해 슈미트의 정치사상이 지닌 현재적 의미를 고찰하려 한다. 20세기 초중반에 등장한 슈미트의 정치사 상 개념과 21세기 초반 일본 애니메이션 영화감독의 주제의식을 관통하는 것은 세계가 멸망해 간다는 위기의식이다. 슈미트는 적그리스도에 맞서다 패배함으로써 역설적으로 그리스도의 재림을 준비하는 카테콘(저항하는 자)의 형상을 통해 멸망의 위기를 극복하기 위한 주권자의 분투를 정당화한다. 예외상태와 주권자의 결단을 강조한다는 점에서 신카이 마코토는 애니메이션으로 돌아온 칼 슈미트라 할 수 있다. 오늘날 생태위기는 인간 종 전체의 삶을 위협하는 근원적 예외상태가 되고 있다. 지구적 예외상태를 극복할 대안 모색의 한 방편으로서 슈미트의 카테콘 사상이 신카이 마코토의 애니메이션으로 부활한 것이다.

This study aims to argue that German philosopher Carl Schmitt's political thought and Japanese director Shinkai Makoto's films, viewed from the perspective of the tragic decisions of sovereigns, contain political implications in the contemporary era of human crisis. To accomplish this, the study analyzes Shinkai Makoto's films, particularly his notable works, disaster trilogy, "Your Name," "Weathering with You," and "The Garden of Words," utilizing Schmitt's concepts of the state of exception and Katechon, to retrospectively ponder the contemporary significance of Schmitt's political thought. The common perception of global catastrophe permeates both the political concepts of Carl Schmitt emerging in the early to mid-20th century and the thematic concerns of the Japanese anime film director in the early 21st century. Schmitt justifies the sovereign's struggle to overcome the crisis of destruction through the image of the katechon (the withholding one), paradoxically preparing for the return of Christ despite being defeated by the Anti-Christ, accentuating the state of exception and the decision of the sovereign. In emphasizing the state of exception and the sovereign's decision, Shinkai Makoto can be considered as a Carl Schmitt returned in the form of animation. The ecological crisis of today has become a fundamental state of exception that threatens the lives of the entire human species. As a means to seek alternatives to overcome the state of exception, Schmitt's katechon theory has been revitalized through Shinkai Makoto's animations.

In this study, we analyzed the plant poems written in love in the trilogy of tanka poem. Thus, it is possible to interpret the development process of original work as a plant material in a love song different from that of the seasonal song, and to highlight the plant group of love which is largely separated from the plant representing the seasonal feeling. It became clearer in comparison with the materials used only in the “Kokin” waka poetry collection. First of all, the representative plants of the season, which express a sense of the season, are not liked by the song.Even if they are sung, they tend to use place-name-related pillows to give personnel priority. Since ancient times, many songs have been sung for practical purposes, such as those that are closely related and familiar with life. As a material for rhetoric, songs by writers such as pillows, prepositions, and adverbs tend to have developed and fixed. The core of this book is the possibility of developing into a wide range of singing languages.

In the history of Korean theater, Dae-Sung Yoon is a writer who has pursued various topics and themes according to the era from an individual to social issues. Now in his 70’s, Yoon staged his latest three plays on stage that were based on the aging society, If I can Love One More Time(2010), Awake from Beautiful Dream(2010), and Traveling Together(2012). Korean society is quickly becoming an ‘old’ society, Yoon who himself is old writes from his personal experience of observing old age’s issues and not from a third person’s point of view. The ‘old age trilogy’ represents the problems of ‘old age’, such being death, love, alienation, loneliness, diseases and etc. The trilogy is also meaningful in that they are based on the writer’s own experiences. Unlike the ideal old characters that we are accustomed with, Yoon’s characters represent ‘desire’ and ‘challenges’, such as love, sex and alineation. However the trilogy falls short in that the most serious problem is somehow excluded, which is that of money. But even with this shortfall, in terms of expanding the boundaries of topics, themes the trilogy is a welcome distraction.

무라카미 하루키는『1973년의 핀볼』을 발표하고 난 후 풀타임 전업작가로서 활동을 시작했다. 하루키 자신의 말에 의하면,『1973년의 핀볼』를 집필하는 과정에서 소설 만들기에 대한 자신감을 가질 수 있었기 때문이라고 한다. 본 논문은 하루키로 하여금 전업작가로 뛰어 들 수 있도록 자신감을 갖게 한「1973년의 핀볼」을 중심축에 놓고 그에 앞서 발표된『바람의 노래를 들어라』와 그 뒤에 발표된『양을 들러싼 모험』사이에서 엿볼 수 있는 소설 만들기 변화를 고찰한 것이다. 고찰 결과, 세 작품 사이에서 엿볼 수 있었던 하루키의 소설 만들기 방법들에는, `이야기성`을 더욱 역동적으로 담을 수 있는 쪽으로 지속적으로 변화가 있었음을 확인할 수 있었다. 그리고 그러한 변화를 가능하게 한 것은,『1973년의 핀볼』의 집필을 계기로 하여 하루키가 자신의 메세지를 사실 중심의 이야기를 통해 그 진실된 내용을 전달하고자 하는 태도에서 가치 중심의 이야기, 즉 당위성을 지닌 허구 세계를 통해 그 진실된 내용을 전달하는 쪽으로 소설 만들기 방법을 바꾸었기 때문이라는 것을 알 수 있었다. 또한 하루키가 가치 중심의 이야기, 즉 당위성을 지닌 허구 세계를 만들어가는 방법에 있어서도 작자의 문학적 상상력을 더욱 자유롭게 발휘할 수 있는 쪽으로 지속적으로 지향해 갔다는 사실을 알 수 있었다. 결론적으로 하루키는 초기 3부작을 통하여 표현이 더욱 자유로운 `로망스`적 양식에 삶의 진실이라고 하는 `소설`적 주제를 담는 쪽으로 소설 만들기 방법은 바꿔갔다고 필자는 판단한다.

기존의 논의에서 1920년대 신경향파 문학을 대표하는 특성으로 평가받았던 ‘최서해적 경향’은 살인이나 방화와 같은 폭력적 양상이 중심이기에 극단적이고 비현실적이라는 한계를 주로 지적받아 왔다. 그러나 최근 들어 최서해 소설에서 간과될 수 없는 낭만적 감정에 대한 재의미화가 이루 어지고 있다. 본고에서는 이런 논의를 확장하여 분노･고통･절망 등의 감정 자체가 아니라 비본질적이고도 변화 지향적인 감정의 수행성을 중심 으로 폭력 3부작을 새롭게 재조명해 보았다. 이를 위해 흔히 신파적이고 통속적이기에 ‘타락한 비극’으로 폄하되었던 멜로드라마적 서사의 특성을 연결고리로 삼았다. 감정의 낭비나 초과로 비판받았던 ‘과잉’의 서사가 제한받지 않고 표현하는 힘과 의지의 ‘도약성’과 연결되는 지점(2장), 비인과성이나 비개연성의 남발로 간주되었던 ‘우연’이 양자택일 할 수 없는 동등한 요소들의 자유로운 결합으로 ‘평등 성’을 확보하는 과정(3장), ‘징벌’을 통해 불명료해진 인과응보나 권선징악적 도덕의 ‘정당성’을 재강조해주는 효과(4장) 등에 주목한 것이다. 이런 작업을 통해 최서해의 폭력 3부작 속 멜로드라마적 서사가 단일하고 정태적인 감정의 반응을 보여주는 것이 아니라 복합적이고 생산적 인 ‘감정 동학’을 보여주고 있음을 확인하였다. 폭력 자체에 대한 옹호보다는 폭력이 지닌 역설적 힘을 동력으로 삼아 억압적 현실에 대한 능동적 인 해결책 혹은 자기 보호술로서 재위치시키고 있다는 것이다. 이런 맥락에서 본고는 최서해 소설 속 폭력이 지닌 멜로드라마적 특성의 ‘절반의 실패’를 ‘절반의 성공’으로 전유하려는 ‘감정의 항해(nevigation)’를 시도해 본 것이라고 할 수 있다.

This study aims to re-signify the so-called “Choi Seo Hae tendency” in literature, which has only been addressed in existing research in the dimension of realism based on class conflict or resistance. This study therefore pays attention to the melodramatic characteristics shown in Choi’s novels. Melodramatic attributes have generally been played down as mere tear jerkers or strategies for popularity: centering on intense pathos or excessive emotion. In novels by Choi Seo Hae, however, violence demonstrates the positive aspects of melodramatic characteristics through the performativity of romantic emotion. That is, elements of “excess” criticised as a waste of emotion lead to leaps of strength (ch. 2), elements of “coincidence” criticised as far-fetched allow for the equality of conflicting elements (ch. 3), and “punishing evil” re-emphasizes moral justice by visualizing the obscured morality of encouraging good and punishing evil (ch. 4). Therefore, in novels by Choi Seo Hae, melodramatic characteristics show a positive and active “navigation of emotion.” This is because the ultimate objective of Choi’s novels is to stress the complex self rather than the immature self, the accumulation of emotion rather than the consumption of emotion, and the inevitability of violence rather than the reaction to it.

본고는 전지구적 재난이라는 문제를 형상화한 작가 김숭늉의 재난 3부작을 중심으로, 오늘날 웹툰이 재난을 형상화하는 방식을 살펴보고자 한다. 김숭늉의 웹툰은 공통적으로 재난의 원인에 대한 설명은 배제하고 계급, 여성, 약자에 대한 혐오가 일상화된 상황에서 재난을 기점으로 그 혐오가 가중되는 상황을 극화한다. 또한 주류에서 배제되어 있었던 남성 주체가 재난 이후 어떻게 변모되어 가는지를 통찰한다. 초기작에서는 성경에 입각한 신화적 상상력, 한국 근현대사를 환유하는 독재자의 형상 등 신화와 우화를 섞어 두었던 작가는, 후기작에 이르러 ‘지금 이곳’의 인간과 사건, 미디어 등을 더욱 적극적으로 차용해 텍스트에 현실감을 부여한다. 재난이 일상화된 상황에서 작가가 제시하는 대안은 공감과 죄책감에 입각한 연대이며, 이것이 가능할 때 성별, 연령, 계급을 초월한 유대가 이루어질 수 있게 된다. 작품의 발표 시점을 감안할 때 2010년대 중반 이후 젊은층의 무력감은 더욱 심해졌지만, 오히려 작가는 후기작에 이르러 환멸에 치중하기보다는 함께 현실을 돌파할 상황을 모색하고 있다. 연민과 죄책감에 입각한 연대는 재난이 일상화된 시대를 살아가는 윤리가 될 수 있을 것이며, 이 점에서 작가의 재난 웹툰은 지금 이 시대의 혐오를 넘어설 수 있는 상상력을 볼 수 있는 텍스트로서 주목을 요한다.

This study aims to examine the methods by which webtoons embody disaster today, centering on the “Disaster Trilogy” by Kim Sung-nyung, which gave shape to the issue dubbed “global disaster.” Kim Sung-nyung's webtoons all exclude any description of the cause of disaster, instead dramatizing the situation in which hatred and intolerance based on class, gender and perceived weakness is routinized and aggravated due to disaster. Also, it gains an insight into how male subjectivity, ruled out from the mainstream, is transformed following the disaster. In his early work, Kim Sung-nyung mixed myths and fables, such as the mythical imagination based on the Bible and the figure of a dictator who enjoys the Korean modern and contemporary history. In his later work, Kim gives a sense of reality to a text through borrowing more positively a human, an event and media in “this place.” In a situation with the routinized disaster, an alternative that Kim suggests is solidarity based on empathy and guilt. When this is feasible, solidarity is formed beyond gender, age and class. Considering when the work was published, the impotent feeling in young people has gotten even worse after the mid-2010s, but in his later work Kim is pursuing a situation that will break through reality together, rather than concentrating on disillusionment. The solidarity based on compassion and common guilt will be capable of becoming ethics of proceeding with living in the era when disaster is institutionalized. In this regard, Kim's disaster webtoon requires attention as a text available for seeing imagination that may surpass hatred in this period.

편혜영의 재난소설 3부작인 『재와 빨강』, 『서쪽 숲에 갔다』, 『홀』은 관계성·역사성·정체성 중심의 전통적인 인류학적 공간과는 ‘다른 공간’으로서의 기능에 충실하고 있다. 표류 중심의 이동성(『재와 빨강』), 환승 중심의 일시성(『서쪽 숲에 갔다』), 공백 중심의 개방성(『홀』)은 ‘비장소’의 무규정성과 혼란을 각각 대변하고 있기 때문이다. 즉 이 소설들은 자본으로 인한 타락이나 인간성의 소멸을 비장소를 중심으로 새롭게 구성함으로써 더욱 공고해진 21세기적 재난에 대한 자동화된 저항이나 낙관적 전망을 동시에 비판한다. 이처럼 편혜영의 재난소설 3부작을 비장소 중심으로 접근해 봄으로써 묵시록적 재난을 초래한 인간의 유죄성에 주목할 수 있다. 또한 비장소를 통해 전통적인 인류학적 공간조차도 해결하지 못했던 모순 자체를 새롭게 부각시킬 수도 있다. 무엇보다도 비장소만의 특수성과 의의는 ‘경계 사유’를 가능하게 해준다는 데에 있다. 이런 이점들을 통해 편혜영의 재난소설 3부작 속 비장소는 장소/장소 상실, 저항 공간/대안 공간, 유토피아/디스토피아 등으로 대변되는 이분법적 대립의 손쉬운 결합이나 확실한 반전을 모두 거부하는 ‘다른 공간’으로 기능한다.

Since the early 21st century, there have been a lot of Korean novels criticising the dehumanization of capitalism through catastrophe, disaster and apocalyptic worldviews. In novels by Pyun Hye-Young in particular, narratives are developed based on such ‘super modernity’. Focusing on Pyun’s trilogy of disaster, City of Ash and Red, Went to the West Forest, and The Hole, it is possible to see the works questioning the disorder of 21st century disasters. The novels do this by showing ‘non-place’ spaces, differing either from an overly optimistic or pessimistic view. ‘Non-place’ is neither utopia nor dystopia. Rather, it is characteristic of in-between disorder, indeterminacy and flexibility. Hence the existing arguments that regard these works as a variety of ‘dystopia’ are limited. The ‘non-places’ in Pyun Hye-Young’s disaster trilogy each have a particular character: mobility City of Ash and Red, perviousness Went to the West Forest, and the void The Hole. In the novels, the symbols of ‘non-place’ are ship, forest and hole. Pyun Hye-Young’s novels have significance in that they criticise modern civilization not as status but as situation, and also not as result but as process, through such aspects of ‘non-place’. Above all, the aspects of ‘non-place’ in Pyun Hye-Young’s novels show ‘border thinking’, not in ‘post-border’ but in ‘trans-border’. Finally ‘non-place’ is not ‘place’ and ‘space’, even though it may be considered ‘anthropological space’, because ‘border thinking’ is based on the denial of rule and fixability, instead pursuing irregulation, temporality and disorder.