MARC

 008030611s2002        ulka                    000      kor
■020    ▼a89-329-0230-5
■0801  ▼a82-95
■082    ▼a800▼223
■090    ▼a800▼b안78ㅍ
■1000  ▼a안진태
■24510▼a파우스트의  여성적  본질▼d안진태  저.
■260    ▼a서울▼b열린책들▼c2002
■300    ▼a596p.▼b삽도▼c24cm
■505    ▼a제1장  파우스트의  인간상▼a1.  소재와  인물▼c15▼a2.  절대적  자아▼c21▼a3.  불가지론자▼c30▼a4.  신적인  경지▼c38▼a5.  범신  사상▼c50▼a6.  마법적관념론▼c62▼a7.  메피스토펠레스와  파우스트▼c67▼a제2장  파우스트의  여성관▼a1.  괴테  시대의  여성관▼c7900▼a2.  이원적  여성관▼c9011▼a3.  여성적  구원▼c10022▼a제3장  그레트헨33▼a1.  그레트헨  비극▼c11544▼a2.  그레트헨  비극의  소재▼c12455▼a3.  애욕의  대상▼c15566▼a4.  변증법적  여성상▼c17277▼a5.  결론▼c19488▼a제4장  헬레나99▼a1.  헬레나  에피소드00▼a1.  헬레나  에피소드▼c20111▼a2.  「스파르타에  있는  메넬라오스  왕의  궁전  앞」▼c22522▼a3.  헬레나의  시간  개념▼c26933▼a4.  「성채의  안마당」▼c28644▼a5.  「그늘진  숲」▼c31155▼a6.  헬레나  장면에서  낭만주의적  관점▼c37066▼a7.  결론▼c37977▼a제5장  그레트헨의  노래  「툴레의  왕」88▼a1.  작품의  배경▼c38599▼a2.  작품의  성립과  구상▼c39300▼a3.  각  형상의  해설▼c41311▼a4.  왜  그레트헨은  노래  「툴레의  왕」을  부르는가?▼c43422▼a제6장  『파우스트』의  사상적  배경33▼a1.  문학  속의  철학▼c45144▼a2.  사랑과  윤리의  모순▼c46355▼a3.  빛의  신비▼c46866▼a제7장  『파우스트』의  형태  분석77▼a1.  양식▼c48188▼a2.  운율▼c49399▼a제8장  토마스  만의  『파우스트  박사』00▼a1.  작품의  배경▼c51511▼a2.  토마스  만과  독일의  관계▼c51922▼a3.  독일적  소설  『파우스트  박사』▼c54033▼a4.  결론▼c57044
■9500  ▼b￦16000

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