MARC

 008040517s2003        ulka                    000      kor
■020    ▼a89-521-0374-2
■056    ▼a82-95
■0801  ▼a82-95
■082    ▼a800▼223
■090    ▼a800▼b김66ㅁ
■1000  ▼a김윤식
■24510▼a미당의  어법과  김동리의  문법▼d김윤식  저.
■260    ▼a서울▼b서울대학교  출판부▼c2003
■300    ▼a242p.▼b삽도▼c23cm
■505    ▼a하나.  미당의  엽서와  동리의  편지▼a1.  제3의  『화사집』  저자▼c1▼a2.  「엽서」의  내막▼c3▼a3.  도스토예프스키  닮기▼c7▼a4.  실연에  대한  김동리의  어법과  미당의  어법▼c12▼a5.  보들레르  및  서울  여자와의  결별  방식▼c17▼a6.  「엽서」에  대한  10년  만의  회신▼c25▼a둘.  미당  어법의  존재방식  -  소쩍새  울음과  뻐국새  울음▼a1.  해인사의  세  가지  요괴로움▼c29▼a2.  가야산  계곡물에  뛰어들기▼c3100▼a3.  지귀도  앞바다에  뛰어들기▼c3411▼a4.  보들레르와의  결별  장면▼c3822▼a5.  소쩍새  울음과의  친근성▼c4233▼a6.  세계의  끝장의식으로서의  뻐꾹새  울음▼c4644▼a7.  서사  무가와의  만남  -  미당  시학이  멈춘  곳▼c5155▼a셋.  김동리  문법의  존재방식  -  숭고의  정체66▼a1.  「무녀도」와  「산제」의  대응관계▼c5777▼a2.  개작으로서의  「산이야기」▼c5988▼a3.  주산(朱山)과  아기장수  설화▼c6299▼a4.  산신각의  사상▼c6800▼a5.  「먼산바라기」의  기묘한  표정과  그  이유▼c7311▼a6.  사반의  혼령  불러내기의  소설적  의미▼c8022▼a7.  미적인  것에  대한  '숭고'의  우위성▼c8333▼a넷.  무(無)  속에서  전개되는  변증법  -  『시인부락』의  어떤  생리와  논리▼c8744▼a1.  「벽」과  60년의  세월▼c8755▼a2.  요괴스러움의  정체▼c9066▼a3.  허깨비끼리의  마주  보기▼c9377▼a4.  문학사적  만남,  '표현'에의  접맥▼c9788▼a5.  물질과  정신의  변증법▼c10199▼a다섯.  원형의  창조와  변형의  창조  -  「목탁새」에  대하여▼c10500▼a1.  개작의  계보▼c10511▼a2.  「목탁새」의  원형성▼c10722▼a3.  자연과  근대  사이에  징검다리  놓기▼c11033▼a4.  「극락조」의  통속화▼c11444▼a5.  원형과  변형▼c11855▼a6.  저승새의  위상▼c12266▼a여섯.  근대  이전의  어법  복원을  위한  미당의  표정  -  문학사적  위상  시론▼c12777▼a1.  아홉  번째의  「무제」▼c12788▼a2.  마음의  해방  좇기▼c13099▼a3.  제일  슬픈  이화중선(李花中仙)과  이중선(李中仙)의  촉기▼c13200▼a4.  미당과  이상의  대화  엿듣기▼c13711▼a5.  미당  어법과  지방성의  과제▼c14022▼a일곱.  「무녀도」계와  「산제」계의  대비▼c14733▼a1.  개작「무녀도」▼c14744▼a2.  「무녀도」의  완성도에  대한  인식▼c14855▼a3.  「무녀도」와  「산제」의  평행성▼c14966▼a4.  「산제」의  개작으로서의  「산이야기」▼c15177▼a5.  「산제」「황토기」「사반의  십자가」-아기장수  설화의  행방▼c15288▼a6.  '미적인  것'과  '숭고'에  관하여▼c15399▼a여덟.  「목공  요셉」  3부작  「마리아의  회태」▼c15700▼a1.  「솔거」  3부작▼c15711▼a2.  두  종류의  3부작의  내력▼c15922▼a3.  「마리아의  회태」와  「목공  요셉」▼c16333▼a4.  『사반의  십자가』와  「부활」▼c16844▼a5.  「부활」에서  맞선  예수와  사반▼c17255▼a아홉.  김동리의  유고  「미정고」론66▼a1.  「윤회설」이  보여  준  작가의  태도▼c17577▼a2.  작가의  의도가  지닌  한계점▼c17688▼a3.  문학권의  4각  구조▼c18099▼a4.  작가  제국주의적  측면▼c18400▼a5.  「미정고」의  분위기▼c18711▼a6.  해명학원과  광명학원▼c19022▼a7.  「미정고」의  끝대목▼c19333▼a8.  「미정고」에  대한  문학연구  쪽의  견해▼c19644▼a9.  시간성과  순금의  의의▼c19955▼a열.  울림의  '영산홍'과  보임의  '영산홍'▼c20166▼a열하나.  자연과  근대  사이의  매개항  찾기  -  방법으로서의  진달래와  뻐꾸기▼c20777▼a1.  뻐꾸기에  대한  미당  시학의  한계▼c20788▼a2.  근친상간  모티프와  진달래▼c20999▼a3.  강요된  화해와  자연스런  화해▼c21300▼a4.  청산과  인간,  그리고  근대와의  거리재기▼c21511▼a5.  자연과  근대  사이에  원(願)  세우기▼c21922▼a6.  진달래,  그  형언할  수  없는  절대성▼c22633▼a7.  매개항  자체의  절대성  인식▼c22944▼a8.  김동리  미학의  방법  넘어서기▼c23255▼a열둘.  초월과  귀의▼c23566
■9500  ▼b￦11000

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