로그인정보 입력 영역

아이디

비밀번호

• 홈
• 전자책

책소개

의리는 일본인의 심성과 일본 사회의 원리를 이해하는 데 있어 중요한 열쇠라고 할 수 있다. 의리에 관한 인식은 크게 두 가지로 압축할 수 있을 것 같다. 하나는 『국화와 칼』(1946)의 저자인 루스 베니딕트(Ruth Benedict, 1887∼ 1948)가 주장한 ‘의리처럼 괴로운 것은 없다’라는 견해다. 다른 하나는 일본의 시대별 문학 이념 중에서 에도 시대(江?時代)를 설명할 때 거론되는 의리와 인정을 대립적으로 파악하는 관점이다.

그러나 미나모토는 『의리와 인정』에서 베니딕트의 견해를 받아들이면서도 일본적 의리의 본질을 형성하고 있는 것은 오히려 베니딕트가 주장하는 그 반대편에 있는 것으로 보고 있다. 그는 일본인의 ‘진심에서 우러난 자발적인 관대한 행위’에 초점을 맞추어, 의리를 행위나 동기를 촉발시키는 미세한 감정까지 이해해 주고 인정해 주는 일본인 상호 간의 충만한 영적 교감을 가능케 하는 멘탤러티의 원동력으로 파악한다. 본서에서 가장 많은 양이 할애된 제3부 ‘의리와 인정의 문학’ 중에서 ‘1. 사이카쿠의 문학에 나타난 의리와 인정’과 ‘2. 지카마쓰 문학에 나타난 의리와 인정’은 거기에 대한 논증이라고 할 수 있다.

목차

해설·······················9
지은이에 대해··················17
머리말·····················19
I. ‘정과 공감’의 문화?일본적 휴머니즘
일본 문화의 ‘정과 공감’적 성격··········25
일본의 르네상스?아즈치·모모야마 시대의 정신·27
‘인욕을 떠나서는 인간이 아니다’·········31
일본적 휴머니즘의 사상적 기반?노리나가의 ‘모노노아와레’론····················34
‘정’의 성격···················39
일본인의 ‘인정’관················42
II. 의리의 구조?개별주의적 사회의 인간관계
‘의리와 인정’은 ‘공과 사’인가···········51
‘차가운 의리’와 ‘따뜻한 의리’···········53
의리의 개별주의적 성격·············56
전전(戰前)의 의리 연구·············58
의리는 보편적인 것인가, 일본적인 특수한 것인가·62
의리의 구체적 조건···············66
일본 사회의 구조와 의리적 사실의 성립······68
초월적인 일신교를 갖지 않는 문화와 의리·····71
나의 의리관··················73
III. 의리와 인정의 문학 ?≪무가 의리 이야기≫에서 ≪인생극장≫까지
1. 사이카쿠 문학에 나타난 의리와 인정·····85
≪무가 의리 이야기≫에 나타난 의리의 원초적 형태·85
신뢰에 대한 호응으로서의 의리·········90
계약에 대한 충실로서의 의리··········93
명예의 의리·오기의 의리?전국시대 무사의 세계·95
2. 지카마쓰 문학에 나타난 의리와 인정·····100
사랑의 시인 지카마쓰·············100
사랑의 중핵으로서의 ‘나사케(情け)’·······103
지카마쓰가 그린 의리의 제 유형········107
의리와 인정의 갈등··············111
3. 지카마쓰 이후 (1)?조루리의 세계······114
지카마쓰 이후의 조루리의 변모·········114
의리 관념의 변화와 그 사회적·정신적 배경····116
‘의리와 인정’, 즉 ‘공과 사’···········120
≪셋슈의 갓포와 쓰지≫에 나타난 의리·인정의 병리화
······················125
4. 지카마쓰 이후 (2)?닌조본과 요미혼의 세계··129
닌조본에 나타난 의리와 인정··········129
≪춘색 다쓰미 유곽≫의 의리와 인정······133
의지의 문화와 감성의 문화의 분리?바킨의 역사적 위치······················136
공(의리)이 사(인정)를 우선하는 사회······139
5. 메이지 이후 ?이즈미 교카와 오자키 시로···141
의리·인정의 연속성과 비연속성········141
속물근성과의 싸움?≪여자 족보≫에 나타난 의리와 인정······················143
의리·인정의 만가?≪인생극장≫·······147
맺음말·····················155
옮긴이에 대해··················158