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청년 께다르나트 싱 미도래자(未到來者) ················································ 012 정오 ······································································ 012 방의 악마 ····························································· 012 해설 ······································································ 012 힌디시 원문 2부 1980년대 이후 께다르나트 싱 1 손 ········································································· 012 2분 침묵 ······························································· 012 농민 아버지가 아들에게 전해준 잠언 ··················· 012 구아버 ·································································· 012 해설 ······································································ 012 힌디시 원문 2 황소 ······································································ 012 로띠 ······································································ 012 망가진 트럭 ························································· 012 야채 도매시장을 나오면서 ..................................... 012 해설 ······································································ 012 힌디시 원문 3 바나라스 ······························································ 012 모래의 스침 ·························································· 012 해설 ······································································ 012 힌디시 원문 4 대지 ······································································ 012 짐승 ······································································ 012 기근에 두루미들 ·················································· 012 왕관처럼 ······························································ 012 삼라만상에 대한 경계 ........................................... 012 해설 ······································································ 012 힌디시 원문 5 잠자리 ·································································· 012 오늘 시장 가격 ····················································· 012 도하 세 수 ····························································· 012 낙타 장수 이브라힘 미양 ....................................... 012 해설 ······································································ 012 힌디시 원문 6 베를린의 무너진 벽을 보고 ................................... 012 장 폴 샤르트르의 묘지에서 ................................... 012 발 ········································································· 012 해설 ······································································ 012 힌디시 원문 7 이(齒) ···································································· 012 도시 청소 ····························································· 012 서명 ······································································ 012 쓰레기 그리고 새 사이에 빠진 한 사랑-시 .............. 012 방향 ······································································ 012 해설 ······································································ 012 힌디시 원문 3부 『호랑이』 해설 ······································································ 012 힌디시 원문 |
저자 소개 1
한국외국어대학교 인도어과를 1회 졸업하고 국립힌디어연구소(델리)에서 Advanced Diploma in Language Proficiency, 힌디어문학으로 인도 네루대학교에서 문학석사, 인도 Visva Bharati 대학교에서 문학박사 학위를 취득했다. 현재 한국외국어대학교 인도어과 교수로 재직 중이다. 주요 저서 및 역서로는 『한국어-힌디어사전』(책임편찬), 『힌디어 입문』, 『힌디어 여행회화』, 『입에서 톡 인도어』, 『인도의 종파주의』(공저), 『한국시선집』(힌디어), 『인도여성-신화와 현실』(공저), 『인도 낭만주의 시에 나타난 민족의식』(힌디어), 『인도 중-단편소설선
한국외국어대학교 인도어과를 1회 졸업하고 국립힌디어연구소(델리)에서 Advanced Diploma in Language Proficiency, 힌디어문학으로 인도 네루대학교에서 문학석사, 인도 Visva Bharati 대학교에서 문학박사 학위를 취득했다. 현재 한국외국어대학교 인도어과 교수로 재직 중이다. 주요 저서 및 역서로는 『한국어-힌디어사전』(책임편찬), 『힌디어 입문』, 『힌디어 여행회화』, 『입에서 톡 인도어』, 『인도의 종파주의』(공저), 『한국시선집』(힌디어), 『인도여성-신화와 현실』(공저), 『인도 낭만주의 시에 나타난 민족의식』(힌디어), 『인도 중-단편소설선』(편역) 등이 있으며, “인도와 한국의 낭만주의 시 비교”, “힌디의 수피문학”, “힌디소설문학에 나타난 힌두-무슬림 갈등”, “『마이』(어머니)에 나타난 여성성”, “두밀의 시세계” 외 인도문학과 문화 관련 논문이 다수 있다.
김우조의 다른 상품
품목정보
- 발행일
- 2019년 02월 28일
- 쪽수, 무게, 크기
- 324쪽 | 크기확인중
- ISBN13
- 9791159014536
책 속으로
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역자는 1976년 8월부터 인도정부의 Hindi Propaganda Aboard Scheme에 따라 국립힌디어연구소(Central Institute of Hindi)에서 외국인들을 위한 Certificate Course에서 힌디어를 ‘ㄱ, ㄴ, ㄷ, ㄹ ...’부터 다시 배웠다. 새롭게 힌디어를 익히는데 정신이 없던 어느 날 색다른 교재로 수업을 하시던 상유끄따 꼬샬(Sanyukta Kaushal, 1945-2007)선생님이 아침 신문에 발표된 께다르나트 싱의 따끈따끈한 시, 「로띠」를 가지고 힌디어의 발음과 독해를 가르쳤다. 역자를 인도어 시와 처음으로 제대로 만나게 해 주셨던 언어학자이며 라다크(Ladakh)어 전문가이셨던 상유끄따 선생님이 이 시인의 활동 재개를 매우 반기셨던 것을 지금도 기억한다.
‘로띠’는 우리의 ‘밥’과 같다. 당시 뭔가 새롭고 드물고 아름다운 것이 시가 될 수 있다고 생각했던 역자에게 일상에서 너무 익숙한 ‘밥’이 시의 제재가 될 수 있다는 것은 신선한 충격이었다. 그런데 시인은 이 시에서 너무나 평범한 ‘밥’을 제재로 원시 사냥에서 현대 화덕에서 익혀지는 ‘로띠’까지의 발전과 그 발전 과정에서 있었던 인류의 투쟁을 암시하는데 성공한다. 누구나 인정하는 시인의 가장 큰 특징은 자신이 보거나 체험한 일상의 극히 평범하고 작은 것을 그냥 넘기지 않고 형상화하여 인간, 삶, 사회, 세계 등의 근원적이면서도 심오하고 광대한 면을 쉽게 풀어가는 것이다. --- 본문 중에서 |
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