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커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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Sung-dong Kim's novel 『Mandara』 is almost an autobiography of his life where he also portrays his eagerness and wish to live a life as a Buddha, someone who realised the law of the universe. This novel describes the problems mankind faces, such as affliction, liberty and emancipation thus enabling the readers to easily approach the Buddhist ideas.
In this paper, we discuss how 'wind' and 'woman' are pluralistically delineated and how they are used the possible guidance to Buddhist emancipation. A Monk Bubwoon, narrative speaker and a depraved monk, Jisan who went to the end of dispair in order to seek the subject of the 'Null' finally found the solution of the truth through the characters of 'wind' and 'woman' in his novel.
'Wind', in this novel, has a pluralistic meaning where it was used as a metaphor in describing the narrator's mental state as well as the realisation of ego. 'Wind' can create and abolish desire and also represenr recognition of inner-self. 'Woman' represents inrrinsic nostalgia, an object of desire that hinders the path of those who are seeking for truth. At the same time, they are mothers, lovers and ourselves. The reasons behind entrance to priesthood, apostatism, and enlightenment, all these could be due to 'woman'. The motherly figure that appears at the last moment of death and despair represents freedom and enlightenment.
Deconstruction philosophises say Buddhism is modern. Especially, the founder of post-modernism, Jorge Luis Borges refers Buddha's 'taking the arrow out' as 'taking the ego out'. That is, deconstruction of ego, ecstasy.
If the modern Buddhism's task is infuse new meaning to life through to unifying Buddhism and fiction, 『Mandara』 has given a new possibility for Buddhism literature where it achieved such task by describing the mankind's desire for enlightenment that is the fundamental problem we all face.
In this paper, we discuss how 'wind' and 'woman' are pluralistically delineated and how they are used the possible guidance to Buddhist emancipation. A Monk Bubwoon, narrative speaker and a depraved monk, Jisan who went to the end of dispair in order to seek the subject of the 'Null' finally found the solution of the truth through the characters of 'wind' and 'woman' in his novel.
'Wind', in this novel, has a pluralistic meaning where it was used as a metaphor in describing the narrator's mental state as well as the realisation of ego. 'Wind' can create and abolish desire and also represenr recognition of inner-self. 'Woman' represents inrrinsic nostalgia, an object of desire that hinders the path of those who are seeking for truth. At the same time, they are mothers, lovers and ourselves. The reasons behind entrance to priesthood, apostatism, and enlightenment, all these could be due to 'woman'. The motherly figure that appears at the last moment of death and despair represents freedom and enlightenment.
Deconstruction philosophises say Buddhism is modern. Especially, the founder of post-modernism, Jorge Luis Borges refers Buddha's 'taking the arrow out' as 'taking the ego out'. That is, deconstruction of ego, ecstasy.
If the modern Buddhism's task is infuse new meaning to life through to unifying Buddhism and fiction, 『Mandara』 has given a new possibility for Buddhism literature where it achieved such task by describing the mankind's desire for enlightenment that is the fundamental problem we all face.
목차
Ⅰ. 서론
Ⅱ. ‘바람‘의 다원성
Ⅲ. ‘여성‘의 다원성
Ⅳ. 결론
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