서문에서 저자는 “한국 교양인을 위한~”이란 책 제목의 이유로 “새로운 시대에 걸맞은 독일문학” 재조명을 염두에 두었다고 밝힌다. 한국에서의 독일어 연구 및 독일문학 연구가 70년이 넘어가는 연륜의 현재에도 아직 일제 강점기의 틀을 완전히 벗어나지 못하고 있음에 그 안타까움이 있다. 그러한 점에서 특히 눈여겨볼 것은 우리나라 독일문학계에서 많은 논란이 되어 온 괴테의 『젊은 베르터의 고뇌(젊은 베르테르의 슬픔)』와 독일문학사조인 “폭풍우와 돌진(질풍노도)”에 대한 저자의 명쾌한 해설을 엿볼 수 있다. 또한, 저자는 자신의 독선적인 시각을 경계코자 문학사의 중요 부분에서 《초빙 집필》을 두어 국내외 저명한 독일문학 연구자들의 글로 대신하였다.

이러한 여러 가지 특별하고 독특한 구성 이외에도 독일문학사 전반을 흐르는 거대한 강줄기는 우리 문학사를 위해서도 시사하는 바가 크다. 철학과의 교류를 통해 서로가 상생해온 사상의 지류들, 민중과 귀족을 통한 자기 성찰, 전쟁과 분단 속에서 피어난 처절한 생명력과 사회관 등 지금의 독일을 이룩한 사상의 근저 또한 살필 수 있다. 이처럼 연구자에게는 새로운 의식을 불어넣어 주고 일반 독자에게는 『젊은 베르터의 고뇌』를 비롯하여 『파우스트』, 『빌헬름 텔』, 『유리알 유희』, 『양철북』, 『향수』 등 친숙한 독일작품들이 어떠한 문학 정신을 품고 있는가를 알아보는 계기가 될 것이다.

머리말·························································· 5

I 고대 게르만문화의 편린들(Bruchstucke der alten germanischen Kultur)
1. 타키투스의 『게르마니아』· ······································· 19
2. 게르만문학의 편린들· ·········································· 21
3. 라틴어로 쓰여진 문학··········································· 29

II 중세 독일문학(Literatur des Mittelalters, 750-1500)
1.역사적 배경· ·················································· 35
2. 황제와 교황의 갈등············································ 36
3. 십자군 원정· ················································· 38
4. 슈타우펜 왕조와 황제권의 실추· ·································· 39
5. 기사계급의 문학··············································· 41
6. 중세연가····················································· 45
7. 격언시······················································ 49
8. 기사계급의 덕성체계· ·········································· 55
9. 시인 발터 폰 데어 포겔바이데· ··································· 59
10. 궁정서사시· ················································· 62
11. 영웅서사시· ················································· 71
12. 기사문학의 몰락·············································· 76
13. 에크하르트의 신비주의········································ 79
14. 중세 후기의 문학· ············································ 82
15. 오늘날 왜, 그리고 무엇을 위한 중세 독일문학인가?(중세 독일문학에 대한 특별인터뷰) ···················· 84

III 인문주의와 종교개혁(Humanismus und Reformation, 1500-1600)
1. 르네상스와 인문주의· ·········································· 99
2. 종교개혁···················································· 101
3. 범유럽적 인문학자 에라스무스·································· 106
4. 민중본 『파우스트』· ··········································· 109

IV 바로크 시대의 독일문학(Barock, 1600-1720)
1. ‘바로크’의 의미 ·············································· 115
2. 30년 전쟁· ·················································· 116
3. 바로크 문학의 3대 주요 모티프· ································· 118
4. 우의화(寓意畵)· ··············································· 119
5. 계기문학 · ·················································· 120
6. 문학연구의 선구자 마르틴 오피츠· ······························· 121
7. 언어협회를 통한 독일어의 정화 및 순화 운동· ······················ 123
8. 예수회 드라마··············································· 124
9. 그뤼피우스의 비극· ··········································· 125
10. 악한소설··················································· 129
11. 신비주의··················································· 136

V 계몽주의(Aufklarung, 1720-1785)
1. 계몽주의의 철학적 배경········································ 141
2. 계몽적 군주· ················································ 144
3. 로코코 문학과 아나크레온파 시인들· ····························· 145
4. 고췌트의 문학이론· ··········································· 147
5. ‘경이로움’의 옹호자들········································· 149
6. 독일 시민계급의 분투·········································· 150
7. 경건주의와 감상주의 · ········································ 152
8. 겔러트의 소설··············································· 155
9. 위대한 시인 클롭슈톡·········································· 159
10. 계몽주의 시대의 정치시· ······································ 162
11. 레싱의 업적················································ 166
12. 빌란트의 소설··············································· 174

VI 폭풍우와 돌진(Sturm und Drang, 1767-1785)
1. 번역문제와 시대 구분·········································· 179
2. ‘자유’의 깃발 아래에 모인 젊은이들· ······························ 182
3. 하만과 헤르더··············································· 187
4. ‘폭풍우적 돌진자들’의 드라마··································· 192
5. 청년 괴테의 시· ·············································· 195
6. 혁신적 드라마 『괴츠 폰 베를리힝엔』· ····························· 200
7. 유럽 시민계급의 심금을 울린 편지소설· ··························· 202
『젊은 베르터의 고뇌』에 대하여(초빙집필: 임홍배, 서울대)·205
8. 절대주의에 들이댄 비수(匕首)· ··································· 210

VII 바이마르 고전주의(Weimarer Klassik, 1786-1805)
1. 고전주의란 무엇인가?· ········································ 217
2. 괴테 · ······················································ 219
3. 이탈리아 여행과 빈켈만의 『고대미술사』· ·························· 221
4. 칸트 철학과 쉴러의 이상주의적 미학······························ 222
5. 괴테와 쉴러의 협업과 훔볼트의 역할······························ 225
6. 괴테의 고전주의 드라마들· ····································· 227
7. 『빌헬름 마이스터의 수업시대』··································· 231
1) 전형적 교양소설·231 / 2) 『빌헬름 마이스터의 수업시대』의 변성(變成) 과정·234 /
3) 시대소설 ― ‘병든 왕자’의 모티프·241
8. 『빌헬름 마이스터의 편력시대』··································· 245
9. 『파우스트』· ················································· 259
1) 『파우스트』 ― 어떤 작품인가?·259 / 2) 전해 내려온 파우스트 소재(素材)·262 / 3) 청년 괴테의 잘못과 파우스트의 죄업·263 /
4) 『파우스트』의 큰 구조 ― 신과 악마의 내기·265 / 5) 학자비극과 그레첸비극·265 / 6) 괴테의 인간적 성숙에 따른 제2부의 필요성·271 /
7) 헬레나비극의 상징성·272 / 8) 행위자비극: 지식인 파우스트의 득죄(得罪)·273 / 9) 영원한 여성성의 은총과 구원의 모티프·277
10. 『서동시집』· ················································ 282
11. 한국에 대한 괴테의 관심· ····································· 285
12. 쉴러의 삶과 바이마르 고전주의(초빙집필: 이재영, 서울대)··················· 288

VIII 고전주의와 낭만주의 사이의 세 시인들
1. 프리드리히 횔덜린· ··········································· 299
2. 장 파울· ···················································· 303
3. 하인리히 폰 클라이스트········································ 305
IX 낭만주의(Romantik, 1798-1835)
1. 번역어 ‘낭만주의’의 문제점· ···································· 313
2. 전기(前期) 낭만주의의 시인들· ··································· 314
1) 프리드리히 슐레겔·315 / 2) 슐라이어마허의 번역론·318 / 3) 아우구스트 빌헬름 슐레겔과
카롤리네 슐레겔·319 / 4) 바켄로더와 티크·320 / 5) 노발리스·322
3. 후기 낭만주의와 그 시인들····································· 325
1) 브렌타노 남매와 아힘 폰 아르님·327 / 2) 정체성으로 고뇌한 시인 샤미소·329 /
3) 낭만주의 서정시인 아이헨도르프·330 / 4) 호프만의 『황금단지』(초빙집필: 최민숙, 이화여대)·332 / 5) 울란트·338

X 비더마이어의 문학(Biedermeier, 1820-1848)
1. 정치적 배경· ················································ 343
2. 뫼리케····················································· 345
3. 드로스테 휠스호프· ··········································· 346
4. 그릴파르처· ················································· 348
5. 슈티프터···················································· 350
6. 이머만····················································· 351

XI 청년독일파(Junges Deutschland, 1830-1848)
1. 카를 구츠코와 ‘청년독일파’의 유래······························· 355
2. 유물론과 공산당선언· ········································· 357
3. 제4계급의 문학적 등장········································· 359
4. 하인리히 하이네·············································· 364
5. 사실주의적 경향을 선취한 두 희곡작가· ··························· 372
1) 그라베·373 / 2) 뷔히너·374 / 뷔히너의 『보이첵』과 『당통의 죽음』(초빙집필: 홍성광, 서울대)·374

XII 사실주의(Realismus, 1848-1890)
1. 사실주의라는 개념· ··········································· 385
2. ‘3월 혁명’의 실패와 ‘독일의 참사’· ································ 386
3. ‘시적 사실주의’ 또는 ‘시민적 사실주의’···························· 387
4. 사실주의 시대의 시와 드라마···································· 390
5. 테오도르 슈토름·············································· 393
6. 고트프리트 켈러·············································· 394
7. 콘라트 페르디난트 마이어· ····································· 396
8. 구스타프 프라이타크· ········································· 398
9. 빌헬름 라베 ― 그의 사실주의와 현대성(초빙집필: 권선형, 숭실대)··················· 400
10. 테오도르 폰타네············································· 411
11. 여행 및 모험소설과 마을 이야기································ 416

XIII 자연주의(Naturalismus, 1880-1890)
1. 자연주의 문학의 대두·········································· 421
2. 게르하르트 하우프트만· ······································· 423
3. 데틀레프 폰 릴리엔크론········································ 427

XIV 세기말과 신낭만주의(Fin de Siecle und Neuromantik, 1890-1920)
1. 세기말 현상과 신낭만주의 문학의 등장 ··························· 431
2. 슈테판 게오르게·············································· 434
3. 후고 폰 호프만스탈의 『편지』(초빙집필: 남정애, 숭실대)······················ 437
4. 라이너 마리아 릴케··········································· 442
『말테의 수기』(초빙집필: 안문영, 충남대 명예교수)·445
5. 아르투어 슈니츨러· ··········································· 449
6. 슈테판 츠바이크·············································· 451
7. 세기 전환기 독일어권 문학과 예술 속의 성(性) (초빙집필: 홍진호, 서울대)········ 454
8. 토마스 만의 『부덴브로크 가의 사람들』과 『토니오 크뢰거』· ············ 458
9. 로베르트 발저··············································· 466
10. 프랑크 베데킨트············································· 468

XV 표현주의(Expressionismus, 1910-1925)
1. 표현주의 문학의 대두·········································· 473
2. 표현주의 시대를 거친 위대한 시인들······························ 480
1) 헤르만 헤세·481 / 2) 프란츠 베르펠·483 / 3) 프란츠 카프카(초빙집필: 이재황, 아주대)·486 /
4) 발터 벤야민 ·493 / 5) 베르톨트 브레히트의 서사극과 『억척어멈과 그 자식들』(초빙집필: 김형기, 순천향대)·495

XVI 신즉물주의(Neue Sachlichkeit, 1910-1925)
1. 바이마르 공화국과 신즉물주의·································· 503
2. 레마르크의 소설 『서부전선 이상 없다』· ··························· 503
3. 에리히 케스트너의 소설 『파비안』································ 505

XVII 고전적 현대 작가들(Klassisch-moderne Dichter, 1925-1945)
1. 토마스 만의 소설 『마의 산』(초빙집필: 윤순식, 덕성여대)······················ 509
2. 로베르트 무질의 『특성 없는 남자』(초빙집필: 신지영, 덕성여대)· ··············· 516
3. 헤르만 브로흐의 『몽유병자들』··································· 525
4. 요젭 로트의 『라데츠키 행진곡』· ································· 528
5. 엘리아스 카네티의 『현혹』· ····································· 529

XVIII 나치즘과 독일 망명문학(Nationalsozialismus und die deutsche Exilliteratur, 1933-1947)
1. 야만의 정치와 예술가들의 망명· ································· 535
2. 카를 크라우스의 『제3의 발푸르기스의 밤』·························· 538
3. 아나 제거스의 『제7의 십자가』· ·································· 540
4. 헤르만 헤세의 『유리알 유희』 (초빙집필: 이신구, 전북대)· ···················· 541
5. 망명작가로서의 토마스 만· ····································· 549

XIX 전후문학(Nachkriegsliteratur, 1945-1968)
1. 영점(零點)에서의 새 출발과 47그룹································ 577
2. 파울 첼란의 시· ·············································· 579
3. 한국 출신의 이민 작가 이미륵· ·································· 580
4. 1945년 이후 독일 시의 흐름 (초빙집필: 채연숙, 경북대)· ····················· 583
5. 하인리히 뵐· ················································ 604
6. 귄터 그라스· ················································ 607
7. 마르틴 발저· ················································ 613
8. 지크프리트 렌츠·············································· 618
9. 페터 바이스· ················································ 619
10. 스위스 출신 극작가 프리쉬와 뒤렌마트· ·························· 621
1) 막스 프리쉬 ·621 / 2) 프리드리히 뒤렌마트·625
11. 독보적 독행자 아르노 슈미트··································· 627
12. 독일 분단 문제를 천착한 우베 욘존· ····························· 630

XX 동독문학(Literatur der DDR, 1945-1990)
1. 독일 땅에서의 첫 ‘노동자와 농민의 나라’··························· 637
2. 사회주의 리얼리즘 ··········································· 638
3. ‘발터 얀카 사건’과 문학의 정치적 예속····························· 640
4. 드라마와 서정시에서의 새 출발· ································· 642
5. 신주관주의 문학의 전개········································ 646
6. 유렉 베커의 소설 『거짓말쟁이 야콥』· ····························· 649
7. 1970년대 초의 짤막한 해빙기와 ‘볼프 비어만 사건’· ·················· 651
8. 크리스타 볼프의 『카산드라』 (초빙집필: 정미경, 경기대)······················ 656

XXI 현대 독일문학의 여러 새로운 면모들(Neue Aspekte der modernen deutschen Literatur, 1960-1989)
1. 한스 요아힘 쉐틀리히 ― 비밀경찰에 관한 고찰··························· 665
2. 잉에보르크 바흐만 ― 여성적 글쓰기································· 670
3. 하이나르 키파르트 ― 과학자의 사회적 책임····························· 672
4. 알렉산더 클루게 ― ‘새 독일 영화’의 주역 ······························ 676
5. 베른바르트 베스퍼 ― 의회 바깥에서의 저항· ···························· 680
6. 페터 슈나이더 ― ‘신주관주의’와 독일의 분단문학·························· 683
7. 페터 한트케 ― 진부한 언어를 깨려는 새로운 연극적 실험· ····················· 688
8. 보토 슈트라우스 ― 아도르노를 넘어서려는 지성적 미학의 탐색·················· 690
9. 파트릭 쥐스킨트 ― 오락인가, 예술인가?· ······························ 693
10. 발터 켐포브스키 ― 일기, 자서전, 편지묶음에 파묻힌 작가 · ·················· 698

XXII 통독 이래의 동시대 독일문학(Gegenwartsliteratur seit der Wende, 1990- )
1. 토마스 브루시히 ― ‘전환기’의 동독 상황······························· 705
2. 볼프강 힐비히 ― 권력과 언어의 긴장관계 · ····························· 707
3. 헤르타 뮐러 ― 반독재의 카프카적 형상화································ 709
4. 엘프리데 옐리넥 ― 여성의 도발적 글쓰기 · ····························· 713
5. 제발트의 ‘산문 픽션’ (초빙집필: 이경진, 서울대)· ··························· 718
6. 독일 팝문학 ― 90년대 특유의 문화적 현상 (초빙집필: 정항균, 서울대)· ··············· 737
7. 베른하르트 슐링크 ― ‘감정유산’의 문제······························· 746
8. 독일의 이민문학과 다와다 요코 (초빙집필: 최윤영, 서울대)· ·················· 749
9. 두르스 그륀바인 ― 드레스덴과 베를린의 새 역학으로부터 나온 서정시· ············ 753
10. 잉오 슐체 ― 통독 이후의 동독의 일상에 대한 담담한 보고· ···················· 757
11. 마르틴 모제바흐 ― 현대판 ‘쓸모없는 인간’· ···························· 759
12. 아르노 가이거 ― 한 가족사에 투영시킨 20세기 오스트리아 역사················· 764
13. 우르줄라 크레헬 ― 과거 극복은 아직도 진행 중· ························· 767
14. 크리스토프 란스마이르 ― 현대적 ‘종말의 예고자’························ 770
15. 율리 체 ― 디지털 정보에 의한 국가권력의 감시와 통제························ 773
16. 다니엘 켈만 ― 과학자들의 ‘전능적 망상’에 대한 비판························ 776
17. 라인하르트 이르글 ― 가장 암울한 동시대적 문제 작가······················ 780
18. 동시대 독일문학의 여러 경향들 (초빙집필: 위르겐 포르만, 독일 본대학 교수)········ 787

참고문헌······················································ 801
찾아보기······················································ 806

안삼환

서울대학교 독문과 및 대학원을 졸업하고 독일 본(Bonn) 대학교에서 문학박사 학위를 받았다. 연세대학교 및 서울대학교 독문과 교수를 거쳐, 현재 서울대학교 독문과 명예교수이다.한국괴테학회장, 한국토마스만학회장, 한국독어독문학회장, 한국비교문학회장, 한국훔볼트회장, 경제·인문사회연구회 인문정책위원장을 지냈다. 편·저서로는 『괴테, 그리고 그의 영원한 여성들』, 『전설의 스토리텔러 토마스 만』, 『괴테, 토마스 만 그리고 이청준』.역서로는 『빌헬름 마이스터의 수업시대』(괴테), 『토니오 크뢰거』(토마스 만), 『텔크테에서의 만남』(귄터 그라스) 등이 있다.「한독문학번역상」(한독문학번역연구소, 1996), 「한국출판문화상(번역부문)」(한국일보사, 1997), 「야콥 및 빌헬름 그림 상」(독일학술교류처, 2012)을 수상하고, 독일연방공화국 대통령으로부터 「십자공로훈장」(2013)을 받았다.