Divine Comedy is a classic read and valued by all. However, to be precise, the classic cannot get the general literary value automatically or in itself but it does so only when the readers seek and construct the value in the process of reading it. Thi ...

Divine Comedy is a classic read and valued by all. However, to be precise, the classic cannot get the general literary value automatically or in itself but it does so only when the readers seek and construct the value in the process of reading it. This means that the readers' individual experiences and contexts of reading Divine Comedy are crucial. For instance, for the Korean people Divine Comedy might be the universal epic of the humane love and salvation on the one hand, and the unilateral text bound to the exclusive christianity-dogma and the euro-centrism on the other. But it is not easy to find those who read it according to the latter's consciousness; it is because the Korean people have been unconditionally captivated by the uniformed way of respecting the western classic of its literary value; conversely, it means that they have constituted the homogeneous category with the West. Indeed, this situation helps us reflect the general problem of how a literary text can and needs to be read appropriately.
Dante and his Divine Comedy are the 'invented traditions'. In other words, we come to accept it naturally and undoubtedly because we are already closed and linked to each other within the homogeneous global category. The tradition is generally formed by the comtemporary ideology, world-view, aura, custom, etc, and afterwards strengthened with the hegemonic history that tends to support itself with that tradition. If this kind of tradition can operate as a hegemonic power and a bridle, and so does not allow us to properly meet Dante and his work, then how can we resurrect Dante here and now without biased interpretation? If Divine Comedy is truly a classic, it should load the structure in which we can produce the new meanings cross the times. I think that Divine Comedy, as a classic, offers a field which is broad enough to lead us to imagine the extremely diverse, open and rich possible worlds; it allows itself the open interpretations to itself so as to lead us towards the rich re-production. Although the open and new interpretations might deny even its recognized values and distort even its original meanings, it should have the capacity, as a classic, which allows me to imagine the new Dante and to indicate and meet my own Dante based on my own interpretation. After all, Dante will sustain its literary value properly by opening its door to an-other imagination rather than being anchored as an invariance.
In this respect, I will interpret Divine Comedy in relation to such specific subjects as 'salvation' and 'memory' from my own perspective which emphasized that the salvation Dante pursues in his text is self-reflexive; that is, Dante's aim was to save himself by his own literary procedure established on the aesthetic memory structures. I will strive to show how the structure of memory representation and its literary procedure are found in Divine Comedy; indeed it displays the aesthetic effect by virtue of its duplicated structures of memory representation. Here the aesthetic effect requires the readers' endlessly new interpretations. In this literary procedure, Dante allows himself to become the problematic writer and protagonist so as to make the salvation itself problematic rather than to be anchored in the position of creator and distributor of the fixed truth. This leads the readers to rethink about the salvation; in Divine Comedy they can find the ultimate salvation as the self-reflection formed through the literary procedure.
This kind of interpretation rescues Dante from the medieval tradition and grants him the position of modern writer, which allows me to rewrite Divine Comedy from ny context so as to make it resurrect. The new interpretation of Divine Comedy is indeed a part of Divine Comedy; it exists as procedure which is called 'alteration' through repeatedly revised modifications. Dante is saving himself by endowing himself with this literary procedure in his own text and inviting us as the active and productive readers.

1. 왜 단테를 읽는가?
2. 열린 읽기의 효과
3. 기억의 정치학
3.1. 구원의 여정
3.2. 구원의 문제성
3.3. 구원의 기억
4. 단테의 구원과 문학과정
5. 누가 단테를 구원할 것인가?

1. 왜 단테를 읽는가?
2. 열린 읽기의 효과
3. 기억의 정치학
3.1. 구원의 여정
3.2. 구원의 문제성
3.3. 구원의 기억
4. 단테의 구원과 문학과정
5. 누가 단테를 구원할 것인가?