김승옥 소설의 개인 연구

김미영(Mee Young Kim) 한국현대소설학회 2007 현대소설연구 Vol.- No.34

The innovative gist of the novels written by Kim Sung Ok lies in the discovery of a new persona and the revolution of sensitivity. This study investigates the implications of the persona that Kim discovered in his novels based on the theory of subjectivity of Levinas. The personas in Kim Sung Ok`s novels that arguably represent 60`s of Koreans literary community show the transformation from the nihilistic beings to the capitalist beings. In other words, the personas that Kim found in his novels purely represent the severed beings that had to move down to the economic and political ground from the war-haunted beings. Ultimately the personas of Kim`s novels develop into ones pursuing for the transcendental beings by converging with other beings. His literary journey from Seoul, 1964 Winter, Travel to Moo Jin , to Moonlight Seoul, Chapter 0 reveals the writer`s transcendence from personal, anonymous self, to self-standing self, and finally to self-achieving self by making relations with other beings. In sum, the personas found in Kim`s novels can be said as a becoming being towards ontological diversity. These personas keep trying to transcend from vagueness of lives. Transcending, in this context, means a journey from being-what to being-who. The characters in Kim`s novels never enjoy successes in this journey. However, by the incessant failures of the characters, the writer tries to demonstrate the never-ending zeal of egoistic individuals towards and for other beings-in-the-world. In this respect, a conclusion can be drawn that the primary purpose of Kim Sung Ok`s literary works is to overcome the sarcasm and dispair of post-war era of 1960s and to construct a ``transcending, subjective being`` that pursue for the economic and political development of 1970s.

호텔과 ‘강남의 탄생’

김미영(Kim, Mee-young) 서울시립대학교 서울학연구소 2016 서울학연구 Vol.- No.62

본 연구는 1980년∼1990년대 강남 신도시 개발, 강남 중상층 형성, 그리고 강남지역 특급 호텔의 급증 사이의 시간적·물리적 동시성(concurrencty)에 주목하여, ‘강남의 탄생’에 있어 도시 인프라로서 호텔이 수행한 공간생산 및 사회문화 기능을 분석하였다. 우선 호텔은 공간생산 인프라로서, 1980년대 초 영동 시대 호텔은 강북 인구 전입의 교두보이면서 영동 개발을 이끌어내는 매개체였다. 1980년대 말 영동이 완연한 신도시 강남으로 변모하는 과정에서 테헤란로와 잠실에 들어선 대형 호텔들은 강남 건설을 본격적으로 선도하면서 공간생산 기능을 한층 강화하였다. 또한 호텔은 사회문화 인프라로서, 영동시대 호텔은 붐 타운의 영동 문화를 적극적으로 수용하고 창출하는 공간적 거점이었다. 강남시대 호텔은 국가주도 공간생산 과정에서 경제적 우위집단으로 성장한 강남 신흥 중상층의 계급형성과 계급 재생산을 위한 사회문화적 매개 공간으로 작용하였다. Cities and hotels have a close spatial intimacy. With this consideration, hotels have been gradually understood as a sort of ‘urban infrastructure.’ The purpose of this paper is to analyze functions and roles of hotel as an urban infrastructure by focusing on ‘the birth of Gangnam’ in the 1980’s and 1990’s. This paper discusses two functions of urban infrastructure, namely space production and socio-cultural transformation. As a function of space production, hotels performed as a bridgehead to move population into Gangbuk during the development period of Young-dong in the early 1980’s. In the late 1980’s while Youngdong area was transforming into a new town, hotels construction in Taeheran-ro and Jamsil led to a full-scale construction and development throughout Gangnam. As a function of socio-culture transformation, hotels in Young-dong area showed a typical a boom town urban culture. In addition, hotels of the Gangnam era played a role as a socio-cultural space that formed and reproduced a new upper-middle class which grew into an economically dominant group.

백낙청의 리얼리즘론과 로렌스, 하이데거, 불교의 관련성

김미영(Kim Mee Young) 한국현대문학회 2014 한국현대문학연구 Vol.0 No.44

백낙청 비평담론의 핵심은 ‘리얼리즘론’이다. 그런데 그의 현실 참여적 민족 문학론의 실질적 근간인 리얼리즘론은 로렌스의 소설론, 하이데거의 예술론, 불교적 진리관이라는 이질적인 세 요소에 기초해 있어 특이하다. 1969년 『시민 문학론』 이후 백낙청의 비평적 개성은 여기서 나온다고 할 수 있다. 이 논문은 이 세 요소의 관련성을 중심으로 그의 리얼리즘론의 특징을 살핀 것이다. 백낙청은 리얼리즘을 ‘창작방법’의 차원이 아닌, ‘정신’의 문제로 간주하고, ‘시적 인간’과 ‘역사적 인간’의 접점에서 문학의 리얼리즘이 실현된다고 보았다. 사실적인 묘사보다 현실에 대한 정당한 인식과 실천적 관심을 강조한 그는, 리얼리즘문학의 좋은 예로 한국의 한용운과 영국의 로렌스의 문학을 꼽았다. 그는 로렌스의 장편소설론을 하이데거의 예술론에 연결시키고, 또다시 이를 불교적 진리관에 연관시켜 리얼리즘론을 구성하였다. 로렌스는 장편소설에서 디테일한묘사, 즉, ‘살아있는’ 것들의 ‘생생한’ 상호관련 하의 형상화를 중시하였고, 하이데거는 진리란 선재하는 것이 아니라 예술적 형상화를 통해 ‘현현’ 또는 ‘탈은폐’되는 것으로 본다. 백낙청은 하이데거의 형상화를 통한 진리(본질)의 현현을 로렌스의 ‘~임(Being)’의 찰라적, 직관적 제시라는 소설관에 연결시켰다. 로렌스는 절대적 진리의 부재를 주장하여 진리관에 있어서는 하이데거와 유사한 측면이 있는데, 백낙청은 이를 ‘지공무사’, ‘돈오’라는 불교적 진리관과 상통하는 것으로 이해한다. 백낙청의 이러한 비평적 개성은 그가 루카치의 재현론이나 엥겔스의 발자크론, 레닌의 톨스토이론을 수용하여 민중적 민족문학론을 주창할 때에도 지속되고 있어 이해가 쉽지 않다. 분명한 것은 백낙청이 후기로 갈수록 한국적 현실 속에서의 역사적이고 사회적인 실천들이나 예술작품의 창작과 종교적 수행을 동일시하는 관점을 보인다는 점이다. 『창작과 비평』의 수장으로서 그는 예술의 현실적 실천력의 획득이라는 목적달성이 수용자의 감응력을 매개 하지 않고는 불가하다는 입장에서 문학의 사회적 실천력과 예술성을 포괄하고자 하였기에, 이질적인 이 세 요소의 지난한 접합을 시도한 것으로 보인다. The purpose of this article is to research how to be connected the theories of D. H. Lawrence, Heidegger, and Buddhism in Baek Nak-Cheong"s theory of Realism. These 3 factors are so different in kind, but Baek Nak-Cheong said those were the bases of his all theories of Literature. Baek Nak-Cheong"s theories of national literature were constructed on those, too. So this article is aimed to show us how to be constructed on those 3 very different parts are connected in the Baek Nak-Cheong"s speciality of realism. First of all, Baek Nak-Cheong"s dissertation of Ph.D was dealed with D. H. Lawrence in Harvard University in 1972. Before that He had announced "The Theory of Citizen Literature"(1969). The that essay he had evaluated master pieces of D. H. Lawrence were based realism, in western culture of literature tradition. After that he always proclaimed D. H. Lawrence"s liberty & Han Young Woon"s love, Kim Soo young"s liberty & engagement as the comtemporary citizen spirit. The other hands, he quoted from Heidegger"s aesthetics. He regarded D. H. Lawrence"s thoughts about a long novel that is the unique genre being represented somethings are connected the other things, and being revived every things vividly. In the Heidegger"s aesthetics, the truth is exposed from time to time by giving shape artistically to revive. Baek Nak-Cheong said those truths are similar to thought of Buddhism"s truth. In the later period, He emphasized "Ji-gong-moo-sa 至公無私" as the supreme fairness and impartiality. That means his realism is located over the literature. Baek Nak-Cheong regards aesthetical creative works, participating in some social problems & some religious performances are same. That"s why Baek Nak-Cheong"s theory about literature are evaluated having aspects some metaphysical idealism.

「현대미술의 요람」의 필자 확정 문제

김미영 ( Mee Young Kim ) 한국문학언어학회( 구- 경북어문학회) 2010 어문론총 Vol.52 No.-

"The Cradle-land of Modern Art" is an important article published on May, 14th~23th, 1934 in Me-il-Shin-Bo, a famous daily news paper in Japanese Colonialists ruled Korean Peninsula. The name of writter`s that article is Kim-Hae-Gyeong, 金海慶with Chinese character. Kim-Hae-Gyeong was entirely unknown person in Korean Modern History. Yi-Sang is a very famous poet, novelist, painter & architect in Korean modern history. Yi-Sang is pen-name. His real name is Kim-Hae-Gyeong. But the Chinese characters of his real name is not 金海慶but 金海卿. This essay want to prove this article`s writer is Yi-Sang. "The Cradle-land of Modern Art" deals with how to be changed & improved from middle age`s art till modern art in Western culture. This article focused & emphasized role of Cezanne to develop the modernization of fine art. The writter said real modern art had begun cubism. In the future, cubism, vorticism. fauvism, surrealism, dadaism etc are going to be popular. Those are based on expressionism. In the same time, most Korean painter`s article about western art history was focused on impressionism. But the art book published Bauhouse emphasized role of Cezanne & expressionism. Yi-Sang was under the influence of Bauhouse as an architect & painter. In addition, the writing style of this article are very similar to Yi-Sang`s. Yi-Sang has liked using different pen-name, every different genre essay or literature. The conclusion of this essay is quite within the realms of possibility that the writter of "The Cradle-land of Modern Art" is Yi-Sang.

교통사고 자료분석 기법 비교검토 및 우리나라 사례분석

김미영,이승욱 ( Mee Young Kim,Seung Wook Lee ) 한국보건정보통계학회 1993 보건정보통계학회지 Vol.18 No.1

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병상(病床)의 문학, 김유정 소설에 형상화된 육체적 존재로서의 인간

김미영 ( Mee Young Kim ) 서울대학교 인문학연구원 2014 人文論叢 Vol.71 No.4

소설가 김유정의 작품 활동은 그가 육체적 질병인 폐결핵과 치질, 늑막염과 정신적 질환인 대인기피증, 우울증을 앓던 시기에 주로 이루어졌다. 때문에 질병은 김유정 문학의 주제를 현격히 “육체적 존재”로서의 인간의 한계와 비극성으로 치우치게 만든 결정적 요인이 되었다. 김유정 소설에 형상화된 인물들은 매우 일차원적인 인간들인데, 이들은 절대적 궁핍으로 인해, 식욕과 성욕의 존재들로 화하여 자기중심적이며 폭력적인 성격으로 제시되어 있다. 도덕적 파탄에 육박하는 한계적 상황 속에 놓인 인물들의 모습은 그가 즐겨 선택한 “봄”이라는 배경의 싱그럽고 생기 넘치는 이미지에 대비되어, “육체적 존재”로서의 인간의 한계와 비참함을 더욱 극명하게 보여준다. “병상의 문학”으로서 김유정 문학이 복사(모사)하고자 한 진실은 인간은 그다지 형이상적 존재가 아니며, 먹고 마시고 섹스하며 그날그날 살아가는, 그야말로 동물과 별반 다르지 않는 “육체적 존재”에 불과하다는 점이다. 이런 비극적인 인간 이해는 김유정 특유의 해학적인 구어체 문장과 풍자의 기법,순 한국적인 흥취와 어우러져 「동백꽃」, 「산골」 등에서 일제강점기 궁핍한 조선의 모습을 선명하게 담아내고 있다. 채색 한국화의 정조와 색감을 닮은 김유정의 소설에는 1930년대 중반, 향토성, 혹은 “조선적인것”을 찾으려는 조선화단의 영향도 감지된다. 김유정이 관여했던 “구인회”가 서양화의 도구와 재료로 “조선적인 것”을 형상화하고자 노력했던 화가그룹인 “목일회”와 교류가 빈번했으며, 1939년에 두 그룹이 “문장파”로 합쳐진 사실은 김유정 단편들의 표현과 분위기가 해학과 흥이어우러진, 가장 한국적인 이미지들을 담아 낼 수 있었던 원경에서의 계기였을 것으로 추정된다. Kim Yu-Jeong wrote 31 short stories during his illness. He suffered from tuberculosis, pleurisy, hemorrhoids, depression, and anthropophobia from 1933 to 1937. He also had been a stammerer in youth. So in this sense, it is possible to regard his novels as a form of “sickbed literature”. The main subject of Kim Yu-Jeong”s novels is the limitation and tragedy of a human being as a physical existence. In the novels, the complexityof Kim Yu-Jeong`s diseases are reflected very well. He uses humor as amethod of enduring the bad situations which may face a human being. Hiswriting style has been revealed to be very Korean. His novels contain imagery of the people of the lower classes and the landscapes of mountain villages in Korea. He was a member of Group Gu-In. The members of this group were very close to the members of Group Mook-Il, which had looked for Korean style in modern fine arts. The efforts of the Korean painters to find “local colour” in art in the mid-1930s may have been abig influence.

사회혁신을 위한 ‘창의공간’ 모델 개발과 적용

김미영(Kim, Mee-Young),고진수(Ko, Jinsoo) 도시정책학회 2021 도시부동산연구 Vol.12 No.1

This study raises the necessity of building “Creative-Innovation Space” for resolving local community agenda in preparing for future science and technology society. Creative-Innovation Space is a convergence space for technology and art, and it is a place to fulfill social values by discovering new local agendas based on the public sector s support and the private sector s positive participation and creating local capabilities through creative ideas. This study establishes the concept of “Creative Innovation Space” and selects possible sites to create “Creative Innovation Space” in the Yeongdo Island. In addition, this study establishes the value, direction, and the principle of “Creative Innovation Space” and suggests spatial and functional compositions, operation players, and roles. In the Yeongdo Island, there is a high demand for the overcoming of current issues (aging population, decreased population, unemployment, vacant space) and responding to future issues (innovation of the manufacturing sector, technology development in connection with innovation districts, creativity increased through culture). Hopefully, the local agenda will be overcome and the local area will be revitalized by building “Creative -Innovation Space” where marine science & technology and culture are integrated based on the area’s innovation and creative resources.

이상의 "성천(成川)텍스트" 고찰

김미영 ( Mee Young Kim ) 서울대학교 인문학연구원 2014 人文論叢 Vol.71 No.1

이 글은 이상의 ‘성천(成川)텍스트’에 관해 재론한 것이다. 이상은 1935년에 폐결핵 치료차 평남 성천으로 약 한달 간 요양을 갔다. 이 경험은 ‘연애’, ‘질병’, ‘가난’, ‘가족’과 더불어 그의 삶과 문학에 원체험으로 각인되어 있다. 경성 토박이에 근대주의자인 그에게 ‘성천’은 인공, 문명(근대), 도시와는 질적으로 다른, 자연, 산천, 향촌으로서, 일종의 ‘신세계’였다. 또한 ‘성천’은 보편주의자에 모더니스트 예술가였던 그에게 ‘조선적인 것’에 대해 눈 뜨게 만든 계기였다. ‘성천체험’의 첫기록물인「산촌여정」에서 ‘성천’은 ‘경성’에 대비된 ‘자연’, ‘시골’에 가까운 반면, 그가 죽기 4개월여 전, 동경의 추운 골방에서 쓴「권태」에서 그것은 제국의 수도 ‘동경’에 대비되어 고국의 산천, 조선의 재래적 삶의 방식이 온존해 있는 곳, 나아가 소박하지만 겸허한 삶이 가능한 곳으로 형상화되어 있다. 동경에서 이상은 동경이 서구도시의 모방태에 불과하고, 경성은 그런 동경의 모방태에 지나지 않음을 깨달았다. 즉, 그는 식민지 지식인의 서구적 근대성 추구가 갖는 필연적인 한계를 알게 되어 ‘공복감’과 ‘절대권태’에 빠지게 된다. 동경에의 환멸감은 이상으로 하여금 성천의 여름날을 떠올리게 만들었고, 그 결과가「권태」이다. 이 글에서 이상이 ‘성천’의 모든 것을 ‘권태롭다’ 말한 것은 ‘반어적 표현’이라 할 수 있는데, 이는 그가 유고산문들에서 ‘성천’에 대한 긍정적인 인식들과 그리움을 짙게 드러내고있기 때문이다. 일제강점기 한국모더니즘문학의 최고치를 보여준 이상이, 아시아에서 가장 근대화된 도시였던 동경을 체험한 후, 아이러니컬하게도 ‘조선적인 것’의 가치에 눈뜨게 된 것이다. 오랜 가난과 재래의 생활습관, 소박하지만 아름다운 산천이 어우러진 곳 ‘성천’은 이상이 체험한 가장 조선적인 공간으로서, ‘원숭이’처럼 남의 것을 모방하는데 급급해 하지 않는, 자기 본연의 주체적인 삶의 모습이 온전히 남아있는 ‘향토’였던 것이다. 이런 인식의 변화에는 병세로 인한 죽음의 예감과 ‘인공낙원’인 동경에 대한 환멸감 외에도, 쥘 르나르의 전원수첩 과 1930년대 조선화단에서의 조선적인 양화(洋畵) 그리기 붐(boom)이 영향을 미친 것으로 보인다. The purpose of this article is to explore, through the analysis of several essays on the experience of Sung-Choen (成川) by Lee-Sang, how an artist of modernism accepts the value of his nationality or local culture. The first essay on Sung-Choen by Lee-Sang is San-Chon-Wyo-Jung (山村餘 情) which means the reminders of feelings after traveling the mountain village. In that essay, Lee-Sang described the landscape of Sung-Choen vividly using sensational and urbane metaphors. In it, Sung-Choen means nature or the rural area. Lee-Sang used paradox and irony in The fatigue (倦怠), which is the second important essay on his experience of Sung-Choen, in order to express the depression of his inner mind through the descriptions of Sung-Choen. Lee-Sang`s posthumous essays on Sung-Choen reveal many symptoms which indicate that Lee-Sang must have realized the value of Sung-Choen, not only as his homeland and a symbol of Korean culture and Korean-ness, but also as a symbol of humble lives. There were two major causes of this. Firstly, there was the wor-sening of his condition of pulmonary tuberculosis. Secondly, he had felt deeply disillusioned about imitating modernity after visiting Tokyo. He came to realize that Tokyo was just a copy of London or New York, and Seoul a copy of Tokyo. So he had a new understanding of the meaning of Sung-Choen as his birthland and local culture.

<디지털 구보, 2001>을 통해본 하이퍼텍스트 소설의 가능성

김미영(Kim Mee-young) 우리말글학회 2005 우리말 글 Vol.33 No.-

Advance of digital technology affords dramatic changes in the life styles and thoughts of the contemporary human beings. The art would not see any advances without taking advantage of technology. Wide use of computers has changed the environment of writings and further created new mode of writing, the digital narratives. This new mode of writing is represented by the hyptertext fiction since the hypertextuality is the definitional and outstanding characteristics of the digital narratives. The hypertextuality destroys the coherent structure of traditional plot-based narratives by letting the readers participate in creating their own structures. The interactive and anti-coherent nature of hypertextuality comes along with the idea of post-modernism.<br/> "Digital GuBo, 2001" is a pioneer as it is the first experimental hypertext fiction in Korea. However, it is not evident that the experiment was a success. Thorough analysis indicates that the lack of storytelling was the major weakness of the fiction. The fiction seems to fail in earning popularity from readers since the narrative structure of the original novel, "A Day of Novelist, GuBo" by Park Tae Won(1934), could not be transformed into the hypertextual alternative. In sum, the study results in two major findings : Firstly, it will never be easy to make hypertextuality and traditional novel into one-, single-moded structure, and secondly, the archetypal essence of futuristic digital narratives should be the richness of storytelling in them.(Seoul National University)

이효석 作 〈모밀꽃 필 무렵〉의 서정소설적 특성에 관한 연구

김미영(Kim Mee-young) 한국어문학회 2011 語文學 Vol.0 No.111

In the buckwheat-blossom time that was written by Lee Hyo Suck as a short novel in 1936 is a very famous masterpiece as a lyric novel in the modern-times of Korea. The purpose of this article is to show us what the essential characters of a lyric novel is through the analysing of in the buckwheat-blossom time. This article is based on the theory of the lyrical novel by Ralph Freedman. He had emphasized the pictorial beauty as an essential characteristic of a lyric novel. This essay had mentioned the writing style of in the buckwheat-blossom time not poetic. Lee Hyo Suck had used symbols many times and fluent dialects. He had made images which were traditional and natural. Those had been influenced by the painter’s debate on what’s the localities of Cho-Sun’s oil paintings. Lee Hyo Suck had pursued in the in the buckwheat-blossom time to make his novel poetic. He had used images to be simultaneous scene as much as lyric from narratively different time situation. Also he made main characters as a non-individual person, general dad or general son. So that made readers feel sympathy for the character’s behavior. That’s why in the buckwheat-blossom time had been called the best well known lyric novel in Korea. The conclusion of this essay is it’s speciality as a lyric novel having a strong sense of image.