한국 음식시의 맥락과 가능성-한국 음식문학의 맥락과 가능성 ②-

김주언 ( Kim Joo-eon ) 우리어문학회 2017 우리어문연구 Vol.58 No.-

이 연구의 목표는 식민지 시대까지 우리 한국 근대시 텍스트에 관류하는 음식 코드를 호출해내, `음식시`라는 시문학의 한 하위 장르를 출현시키는 것이다. 근대시가 출발하는 식민지 시대 초기에 음식은 시에서 핵심적 지위를 갖지 못했다. 음식을 시적 비유의 대상으로만 취급하는 시에서 음식은 먹거리의 대상으로 사유된다기보다는 음식 이상의 것을 의미하기 위해 보조적으로 동원된다. 최남선에게는 음식이 자유 없는 시대의 자유와 대칭적인 위치에 있는 부정적 소품 정도로 등장하지만, 김소월이나 이상화에게 음식은 바로 그 자유를 위한 핵심 제재로 등장하기 시작한다. 식민지 시대 음식 향유의 기초가 되는 어떤 규범이나 문법 같은 것을 탐구할 때 무엇보다 주목할 만한 문제는 역시 `밥`의 시적 형상화 문제다. 경향 문학은 이런 밥에 대해 침묵하지 않는 문학적 대응을 보여주지만, 뚜렷한 시적 성취를 이뤘다고 하기는 어렵다. 음식을 욕구한다거나 음식을 욕망한다는 개념으로는 설명할 수 없는 차원의 음식시도 있다. 이상(李箱)은 시적 표현을 얻는 데까지 나아가지 못했지만 주요한, 정지용, 백석의 유년기 회상의 형식을 취한 시편들이 그것이다. 특히 음식이 마음이고, 역사이고, 친구이고, 자기 자신이기까지 한 백석의 음식시는 기왕의 음식시들과는 다른 가능성으로 새로운 음식시의 지평을 열었다고 평가할 수 있다. 결국 음식시에 대한 인식은 문학을 심각한 계몽의 도구나 정신의 활동으로만 여기는 근대이성주의의 안중에 없었던 식민화된 생활세계를 호출해 낸다고 할 수 있다. The purpose of this paper is to bring `poetry of food`, a sub-genre of poetry, from food-code that is based on the modern korean poetry. In the early days of the colonial period when modern poetry began, food did not have a central position in poetry. In poetry that treats food only as a subject of poetic analogy, food is not considered an object of eatings. However, food in poetry is supplementarily mobilized to mean more than food. For Choi, Nam-seon, food emerges as a negative props in contrary position to colonial freedom. But for Kim, So-wol and Lee, Sang-hwa, food begins to emerge as a subject matter for that very freedom. The most noteworthy problem when exploring such norms or grammar as the basis of food enjoyment in the colonial period is the question of the poetic form of `meal`. Tendency literature shows a non-silent literary response to this kind of meal. But it is hard to say that it has achieved a distinct poetic fulfillment. Also, there is a poetry of food that can not be explained in terms of needing or desiring food. Lee-Sang did not get a poetic expression but poetries in the form of childhood recollection of Joo, Yo-han, Jeong, Ji-yong, Baek-Seok did. In particular, Baek-Seok`s poetry of food, which the food is a heart, a history, a friend, and even himself, can be regarded as opening a new poetry of food with a possibility different from the poetry of food in the past. After all, the stimulation elicits colonized lifestyle that has never been interested in modern rationalism that regards literature as a genuine tool of enlightment.

논문 : 트라우마로 읽는 이승우 소설의 이면 -『생의 이면』을 대상으로

김주언 ( Joo Eon Kim ) 한국문학과종교학회 2011 문학과종교 Vol.16 No.2

This paper studies how to reach ``writing a novel as prayer``, targeting "Hidden Side of the Life" of Lee, Seung-woo. Writing a novel as prayer is the writing a novel with overcoming the trauma. Trauma could be the problem on account of its high stimulation which cannot be handled generally or resolved. Wring a novel with overcoming trauma is also the writing with confessing the inner workings. It is because that overcoming trauma, however, is not come easy, ``Writing a novel as prayer`` keep playing hide-and-seek. The author set this kind of writing style as ``Writing with showing strategic``. The core trauma in "Hidden Side of the Life" is an Oedipus complex. "Hidden Side of the Life" can be divided into first and second half. The first half mainly talks about the story of a father, second half talks about a woman. The hero has both positive and negative oedipus complex. The ambivalence attitude is one of the complex which can be found in the attitude of heroine. The son has skewed a view of womanhood, owing to the female complex with sense of guilty and resentment towards his parents, in his subconscious and also fail to having healthy relationship. Although it might be an ``autobiographical`` novel, it cannot be said that the trauma of the main character of the novel corresponds with the trauma of Lee, Seung-woo, the author of the novel. However, at least the experiences related to the trauma are an important source of creativity of an author. Therefore, exploring the process of writing a novel which was shown through the prayer in the "Hidden Side of the Life" and it is expected that this will provide useful implications in the novel studies of Lee, Seung-woo in the future.

서정인의 초기 소설에 나타난 죽음의 문제

김주언 ( Kim Joo-eon ) 한국문학이론과 비평학회 2009 한국문학이론과 비평 Vol.45 No.-

Death is one of the main themes of modem novels. In particular, the matter of death has earned a clearer expression now more than ever before in existentialism. Indeed, this matter of death is the most important issue in Sea Jung-in's early works, which has rich existentialism. However, this study has attempted to be free from the attitude that suggests that death is only influenced by existentialism. The deaths mentioned in "The evacuation" "Put on the costume" "The day when waves were high" and other works are designated as a trauma. As such, this analysis about death requires further psychoanalysis. Especially, "The evacuation" needs to be further explained in terms of a critical psychoanalysis. These deaths, constantly emerging as trauma in the series of works, imply that the most urgent priority of the writer is to resolve this issue. Because death would be that others forcibly draw upon this experience as passivity. The writer presents that a natural death has a thread of connection with an eternal death. This death it can be in the perception of structural world. However, it has problem if the concept is an excessively simplified resolution of matter; death has yet to be overcome, though still shows itself through the darkness. If it is going to be, death pushes human life towards its destiny. The physical nature of death does not have the power to act can be superior to human being's life once life has become destiny. And life that focuses solely on destiny is inclined to be lived only with fateful pessimism.

한국 음식소설의 맥락과 가능성 -한국 음식문학의 맥락과 가능성①-

김주언 ( Joo Eon Kim ) 우리어문학회 2015 우리어문연구 Vol.52 No.-

The Purpose of this paper, to bring sub-genre named ‘novel of food’ into being at the history of Korea novel. As the characteristic of subject matter, this study tried to secure the distinctive feature of the genre concept ‘novel of food’. This study also set the face to binding those novels with fixed affinities, those literatures focusing on the matter of foods, the food as the subject matter relating to form the theme not as the simple material; the food is the main situation itself. First of all, it was concentrated on the theoretical study for researching ‘novel of food’. What the studying was that the concept of need, demand and desire from the theory of Jacques Lacan can be the useful concept tool for studying variety of realistic literature of novel of food. “Alcohol”(1914) written by Shim, Woo-sub is the origin of novel of food among realistic novels of food. The subject, alcohol, seems to have been completed by Hyun, Jin-geon as the outstanding novel of food. In 1910s, “alcohol” in print, “from my diary” by Baek, Dae-jin and “one bowl of cold noodle” by Yoo, Jong-seok, standing on the symmetric position with “alcohol”, are the case of having the possibility of giving birth of the main stream from the food literature of colonial modernity. Mentioning “water” by Kim, Nam-cheon and “avidy” by Lee, Gwang-soo are worthy of as food novel among jail motif novels in 1920-30s. There are more readable novels, written by Choi, Seo-hae and Lee, Gi-yung, as novel of food. This study tries to raise the persuasive power for strengthening suitability of this genre without cling to an impractical classification as novel of food. The fact of novel of food could be more visualized with some supplementation and successive work for drawing overall of topographic map.

김훈 소설에서의 음식의 문제 -장편 역사소설을 대상으로

김주언 ( Joo Eon Kim ) 우리어문학회 2012 우리어문연구 Vol.43 No.-

This paper studies the food discourse, shown in these novels, regarding three historical novels “Song of the Sword”, “Song of Strings” and “Fortress on Mt. Namhan” by Kim Hoon. This study judges that it is worth to research the food appeared continuously even though the aspect of food discoursing in the development of narration. Kim Hoon`s novel tries to start something new story not only correct the ideology a little, accustomed to us, but break up with it completely. The food is an important axis of possibility of new story. The food is on, far away from our idealistic desire in the historical novel, but on the lower materialism. The food as the lower material has no various color of need and desire. However, it has mingled feelings of insult and jouissance in food as the primary and basic body`s need. The food of insult would rather close to the food of disillusion. Nevertheless, the food of jouissance, not corrupted, has the power to affirm the world to the contents of a meal. The destiny of the food is completed as night soil not extension of jouissance. The food and night soil has logical relationship as the input and output. This lower materials try to insult “the higher` ideology and overturn of its own intrinsic value. That`s all, however. The food and night soil are not made a mystery as the lower material. It only becomes part of nature.

L-PBF 제작 래티스 구조의 기하학적 결함에 대한 물방울 형상 단면 스트럿의 영향

김주언(Joo Eon Kim),구자건(Jageon Koo),박현우(Hyeonwoo Park),성민규(Minkyu Seong),김남훈(Namhun Kim) 한국유체기계학회 2022 한국유체기계학회 학술대회 논문집 Vol.2022 No.11

비극소설의 장르 가능성을 위한 시론

김주언(Joo Eon Kim) 한국현대소설학회 2001 현대소설연구 Vol.- No.15

This study is an attempt to construct ``tragedy novel`` as a genre. Today, beyond the confined category, ``tragedy`` is transmitted to literary temperament and it is being accepted as cultural code which has variable context. Therefore we are recommended to regard tragedy as historical constitutive concept rather than surhistorical substantial notion. We reach a notion, called tragedy as a vision and world vision, which rejects the absolutism insisting absolutely on only one model against tragedy and the relativism allowing any points of view equally, and do create some analytic possibilities by principle of perspectivism. In this paper the thematical characteristic of novel which I`d like to name ``tragedy novel`` is possibly summarized on tragic vision. And it can be said that tragedy novel is no longer aristocratic art. Tragedy is then not a single and permanent kind of fact, but a series of experiences. The varieties of tragic experience are to be interpreted by reference to the changing conventions. In this respect there would be a room for tragedy novel in our times. This tragedy novel is not a genre existing at a particular period but is still valid and must be pursued, as long as enthusiasm for human fate exists, by now.

식민지 감옥을 견디는 글쓰기의 영도

김주언(Joo Eon Kim) 한국현대소설학회 2010 현대소설연구 Vol.- No.44

This paper reviews the “Flogging” of Kim Dong-In, “Water” of Kim Nam-Cheon and “Avidy” of Lee Kwang-Su with a problematique referred to as “writing degree zero.” The concept of writing degree zero is hard to define as a new mode of writing. However, it would reasonable to understand that the writing degree zero is a type of writing, spirit or attitude. The colonial prison from writing degree zero is a more depoliticized space than elsewhere. The logical consequence of writing degree zero becomes the eventual death of the writer. Indeed, if the author of the book is not mentioned, there could even be confusion as to the identity of the writer. Many cases of modern literature show orphans who have broken off relationships with their fathers. The following concepts, illuminism by Lee Kwang-Su, esthetics by Kim Dong-In and classism by Kim Nam-Cheon are ideologies that came about by revoke all traditions, and thus enable to call their fathers by another name. When it comes to these literary works, the fact has been disclosed that their new father would not fully formed as much as they believe. The birth point of writing degree zero is the ultimate place of this modernity. The logical consequence of writing degree zero coincides with the death of the writer and can be a writer`s conversion matter if it is translated within the context of the colonial period. The conversion must necessarily be explained ascertain the inner logic in literary works. Finally, all conversions cannot be fully converted to writing degree zero, but it concludes that differences between writing degree zero and the inner logic of conversion would not be completely unrelated.

종합적인 사고 행위로서의 창의적 글쓰기 방법 시론 -대학에서의 실제 글쓰기 교수 사례를 중심으로

김주언 ( Kim Joo-eon ) 한국문학이론과 비평학회 2006 한국문학이론과 비평 Vol.31 No.-

This research is an essay. Accordingly, this research is descriptive rather than normative and intends to have experimental attitude rather than dog-matical. This thesis has an intention of presenting the practical writing method for expanding undergraduates’ creative writing capability. The writing capability in university is required to have speculation process and intellectual challenge which are entirely different from the writing skill focused on general communication that we have learned until now. With several methods, creative writing can be possible. The method, presented in here, is based on the view of grasping as synthetic cultural ability while not to grasp creativity as temporary talent. From this standpoint, this research advances the text model of creative writing and also fundamentally imitates this model with parody. Followings are three requisites for the creative writing; first, the competence of critical analysis which helps to analyze an object deeply; second, the insight power which helps to see through superficial phenomenon considered to be natural matters; Third, the analogical imaginative power which helps to link this to other basically similar discourse. Those are three requisites. Consequently, the creativity written in here is not just required the simple offhand jest but constitutive synthetic cultural ability. This creativity required synthetic cultural ability can be explained more scientifically by following proportional expression. superficial phenomenon (A): depth Meaning (B) ≒ (another) superficial phenomenon (A’) : (intensified) depth meaning (B’) So, when simply to symbolize it we get < A:B≒A’:B’ >, this shows clear recognition structure. The creative writing, which satisfies the conditions of these four items, not only indicates the certain standard of writing but also requires certain standard of life. The problem, how to write a good writing, is finally brought to a conclusion as how to lead a life.

김훈 소설에 나타난 호모 비아트로의 표상 연구

김주언(Kim, Joo-Eon) 한국현대소설학회 2018 현대소설연구 Vol.- No.71

The purpose of this paper is to explore the meaning of the type of person who can be called homo viátor in Kim Hoons novels. In Kim Hoons novels, there is also a passage that expresses the will to explore the way explicitly, and a passage that is related to the road motif in a symptomatic way. In any case, this study first noticed that these novels develop a way of the novel, a novel of the road through homo viátor, which stands on the road. Why does the writer show fatalistic implications beyond just deep impression of the road, or a person on the road? For Kim Hoon, author of Bicycle Journey or Dog, the road is the road of the body. This road is not the road the body owns the way, but the road the body becomes the road by entering it. That is, the road and the body are equal. Therefore, in the work in which the authors essayism on the road is spreading in earnest, the road lies on the opposite side of the humans ideological language. This study concludes that this anti-transcendental orientation implied in the road of the body can be understood more clearly through the concept of ‘immanence’. The idea of immanence erase the futile boundaries of discrimination in living. Furthermore, the idea of immanence may have the destructive power to give a radical skepticism even the premise underlying the maintenance of the social order. Then it is possible to imagine a new ethical world. However, not all of homo viátors go along a way in Kim Hoons novels can be summed up as a ‘flight’ in this sense. Rather, the predominant tendency of Kim Hoon’s characters to go along is that they can not be proved to be flight of deterritorialization. The necessity and deadlock of the fatal limit are the fundamental horizon of limit of viátor subject created by Kim Hoon.