이성선의 ‘산의 시학’ : 우주적 교감과 불교적 상상력

민미경 동방문화대학원대학교 불교문예연구소 2023 불교문예연구 Vol.- No.21

The purpose of paper is to look into “mountain poems” of Lee Sung-seon’s (1941~2001) focusing his cosmic communion and Buddhist Imagination. Nature is an organism that cannot be separated from human life. His poetry was an insight into the relationship between nature and human beings. His poetry, which paid attention to all beings in the natural world and poeticized cosmic communion, became the source of “mountain poetics”. This is in line with the Buddhist thought that seeks liberation. I stressed his poetic world was examined focusing on the pursuit of liberation, cosmic communion and harmony, and Buddhist thinking. He devotes himself to painful creative activities to find his lost self. He dreams of liberation through thorough self-destruction, and reveals a mentality to enjoy true freedom by escaping from the restraints and illusions of the real world. The concrete statement of this mentality builds a sacred world view of non-possession as exhibited in the emptiness and liberation implied in “Leaving home.” For him, nature was the object of his seeking the truth and unification. The objects he met are intimately connected to the universe and they relate to and resonate with each other. Metaphysical ideas and celestial images are conveyed through cosmic imagination. With imagination that transcends the limits of transcendental space, it becomes possible to abandon all obsessions and commune with the universe. He appreciated nature through the Hwaeom imagination. Recognizing Mt. Seorak as the sea of ​​Hwaeom, searching for an archetype of a seeker of truth, he pursued permanent union of humans and nature in agreement with the Buddhist image of human beings being a part of the universe and the surreal state of Zen. It aroused Buddhist imagination while giving birth to the Hwaeom world view of the nonduality of the ultimate and the conventional aspects of truth. Transcending material-oriented approach, Lee Sung-seon’s “mountain poems” clearly shows the tendency of resonating cosmic communion and Buddhist imagination into the inner world of Hwaeom. 본 논문은 이성선(1941~2001)의 시적 세계를 우주적 교감과 불교적 상상력의 관점에서 살펴보는 데 있다. 자연은 인간의 삶과 분리될 수 없는 유기체다. 이성선의 시는 자연과 인간관계에 대한 통찰이었다. 자연계의 모든 존재에 귀를 기울이고 우주적 교감을 시화한 그의 시는 불교적 색채가 선명하게 드러나는 시집 산시(山詩) 를 비롯한 다른 여러 시집들에서도 보이듯이 ‘산의 시학’의 원천이 되었다. 이는 곧 해탈을 지향하는 불교적 사유와 맞닿아 있다. 이 글에서는 그의 시적 세계를 해탈 지향, 우주적 교감과 화응(和應), 불교적 사유의 상상력을 중심으로 살펴보았다. 이성선은 잃어버린 자아를 찾기 위해 고통스런 창작활동에 전념한다. 철저한 자아 파괴를 통해 해탈을 꿈꾸고, 현실적 구속과 미망에서 벗어나 진정한 자유를 향유하려는 의식을 보여주고 있다. 이런 의식의 구체적 진술은 「출가」와 같은 비움과 해탈에서 무소유의 신성한 세계관을 구축하고 있다. 무엇보다 이성선에게 자연은 구도(求道)와 합일의 대상이었다. 그가 만난 사물들은 우주와 내밀하게 연결되어 교감과 화응하고 있다. 따라서 형이상학적인 것과 천체 이미지가 우주적 상상력으로 매개되고. 초월적 공간의 한계를 뛰어 넘는 상상력으로 일체의 집착까지 버리고 우주와 교감하게 된다. 나아가 이성선은 자연을 화엄적 상상력으로 인식하였다. 설악을 화엄의 바다로 인식하며, 진정한 구도자의 모습을 찾고, 인간은 우주의 일부라는 불교적 이미지와 초현실의 선적인 경지로 인간과 자연의 영속적인 합일을 지향하였다. 이러한 시적 태도는 ‘진속불이(眞俗不二)’ 화엄적 세계관을 배태시키면서 불교적 상상력을 불러일으켰다. 산시(山詩)는 소재주의에서 벗어나 화엄적 내면세계로 우주적 교감과 불교적 상상력을 화응하는 경향을 두드러지게 나타내고 있다.

1950년대 여성시의 지형과 여성적 글쓰기의 가능성 1) —김남조와 홍윤숙의 시를 중심으로

이경수 한국여성문학학회 2009 여성문학연구 Vol.21 No.-

The purposes of this study were to investigate the topography of women's poetry in the literary community of the 1950s, examine how those poems tried to overcome the wounds of the Korean War, and discuss the possibilities of feminine writing attempted in those poems based on the works by Kim Nam-jo and Hong Yun-suk in the 1950s. In literary works whose main theme is war, female figures often represent victims. Such an image of female figures continued in the poetry in the 1980s under the structure of "absent father vs. oppressed mother and sister" or "father as an authoritative figure vs. woman as a victim." In the gender topography of Korea's literary history, the poems by Kim Nam-jo and Hong Yun-suk in the 1950s have significant topographical meanings. Their poems succeeded in depicting female figures as the representation of salvation and tried to heal and overcome the wounds after the Korean War by uncovering positive values such as "the breath of life" and "life." The late modernism poets were overwhelmed by an idea that the Korean society after the war should be regarded as ruins, that everything must be destroyed, and that there should be a new start on a clean slate. Contrary to that tendency, women's poetry in the 1950s led by Kim and Hong demonstrated a will to treat and overcome the wounds of the war with maternal force and a tree's life force. Common to Kim's and Hong's poems, universal imagination also deserves attention. Involving such heavenly bodies as the sun, the earth, the moon, and stars, universal imagination made often appearances in the two poets' works in the 1950s and differed from natural-universal imagination common to traditional lyric poems. In their works, universal imagination makes the current suffering seem like a trivial earthly matter and further helps to cope with the dismal situations after the war dominated by the dark shadow of death by forming relations with the thematic consciousness of life. Thus universal imagination in the poets' works contains meanings not recognized in the poetic history of the 1950s and deserves reevaluation. While Kim employs a tone of confession and praying, which later settled down as part of the characteristics of feminine writing, in her poems, Hong often uses a tone of determination and order that's rather exceptional. Their feminine writing in the 1950s provides clues to feminine writing later through their tones. Feminine writing in general is deconstructive writing to rebel against "male-father- language," and its buds are found in Kim's and Hong's poems in the 1950s. The tone of confession in their poems requires more detailed research from the perspective of feminine writing. In particular, Hong's attitude of ruminating upon the war's meanings through memory deserves definite attention in the overall structure of the poetic history of the 1950s in that it adopts an ethical point of view to open a door to the treatment and conquest of the wounds of the war, which was waged in the name of father, and that it allows for intellectual reflections of the meanings of war. 이 논문의 목적은 김남조와 홍윤숙의 1950년대 시를 대상으로 1950년대 문단에서 여성시가 어떤 지형을 형성하고 있었으며 이들의 시가 전쟁의 상흔 을 어떻게 극복하고자 했는지를 살펴봄으로써, 이들의 시에서 시도된 여성적 글쓰기의 가능성에 대해 논해 보려는 것이다. 전쟁을 소재로 한 문학작품에서 여성 형상은 희생양의 표상으로 등장하곤 했다. 이러한 여성 형상의 이미지는 이후 ‘부재하는 아버지와 핍박받는 어머니-누나-여동생’, 또는 ‘권력의 표상 으로서의 아버지와 희생양으로서의 여성’의 구도로 1980년대의 시에까지 계 승된다. 이런 한국문학사의 젠더적 지형 속에서 1950년대 김남조와 홍윤숙의 시가 갖는 지형적 의미는 적지 않다. 김남조와 홍윤숙의 시는 구원의 표상으로서의 여성 형상을 그려내는 데 성 공했으며, ‘목숨’과 ‘생명’이라는 긍정적인 가치를 발견함으로써 전후의 상처 를 치유하고 극복하고자 한다. 전후의 한국 사회를 폐허로 인식하고 모든 것 을 파괴하고 처음부터 다시 시작해야 한다는 의식이 후반기 모더니즘 시인들 에 의해 팽배해 있었다면, 김남조․홍윤숙을 필두로 한 1950년대의 여성시는 모성의 힘과 나무의 생명력을 토대로 전쟁의 상처를 치유하고 극복하고자 하 는 지향을 보여준다. 김남조와 홍윤숙의 시에 공통적으로 등장하는 우주적 상상력 또한 눈여겨 볼 필요가 있다. 태양, 지구, 달, 별과 같은 천체가 등장하는 우주적 상상력이 1950년대의 두 시인의 시에서 자주 펼쳐지곤 했는데, 이는 전통 서정시에 일 반적으로 나타나는 자연-우주적 상상력과는 차이가 있다. 우주적 상상력은 김남조와 홍윤숙의 시에서 일차적으로는 고난의 현재를 하찮은 지구상의 일 로 보게 하는 기능을 하고, 더 나아가서는 생명이라는 주제의식과 관련을 맺 으면서 죽음의 그림자가 짙게 드리워진 전후 상황을 극복하게 하는 기능을 한다. 김남조와 홍윤숙의 시에 나타나는 우주적 상상력의 의미는 1950년대의 시사 속에서 주목되어오지 않은 특징으로 재평가되어야 할 것으로 보인다. 김남조의 시에서는 이후 여성적 글쓰기의 특징으로 정착되는 고백과 기구 (祈求)의 어조가 주로 나타나고, 홍윤숙의 시에서는 여성시로서는 다소 예외 적으로 의지와 명령의 어조가 자주 발견된다. 어조를 통해 드러나는, 1950년 대 김남조와 홍윤숙의 여성적 글쓰기는, 여성적 글쓰기의 단초로서 눈여겨볼 필요가 있어 보인다. 여성적 글쓰기는 일반적으로 ‘남성-아버지-언어’에 대한 저항의 의미를 지니는 해체적 글쓰기이지만, 1950년대의 김남조와 홍윤숙의 시에서도 그 단초가 발견된다. 이들의 시가 지니는 고백적 어투에 대해서는 여성적 글쓰기라는 관점에서 좀더 면밀한 연구가 이루어질 필요가 있어 보인 다. 특히 홍윤숙의 시에서 기억을 통해 전쟁의 의미를 되새기고자 하는 태도 는, 아버지의 이름으로 자행된 전쟁이 남긴 상처를 치유하고 극복할 가능성을 열어 주는 윤리적 시선이라는 점에서, 그리고 전쟁의 의미에 대한 지적 성찰 을 가능하게 한다는 점에서 1950년대 시사 전체의 구도 속에서도 눈여겨보아 야 할 지점이라고 생각한다.

『어린이』에 나타난 근대의 문예창작 -우주적 상상력의 환상과 발명의 리얼리티를 다룬 과학적 글쓰기를 중심으로-

서희경 사단법인 방정환연구소 2023 방정환연구 Vol.10 No.-

This paper is a scientific writing study of The modern “Children(Eorini)”, which was founded in March 1923 by the Chondogyo Boys Association With Bang Jung-hwan at the center. In the modern era, a scientific popularization movement was carried out to spread scientific knowledge around Kim Yong-kwan’s Invention Society, and The Modern Science and Technology introduced in “Science Joseon” was read as a Keyword of ‘invention’ and the invention discourse of “Children(Eorini)” was examined. After that, I analyzed the science fiction “The Brave boy of the Sky”(“Children(Eorini)” volume 8, no. 8, September 1930, “Children(Eorini)” volume 8, no. 9, November 1930) translated by Huh Moon-il, which deals with the cosmic imagination based on ‘Invention’, and finally examined the idea for modern children of “Children(Eorini)” revealed by scientific writing. “The Brave boy of the Sky” is a scientific novel that should be noted in the early 1930s because it is possible to discover the fantasy of cosmic imagination and the reality of invention. “The B rave B oy o f the Sky” w as show ed t he v ision as ‘ The child w ho i s inventing’ Joseon children should overcoming their destiny and how living for the liberation of the nation. During Japanese Imperialism occupation of Joseon, children was learned science to escape from superstitious, ignorant, and barbaric lives, not subjects, and science predicts the future society and prepares children for their present lives for a rich and convenient future.

老莊的 思惟의 두 가지 모습

박남희(Park Nam-Hee) 한국시학회 2002 한국시학연구 Vol.- No.7

This paper is to clarhow the universal imagination and nature-affinity worldview from Nojang thoughts are reflected in the poems of Lee Sung-Sun and Cheon Sang-Byung. Also, it is to clarify what are the discriminatory characteristics between the poems of Lee Sung-Sun inclined to Christianity, and those of Cheon Sang-Byung to Buddhism, and to tell how those make harmonious match with Nojang thoughts. Cheon Sang-Byung and Lee Sung-Sun are one of those few who constantly maintain the purity keeping their own intrinsic nature from troublesome world. Thus, their poems are inevitably nature-friendly. Cheon Sang-Byung tried to watch the world with natural and pure eyes without leaving this real life while Lee wrote his integrity with nature based on his nature-friendly imagination in natural life. Despite of such different points, two poets showed the considerable similarity in presenting us their pure attitude of life and their efforts of corresponding their life to literature. The world of Cheon Sang-Byung’s poems, named as poetry of innocence was based on Christianity and Nojang thoughts while that of Lee Sung-Sun seeking for nature-friendly thoughts was based on Buddhism and Nojang thoughts. From this, two are similar in one way and different in other way. Also we can have some errors in easily simplifying them simply as based on Christianity, Buddhism and Nojang thoughts. This paper is to effectively emboss their proper own characteristics of the world of poem by contrasting and comparison, demanding the reflective thought against general theory like above. In particular in focusing the common Nojang thoughts and attitude forward life, I examine their characteristic aspects.

박상륭의 소설 「유리장」에 현현된 신화적 상상력과 의미의 기호작용 연구 -불교의 "십우도"와 『삼국유사』의 "사복불언"과의 연관성을 중심으로

표정옥 ( Jung Ok Pyo ) 한국기호학회 2012 기호학연구 Vol.33 No.-

This article has the aim to see PrkSangRyung`s novel <Yirijang> as inter-textual structure and mythical semiosis. Particurely, this article focuses on the relationship between Buddism Sipudo(Ten-cow picture) and Sabokbulyun of Samgukyusa. The Novel <Yirijang> has a mythical course of seeking the truth. There are three points to research the relationships between Buddism Sipudo and Sabokbulyun of Samgukyusa. The first, this article finds the common steps between the course of seeking the truth of PrkSangRyung`s novel <Yirijang> and the Buddism Sipudo to seek for the cow. The five-faced times of the novel <Yirijang> are matched with the symbols of Sipudo seeking for the cow. The second, this article compares the cosmetic universal order with Sabokbulyun story of Samgukyusa. The story of Samgukyusa is used as the motif, the name, the symbol, and the theme in PrkSangRyung`s novel <Yirijang>. The third, this article reveals the binary oppositions with the sun and the moon, the life and the death, man and woman, and the sacred and the profane. These binary oppositions come to be a androgyne, which represents the integral and complex human being. Namely, a androgyne means not only man but also woman. The world has a cyclical order. The understanding of PrkSangRyung`s novel <Yirijang> needs to grasp the social and mythical desires.

조태일의 시어 유형과 상상력

이동순(Lee Dongsoon) 한국언어문학회 2008 한국언어문학 Vol.66 No.-

  Jo, Tae Il is the representative poet to achieve agreement of ages, poet, and life as constantly emphasis of ages and historical actuality.<BR>  Because of abundant implication, the poetic language acquires not the simple statements of the poem but the position as a subjects with the concentration of interest for the essence of poetic language. Therefore, the poem of Jo, Tae Il analyzed to classify the beginning, the middle, and the last.<BR>  To make a close inquiry the world of poetic imagination the poem of Jo, Tae Il analyzed the poetic language. These examined symbolic the poetic language of ‘ages and discord’ and symbolic the poetic language of ‘death’.<BR>  The language of guns and swords with the beginning was put down overthrow imagination to try upset of system through the poem as the opposition with the political reality.<BR>  The language of senses with the middle was confirmed not overthrow imagination of the beginning but the intentional imagination to reinforce of the internal volition.<BR>  The last in the center with language of natural consisted of the main currents with the seek poem for the identification human and nature.<BR>  Conclusionally, the author found that the world of his poem was made continuously to achieve the unity for human and nature with the viewpoint ecological world.

최승자 시에 나타난 예언성과 우주적 상상력 번역 텍스트 영혼의 집 이 연인들 - , 쓸쓸해서 머나먼 에 미친 영향 관계를 중심으로 -

김정신 한국문화융합학회 2022 문화와 융합 Vol.44 No.7

The purpose of this paper is to understand how Clara’s prophetic ability and cosmic interest in the text translated by Choi Seung-ja, Isabel Allende’s first full-length novel, The House of the Spirits(1991), appeared in Choi Seung-ja’s 5th collection Lovers(1999) and 6th collection Lonely Far Away(2010) from the perspective of receptive aesthetics. As Choi Seung-ja, not only did she read The House of the Spirits as a reader and read it again by translating it, but she used it for her poetry creation. As such, poet Choi Seung-ja showed the interaction between the receptive aesthetics as a reader and the aesthetics of influence on her own beginning. Her ‘prediction and cosmic imagination’ has expanded the realm of Korean contemporary poetry indefinitely, and this attempt of ‘new method of reading’ is the core of this article.

장 지오노의 작품에 나타난 생태학적 상상력

안영현(Ahn Young-Hyun) 프랑스문화예술학회 2010 프랑스문화예술연구 Vol.32 No.-

로렌스와 "살아있는" 태양

윤영필 ( Young Phil Yoon ) 한국로렌스학회 2004 D.H. 로렌스 연구 Vol.12 No.3