감정과 상황으로서의 사랑 ― H. 슈미츠의 ‘사랑의 현상학’과 그 인간학적 의미에 대한 고찰(1) ―

하선규 ( Ha Sun-kyu ) 전남대학교 호남학연구원 2018 감성연구 Vol.0 No.17

사랑에 대한 철학적 성찰은 오늘날 어떤 상황에 있을까? 크게 볼 때 우리는 욕망이나 충동에 대해서는 비교적 예민한 감수성과 전문적인 지식을 갖고 있다. 하지만 두 사람 사이의 사랑에 대해서는 여전히 어떤 모호한 ‘신비주의’와 ‘비합리주의’에 의지하고 있다고 할수 있다. 이러한 문제의식에서 본고는 독일의 현대철학자 헤르만 슈미츠(H. Schmitz, 1928~ )가 두 사람 사이의 성적인 파트너 사랑에 대해 현상학적으로 성찰한 내용을 고찰 해본다. 메를로-퐁티에 버금가는 독창적인 신체현상학자로 평가되는 슈미츠는 저서 『사랑』(1999/ 2007)에서 두 사람 사이의 사랑에 대해 의미심장한 철학적 분석을 시도한다. 이 저작이 도달한 이론적 성취는, 만약 오늘날 철학적 사유가 사랑의 신비주의에 머물지 않고 보다 더 정치한 이론으로 나아가고자 한다면, 찬찬히 숙고해야 할 가치가 있다. 본고에서 필자는 우선 슈미츠의 현상학적 이론의 비판적 동기와 근본적인 사상적 지향점을 살펴본다. 이어 슈미츠의 중요한 이론적 성취를 ‘감정으로서의 사랑’과 ‘상황으로서의 사랑’으로 나누어 분석해 볼 것이다. ‘감정’과 ‘상황’의 존재론적 성격에 대한 새로운 현상학적 해명을 바탕으로 슈미츠는 사랑의 감정과 그 대상이 지닌 복합적인 성격, 감정과 상황의 상이한 존재론적 층위, 이로부터 비롯되는 사랑의 근본적인 딜레마에 설득력 있는 이론을 전개한다. 결어에서는 슈미츠의 사랑의 현상학의 한계와 남겨진 연구 과제들을 언급해 본다. What is the philosophical reflection on love today? To a large extent, we have relatively sufficient sensitivity and professional knowledge of desire or impulse. But the love between the two is still dependent on an obscure ‘mysticism’ and ‘irrationalism’. In this sense of critical consciousness, I consider phenomenological reflections on sexual love between two people of Hermann Schmitz, a German philosopher of modern philosophy. Schmitz attempts a meaningful philosophical analysis of the love between the two in his book The Love of 1999 from the viewpoint of his own phenomenology of body. The theoretical accomplishment that this work reaches is worth thinking over, if the philosophical thought today is to go beyond a mysticism of love and to move toward a more profound theory of love. In this article, I first examine Schmitz' critical motivation and fundamental ideological intention of his own phenomenological theory. In the second part of this article, I will analyze Schmitz' significant theoretical achievements that accurately elucidate “love as emotion” and “love as a situation.” Based on the new phenomenological explanation of the ontological nature of ‘emotion’ and ‘situation’. Schmitz develops a convincing theory of complexity of emotional quality and object of partner love. the fundamental dilemma of love stemming from the different ontological strata of emotion and situation. At the end of the article, I briefly mention Schmitz' ideological importance of the phenomenology of love and some remaining research issues.

A Political Value of Love in Shakespeare's Antony and Cleopatra, against the Regime og Brothers

장선영 한국중세근세영문학회 2008 고전·르네상스 영문학 Vol.17 No.1

Shakespeare's Antony and Cleopatra shows how love could give an alternative value against the regime of brothers in Shakespeare's Antony and Cleopatra. This trial to find a new political value in love accompanies a critical perspective on the serious harm the western civilization has brought out. In the play, the regime of brothers consisted of the Roman triumvirate, Caesar, Antony, and Lepidus, though representing the ideal of Roman empire, is closely associated with imperialism, nationalism, and racism. Freud, in his Group Psychology and the Analysis of the Ego, defining the group as the constitution of group members under the ideal or transcendental leader, points out that this group lies in conflict with love. Freud also states that group includes in it the cruel hostility against others, whereas love shows a creative power that could cross the national and racial boundaries. As love is closely related with women group alienates women first. Therefore, thinking of women in the political realm means embracing not only the first others, woman but also other political sense of others, national and racial strangers. This hostile relationship between the regime of brothers and love can be each compared to the masculine and the feminine side in Lacan's sexuation. If the regime of brothers is related with the masculine subjectivity that assumes a certain exception, love is connected to the feminine subjectivity, its inconsistency or not-wholeness, which does not include an exception. In Antony and Cleopatra, Cleopatra consistently shows the feminine side's not-all subjectivity through her masquerade. Antony undergoes a subjective transformation which is affected by his love with Cleopatra, from the external division between his love and duty, to the internal division that indicates a shame about his being, his split subjectivity. In psychoanalysis, love, founded on a non-imaginary, non-natural, and non-human theory of sexual difference, is to mark a sexual impossibility, not the sexual fantasy of harmony. Antony and Cleopatra's not-all subjectivities and their love confirm this love that exceeds the sexual fantasy. This love provides a new political value against Caesar's imperial conquest.

키에르케고어의 사랑론과 나르시시즘 그리고 교육

김동규 중앙대학교 중앙철학연구소 2023 철학탐구 Vol.72 No.-

이 글의 목적은 키에르케고어의 사랑론을 간결하게 요약하고, 그것의 정수가 성스러운 나르시시즘임을 입증하는 데 있다. 그러는 과정에서 본 논문은 그의 사랑론이 예수의 언행에 기초를 둔 대표적인 헤브라이즘적 사랑론임을 밝힐 것이다. 이 작업은 플라톤 사랑론과의 선명한 비교를 통해서 진행될 것이다. 마지막으로 사랑에 내재한 교육학적 차원이 맹목적인 사랑, 그 정열의 파고(波高)를 헤쳐 나가는 나침반 역할을 하고 있음을 보여줄 것이다. 키에르케고어에 따르면, 진정한 사랑이란 자기 부정과 희생을 통해 확보되는 이웃 사랑이다. 이 사랑은 신 앞에서 평등한 사랑이다. 반면 우리가 통상 사랑이라 부르는 것, 곧 에로틱한 사랑이나 우정의 본질은 편애다. 여기서 사랑의 대상은 또 다른 ‘나’에 불과하다. 편애를 통해서 궁극적으로는 자기를 사랑하는 것이다. 한편 사랑관계는 3자관계로서 사랑하는 사람, 사랑받는 사람, 그리고 사랑으로 구성된다. 여기서 중간항으로서의 사랑이 바로 키에르케고어가 이해했던 신(神)이기도 하다. 아름다운 사람만을 사랑의 대상으로 선택하는 플라토닉 러브와는 반대로, 키에르케고어는 못나고 추한 사람을 사랑해야만 한다고 주장한다. 못난 이웃이더라도 피조물에 내재한 신성(신과의 유사성), 즉 사랑의 씨앗이 감춰져 있기 때문이다. 이 점에서 그의 사랑관은 사랑(신과 자기 속의 신성)이 사랑(타인 속의 신성)을 사랑하는 동어반복적인 절대적 나르시시즘이다. 이렇듯 키에르케고어가 사랑을 절대화한 까닭은 ‘성장해야한다’라는 당위 때문이라고 해석할 수 있다. 그에게 교육의 당위는 사랑에 힘입어 무조건적이고 절대적인 것이며, 교육적 정향(Orientation)으로 말미암아 사랑은 맹신으로부터 거리를 둘 수 있게 되었다. This paper aims to concisely summarise Kierkegaard’s theory of love and demonstrate that its essence is absolute narcissism. The paper will compare Plato’s theory of love to Kierkegaard’s and show that the latter is derived from Hebraic traditions and is based on Jesus’s teachings. Finally, it will be shown that education is deployed as a device to prevent love, which occupies the highest ontological position, from falling into dogma and blind faith. Kierkegaard posits that neighbourly love, which involves self-denial and sacrifice, is the embodiment of true love. Thus, it is a love that emphasizes equality in the sight of God. However, the fundamental nature of what we commonly refer to as love, encompassing both erotic love and friendship, is based on personal preference. In this context, the object of love is another ‘self.’ Ultimately, in such relationships, one loves oneself. A loving relationship constitutes of three entities: the lover, the beloved and the love shared between them. Kierkegaard believes that God, as perceived by him, is represented by the concept of love as an intermediary. In contrast to platonic love, which chooses only what is good and beautiful to love, Kierkegaard argues that we should also love the ugly. This is because even an unattractive neighbor contains the seed of love by being a creature that resembles God. Thus, one can conclude that Kierkegaard’s view of love is the absolute narcissism, in which the divine in me loves the divine in others. Kierkegaard deifies love in this way because of the pedagogical imperative to grow up. For him, the pedagogical imperative is unconditional and absolute, driven by love, and the value of education helps to protect love from blind faith.

중국 고대의 ‘사랑’ 개념과 사랑시의 주제 ― 先秦에서 唐代까지의 사랑시를 중심으로

金俊淵 ( Kim Joonyoun ) 중국어문연구회 2022 中國語文論叢 Vol.- No.111

This paper attempted to analyze love poetry in China and investigate the concept of love in ancient China, the main themes of love poetry, and the typicality and emotions of love poetry by period. For this, a representative poems were selected and a topic modeling study was conducted by analyzing the TF-IDF index. Topic modeling is a statistical model for identifying the subject of a particular text. TF-IDF is a method of approaching the subject of poetry by analyzing the frequency of poetic words. Since there are no separate documents collected only from ancient Chinese love poems, this paper selected 164 love poems several documents by period and made separate documents for TF index analysis. The documents for IDF index analysis were made into 942 poems contained in three documents containing about 300 poems by period. For these poems, I secured a list of the top 50 TF-IDF indices for topic modeling. In ancient China, love is a concept closely related to the social system of marriage. Therefore, it is difficult to explain with modern love theory that values only the emotional aspect. As the theme of ancient Chinese love poems shifted from Pre-Chin(先秦) to Tang(唐) Dynasty, the theme of ‘breakup’ was strengthened rather than ‘passionate love’. Overall, ‘思’ which means ‘missing’, was found to represent the characteristic aspect of ancient Chinese love poetry. Sub-topics of love poetry include ‘Breakup’ and ‘Worry’. This is not because the concept of love has changed, but rather because the perception that love poetry should also be the result of intellectual actions has become stronger. The typicality of love poetry of each period was explored by dividing 164 love poems by period and examining the TF-IDF index. Pre-Chin’s love poems are characterized by many works that sing pure love, and female speakers are the mainstream. Although women appear as the main characters in the love poems of Han-Wei and Six Dynasties, it is evaluated that indirectness or figurativeity has increased in that most of the poets were men. The breakup quickly emerged as a major theme and the description became more delicate. In love poetry of the time, the ingredient of resentment was strengthened, and the theme of betrayal was often mentioned. It is also noteworthy that ‘tears’ was frequently used. Among the top 50 words in the TF-IDF index, those that do not overlap with each period were analyzed to see how the expression representing the emotions of love poetry changed. As a result, the role of ‘heartache(傷)’ in the Pre-Chin, ‘worry(憂)’ in the Han-Wei and Six Dynasties, and ‘resentment(恨)’ in Tang dynasty stood out. Pre-Chin’s love poems often expressed heartbreaking emotions that he/she could not be with his/her beloved. The love poems of Han-Wei and Six Dynasties dealt with the worries of the wife or husband who were engaged in staying alone due to separation or bereavement. The love poems of the Tang dynasty have been embodied several times in which they resent and lament the situation in which love is difficult to achieve amicably.

이태준의 중단편소설에 나타난 사랑의 문제

정원채(Won Chai Jeong) 한국현대소설학회 2010 현대소설연구 Vol.- No.45

Love`s issue of Lee, Tae-Jun`s short and medium-length story was analyzed in this thesis. Love`s attribute, recognition about sexual appetite, physical description about woman`s characters was examined in this paper. Character who appeared Lee, Tae-Jun`s short and medium-length story show strong desire about love. At this time, love that hero`s desire is romantic love, and viewpoint about love that he have is alike thinking of free love. But Lee, Tae-Jun is not novelist that believed romantic love and free love practicable in reality. This point was proved end of lose hero`s love. Desire and frustration, lust and disillusion of love were repeated on Lee, Tae-Jun`s love story. Sorrowful mood was producted between desire and frustration of love. And Sorrowful mood was built up with farewell motif. Meanwhile Lee, Tae-Jun show double and inconsistent attitude about sexual desire. Sexual appetite and physical charm were imagined negative in Lee, Tae-Jun`s short and medium-length story except a few works. Nevertheless interest about sex and sexual desire was still alive not solved. This interest on sex and sexual desire came to the surface narration about naked body of woman`s characters. In addition to description about woman`s body in Lee, Tae-Jun`s love story which claim our attention. Because Desire of love and sex were connected with interest and description about woman`s body. The woman`s body were showed by man`s viewpoint, and then description of woman was focused on face around eye, figure, dress. Eye, figure, dress are mark that appear personality and identity of woman`s character. Besides Lee, Tae-Jun raising romantic quality and pathetic mood of works with sick body. Woman`s body in the Lee, Tae-jun`s short and medium-length story had shown idealized figure that desire of man`s novelist was reflected. Work`s romantic quality was strengthened by idealized woman`s body.

熱情的 사랑의 逆說과 存在의 悲劇性 - 崔勝子 詩를 중심으로 -

엄경희 한국어문교육연구회 2012 어문연구(語文硏究) Vol.40 No.1

金素月․韓龍雲 이후 崔勝子(1952~ )는 詩集 『이 時代의 사랑』(문학과지성사, 1981)과 「즐거운 日記」(문학과지성사, 1984)에서 사랑이라는 테마를 가장 問題的인 것으로 드러냈던 시인 가운데 하나라 할 수 있다. 그는 막연한 離別이나 떠나감이 아니라 ‘버림받음’이라는 보다 구체적 상황을 과감하게 노출함으로써 사랑하는 자의 悲劇을 極大化한다. 아울러 愛着對象에 대한 崇拜와 欽慕라는 戀慕의 情感 속에서 受動化되었던 傳統的 主體의 태도를 과감하게 벗어나 戰鬪的 사랑의 방식으로 자신이 말하고자 하는 ‘사랑의 逆說’을 의미화한다. 더 문제적인 것은 悠久한 傳統 속에서 완강하게 固守되었던 理想的 存在로서 사랑의 대상에 대한 期待를 解體시킨다. 이 논의는 최승자의 문제적 테마로서 熱情的 사랑(passionate love)의 구체적 방식을 면밀하게 분석함으로써 그것이 지닌 逆說的 意味와 悲劇的 存在의 의의를 밝히는 데 그 目的이 있다. Choi Seung-Ja is said to be the first poet whose deconstruction of a traditional aura of love poetry has raised the theme of love to a prob- lematic. This discussion has put a focus on illuminating a paradoxical meaning in which her poetry has implied, and then a sense of the tragic existence in its result, by analyzing concrete modes of passionate love that her poetry has revealed. Her love poetry has been to make itself a type of passionate love that has not ever been able to be discovered in Korean poetry. It has started with exposing repeatedly a vague poetic situation of separation or farewell to a concreteness of ‘to be deserted.’ This poetic situation of ‘to be deserted’ has become a psychological base to fever a desire for making love rebirth. By the way the loved one in her poetry has not been an ideal being who has been represented as the ‘perfect.’ This poet has strengthened the martyrdom of lover by erasing the aesthetic quality from the loved one and exposing the hypocrisy and violence of him. In her poetry the death drive has accompanied when the rebirth of love has repeatedly failed. But her death drive has not led to the sublime aesthetics with which would have adorned the finale of her passionate love. The tragic cognition of this poet has lain where even her aesthetic death has not been able to be realized. In this situation the temporal cognition of this poet has become a signification of the falling time that has led the spiritless self. The passionate love that Choi Seung-Ja’s poetry has revealed is to be appreciated as the case of adding a very important meaning to the history of Korean poetry, in terms of not only that love that has clued to understand her tragic poetry but also the first signal flare of a symptom of love poetry that has utterly differed from the established love poetry with which has been fixed up the moderate aesthetics of temperance.

Príncipes encobertos e princesas enamoradas: do disfarce por amor no teatro de Gil Vicente

Maria João Pais do Amaral 한국 포르투갈-브라질 학회 2008 포르투갈-브라질 연구 Vol.5 No.1

The main object of this essay is love disguise in two plays of Gil Vicente, Portuguese dramatist who developed his theatrical activity between 1502 and 1536 under the patronage of the monarchs Manuel I and João III. Widely spread in 16th century European literature, the motif of love disguise has its origins in chivalry romances, which are one of the many diverse sources of Gil Vicente's court theatre and also one of the dramatist's first spectators' favourite kind of books. I analyse it in Comédia do Viúvo and Tragicomédia de D. Duardos, where the protagonists, princes Rosvel and Duardos, hide their true identity and social rank from their beloved in order to prove the authenticity of their affection. In a first moment, I compare the way each of these two princes uses love disguise, reflecting on the function and meaning of the obvious differences this comparative analysis brings into light. In a second moment, I relate those differences with both the dramatic genre each of these two plays belongs and the conception of love that is on the basis of the stories enacted in Viúvo and Duardos, which, although originating in courtly love conventions, goes far beyond it. Finally, and because Gil Vicente's theatre is an art that strongly depends on circumstances, the date on which these spectacles were presented for the first time before the Portuguese king and court, as well as the purposes they were meant to fulfil, are also taken into consideration in this reflection on the innovative use of love disguise motif by one of the most important Portuguese dramatists of all times. The main object of this essay is love disguise in two plays of Gil Vicente, Portuguese dramatist who developed his theatrical activity between 1502 and 1536 under the patronage of the monarchs Manuel I and João III. Widely spread in 16th century European literature, the motif of love disguise has its origins in chivalry romances, which are one of the many diverse sources of Gil Vicente's court theatre and also one of the dramatist's first spectators' favourite kind of books. I analyse it in Comédia do Viúvo and Tragicomédia de D. Duardos, where the protagonists, princes Rosvel and Duardos, hide their true identity and social rank from their beloved in order to prove the authenticity of their affection. In a first moment, I compare the way each of these two princes uses love disguise, reflecting on the function and meaning of the obvious differences this comparative analysis brings into light. In a second moment, I relate those differences with both the dramatic genre each of these two plays belongs and the conception of love that is on the basis of the stories enacted in Viúvo and Duardos, which, although originating in courtly love conventions, goes far beyond it. Finally, and because Gil Vicente's theatre is an art that strongly depends on circumstances, the date on which these spectacles were presented for the first time before the Portuguese king and court, as well as the purposes they were meant to fulfil, are also taken into consideration in this reflection on the innovative use of love disguise motif by one of the most important Portuguese dramatists of all times.

계급과 로맨스 - 1970년대 대중 서사에 나타난 로맨스의 계층적 이질성 고찰 -

김지영 우리말글학회 2024 우리말 글 Vol.100 No.-

이 글은 1970년대 낭만적 사랑의 지배 이념이 구체적 삶의 현장과 맞물릴 때 사회적 계급․계층에 따라 어떻게 다르게 전유되고 재현되었는지를 세 편의 대중서사 작품들을 대상으로 살펴보았다. 「영자의 전성시대」와 <어제 내린 비>( 내 마음의 풍차 ), 도시의 사냥꾼 은 각각 하층계급, 청년계층, 중상계급의 서로 다른 연애관과 사랑의 정치경제학을 보여준다. 하층민의 사랑을 다룬 「영자의 전성시대」에서, 물질적 결핍에 시달리는 노동계급 주인공은 매매춘 여성 영자에 대한 순수한 애정을 지배적 사랑의 이념과 절충하지 못함으로써 폭력적인 불통의 관계를 이어나간다. ‘나’의 애정은 성찰보다 충동에 기반하지만, 그럼에도 불구하고 영자에게 기울이는 헌신과 희생은 ‘나’가 누구보다도 신성하고 순수한 사랑을 실천하는 인물임을 보여준다. 무상의 헌신을 쏟아붓는 ‘나’의 순수한 애정은 그러나 지배적 사랑의 이념이 투사하는 관계의 시나리오를 탈피하지 못하고 자학과 폭력에 빠져든다. 이는 환경과 이념 사이에서 주체적 협상을 이루지 못한 채, 고정된 이념에 매여 있었던 하층계급의 로맨스 정치경제학의 비극을 확인해 준다. <어제 내린 비>는 70년대 청년문화를 구성했던 청년 세대의 낭만적 감수성을 비극적 사랑의 형태로 그려낸 작품이다. 한 여자를 사랑한 형제의 대립적 공존을 통해, 작품은 단독자적 자아로서 훼손된 세계와 맞섰던 청년세대의 분투하는 심리를 그려냈다. 영욱의 순수하고 이상주의적인 사랑과 영후의 육체적인 사랑의 대립은 투명한 이상과 쾌락주의적 소비문화라는 청년세대의 양면성을 사랑의 관계로 투영해 냈다. 작품의 비극적 종결은 완전한 순수도 완전한 쾌락도 허락하지 않는 세계에 속절없이 부딪히고 좌절하는 청년세대의 감성을 허무주의적 로맨스의 형상으로 그려냈다. 불능과 슬픔, 그럼에도 불구하고 존재하는 아련한 동경과 우울로 점철된 독특한 사랑의 정서는, 현실을 이길 수는 없지만 그에 굴복하지도 않으려 했던 청년 세대의 낭만적 욕망이 만들어낸 정치경제학의 산물이자, 생산하지 않는 자들의 소비문화가 구성한 쾌락에 대한 불안감의 결과였다. 도시의 사냥꾼 은 중상류 계급을 횡단하는 사랑의 감각 속에 움트는 변화의 조짐을 초점화했다. 기혼녀의 사랑을 서사화한 이 작품은 결혼을 화려한 도시와의 거래로 표상하고, 혼외의 사랑에서 도시에 짓눌린 순수한 야성의 자유를 찾는다. 배우자들의 부도덕성을 배후로 벌어지는 이 혼외의 사랑은 기독교적 가르침의 목소리와 인물의 순도 높은 성찰성을 바탕으로 진행되며, 이를 통해 세속의 조건과 통념을 넘어 순수하게 자아의 욕망을 마주하는 선택의 문제로 사랑을 재인식하는 데로 나아간다. 사랑의 지속성과 안정성을 포기한 채 순도 높은 강렬도를 선택하는 새로운 유형의 거래를 실천하는 매우 이성적인 광기를 통해, 작품은 공리주의적 관점에 제한된 기성의 인식틀을 넘어 주체를 자기실현의 자율성으로 이끌어갈 수 있는 새로운 사랑의 인지적 가능성을 개방한다. 순수함의 순간성을 인정하며, 소모되고 탕진되는 감정을 통해 자기를 실현하고자 하는 새로운 사고의 등장은 현실적 이해와 낭만적 이상의 긴장 속에서도 차이와 개별성에 방점을 두며 더 많은 쾌락을 추구하고자 했던 중상계급의 로맨스 정치경제학의 결과였다. 「Youngja’s Heyday」, <It Rained Yesterday>( Windmill in My Heart ), and Hunter in the City showed the different views on love and the political economics of love among the lower class, youth class, and upper middle class, respectively. 「Youngja’s Heyday」 dealt with the love of a prostitute as an occupation that symbolized the contradictions of modern times that pursued asceticism in the field of production and hedonism in the field of consumption. The lower-class protagonist, suffering from material deprivation, was unable to compromise his pure affection for prostitute Yeong-ja with the dominant ideology of love. The pure affection of ‘I’, who poured out gratuitous devotion to Youngja, could not escape the relationship scenario projected by the dominant ideology of love. So he fell into masochistic love, violently abusing his partner and himself.. <It Rained Yesterday> depicted the romantic sensibilities of the 1970s’ youth generation in the form of tragic love. The conflict between Young-wook’s idealistic love and Young-hu’s physical love projected the youth class’s duality and internal conflict of transparent ideals and hedonistic consumer culture into a love relationship. The work’s tragic and nihilistic love revealed anxiety about the pleasures created by the consumer culture of the generation that did not devote to produce social value. This could be said to be the result of the political economics of romance, which sought to preserve purity by escaping from reality. The Hunter in the City focused on the signs of change burgeoning in the sense of love that crossed the middle/upper classes. This work, which narrated the love of a married woman, represented marriage as a deal with the modern city, and seek the freedom of pure wildness oppressed by the city in extramarital love. Through this, this work re-perceived love as a matter of choice that went beyond prevailed conditions and notions and purely confronted one’s own desires. Through a very rational madness that practiced a new type of transaction that chose pure intensity while giving up the continuity and stability of love, the work went beyond the established cognitive framework limited to a utilitarian perspective and leaded the subject to the autonomy of self-realization.

동서양 사랑시를 통해 본 사랑의 개념 차이 연구

정수현,정경조 한국사상문화학회 2014 韓國思想과 文化 Vol.72 No.-

The emotion of Love is universal but each society has each way to understand and interpret it. Though love has general desire beyond time, space and culture, it is a historical thing affected by life condition, ruling ideology, and viewpoint of each era and the theme of love can be the critical criterion of spiritual and cultural ways. But, in Korean culture history, love was degraded as private section or women's affairs , couldn't an academic subject, and was regarded as the part of theme. The analysis object of this thesis is the literature, essence of love expression, especially love poems. Love is universal and essential problem and one of main themes in literature. Although it can vary in personal characteristics, conditions and communities experiences, it has existed in all ages and cultures. It has been reborn in spite of the changes of era and art convention because of the lasting desire of love. The distinct difference of Oriental and Occidental love is self-actualization and others-realization, egocentrism and altruism. Self-actualization and egocentrism is that the selfish desire is based upon the premise of reciprocality and others-realization and altruism is that love is oriented to organic communities. To put it in another way, social order or custom can be the object of conflict in Occident but the object of obedience in Orient. Therefore, it must be ruled by social control. The ‘Korean Love’ is different in each era, but it must be molded primarily by Confucian order. Confucius recommends praises the harmony of husband and wife but disdains and oppresses the love of unmarried couples. In Korean traditional narration, the love between men and women had not been thought of as instinct or pleasure but moral value and religious belief. Most of Korean love poems have made the poetic narrator heroine and expressed the love and longing for her beloved regardless of their authors sex because when an author chooses a poetic narrator, it can be affected by his unique type of creation and traditional system. There are two reason to stifle this lovely emotion in Korea. First of all, they think that the more oppressed, the more innocent and strong. Secondly, that's because they put the solicitude of others before themselves. 사랑은 인류보편의 정서지만 그것을 이해하고 해석하고 풀어내는 감각은 사회마다 다르다. 사랑은 시간과 공간, 문화를 초월하는 인간의 보편적 욕망을 담고 있지만 각 시대의 삶의 조건이나 지배 이념, 가치관에 영향을 받는 역사적인 것이어서 사랑주제는 한 시대의 정신적 문화적 양식을 보여줄 수 있는 중요 척도로 사용될 수 있다. 그러나 한국 문화사에서 사랑은 사적(私的) 영역으로 치부되거나 여성의 일로 폄하된 채, 진지한 학문적 탐색 대상이 되지 못했고 다른 주제의 일부분으로 다룬 정도에 불과하였다. 본 연구의 분석대상이 되는 주요 자료는 시대마다 양산된 사랑 표현의 결정체라고 할 수 있는 문학, 그 중에서도 사랑시를 그 대상으로 삼으려 한다. 사랑은 보편적이고 근원적인 인간문제로서 문학의 주요주제 중 하나이다. 사랑에 있어서의 그 정조나 색조가 사람됨에 따라 또한 시대 변동의 조건에 따라, 한 집단의 공동체적 경험에 따라 다양하지만, 동서고금을 가릴 것 없이 특히 남녀 간의 사랑에 대한 문학적인 표현은 엄연히 주류로서 항상 존재해 왔다. 비록 시대가 변하고 예술의 형식이 변했을 지라도 사랑을 향한 인간의 욕구는 변하지 않았기 때문에, 문학속의 사랑은 언제나 새로 태어나면서 이어져 왔다. 동서양의 사랑관의 가장 뚜렷한 특징 또는 차이점은 ‘자기실현’과 ‘타자실현’, ‘개인 중심’과 ‘사회 중심’으로 요약할 수 있다. 자기실현과 개인중심은 자신의 궁핍한 욕망을 채우려는 이기심(利己心)이 항상 주는 만큼 받으려는 상호성을 전제로 하고 있다는 것이고, 타자실현과 사회중심의 사랑관은 개인이 속한 사회 전체를 유기체로 보고 그 안에서 개인의 욕망실현을 고려하는 지극히 이타주의적인 사고를 말하는 것이다. 따라서 서양식 사랑관에서의 사회적 질서나 관습은 극복과 투쟁의 대상이었지만 동양식 사랑관에서는 순응과 수용의 대상이었기 때문에 인간의 본성인 사랑의 감정도 사회의 통제를 피할 수 없었던 것이다. ‘한국인의 사랑’은 시대에 따라 그 모습을 달리했으나 한국인의 사랑 개념을 주로 형성한 것은 유교의 질서이다. 유교는 자손의 번영을 전제로 하는 부부사이의 화합을 용인하고 또 그것을 찬미한다. 하지만 미혼남녀의 교제는 결코 인정하지 않았으며 결혼 전에 발생하는 사랑의 감정은 철저하게 억압당했다. 한국 전통서사에서는 남녀의 성 또는 사랑을 단순히 인간의 본능이나 쾌락의 차원에서만 생각하지 않았다. 그것에 윤리적 가치를 부여하기도 하고 숭고한 마음을 담기도 했으며 주술적 종교적 믿음을 바치기도 했던 것이다. 한 작가가 시 창작을 할 때 시적 화자를 선택하는 일은 작가 자신의 고유한 창작 방법에 의해 결정되기도 하지만 전통과 같은 제도에 영향을 받기 때문에 한국의 애정시가는 대부분 작가의 성별과 무관하게 여성 화자를 내세워 임에 대한 사랑과 그리움을 표현한다. 한국인들이 이처럼 애정표현을 억제하는 이유는 크게 두 가지로 생각해 볼 수 있다. 우선 감정은 억제할수록 순수하고 강해진다는 생각에서 비롯된다. 그래서 한국 전통사회에서는 적극적이고 노골적인 자기표현보다는 공유된 경험과 분위기를 통해 말없이 은근슬쩍 속내를 내비치는 무언의 커뮤니케이션이 발달했다. 두 번째는 자기보다는 상대방에 대한 배려를 먼저 해야 한다는 가치관 때문이다. 사랑하면서도 사랑한다고 말 ...

이선관 시의 사랑 현상학

한정호 ( Jeong Ho Han ) 현대문학이론학회 2014 現代文學理論硏究 Vol.0 No.57

이선관(1942-2005)은 마산의 지역사회에서는 상징성을 갖는 문학인이다. 그는 육체적 장애를 딛고 시인의 길로 나아갔고, 학인(鶴人)이라는 아호마냥 고고하게 살면서 참다운 문학활동을 펼쳤다. 그는 날카로운 시선으로 당면한 사회현실에 끊임없이 저항하면서, 우리의 문학마당에 크고 넓은 사랑을 실천하고자 했다. 이 글에서는 이선관의 삶과 시세계를 총체적으로 짚어보고자 했다. 이를 위해 글쓴이는 그의 삶과 문학 활동에 초점을 맞춰 시작 태도와 시관, 시세계의 특성에 대해 살펴보았다. 특히 글쓴이는 그의 시정신을 인간사랑, 자연사랑, 나라사랑, 지역사랑이라는 현상학적 측면에 초점을 두고 따져보았다. 우선, 글쓴이는 지금껏 잘못 알려졌거나 가려져 있었던 출생, 개명(改名), 가족관계, 등단에 관한 사항들에 대해 소개하고 재조명해 보았다. 아울러 그는 작품 속에서 자신의 시작 태도 내지는 시관을 드러냄으로써, 시인으로서 갖추어야 할 자세와 책무에 대해 남달리 고민하고 노력했음을 확인할 수 있었다. 다음으로, 글쓴이는 그의 시가 일관되게 보여준 사랑 현상은 사람·자연·나라·지역에 대한 사랑으로 나누어 살펴보았다. 이를테면 인간사랑과 장애 극복의 시정신을 보여주었고, 자연사랑과 오염 고발의 시세계를 구축하였다. 또한 그는 나라사랑과 통일 염원의 시정신을 일관되게 형상화했으며, 지역사랑과 문학 실천의 시정신을 한결같이 보여주었다. Lee Seon-gwan(1942-2005) was literature man, the symbolism of having the writers community in Masan. He took a physical disability and the poet``s path. He participated in faithful literature activities, with aloof living like the pen name of name of crane man. He is a keen eye constantly on the social reality faced by resistance, while he want to practice the large and spacious love in yard of our literature. In this article, I am willing to see his life and poetry as a whole. To this end, I looked to characteristics of poetry world, attitudes and reflection making of poem, focusing on his life and literary activity. In particular, I have seen to try to reason, focusing on the phenomenological aspect of the love in total, like human love, nature love, country love and region love. First of all, regarding the pace of life and literature of Lee Seon-gwan, It is well organized for its part in this community. However, the writer introduced and revived renaming that the wrong was ever born, known or even veiled, family relationships, including matters related to introduce about the career. In addition, he got his start in the attitude or work by exposing attitudes and reflection making of poem as the poet as worried about attitude and commitment. Next, he is ostensibly reveals the resistance and criticism about the reality by attitudes and reflection making of poem but his love towards the inner world was able to see that is filled with. This showed that the phenomenon of people who are consistently loved the poetry and the love for nature and country and region was divided into. For example, he showed poetry spirit of human love and the spirit of failover with poem related to his identity. he made poetry world of natural love and pollution accusations to give awareness for the ecological environment. Also, he had symbolized the poetry spirit of consistently, loves all of us, the desire for the reunification of the country in the proposition what should do and showed a spirit of constant practice literature and love for area of Masan. He published the 13 volumes of poetry. while the literary activities for Thirty-five years. And, of course, he have not been contained at collection of poems rather than the prose works, there is no separate them. In that respect, collection of poems fall out and together collection of poems and snatching collection of poems, essay or column publishing in several media houses, prose literary works of Lee Seon-gwan, and further, Lee Seon-gwan``s literature complete works the entire range of literature works and I expect to publish them in a hurry.