김수영과 월트 휘트먼 비교연구

오영진 ( Oh Young-jin ) 국제어문학회 ( 구 국제어문학연구회 ) 2013 국제어문 Vol.58 No.-

본 연구는 지금까지 가설로만 제기되었던 김수영 문학과 월트 휘트먼 문학의 관계를 밝혀내는 것을 목표로 한다. 몇 가지 신빙성 있는 단서들에도 불구하고 아직까지 이 주제에 대해 구체적인 접근시도가 없었던 이유는 양 시인의 작품 세계가 선명히 다르기 때문이다. 휘트먼은 풍요로운 미국의 자연풍경을 찬미하고, 시민들을 향해 사랑과 자유를 노래한 외향적인 시인인 반면, 김수영은 설움과 고독을 주된 정조로 주로 자신의 일상을 정직하게 반성하는 시를 주로 쓴 것으로 판단된다. 하지만 김수영이 초기부터 일관되게 주장하며 실천해온 `자유`나 `육체성`에 대한 강조, 보편세계를 지향하는 `사랑`이라는 주제의식에서는 휘트먼의 영향이 분명히 감지된다. 증언에 의하면 김수영은 그가 읽은 독서목록의 작가들을 최대한 자신의 방식으로 소화하려고 노력한 작가이다. 때문에 김수영은 휘트먼적 주제를 자신의 시대와 상황에 맞게 변용하여 소화했다고 볼 수가 있다. 본고는 김수영 문학에 휘트먼 문학을 겹쳐 읽어봄으로써 김수영 문학에 휘트먼이 끼친 영향과 그 변용양상을 살펴본다. 이를 위해 본고는 통상 휘트먼 문학의 특징이라고 정리된 몇 가지 주제를 통해 김수영 문학을 읽어본다. 첫째, 1인칭 화자강조-성인페르소나의 설정문제와 육체성의 강조문제를 통해 김수영 문학에 끼쳤을 월트 휘트먼의 영향력을 추리해보았다. 물론 각각의 쟁점들은 `너무 헐렁한 양복`이어서 누구나 맞춰 입을 수 있다는 단점을 보였다고 본다. 하지만 1인칭 화자강조-성인페르소나와 육체성의 강조문제는 월트 휘트먼 고유의 개성으로 이 두 요소가 김수영 문학에 동시에 나타나고 있다는 것이 주목할 만하다. 둘째, 분명한 차이점과 유사점을 발견하는 작업을 시도하였다. 주로 자연찬미나 이웃에 대한 사랑을 능동적으로 표현하는 월트 휘트먼에 비해 김수영은 고독이나 설움 같은 현대적인 주제에 열중한 면이 있었다. 반면, `사랑`이라는 주제가 수평적인 이미 저리로 펼쳐지는 양상에서는 양자 간 유사성이 드러났다고 할 수 있다. 카탈로그 식 열거는 월트 휘트먼 고유의 양식이라 할 수 있는데, 이는 단순히 리듬이나 수사적 효과를 위해 도입된 것이 아닌 `사랑`이라는 내용이 형식적으로 구현된 것으로 평가된다. 김수영의 경우도 「사랑의 변주곡」이나 「풀의 영상」, 「거대한 뿌리」 등의 비교적 후기의 걸작들이 이와 비슷한 수법과 주제의식을 보여주고 있다. 본 연구는 양자 간 관계를 실증적으로 추적하지 못했다. 그러나 위와 같은 결론을 통해 김수영이 월트 휘트먼적이라고 평가하는 데에는 모자람이 없다고 주장한다. This paper aims to find out the relationship between Kim Su-young and Walt Whitman on literature, which has been strongly hypothesized. Despite of some reliable clues, there have been no specific attempts to make this clear because their works seem to be different distinctly each other. As Whitman was an extroverted poet who glorified rich scenery of nature in America and sang love and freedom, Kim Su-young wrote poems which reflected everyday honestly, filled with sorrow and solitude. Kim Su-young, however, had constantly empathized and practiced `freedom` and `corporeity` from earlier works and an inquiry into the universality of `love`, which exactly showed an influence of Whitman to him. Some evidences show that Kim Su-young sought to absorb the authors he read. And Whitman was also possibly absorbed into Kim Su-young`s works, modified with the times and conditions in his unique way. This paper plans to examine influence of Whitman and modified aspect to Kim Su-young`s works as read works of Kim Su-young and Walt Whitman together. For that, this paper reads Kim Su-young through Whitman`s thought. Firstly, I payed attention to emphasis on establishment of the first person narrative-that is a saint persona and on corporeity. Each point seems like "loose clothing" so it looks like every answers possible though, it is worth underlying both first person narrative(a saint persona) and corporeity which were the unique aspect of Whitman present in Kim Su-young`s work at the same time. Secondly, I attempt to reveal apparent similarity and distinction. Comparing with Walt Whitman`s work which mainly expressed admiration to the nature and love-thy-neighbour actively, Kim Su-young`s works focused on the modern problems like solitude and sorrow. However, the way of expressing `love`, which is the main theme and is presented horizontal imagery, is apparently similar to each other. Catalog technic is a unique style of Whitman, and it is not simply for a rhythm or rhetorical effect but for an embodiment of `love`. In case of Kim Su-young`s late works, `Sarang-eh Byen-ju-gok`(Love Variation), `Pul-eh Young-sang` (Image of Grass), `Geo-dae-han Puri`(Great root), also show an identical technic and theme. This paper has limitations to look deeper the influential relationship between Kim Su-young and Walt Whitman empirically. But the influential relationship from Whitman to Kim Su-young would come up in the conclusion.

일반논문 : 월트 휘트먼과 토머스 에이킨스의 사진적 사실주의

심진호 ( Jin Ho Shim ) 한국비교문학회 2013 比較文學 Vol.0 No.60

As his statement “In these Leaves, everything is literally photographed” indicates, Walt Whitman (1819-1892) consistently desires to represent his poetry like photography. Learning the power of photography from his contemporary American photographers, Whitman could visualize his poetry like a series of photographs. Whitman shares remarkable artistic similarities with Thomas Eakins (1844-1916) who has been regarded as one of the most representative realist painters in the history of American art. Whitman realizes that Eakins`s paintings are closely related to photography involving “mechanical”, “honest”, and “realistic” elements. Particularly, Whitman visualizes his poetry by using his characteristic catalogue technique which strongly evokes a series of snapshots of various things, people and places. In Eakins`s paintings such as The Gross Clinic and Walt Whitman, Whitman sharply captures the “realities and science” images that only photography provides. Eakins was in many ways akin to Whitman. The two artists celebrated in their art a commitment to the naked body, science, and the physical and mental benefits associated with vigorous outdoor activities. Significantly, Eakins`s The Swimming Hole in 1885 can be regarded as a pictorial equivalent of Whitman`s poems such as “Song of Myself” and “I Sing the Body Electric” reflecting the celebration of the naked male bodies. Based on a series of photographs at the same site, the painting suggests the two artists` mutual preoccupation with the naked male body through their peering eyes like a camera. Rebelling against the genteel tradition of the Victorian Age, Whitman shares the same iconoclastic perspective with Eakins for their stark and uncompromising depictions of the naked male bodies. Above all, the “photographic fantasy” in the painting and the poems suggests the visual tactility. Undoubtedly, The Swimming Hole is the essence of Eakins`s aesthetics which regards the naked male body as “the most beautiful thing” in the world in the same way that Whitman compares the “strong sweet quality” of the male body with “the best poem”. Whitman has become an eternal muse in Eakins`s imagination even after the poet died in 1892. The remarkable artistic similarities between the two artists are ultimately found in Eakins`s Between Rounds in 1899. In the painting, Eakins exquisitely revives Whitman as a spectator who gazes at a half-naked boxer. It becomes evident that the photographic images, which Whitman and Eakins represent, are far ahead of their time and suggest the new realistic expression. Transcending the bounds of ages and media, photography plays an essential role for constructing Whitman and Eakins`s pursuit of a new aesthetics, namely, American realism.

이효석의 「풀잎」에 나타난 월트 휘트먼의 사상

양균원(Kyoonwon Yang),방민호(토론자) 한국현대문학회 2007 한국현대문학회 학술발표회자료집 Vol.- No.-

이효석의 단편 「풀잎」은 월트 휘트먼의 시집 『풀잎』과 제목이 같다. 또한 이 작품은 부제에서 휘트먼의 존재가 “인류의 행복”이라고 밝히고 있고 본문에서 그의 시 세 구절을 낭독하고 있기도 하다. 이 글은 휘트먼이 이효석에게 끼친 영향의 양상을 규명하기 위해 첫째, 이효석 단편의 두 주인공인 준보와 옥실의 사랑의 방식을 살피고 둘째, 준보가 낭독한 휘트먼의 시 세 구절을 보다 넓은 원문의 맥락에서 그 본의를 들춰 비교한 후 셋째, 새 사랑의 방식의 관점에서 「풀잎」과 『풀잎』의 차이를 따져본다. 이효석의 「풀잎」은 휘트먼의 『풀잎』에 고무되어 새 사랑의 방식을 보여주고 있지만 그 주인공들이 휘트먼의 사랑에서처럼 자연의 강건함과 자유로움을 누리고 있지는 않다. 이러한 부분적 실패는 이효석이, 일제 강점기의 억압적 분위기에서, 사랑 외의 것들로서 삶에 필수적인 것들, 예컨대 자유와 평등의 가치 등에 대해 충분한 관심을 기울이지 못한 데서 비롯된 것으로 보인다. 휘트먼의 사랑이 우주 만물들 간의 강하고 평등한 연대를 확인해주는 동안에 이효석의 사랑은 혼전 성관계와 여성에 대해 주어져온 관습적 편견을 극복하는 데 온 힘을 소진하고 있다. "Leaves of Grass," a short story of Hyosuk Lee's, with the same title as that of Walt Whitman's collection of poetry, is subtitled "Mankind has the happiness to have Walt Whitman." and contains three citations from Whitman. This article aims to reveal the way Whitman has influence upon Lee by examining 1) the characteristics of love affairs of Joonbo and Shil, two protagonists of Lee's story. 2) three translated citations from Whitman from a wider original context, 3) "The Song of Myself" by Whitman, and 4) the differences, which Whitman's and Lee's protagonists reveal in their pursuit of love. Lee's "Leaves of Grass" embodies a new way of loving as encouraged by Whitman, but does not appear to achieve the enjoyment of Whitman's love as free and strong as nature. This partial failure seems to result from the circumstances under which Lee could not exert his full strength to consider other necessities than love, such as people's freedom and equality, in the milieu of the oppressive censorship during the Japan's occupation. While Whitman's love affirms the strong connection among all the elements of the universe, giving the ordinary the strength to become a democratic member of society. Lee's confines its momentum to the overcoming of the traditional prejudice against women and premarital sex relations.

Designing the “Great City”: Walt Whitman’s Vision as an Urban Planner

심진호 새한영어영문학회 2015 새한영어영문학 Vol.57 No.1

Identifying himself with the “builder at work in cities,” Whitman aspires to transform his city into an ideal city. Particularly, his experiences as a journalist inspire him to ameliorate the widespread urban problems in New York. As early as the 1840s, Whitman consistently captures the various urban ills and offers reasonable solutions from an urban reformer’s perspective. He also reveals his aspiration to be an urban planner whose primary goal is the use of land and design of the urban environment. His desire to erase the boundaries between nature and civilization distinguishes the poet from his contemporary writers and landscape architects. With the perspective of a “builder” or a “architect,” Whitman strongly advocates more “open places” in the city like a park. Overcoming Frederick Law Olmsted’s dichotomy of the park versus the city, Whitman has an insight into the efficient usage and layout of the “open places” to facilitate the amelioration of the city. Most of all, Whitman’s “great city” represents the cleanly, organic, democratic, ecological and healthy city where technology, human beings and nature have a harmonious relationship. Ultimately, his “great city” like Mannahatta corresponds with the sustainable city in the modern. Identifying himself with the “builder at work in cities,” Whitman aspires to transform his city into an ideal city. Particularly, his experiences as a journalist inspire him to ameliorate the widespread urban problems in New York. As early as the 1840s, Whitman consistently captures the various urban ills and offers reasonable solutions from an urban reformer’s perspective. He also reveals his aspiration to be an urban planner whose primary goal is the use of land and design of the urban environment. His desire to erase the boundaries between nature and civilization distinguishes the poet from his contemporary writers and landscape architects. With the perspective of a “builder” or a “architect,” Whitman strongly advocates more “open places” in the city like a park. Overcoming Frederick Law Olmsted’s dichotomy of the park versus the city, Whitman has an insight into the efficient usage and layout of the “open places” to facilitate the amelioration of the city. Most of all, Whitman’s “great city” represents the cleanly, organic, democratic, ecological and healthy city where technology, human beings and nature have a harmonious relationship. Ultimately, his “great city” like Mannahatta corresponds with the sustainable city in the modern sense.

Walt Whitman`s Poetics of Female Sexuality

( Sook Kyong Hyun ) 한국현대영어영문학회 2010 현대영어영문학 Vol.54 No.4

This paper examines Walt Whitman`s idea of female sexuality as it is represented in a variety of his writings including poems, newspaper articles, and essays. For Whitman, female sexuality is not an improper topic for poetry but something that should be treated with openness and simplicity. In a number of his poems, Whitman illustrates an image of an ideal woman as someone who is strong, healthy, and independent with passionate sexual desire. Whitman strongly supports female sexuality because it is ultimately associated with motherhood, being capable of producing healthy offsprings that would lead the country. Hence, for him, sex is not something vulgar or something that should be discredited. Whitman, however, does not stop there in his notion of sexual politics. As a poet, he goes on to employ female sexuality as a metaphor of America as a poetic entity. America is for Whitman a woman who waits for her bridegroom to impregnate her to produce a great poem. And Whitman, the poet of free verse, becomes a new bridegroom to fulfill the woman-America-poem`s yearning for release from the house of conventional poetic form. In short, the revolutionary sexuality in Whitman`s poetry is used as a metaphor for his anxiety to turn “the bridegroom” of the old poetic form out of “the bed” of poetic creation, instilling new poetic vision into the poetic body of “the bride” to start a republic of new poetic world in American literature.

시대와 장르를 초월한 윌트 휘트먼의 “열린 장소”

심진호 한국사상문화학회 2014 韓國思想과 文化 Vol.74 No.-

Before becoming a poet, Walt Whitman as a journalist invariably asserts the importance of “more parks—more open places” in the city. Through lots of articles and editorials in nineteenth century newspapers such as New York Aurora, Brooklyn Daily Eagle, Whitman strongly criticizes unequal and thoughtless city planning. Whitman believes that Central Park, which is synonymous with nineteenth century park, would not be a “open place” with the general public because it uses only for the privileged class. His sharp insight on the “open place” surpasses his contemporary landscape architect Frederick Law Olmsted's perspective. Whitman's vision suggesting the urban park of social contacts and cultural exchanges transcends the limit of Olmsted's dichotomous thinking of civilization versus nature, park versus the city. Most of all, the “open place” Whitman desires to embody resists Olmsted's statement that “in the park, the city is not supposed to exist.” Whitman's “open place” corresponds with a modern urban park like La Villette Park by Bernard Tschumi as it suggests the indivisible interaction between park and the city. La Villette Park based on Tschumi's aesthetics of de-constructivist architecture aims at a new model in which programme, people's activity and events all play integral roles. This new model has an intimate relationship with Whitman's concept of a “programme of culture.” In this sense, La Villette Park is the modern transformation of Whitman's vision which emphasizes a “programme of culture” suggestive of twenty-first century cultural park. Whitman's “open place” moving toward the sustainable city facilitates interdisciplinary approaches, transcending time and genres. 휘트먼은 시인이 되기 전부터 저널리스트로 활동하며 도시에서 “더 많은 공원—더 많은 열린 장소”의 중요성을 지속적으로 역설했다. 『뉴욕 오로라』, 『브루클린 데일리 이글』 등 여러 신문의 사설을 통해 휘트먼은 불평등하고 무분별한 도시계획에 대해 신랄하게 비판했다. 19세기 근대 공원의 대명사로 간주되는 센트럴 파크가 “대중과 함께”하는 “열린 장소”가 아니라 “장식”으로 가득한 상류층만을 위한 공간이라는 휘트먼의 예리한 통찰은 동시대 조경가인 옴스테드의 한계를 초월하고 있다. 사회적 접촉, 문화적 교류를 제공하는 도시 공원의 필요성을 강조한 휘트먼의 비전은 문명과 자연, 도시와 공원이라는 옴스테드식 이분법적 구도를 뛰어넘고 있다. 휘트먼이 구현하고자 했던 “열린 장소”는 “공원에서 도시는 존재해서는 안된다”라는 옴스테드의 이분법적 시각을 뛰어넘어 자연뿐만 아니라 문화가 살아있는 21세기 도시 공원을 강하게 연상시킨다. 요컨대 휘트먼의 “열린 장소”는 해체주의 건축 미학의 정수인 츄미의 라 빌레뜨 파크에 더욱 부합하고 있다. 츄미는 근대 건축에서 상실되었던 프로그램, 사람들의 행위 및 이벤트 등을 역설하고 있는데, 이것은 휘트먼이 언급한 “문화 프로그램”으로 충만한 “열린 장소”의 현대적 변용이라 할 수 있다. 도시 공원을 열린 대중 문화공간으로 간주하고 있는 휘트먼의 탈근대적 비전은 건축과 조경뿐 아니라 문학, 철학, 미술, 영화 등 다양한 장르의 경계를 무너뜨리며 상호텍스트적 연구를 촉진시키는 원동력이 되고 있다.

“Camera to the World”: Walt Whitman’s Photobiographic Representation of the Civil War

심진호 새한영어영문학회 2011 새한영어영문학 Vol.53 No.4

Among the American writers of the nineteenth century who participated in the Civil War, Whitman is believed to be a poet who had an artistic inclination toward photography. Throughout his writings of the Civil War, Whitman explicitly reveals his status as a poet-photographer, stating “The great poet is he who performs the office of the camera to the world.” Significantly, Whitman’s references and implications for photography can be easily found everywhere in his wartime writings. For Whitman, writing is to visually catch and deliver the “knack of catching life on the run, in a flash, as it shifted, moved, evolved” like photography. Since Whitman rarely saw the actual battle scenes from the battlefront, he could learn to see the scenes only through the soldiers who participated in the war or the images of the photographers who followed the troops. Thus, Whitman had to take the war photographs taken by the pioneer photographers such as Brady and Gardner to write poems and memoranda for “the real war” which spread out on the battlefield more effectively. Given that he attempts to realistically deliver the battle scenes by “trying to photograph a tempest,” the Civil War sections in Whitman’s autobiography Specimen Days are considered the results of his photographic representation. Above all, the Civil War sections in Specimen Days explicitly reveal the photobiographic representation in relation to Whitman’s favorite photographer Alexander Gardner. Undeniably, Whitman successfully incorporates “the real atmosphere of a battle” inspired from Gardner’s Civil War photographs into his texts. Thus, it is not surprising that Gardner’s photographs such as A Burial Party, Cold Harbor, VA. and A Harvest of Death are in perfect accord with Whitman’s visually evocative language in Specimen Days. In this regard, Specimen Days should be considered a photobiography which has an inseparable connection with Gardner’s photographs.

한국(韓國)의 문화(文化) : 시대와 장르를 초월한 윌트 휘트먼의 “열린 장소”

심진호 ( Jin Ho Sbim ) 한국사상문화학회 2014 韓國思想과 文化 Vol.74 No.-

휘트먼은 시인이 되기 전부터 저널리스트로 활동하며 도시에서 “더 많은 공원?더 많은 열린 장소”의 중요성을 지속적으로 역설했다. 『뉴욕 오로라』, 『브루클린 데일리 이글』 등 여러 신문의 사설을 통해 휘트먼은 불평등하고 무분별한 도시계획에 대해 신랄하게 비판했다. 19세기 근대 공원의 대명사로 간주되는 센트럴 파크가 “대중과 함께”하는 “열린 장소”가 아니라 “장식”으로 가득한 상류층만을 위한 공간이라는 휘트먼의 예리한 통찰은 동시대 조경가인 옴스테드의 한계를 초월하고 있다. 사회적 접촉, 문화적 교류를 제공하는 도시 공원의 필요성을 강조한 휘트먼의 비전은 문명과 자연, 도시와 공원이라는 옴스테드식 이분법적 구도를 뛰어넘고 있다. 휘트먼이 구현하고자 했던 “열린 장소”는 “공원에서 도시는 존재해서는 안된다”라는 옴스테드의 이분법적 시각을 뛰어넘어 자연뿐만 아니라 문화가 살아있는 21세기 도시 공원을 강하게 연상시킨다. 요컨대 휘트먼의 “열린 장소”는 해체주의 건축 미학의 정수인 츄미의 라 빌레뜨 파크에 더욱 부합하고 있다. 츄미는 근대 건축에서 상실되었던 프로그램, 사람들의 행위 및 이벤트 등을 역설하고 있는데, 이것은 휘트먼이 언급한 “문화 프로그램”으로 충만한 “열린 장소”의 현대적 변용이라 할 수 있다. 도시 공원을 열린 대중 문화공간으로 간주하고 있는 휘트먼의 탈근대적 비전은 건축과 조경뿐 아니라 문학, 철학, 미술, 영화 등 다양한 장르의 경계를 무너뜨리며 상호텍스트적 연구를 촉진시키는 원동력이 되고 있다. Before becoming a poet, Walt Whitman as a journalist invariably asserts the importance of “more parks?more open places” in the city. Through lots of articles and editorials in nineteenth century newspapers such as New York Aurora, Brooklyn Daily Eagle, Whitman strongly criticizes unequal and thoughtless city planning. Whitman believes that Central Park, which is synonymous with nineteenth century park, would not be a “open place” with the general public because it uses only for the privileged class. His sharp insight on the “open place” surpasses his contemporary landscape architect Frederick Law Olmsted`s perspective. Whitman`s vision suggesting the urban park of social contacts and cultural exchanges transcends the limit of Olmsted`s dichotomous thinking of civilization versus nature, park versus the city. Most of all, the “open place” Whitman desires to embody resists Olmsted`s statement that “in the park, the city is not supposed to exist.” Whitman`s “open place” corresponds with a modern urban park like La Villette Park by Bernard Tschumi as it suggests the indivisible interaction between park and the city. La Villette Park based on Tschumi`s aesthetics of de-constructivist architecture aims at a new model in which programme, people`s activity and events all play integral roles. This new model has an intimate relationship with Whitman`s concept of a “programme of culture.” In this sense, La Villette Park is the modern transformation of Whitman`s vision which emphasizes a “programme of culture” suggestive of twenty-first century cultural park. Whitman`s “open place” moving toward the sustainable city facilitates interdisciplinary approaches, transcending time and genres.

함께' 말하기

정은귀(Chung, Eun-Gwi) 한국외국어대학교 영미연구소 2013 영미연구 Vol.28 No.-

This essay invites readers to rethink the notion of Walt Whitman's sympathy via David Reynolds's cultural studies. Indebted to Reynold's rigorous recreation of the vanished literary culture shaped by canonical and popular writers of Whitman era, this essay compares the lines from "Song of Myself" with one of Henry Wadsworth Longfellow's slave poems, "The Slave in the Dismal Swamp." At once locating Whitman in and out of the literary criticism and weaving D. H. Lawrence's discourse on Whitman and Deleuzian thinking of "feeling with" and the superiority of Anglo-American literature, this essay, in the tangled web of cultural discourse and literary theories, tries to envisage the greatness of Whitman's earlier poems rooted in the vernacular language and rhythm of his own time. In a sense, it is a project revising and complementing Reynolds' reading of Whitman and going beyond the limit of his reading on cultural geography. Questioning how Whitman digested his culture and kept distance from the genteel tradition of his time that Longfellow adopted without hesitation, I propose Whitman attain a different layer of sympathy in his slave poem, while Longfellow fell in the net of 'pity' in a condescending gesture. Whitman's sympathy as the form of feeling/speaking with makes readers re-experience 'the contact zone' with others, without the moral superiority represented in many sensational and moral writings in that era. Revisiting Lawrence's reading of Whitman and Deleuzian notion of feeling with, this essay concludes Whitman's poetic achievement is not literary isolationism of a lonely genius, but a radical practice of 'becoming' minority, transforming the ordinary space in his own culture into the act of doing in the Open Road.

월트 휘트먼의 과학적·종교적 우주론 분석과 율곡의 이기론 비교연구

김영희(Younghee Kim) 한국동서비교문학학회 2017 동서 비교문학저널 Vol.0 No.40

This study aims to explore the cosmology of Walt Whitman and Yulgok Yi I in three ways. The first chapter focused on the scientific principles and phenomena of Whitman’s cosmology. In the second chapter, Whitman’s cosmology was proved that he threw a new philosophy of religion that fused contradicting points of science and religion that was controversial in the society. In the third chapter, Whitman’s cosmology compared with ‘Theory of Yi and Gi,’ the cosmology of Yulgok who was the master of Korean New Confucianism. Modern society has been surrounded by a myth of anthropocentrism. It thought that humans as superior and precious beings had the right to dominate and possessed the nature. Whitman’s transcendental cosmology and the theories of Yulgok, the characteristics of Gibalrisung, Yithonggikuk, and Rigigimyo revealed that man and all things inherent in the nature should be recognized equally. Because all of the natural things were made equally and the universe was linked together, the society that Whitman and Yulgok pursued might be united society where Gi is alive with each person’s nature individually and Li is alive as Taiji. Whitman called it a whole or Anmitsu [En-Masse]. Whitman and Yulgok might imagine the same universe over time and space, in which Li and Gi, human and material, body and soul, and sky and earth were equally pursued. This cosmological view of Whitman’s En-Masse and Yulgok’s daedong society should be a new religious philosophical starting point that can solve the conflicts and contradictions of modern society.