신정론적 고뇌와 신비 체험의 양상 연구 : 「벌레 이야기」와 「남경의 그리스도」를 중심으로

남금희 ( Kum Hee Nam ) 한국문학과종교학회 2014 문학과종교 Vol.19 No.1

「벌레 이야기」는 자식의 유괴 피살로 고통을 겪는 한 어머니가 기독교 신앙을 수용하려 했으나 신정론적 고뇌에 부딪혀 자살하게 된 경위를 보여준다. 반면 「남경의 그리스도」는 한 경건한 창녀가 믿는 예수 그리스도가 그녀의 삶에 일으킨 기적을 보여준다. 「벌레 이야기」의 그녀는 용서의 주체가 되어야 할 자신이 빠진 가운데 범인에 대한 신의 구원 계획이 그를 용서했다는 절망감으로 자살을 선택한다. 그래서 서술자인 ‘나’는 아들과 아내의 죽음을 신의 섭리에 희생당한 희생자의 개념으로 파악하고 인간을 위한 인간의 신학이 필요함을 역설하고 있다. 반면 「남경의 그리스도」에 등장하는 금화는 자신의 불행한 처지 가운데서도 오직 주관적인 믿음으로 매독을 치료받는 꿈의 기적을 체험한다. 이러한 비정상적인 신비체험을 전해들은 ‘그’는 금화가 그리스도라고 믿고 있는 그 실제 인물이 누구인가를 알고는 있지만 금화에게 알리지 않는다. 이처럼 신앙은 신의 말씀이나 약속에 대한 개인의 태도요 결단에 속하는 문제이다. A Worm Story reveals a mother who is suffering because her son is kidnapped and killed. She tries to believe in God but feels unacceptable limits and commits suicide. Unlikely, The Christ of Nanjing shows the confession that Jesus Christ did a miracle to a certain Godly whore. In A Worm Story, she confronts an agony of theodicy. Narrator ‘I’ considers that his wife was sacrificed by the dogmatism of Christianity and emphasizes that human theology for human is needed. In The Christ of Nanjing, a Japanese traveler knows who is the real person that, Kum-Wha believes, is Jesus Christ, but he dosen`t inform the fact to her. As a result, it can be recognized that the faith is an attitude of the man who receives the God`s words

오리엔탈 룩에 표현된 메이크업에 관한 연구 - 2007, 2008년 컬렉션을 중심으로

남금희(Nam Kum-Hee),이혜성(Lee Hye-sung),김민진(Kim Min-Jin) 한국인체미용예술학회 2008 한국인체미용예술학회지 Vol.9 No.-

  With a cultural movement that pursues the origin of humanity, exploration of and interest in mentality of the Orient have been emphasized and orientalism has been paid much attention to by designers around the world with post-modernism.<BR>  To analyse orientalism represented in makeup, this study examines features of orientalism, targeting 2007 and 2008 collections. For the purpose, it divides it into ethnic image, mixed image, and future-oriented image. First, the collections represent traditional costume in modern style and makeup is represented in graphic image and traditional image.<BR>  Second, in mixed image, multi-cultural images are strongly represented and makeup has a grotesque element. Third, in the future-oriented image, colorful representation is controlled due to minimalism, skin is makeup bright and coal makeup is shown.<BR>  As a result of the study, it is found that orientalism in the collections reinterprets traditional images into modern sense through combination and transformation, rather than using it as it was. It is expected that orientalism will be represented through more improved techniques under coexistence and harmony with various cultures.

『침묵』에 나타난 율법과 사랑 -기독교 세계관의 관점으로-

남금희 ( Kum Hee Nam ) 한국문학과종교학회 2009 문학과종교 Vol.14 No.1

박목월 시의 신앙의식 연구

남금희 ( Nam Kum-hee ) 한국문학이론과 비평학회 2008 한국문학이론과 비평 Vol.40 No.-

We know Park Mok-woel who is famous for his Nature yearning poems. But in this thesis, I analyzed his poems in the point of his christian belief through his middle age and latter age poems. His faith consciousness appears us in the three interconnections, they are follows: The first, the images of family which appeared on Park Mok-woel's poetry is a pity concord. The paternal love is supporting his family. Endurance enables him to live with his family community. He who acts as the head of a family returns home every day after his business. Because he loves his family. But father is not willing to know his future. Because he knows that only God knows human's future. At here and now, he lives only the present with sincere on the earth. The second, the maternity which appears in his 『Mother』poetry pursued the mild and praying for a family peace. Mother is a companion in his childhood. And he misses his mother as a faith partner. Such image converts into the divinity in his latter poetry. Through the divinity to ensure the guardian of family, he orients to obey the God. The third, in the year of 1970's, he published 『the Stones』series. He appears very steady gaze at his common life. He realizes to the man's limited destiny. And he uses the stone and rock symbols. The stone symbol presents at his latter poetry that appears in his faith consciousness such as the star or the polar star, or Pegasus, or tombstone, or marble and so on. He describes solitary existentialism in the presence of God with stone symbols. Frequently he was conscious of a graceful constellation in the sky that acts in concert with stone on the earth. Meanwhile, he is going to live in the rocks which symbolize remarkable endurance. He describes that the man knows the God stares at him as if the planets roll on in their courses. He wants to live in God's order. He has a return consciousness to the God as Being Itself in his last life. At last he returned to his heaven home with his poetry. His Chritian poems published by his wife and his son after his death. Through these poetry, we conclude that Park Mok-woel is a very sincere christian.

논문 : 시적 진실로서의 고통과 성서 인유 -김춘수의 예수 소재 시편을 중심으로

남금희 ( Kum Hee Nam ) 한국문학과종교학회 2010 문학과종교 Vol.15 No.1

논문 : 『천국의 열쇠』에 나타난 목회자상

남금희 ( Kum Hee Nam ) 한국문학과종교학회 2011 문학과종교 Vol.16 No.1

The Keys of the Kingdom is a Christian novel which was written by A. J. Cronin in 1942. The purpose of this thesis is surveying what a real priest is through many priests characters. Pastor Frenchis Chissam is a protagonist. He is crucified in Fitan for Gospel, but he loves the Chinese who need help on salvation. The missionary role of the priest is to be a person who mourn and hunger and thirst for righteousness. Chissam is a very merciful and pure in heart. Also he is a peacemaker and a meeker. When the pest spreads out in Fitan, he devotes himself to curing the wounded without caring his health. He patiently prepares for a mission during long time and respects the Chinese feelings in religion. It is not an intentional love, but true love from his faith living as God`s people. We are brothers in God who governs the universe. We live in the same land and are the same creatures to be made with God`s ability. Also he acknowledges Confucius and Lao-tzu who are the anchor in China. In the past, Chissam lost his father and mother in the conflict between Presbyterians and Catholics in North-Scotland. Also he lost his girlfriend Nora who committed suicide because of unwanted pregnancy. So he knew the sorrow and pain in life, and he grow as a man of humble. In contrast, Chissam`s friend, Anselm Milly is anxious for a successful career and gathers the religion fund. When Chissam suffered as an openair-evangelist in Fian, Milly became the bishop easily with his kind utterance and business skill. But the most important thing in a missionary work is providing a true relief to a flock of sheep. When Frenches Chissam worked as a vice priest, the chief priest Kieser was a self-deceptional person identifying himself with God. He was childish pastor enforcing offertory on believers and was very generous to himself. Also the chief pastor Fitzgerald was a very inflexible person with prejudice. He sticked to his doctrine and principles and discriminated another vice priest. Frenches Chissam respects foreign culture in a missionary work and holds liberty without a stiff-necked attitude. He makes the Chinese understand God is only one who create human beings. Also he was a model of serving neighbor and he worked with his own hands. We become to know that the keys of the kingdom are a virtue of living by efforts with love, vocation, patience in faith, tolerance and humility and the fruits of the Spirit.

크리스챤 디올 패션쇼에 나타난 가부키 메이크업 이미지 표현에 관한 연구

김민진(Kim Min-Jin),이혜성(Lee Hye-sung),남금희(Nam Kum-Hee) 한국인체미용예술학회 2007 한국인체미용예술학회지 Vol.8 No.3

  In current fashion shows, orientalism has been established as a theme and as its make-up is represented in various styles, it becomes an artistic style as a contemporary trend.<BR>  In particular, in the 21th century, orientalism in fashion show has various changes and among them, Kabuki make-up derived from Japan has been highlighted as a unique image with strong and artistic nature.<BR>  This study is to identify that Kabuki make-up is involved in Deconstruction Theory developed by Jacques Derrida and make-up and design ideas of deconstruction. This study categorizes Kabuki make-up into ‘representative image’, ‘eclectic image’, ‘parodic image’, and ‘grotesque image’, focusing on the Christian Dior Fashion Shows since 2000s, and analyses it by being based on ‘nature’, ‘inter-textuality’, ‘uncertainty’ and ‘de-phenomenon’ from the Deconstruction Theory by Derrida. Kabuki make-up in Christian Dior Fashion Shows is closely related to the deconstruction theory, and it is very innovative and liberal. Instead of pursuing a single style, as it is applied for various fields and changes according to conditions, it is suggested that it can be understood in many different perspectives.