소설의 영화화에 따른 서사성 변환 연구 : 「벌레 이야기」와 「밀양」을 중심으로

신익호(Shin Ik ho) 한국언어문학회 2015 한국언어문학 Vol.93 No.-

In Bug Story and Secret Sunshine, the main character Shin-ae's anguish and religious conflict are described in more detail than the incident which causes her child's miserable sacrifice. Seemingly, Shin-ae tries hard to overcome her despair with christian faith, but she strives to cope with her tragedy within the limitations of human ability. She is not sure of salvation through the christian faith. Conversely, she is obsessed with the idea that she can get over difficulties with her efforts and will, that is to say, through self-deification. She loses her lovely son, but does not give up on her life. Rather, she can support herself, having strong will and hope. Eventually, these efforts lead to the fictional religion. Others who have never experienced her religious conflict, have no right to criticize that she has developed a blessing-oriented faith. Shin-ae's failure of salvation is a result of the religious dogma. Also, it expresses that she is locked in struggle with her will and fictional faith due to the limitation of human ability rather than she apologizes people around her with agape. She has never experienced both self denial as a sinner and a sense of gratitude and repentance which are the essence of christian faith. For this reason, she is not a born again christian, but just a bug. This story not only educates the reader that false religious faith is serious, but also shows univeral sympathy that religious salvation can not solve easily the problems of the human condition. The original novel, Bug Story, and the movie, Secret Sunshine, have differences in characters, surrounding environment, method of narration, structure derived from different genres, thematic consciousness and ending plot, even though they have common factors such as the existential situation and theodicean problems. The first part of the movie describes how the main character's child is kidnapped and killed in the process of settlement in a remote town. This event is portrayed as the climax of agony and anxiety. In the latter half of the film, the mother of the child writhes in desperate agony and faces the existential situation with religious conflict. At the end, a postive life is implied with secret and hopeful light. The main character, Shin-ae, plays the part of a long-suffering wife who acts out a series of deviant behaviors such as a suicide attempt, wrath and cursing in protest toward God after the failure of forgiveness. She is the most round character by means of motion picture techniques. Though she had a good relationship with others and received God's word once, she becomes a person who does not communicate well with others. When she does not find solutions and just feels despair, facing agony and protesting God, believers urge her to recognize the Providence of God and God's will. In this respect, the theodiciean interpretation justifying agony explains that hardship and adversity resulting from sin can be resolved through atonement. However, art questions and defies the Providence of God and deals intensively with the existential situation that superficial religion can not save people in agony.

현대시의 모방적 패러디 소고

신익호(Shin ik ho) 한국언어문학회 2004 한국언어문학 Vol.52 No.-

Parody is the conversational work between an original text and a satirized text in which the present and the past are connected and harmonized. In this process, we are to reanalyze the past and succeed to contemporary things by developing it, and also need endless endeavor and experimental mind to achieve this. There are very similar things in Doo-seok Choi's "Frost flowers" and Jeong-hee Moon's "Frost flowers". For instance, both of the two works are using 'windows' as the subject matter, contradictory structure of 'frost flowers', and poetic figuration like 'leaning his forehead against a window.' Mr. Choi's work represents humanity and the will of the people, and makes people reflect themselves, while Mr. Moon's poem represents the process of introspection and existential sorrow of limited being by using delicate and lyric mood. Jeong-joo Seo's "My lover is sleeping" and Jee-weol Seo's "In the gold thread of a pillow cover" have the similar mood in common such as the subject matter, images, and poetic diction. The poet sings his loving and yearning heart after parting with his lover in "My lover is sleeping", and the writer is expressing that he wants to share the emotion of love with the woman he is loving in "In the gold thread of a pillow cover". Jee-weol Seo's "Mr. Butterfly! Let's go to a green mountain" using some phrases of an old Korean verse "Mr. Butterfly! Let's go to a green mountain" and Doo-jin Park's "An epitaph" is making conversationality and difference. The old Korean verse "Mr. Butterfly! Let's go to a green mountain" pursues being content amid poverty and taking pleasure in an honest way among nature far from the suffering of the world. On the other hand Jee-weol Seo's poem is showing longing for the northern part to which we can not go, trying to overcome the conflict by subliming the emotion through a butterfly. Seok Back's "A bonfire" and Do-hyeon Ahn's "A bonfire" are distinguished by their repetitive use of particles in formal structure. Mr. Back's poem expresses vitality and pain to conquer conditions of the age in mutual relations of concrete objects, whereas Mr. Ahn is speculatively enumerating the historical recognition of people by unifying the leaping image of concreteness and abstraction in his product.

현대시에 나타난 "가축" 이미지의 인식 양상 고찰

신익호 ( Ik Ho Shin ) 현대문학이론학회 2013 現代文學理論硏究 Vol.0 No.55

이 글은 현대시에 ‘가축’이미지가 어떻게 투영되어 나타나는지 몇 가지 유형으로 분류하여 살펴보았다. 지금까지 동물 중 가축에 국한시켜 다룬 논문은 전무한 실정이고, 단지 동물 이미지를 현대시와 관련시켜 연구한 논문도 포괄적으로 다루기보다 몇몇 시인들에 한정시켜 단일 시인론의 관점에서 지엽적으로 접근한 것이 대부분이다. 본고에서는 가축 이미지의 양상을 자아투영의 대상, 고독과 상실감, 꾸짖음과 가르침의 대상, 그리움과 회상, 동반자 관계 등으로 살펴보았다. 자아투영의 대상은 동물에 자의식을 투영시켜 무의식과 동일시하려는 인간의 욕구로서 일탈적 욕망이나 실존적 자아인식, 치열한 현실인식 등의 정신적 성숙을 반영한다. 고독과 상실감은 주체성이 상실된 식민지 시대의 상황에서 자의식의 탈출구로 작용하여 감상적 낭만성의 비극적 인식의 산물이라 할 수 있다. 꾸짖음과 가르침의 교훈성은 고전·근대문학에서 흔히 사용된 알레고리 기법처럼 동물을 통해 인간의 어리석음이나 무지함을 폭로하고 비판하여 교훈적 가르침을 반어적으로 암시한다. 그리움과 회상은 주로 성장과정 속의 삶의 공간이었던 고향이나 혈육에 대한 애틋함, 학창시절의 다양한 추억 등으로 각박한 현실의 삶에 위로와 안식을 부여한다. 동반자 관계는 가축에게 인격성을 부여함으로써 가족의 한 구성원으로 여겨 동병상련의 처지에서 서로 의지하며 위로를 받는다. 이처럼 현대시 속의 다양한 가축 이미지는 그 제재가 드러내고 있는 양상은 다르지만 대체로 긍정적이고 친근한 인식을 드러내고 있음을 알 수 있다. The images of domestic animals in modern poetry are used to express concretely and sensuously the complicated emotion and consciousness most people have in life. In this regard, domestic animals are not only accepted as a subject matter but also used for poetic embodiment through metonymic imagination because of a persona`s adjacent condition and the intrinsic and distinct symbolism of domestic animals. The paper shows how the various images of domestic animals are described in modern poetry as the persona object, loneliness and sense of loss, the lesson from scolding and teaching, and partners who help the awareness of existence. First, as the persona object, the domestic animals can be the symbols of human`s unconscious area and reflect the spiritual achievement of self. The self wants to be rid of the daily routine or restrains from the schematized system and become an existential self to go beyond the anguish of ontological life as well as to recognize the fierce reality of many absurd situations. Second, the domestic animals ,which mean the mood of loneliness and sense of loss resulting primarily from unsettlement of reality, are depicted as emotional feelings on a blocked escapeway under the colonial period and deprived sovereignty without recognizing the fierce reality. Third, people seem to be inferior beings who act on the instinct and impulse without perception of though and a rational introspection. But with images of domestic animals, the lessons from scolding and teaching are implied through revealing and criticizing people`s stupidity and ignorance by means of allegory and ironical technique. Fourth, the objects people miss and remember about the past, are the affection for hometown and family during childhood, and the teachers and friends who had an effect while growing up. The memory and longing for childhood give comfort and consolation to the people who live in the isolated and hard hearted world. People personify the domestic animals as partners, treat them as members of a family and depend on each other. Living together and laboring for a long time, the domestic animals become life partners to the lonely owners.

최하림 시의 ‘시행 엇붙임’ 양상 고찰

신익호(Shin, Ik-ho) 한국언어문학회 2012 한국언어문학 Vol.82 No.-

In Choi, Harim's poetry, enjambement can be found frequently as a technique for a structure. This technique causes the change of breathing when a syntactic segment is not in tune with segment between lines. Accordingly, it brings out the poetic value including the meaning change and ambiguity. This enjambement appears in several ways such as adding of a syntactic unit by the end of line, breaking of a syntactic unit by the end of line and run on line in his poems. The main effect of enjambement is to emphasize the independent meaning by trying to forcedly disconnect the words which are syntactically related to each other by means of adding or breaking words by the end of line which involve the theme of a poem. The functional effect of this technique is to add emphasis of meaning and rhythm. The emphasis of meaning menas repetition, amplification, paradox, omrnission, suitable figure of speech and ambiguity. The rhythm is changed into 3 poetic meters and 4 poetic meters throughout a run on line for the emphasis of rhythm. With enjambement which weakens the combination of syntactic segment, a poet reinforces the meaning and emotion between lines. As breathing between lines increases, it makes a new effect as well as reiterates the meaning and emotion of a poem. Due to the syntactic segment and discontinuity of meaning, the logical connectivity of poetic words and the narrative development are disintegrated and the vivid images can only be created.

논문 : 「목불」(木佛)에 나타난 유희적 “말놀이”와 반야사상

신익호 ( Ik Ho Shin ) 한국문학과종교학회 2011 문학과종교 Vol.16 No.1

A Wooden Buddhist Image is about the process of realizing the mercy of Buddha by finding a wooden Buddhist image. It has the main accident which happens after a monk named Tangong who practices asceticism, meets an old Buddha sculpture called Dalnoin. Tangong`s purpose of life is to find a wooden buddhist image and the meaning of his purpose is revealed indirectly through Dalnoin`s life. In this paper, three things can be summarized briefly as follows. First, A Wooden Buddhist Image has a circular structure of tense repetition and its content has cause and effect. It also has a journey structure towards enlightenment which a main character attains throughout his wondering and suffering without the clear reversal and conflict. Second, the word play of concealing and revealing can be found in a main character`s name, place name, Buddhist sermon and a note written in blood. Third, both the truth that matter is void and the emptiness idea which are based on Buddha`s reflection on wheel of life, are showed by means of enlightenment through Dalnoin`s nirvana and Tangong`s endless obsession and anguish. In other words, Tango must escape from the obsession about a hopeless reality of his existence. Then, he must find and make his own Buddhist image in his mind for himself. But, A Wooden Buddhist Image doesn`t explain the reasons why Tangong becomes a monk and why he is so obsessive about a wooden Buddhist image. Also, he seems to lack truth-seeker`s intenseness because he can attain easily the enlightenment not by his own efforts but by Dalnoin`s.

박용래 시의 반복형태 구조 연구

신익호 ( Ik Ho Shin ) 국제비교한국학회 2009 비교한국학 Comparative Korean Studies Vol.17 No.2

현대시에 나타난 ‘대전 공간’의 형상 연구

신익호(Shin, Ik-ho) 한국비평문학회 2014 批評文學 Vol.- No.54

문학지리학은 작품 속에 나타나는 ‘장소’에 인간적 경험의 다양한 특성을 미적 상상력으로 승화시켜 의미화하는 작업이다. 현대시에 다양한 ‘대전 공간’을 소재화한 작품이 많지만 그 빈도수에 따라 ‘대전역’, ‘목척교’, ‘산’(계족산·보문산·식장산·구봉산), ‘하천’(대전천·갑천·유등천) 등이 주조를 이룬다. 본고에서는 대전의 지리적 구체성이 드러나는 빈도수 높은 장소를 중심으로 현대시에 어떻게 수용되어 의미망을 형성하는지 문학지리학적 관점에서 접근해 보고자 한다. 그럼으로써 장소 체험의 주체로서 시인이 보여 주는 가치관과 태도를 통해 대전의 정체성과 특수성을 정립할 기회가 될 것이다. 교통 중심지인 ‘대전역’을 소재화한 작품 중 절대다수가 떠남과 만남, 지난날의 회상, 귀향과 포근한 정 등의 내용을 담고 있는데, 그 중에서도 거의 만남의 기쁨보다는 이별에 따른 쓸쓸함과 그리움의 애상적 분위기가 주조를 이룬다. 신시가지가 개발되기 전까지 도심의 중심지였던 목척교는 만남의 장소로서 많은 추억과 그리움이 어려있다. 목척교를 소재화한 작품 중 절대다수가 지난날의 회상과 그리움, 목척교의 일상적 주변 풍경을 다루고 있는데, 주로 ‘으능정이’ ‘대전천변’ ‘대전역’ 등 주변 공간을 배경으로 형상화되었다. 정적인 산의 공간은 동적인 강에 비해 안정적이며 포근하게 감싸 주는 어머니의 품으로 비유된다. 계족산·보문산·식장산·구봉산 등은 대전시를 좌우사방으로 병풍처럼 둘러 감싸안고 있다. 이 산들은 역사적 배경에 따라 백제유민의 저항과 기상, 사계절의 변화 속에 정겹고 아름다운 자연 경관, 어머니 품 같은 안식처, 삶의 위로와 희망 등의 내용을 담고 있다. 대전 시내의 중앙과 좌우 외곽 지대를 흘러가는 하천은 대전천·갑천·유등천 등이 있다. 이 하천들은 삶의 휴식과 영혼의 안식처, 원형적 심상의 생명력, 생태계 회복 등의 내용을 내포하고 있다. There are many modern poems in which the subject matter is linked to some places in Daejeon. Daejeon Station, Mokcheok Bridge, mountains (Gyejok Mt., Bomun Mt., Sikjang Mt., and Gubong Mt.) and streams (Daejeon Cheon, Gap Cheon, and Yudeung Cheon) appear more often in the order named. These places are associated with various meanings. First, the image of Daejeon Station has the properties of sadness, happiness and longing as the place of separation and union. Daejeon Station as a center of transportation is the motif for 21 poems referring to separation, union, reminiscence, homecoming and warmth. More often, this image suggests sorrowful feelings on the basis of loneliness and longing after separation, rather than the delight of union. Materials like platforms and train whistles add a variety of sensuous images to the poetic moods. Second, Mokcheok Bridge was built during the Japanese colonial period and rebuilt into the current stem-cell-like structure through restoration work to uncover the stream. Before the development of a new downtown area in Daejeon, it was the center of the city and implied a lot of reminiscence as a meeting place. Twenty-two poems focusing on Mokcheok Bridge depict past memories of yearning, the surrounding scenery, and ecological recovery. The main contents of the poems are based in the surrounding areas of Uineungjeongi Cultural Street, Daejeon Cheon and Daejeon Station. Third, some poets wrote about comfort, vitality and a resting place at Gyejok Mt., Bomun Mt., Sikjan Mt., or Gubong Mt., the main mountains surrounding Daejeon. Similar to the shape of chicken feet, Gyejok Mountain is the material for 16 poems which involve Baekje people"s resistance and vigor, fresh and seasonal sense, safe haven and hope. Forty-one Bomun Mountain poems contain material about beautiful natural landscape, a soft and warm place like a mother"s arms with a baby nestled in, a new wish through sunrise, reminiscence and longing. In only 7 poems focused on Sikjang Mountain, the poets expressed comfort from life, hope, joy, and longing for father. Gubong Mountain is found in 12 poems describing beautiful landscapes of all seasons by means of various sensuous images. Fourth, there are 3 streams, Daejeon Cheon, Gap Cheon and Yudeung Cheon, flowing through the center of Daejeon and the left and right suburbs. They are symbolic of a break from life as well as vitality generating original imagery. Daejeon Cheon, penetrating the city center, suggests the lifeline of life force and a sense of alienation from change of aspect in 4 poems. Surrounding Daejeon, Gap Cheon means life-giving water, balm to the soul and trace of life in 9 poems. Yudeung Cheon is material for 4 poems which imply breadth of mind, rest area and ecological recovery in a busy urban life.

〈서울 1964년 겨울〉과 〈서울, 1986년 여름〉의 상호텍스트성

신익호(Ik-ho Shin) 어문연구학회 2007 어문연구 Vol.55 No.-

In this paper, I analyze the narration, the narrative structure and the recognition of the reality from the point of view of the intertextuality in Seoul 1964 Winter and Seoul 1986 Summer. The former develops what Kim sees and experiences from the point of view of his observer narration without any special narrator. He doesn"t try the explanation of the situation but shows the lethargy and the oppression. It doesn"t show any dramatic reversal caused by the conflict structure. With the simple and narrative structure from beginning to end, it is focused on the crisis resulted from the isolation and the loneliness throughout the amusing but deconstructive discourse. The main characters" meaningless conversation causes the alienation and reflects the modern people"s lethargy, the life without direction, the social feature to value the material and the indifference of modern society. They have the sense of emptiness of spiritual value caused by the materialism of the industrial society in 1960s, and try to avoid the oppression of the reality without the distinct purpose. Seoul 1986 Summer doesn"t have suicide scene, which is different from Seoul 1964 Winter. People can find the former parodies the latter because of several similar things between two books. First, they have the same plot in which two main characters happen to meet and talk in a snack stall, go to inn together and say goodbye to each other next day. Second, they develop the simple story without any dramatic conflict. Third, they use the images related to “wriggle” and ""appearance“. Fourth, they have similar conversation, situation and title. The writer of Seoul 1986 Spring narrates the character"s ideal and emotion as an outward observer. It includes the close description, the narrative sentences, the sensible style, the unique nuance and many new vocabulary. Compared with the simple and plain structure in Seoul 1964 Winter, it has the narrative structure and various frameworks including teleportation, focus on description, overlap of the reality and the inside consciousness and change of the main character"s personality. Today, the violence in the system incapacitates and weakens the modern people"s power under the pretext of law, ideology and government power. The public accept it to secure the established right and be satisfied with the reality, instead of fighting against it. Dongsoo Kim who got accustomed to be lethargic, recognizes the subjecthood and faces the reality with the active attitude, after knowing the young man who embodies the value of humane life.

특집 문학과 언어 : 김수영 시의 한시적(漢詩的) 구조의 병렬 반복 연구

신익호 ( Ik Ho Shin ) 현대문학이론학회 2010 現代文學理論硏究 Vol.0 No.42

김수영 시에서 반복과 열거는 초기시에서 후기시에 이르기까지 폭넓게 나타난다. 그의 시에서 반복은 동일한 낱말, 형태소, 시행, 구절, 문장 등으로 다양하게 나타나 환유라는 의미 전달 체계로 전이되어 시적 구성 원리로 작용한다. 본고는 김수영 시의 다양한 반복 형태 중 주로 구절과 문장 반복이 기승전결 형태의 시 각 연에 나타나는 작품을 대상으로 어떻게 가변적, 축약적, 대칭적 병렬 반복의 변주 과정이 나타나는지 구조적 관점에서 살펴보았다. 첫째, 한시 구조의 병렬 반복은 전통적 한시 작법인 기승전결 형태의 선경후정(先景後情)의 묘사법에 따라 「자장가」, 「파자마바람」에서 엿볼 수 있다. 둘째, 변주된 한시 구조의 형태로 가변적 병렬 반복과 축약된 병렬 반복으로 나눌 수 있는데, 가변적 병렬 반복은 도식적인 정형의 틀을 벗어나 다양한 변주에 따른 입체성을 나타낸 형태로 「사령」, 「폭포」에서 엿볼 수 있고, 축약된 병렬 반복은 한시 구조의 후반부를 하나의 연으로 축약한 형태로 「파밭가에서」, 「광야」에서 엿볼 수 있다. 셋째, 대칭적 병렬 반복은 전반부와 후반부로 나누어 전후대칭을 이루는 형태로 「눈」, 「여름뜰」에서 엿볼 수 있다. The aim of this study is to analyze the form of the parallel repetition of Chinese poetic structure in Kim Soo-young`s poetry. First, the form of parallel repetition of Chinese poetic structure is divided into two parts, the beginning and the end. It consists of 4 stanzas for introduction, development, turn and conclusion, which are regarded as the structure of the traditional Chinese poem. According to the way of description of Chinese poetry, Kim Soo-young mentions a certain situation in the beginning and expresses, concretely, the subjective emotion which is suitable for the situation in the end. "Lullaby" and "In One`s Pajamas" are good examples for this description. In "Lullaby", he depicts a baby`s cute look and the subjective emotion of the narrator who is looking at the baby. In the poem, "In One`s Pajamas", he satirizes the weakness and pretension of a lower-middle class citizen with the fragmentary talk of everyday affairs. Second, the form of the changed Chinese poetic structure can be divided into the flexible parallel repetition and the contracted parallel repetition. (1) The form of the flexible parallel repetition is made up of 5 stanzas, but it is summarized in 4 stanzas through consideration for the repetition of syntactic structure which appears superficially. Deviating from the schematic pattern, he shows many different variations. There are "Dead Soul", "From a Distance" and "Waterfall" as examples of this form. He expresses the strong will toward freedom through a connection between the beginning and the end in "Dead Soul", the mental frustration through the cognition of pain in "From a Distance", and strong belief and integrity through the vertical visualization of propriety in "Waterfall". (2) The form of the contracted parallel repetition indicates that a poem has 3 stanzas by contracting two stanzas of turn and a conclusion into 1 stanza. "In an Onion Patch" and "Wilderness" are good examples of this form. Kim Soo-young illustrates the phenomenological cognition of change and the phenomenon of love through the gradation and the structure of paradoxical proposition in "In an Onion Patch". He faces reality through the structure of inner conversation and the visual rhythm in "Wilderness". Third, the form of symmetrical parallel repetition indicates both the symmetry of the beginning and end as well as the relationship formation through combination and response as the fusion structure of mutual conflict and collision. "Snow" and "Summer Garden" are good illustrations of this form. "Snow" portrays the conscious recognition of the intellectual in action who rejects the daily repetition of a lower-middle class citizen through the metonymic structure of contiguity. As a variation of conflict structure, "Summer Garden" demonstrates the scornful and negative attitude of self-recognition under the pain of inner conflict and with reproach upon indecision.

오장환 시에 나타난 기독교 의식

신익호(Shin Ik-ho) 한국비평문학회 2008 批評文學 Vol.- No.28

This article aims at exploring the christian aspects in Oh Jang-Hwan's poetry. First, the narrative motive of the parable of the Prodigal Son shows the recognition of rebirth and unconditional and limited love from a father. The love of the father who never discriminates two sons, means that Jesus's death is based on the infinite love toward all mankind. In "Again, Midangri" of which the motive is also the parable of Prodigal Son, the poet forms the universal emotion and feeling with widely known writing materials and focuses on the unlimited love of a mother. Avoiding the desperate reality by calling imaginary mother away from home, he finds his real mother and reveals the reminiscence. Second, the ritual of a scapegoat throughout Jesus' cross, instead of offering the blood of an animal, means that the relationship between God and men was recovered. Men could be saved because Jesus accepted all of sufferings for men who must have died from the original sin. This ritual can be found in "Christmas" and "Song of Homecoming". The former implies the pity for the weak and the innocence of the eternal life. Mother deer's sacrifice is similar to that of a scapegoat and she suffers from the sin which doesn't belong to her but others. Third, the original sin resulted from the greed that men could be equal to creator by eating the apple from tree of knowledge of good and evil. It is not related to men's own will and is inherited by destiny. It appears in "The Ominous song", "The Last Train" and "Hallelujah". As the mixture of strange and unusual images in "The Ominous song" causes alienation and embarrassment, the tragic attitude about the original sin is found. "The Last Train" expresses the present view on the world and self inner world and reflects the depth of recognition and despair about present conditions through the sorrowful cries and scream about tragic fate.