서정주의 『꽃밭의 독백-娑蘇斷章』에 대한 정신분석학적 해석

오수엽(O, Su-yeop),정정순(Jung, Jung-soon) 한국어문학회 2017 語文學 Vol.0 No.136

Seo Jeong-ju’s poem, “Monologue at a Flower Garden,” has been interpreted in two ways. The poem is narrated in the first voice in a form of monologue by Saso. According to the myth, Saso is known as the mother of Bak Hyeokgeose, the progenitor of Silla Kingdom. The interpretation varies in accordance with the imagination of the speaker’s situation. If she is believed to be the mother of the progenitor, she belongs to the Godly world, and therefore the expression of “Open the door, flower” signifies the first speaker’s strong will to enter the eternity. However, if the speaker is simply identified as a woman who are in love but just sent into exile, the expression is interpreted as the speaker’s venture to overcome anguish. In this article, I attempt to reinterpret the poem by employing Lacan’s psychoanalytic theory. Saso’s trouble and anguish are derived from the realization that she has been subordinated to The Symbolic, where she compromises her self-fulfilling unity from The Real. Her interest in hunting “wild birds” and “wild boars” symbolizes the desire of Other, not herself. Now she lost her interest in them and wants to go into The Real where the signifiant of Other’s desire doesn’t defer. That’s why she is shouting “Open the door, flower” in front of flowers. Here, the flower is objet-a which symbolizes the imaginative object that represents Other’s desire. Therefore, this poem poses a psychological dilemma and inquires into the ontological condition of human being and the possibility of subjectification.

외상과 기표, 그 변증법적 주체화로서의 <가시리> 고찰 -트라우마의 상징화에 대한 정신분석학적 관점을 바탕으로-

오수엽 ( O Su-yeop ) 한국문학치료학회 2021 문학치료연구 Vol.59 No.-

이 연구는 정신분석적 외상의 문제를 중심으로 <가시리>의 서사 구조를 분석하고, 이러한 서사 구조가 독자의 문학적 카타르시스에 미치는 영향에 대해 논의하였다. 먼저 <가시리>에서 중층적 반복 구조를 보이는 ‘가다’ 기표를 통해 이별의 충격으로서의 외상적 실재가 만들어내는 반복적 충동의 양상에 대해 살펴보았다. 이후 ‘가다 → 잡다 → 보내다 → 오다’로 이어지는 기표의 연쇄 및 그 의미화 작용을 통해 외상적 실재를 변증법적으로 주체화하는 <가시리>의 ‘환상 가로지르기’에 대해 고찰하였다. <가시리>는 외상적 실재의 충격을 정신분석적 욕망의 윤리로 승화하는 주체성을 잘 보여주는 작품이다. <가시리>의 화자는 이별의 외상적 경험을 기표의 재현 체계로 봉합함으로써 서사적 진리로서의 새로운 환상을 발견하고 있다. 외상적 실재의 충격에 파괴된 과거의 환상에서 새로운 환상으로 횡단하는 과정에서 화자의 주체성은 재촉되며, 사랑하는 대상의 상실로 텅 비어버린 주체는 다시 욕망하는 주체가 된다. 한편 문학 감상의 전이 관계 속에서 <가시리>의 ‘환상 가로지르기’는 독자에게 문학적 카타르시스를 형성한다. 독자의 무의식이 <가시리>의 서사 구조를 바탕으로 외상적 실재의 야만성을 넘어 새로운 서사적 진리로 나아갈 때, 독자의 실재에 부착된 정동은 문학적 카타르시스로 분출된다. 이와 같은 정신분석적 문학 비평 담론은 정신분석 연구와 문학 연구의 상호 발전적 만남의 공간을 제공한다. This study analyzed the narrative structure of “Gasiri”, focusing on psychoanalytic trauma, and discussed the effect of this narrative structure on the reader's literary catharsis. First, in “Gasiri”, we examined the pattern of the repetitious drive created by the “traumatic Real” as the shock of a breakup through the signifier of “Go” showing a multi-layered repetitive structure. Subsequently, we considered the 'Traversing the Fantasy' of “Gasiri”, which dialectically subjects the “traumatic Real” through a chain of signifiers leading to “go → catch → send → come” and through its meaning. “Gasiri” is a work that shows the subjectivity of sublimating the shock of “traumatic Real” into the ethics of psychoanalytic desire. The narrator of “Gasiri” discovers a new “Fantasy” as a narrative truth by stitching the traumatic experience of separation into a system of reappearance of signifiers. In the process of traversing from the past fantasy destroyed by the shock of “traumatic Real” to the new one, the subjectivity of the narrator is urged, and the subject emptied by the loss of the loved object becomes the subject of desire again. In the transference relationship of literary appreciation, the “Traversing the Fantasy” of “Gasiri” forms a literary catharsis for the reader. When the reader's unconscious progresses to a new narrative truth beyond the brutality of the “traumatic Real” based on the narrative structure of “Gasiri”, the Affect attached to the reader's “Real” erupts into literary catharsis. This psychoanalytic literary criticism discourse provides a space for a mutual developmental encounter between psychoanalytic and literary research.

자기이해로서의 고전시가 교육 ―「처용가」를 중심으로

오수엽 ( O Suyeop ) 국어교육학회 2018 國語敎育學硏究 Vol.53 No.2

자기이해 교육에서 고전시가의 타자성이 유의미한 요소가 되기 위해서는 타자의 자기화 과정으로서 현재적 재맥락화가 필요하다. 이때 현재적 재맥락화란 학습자가 텍스트의 심층적 맥락과 자신 사이에 존재하는 동질성을 발견하고 이를 바탕으로 자신을 성찰함으로써 새로운 자기이해를 구성하는 과정을 의미한다. 「처용가」의 표층적 맥락에는 ‘주술 이데올로기에 기반한 역병 퇴치’가, 심층적 맥락에는 ‘상징화를 통한 불안 의식의 극복’이 내재되어 있다. 학습자는 「처용가」의 맥락을 자신의 현재 맥락에 투영함으로써, 자신의 일상과 그 바탕에 깔려 있는 이데올로기의 실체를 성찰하고 확장적인 자기이해를 마련하게 된다. 이처럼 학습자가 과거의 맥락을 반추하여 이를 현재 맥락에 적극적으로 개입시킴으로써 새롭고 확장적인 자기이해를 형성하게 되었을 때, 고전시가 교육은 인간과 세계에 대한 깊이 있는 이해로 나아갈 수 있다. In the educational field of classical poetry, for the concept of otherness to be meaningful, it is necessary for it to be re-contextualized in the present aspect as a process of self-reflection. Here, the meaning of the re-contextualization is the active process of discovering the homogeneity between the in-depth context of the text and learners. Within this homogeneity, learners can build up a whole new self-understanding through self-reflection. The superficial context underlying ‘Cheoyongga’ is ‘the eradication of human plague based on shamanic ideology,’ and the in-depth context is ‘overcoming of anxiety through symbolization.’ By reflecting on the context of ‘Cheoyongga’ in their current context, learners can think about their daily lives and the reality of the underlying ideology of their lives to develop an expanded self-understanding. The active intervention of the context from classical poetry into learners’ current lives can help learners expand their self-understanding. Consequently, classical poetry education can lead learners to a deeper understanding of human beings and their surrounding environments.

2015 개정 교육과정 고등학교 국어 교과서의 고전시가 단원 분석 연구

오수엽(O, Su-Yeop) 한국어문학회 2018 語文學 Vol.0 No.140

The purpose of this paper is to examine the aspects of the materials of classical poetry in the high school Korean textbooks of the 2015 revised curriculum. In particular, it aims to check the current state of classical poetry education as reader-centered literature through the process of analyzing the achievement standards of the works and their learning activities. This study examined eleven high school Korean textbooks published by 8 publishing companies based on the 2015 revised curriculum. Based on achievement standards, the analysis of the classical poetry units showed the classical poetry education was still conceived in the dimension of ‘tradition of Korean literature.’ While all eleven textbooks set the ‘tradition of Korean literature’ as the standard of achievement in the classical poetry unit, only four textbooks included achievement standards related to reader-centered literature. In addition, ‘Korean Literature Tradition’ was set as an independent achievement standard in most of the units, but the achievement standard related to reader-centered literature was included only in the compound unit combined with ‘tradition of Korean literature’. On the other hand, the analysis of the classical poetry unit based on learning activities revealed that the main learning element of classical poetry is the ‘formal characteristics of the genre and method of projection’ and ‘tradition and traits of Korean classical poetry’. This means that the perception of classical poetry education still remains in ‘a knowledge dimension such as literary tradition and characteristics of the genre’ and ‘text and author-centered interpretation’ rather than ‘aesthetic literary experience formed by reader’s experience and reaction’.