자유주제 : 김기림과 박인환의 여행의식 비교 연구

박호영 ( Ho Young Park ) 한국현대문예비평학회 2010 한국문예비평연구 Vol.- No.33

한국 현대시에는 여행시에 속하는 작품들은 많다. 1908년 현대시 출발 이후 식민지 상황이나 한국전쟁 등 비극적 현실을 체험한 시인들이 현실을 떠나길 염원한 데서 여행이 시인들의 의식 속에 깊게 자리잡은 까닭으로 풀이된다. 그 중에서도 여러 작품을 통해 여행의식을 보인 시인이 김기림과 박인환이다. 두 시인은 각각 식민지 상황인 1930년대와 전후 상황인 1950년대를 대표하는 모더니즘 시인이라는 점에서 여행의식도 비교할 만한 가치가 있다. 김기림은 기행시를 비롯하여 여행시를 많이 쓴 시인이다. 그의 언급에 의하면 세속적인 번루를 벗어나기 위해 여행을 했다고 한다. 그의 여행은 가고 싶지만 갈 수 없는 유토피아 지향의 성격을 띠며, 그 공간은 주로 `바다`로 나타난다. 그가 이렇게 바다로의 여행을 꿈꾸는 것은 현실이 만족스럽지 못하기 때문이다. 융의 말을 빌리면 `상실된 거모성`으로부터의 여행이 그의 여행이라고 할 수 있다. 이 상실된 거모성은 두 가지 측면에서 그 원인을 생각해 볼 수 있는데, 하나는 어머니와 누나, 부인과의 이별 내지 사별에서 오는 모성 콤플렉스의 결과이며, 다른 하나는 어린 나이에 떠나온 바닷가 고향에 대한 그리움과 조국 상실의 식민지 현실이 그것이다. 김기림의 여행이 유토피아 지향으로서의 여행이라면, 박인환의 여행은 행선지가 제시되지 않은 막연한 떠남이다. 그의 시에 빈번히 등장하는 `죽음`까지도 `영원한 여행`으로 인식할 때 `떠남`은 그의 시를 지배하는 정서라고 할 수 있다. 그의 인생관을 파악하기 위해 주목할 시어는 `거저`인데, 이것은 `아무 생각 없이` `별로 신기함 없이`란 뜻으로 무엇에도 특별한 의미를 두지 않으려는 그의 삶의 태도를 집약한 것이다. 인간의 존재방식이 자유로운 입장에서 선택하게끔 운명지어졌다는 실존주의적 사고의 반영이라고 할 수 있다. There are many travel poems in modern Korean poetry. This is derived from the fact that since the modern Korean poems began in 1908, those poets who had experienced the tragic reality of Japanese Imperialism and the Korean War had a strong desire to leave their reality and such a desire was deeply embedded in their consciousness. Among those poets, Kim, Gi Rim and Park, In Hwan specially showed their sense of travelling through various poems. As Kim represents the poets of the 1930s (the period of Japanese Imperialism) and Park represents the poets of 1950s (post-Korean War period), their senses of travelling deserve to be compared. Kim wrote numbers of travel poems. From what he said, he travelled to escape from the worldly troubles. His journey aims at the utopia where he wants to go but could not to go, and its destination is usually the `sea.` His dream on the journey to the sea is a result of the unsatisfactory reality. According to the theory of Carl Gustav Jung, Kim`s journey is originated from the `lost Motherhood.` His lost Motherhood seems to arise from two main causes. The first is the maternal complex caused by the bereavement or separation from his mother, sister and wife. The second causes are his longing for the coastal hometown where he left in his boyhood and the colonial reality from losing his fatherland. Unlike Kim`s Journey which aims at the utopia, Park`s journey is the indefinite departure in which there is no clear destination. Considering the `death` which Park often represents in his poems as an `eternal journey`, the concept of `leaving` is a dominant sentiment in his poems. To grasp Park`s attitude towards life, the term `geojeo(거저)` should be examined. `Geojeo` means `with no definite idea` or `without not much surprise`. This terminology is an integration of attitudes regarding existential Nihilism which does not provide special meanings to anything.

이원섭 시 연구

박호영(Park, Ho?young) 한국시학회 2013 한국시학연구 Vol.- No.37

이원섭은 시단 데뷔 때부터 노장 사상의 영향을 받은 작품을 발표하였고, 두 번째 시집이자 마지막 시집인『내가 뱉은 가래침』에 이르러서는 화두까지 제시하며 불교 철학을 시를 통해 전달하고자 한 시인이다. 한 편의 시가 철학성을 지닌다는 것은 독자들에게 삶의 좌표를 깊이 있게 제시할 수 있다는 점에서 고무적인 일이다. 그런 점에서 그는 주목해야 할 시인이다. 그러나 그에 대한 본격적인 연구는 거의 이루어지지 않은 실정이다. ?箕山賦? ?竹林圖?를 통해 선보인 그의 시의 지향점은 ‘기산’이나 ‘죽림’ 과 같은 이상향에 대한 동경이었다. 그가 ‘도화원’이란 이상향을 설정한 도연명에 대한 글을 두 번씩이나 발표한 것도 이와 무관하지 않다. 그러나 한국전쟁 전후에 그가 겪은 개인적인 비극은 그로 하여금 절망감을 안겨주었고, 그는 그 트라우마의 극복을 위해 기독교 세계에 관심을 갖게 되었다. 첫 시집 『響尾蛇』에는 당시의 절망감과, 기독교에 영향을 받은 원죄의식이 반영되어 있다. 1960년대 중반 이후 그는 다시 동양적 세계, 특히 불교의 세계로 회귀하게 된다. 물론 『향미사』에서나 그 이후 발표한 글에서도 불교적 관심의 편린을 찾아볼 수 있지만, 1960년대 말이나 1970년대에 이르러 그는 본격적으로 불교에 대한 애착을 보인다. 기독교에 회의를 가지게 된 것은 기독교가 전제적(專制的)이라고 생각한 데에서 기인한 것 같다. 그러나 불교에만 경사된 것이 아니라, 그는 사회에 대한 비판의식도 아울러 지니고 있었다. 이러한 의식의 배후에는 『유마경』이나『당시(唐詩)』 등의 영향이 크다. 『내가뱉은 가래침』은 사회에 대한 불만의 축적물이라고 할 수 있다. 그러나 그는 ‘가래침’을 여과 없이 토해내지 않았다. 불교의 교리나 화두를 빌어 우회적으로 그에 담긴 철학을 전달하고자 한 것이다. 공(空) 사상이나 평등사상은 그 철학의 주축을 이룬다. 만해 한용운으로부터 이어지는 철학적인 시의 맥을 위해서도 앞으로 그의 시에 대한 전반적인 연구가 행해져야 하리라 본다. Since launching his career as a poet, Lee Won?sub(Lee) had published poems influenced by the ideology of Taoism. In his second and last collection of poems My Spit(『내가 뱉은 가래침』), Lee even tried to deliver Buddhology through his poems by suggesting ‘Hwadu’[‘Hwadu’ is a special language of Seon masters that blocks all passages for thought and discrimination]. It is noteworthy that Lee provided guidelines of life to the readers by delivering philosophy through poems. However, his works have not been rigorously and earnestly studied until now. Lee’s poetic goal revealed through Gisanboo(?기산부?) and Jookrimdo(?죽림도?) was the admiration on Utopia such as ‘Gisan’ and ‘Jookrim’. In this vein, it is understandable that Lee published twice an essay on Tao Yuanming who set the Utopia of Dohwawon. However, his personal tragedy during the Korean War era drove him to despair and that made him draw attention to Christianity for getting over the trauma. In his first collection of poems Hyangmisa(『향미사』; Hyangmisa referred to rattlesnake.), Lee’s despair and original sin from Christianity are reflected. After mid?1960s, Lee returned to the oriental world, especially to the world of Buddhism. His interests in Buddhism can be observed even in Hyangmisa(『향미사』) or his work afterwards. Lee started to reveal strong attachment to Buddhism from the late?1960s and 1970s. Lee became skeptical about Christianity as he started to consider Christianity as autocracy. Nevertheless, he was not only biased to Buddhism, but also critical?minded about social issues. This was influenced by Yoomakyung(『유마경』) and Thangsi(『당시』). My Spit(『내가 뱉은 가래침』) can be interpreted as an accumulation of social discontent but Lee did not express his complaints without filtering. He tried to deliver Buddhology via ‘Hwadu’ and religious doctrine of Buddhism. Thoughts of nothingness and equality are the mainstream of Buddhology. To continue the legacy of philosophical poems from Manhae Han Yong?woon, rigorous and overall studies on Lee should be progressed.

「유선애상」에 대한 시 해석의 방향

박호영(Park Ho-young) 한국시학회 2011 한국시학연구 Vol.- No.31

The paper provides a direction for interpreting Jeong, Ji-yong’s poem Yuseon -aesang(Yuseon -aesang means ‘sadness for streamlined shape’ in Korean.) which is known for its difficulty in interpretation. It may be reckless since its interpretation is controversial even among scholars. Prior concern in interpreting the text of Yuseon -aesang is the transfer of the information about cultural backgrounds of 1930s. To find the material of the poem, particularly it is essential to know how ‘the streamlined shape’ was viewed by the people at the time. For this, previous researches that provide detailed information regarding ‘the streamlined shape’ will be in use. Based on previous researches, it is figured out that modern people preferred streamlined materials as they are considered to have speed and beauty. Especially to modern girls and boys at Gyeongseong (Gyeongseong is an old name of Seoul.), streamlined automobiles were the object of envy. Observed from the poem and the result from the previous researches, it is reasonable and natural to consider an automobile as a subject of streamlined material. Moreover, because Jeong criticized and negatively viewed the trend of ‘the streamlined shape’, he expressed the emotion of sadness to the automobile. As an extension of his consciousness, he pursued the realm of the landscape poetry after publishing Yuseon -aesang. This paper tried to avoid arbitrary interpretation. In the explanation of words and clauses, the paper defined them in comparison with other texts. Consequently it is summarized as follows: The speaker of the poem felt sorry for the gentlemanlike streamlined automobile which was treated disrespectfully. So, to enjoy the drive, the speaker called a taxi which is a car kept for business. The taxi, however, was worn out and it even had a problem from starting to drive. As the car made smoke and noise, the plan to go to Chuncheon was abandoned and stopped at the flower garden. By turning off the car, it became calm.

일반 논문 : 김광섭 초기시의 낭만적 특성 연구 -환상과 유토피아를 중심으로-

박호영 ( Ho Young Park ) 한국어교육학회(구-한국국어교육연구학회) 2010 국어교육 Vol.0 No.132

Although Kim, Gwang Sub confessed himself about the influence of English Romanticism in his works several times, his romantic vision has not been thoroughly researched. The reasons include Kim`s ideological impressions which were revealed in most of his poems, and his national and resistant activities under the Japanese Imperialism such as the denial of the established social system and the experience of imprison which relatively put his romantic poems in the shade. Above all, his poetic vision has not been studied by focusing on fantasy and utopia. As Kim`s early poems notably contain his romantic vision, and fantasy and utopia are essential for studying it, his romantic vision in early poems should be studied on the basis of the concepts of fantasy and utopia. Kim wrote a poem titled Fantasy and mentioned the word in several poems. The concept of utopia is also presented as spatial background such as `sea` and `house`. His fantasy and utopia are based on the liberation from the reality of colonization like other poets in 1930s including Kim, Young Rang, Lim, Hak Soo and Jang, Man Young. Although Kim recognized the impossibility of realizing dream and ideal, he pursued the world of romantic irony through fantasy where dream and ideal exist. Darkness and night which connote upcoming morning are fantasized in Kim`s poems with the influence of Shelley`s idealism. In addition, his utopia contains the pursuits of past-orientation and future-orientation. The appearance of `sea` is the element showing his past-orientation that he seemed to have nostalgia for his plentiful hometown in the seaside. Kim`s future-orientation is appeared in `country` or `house` that those places mean beautiful world away from the reality which he cannot ultimately reach. As Kim`s poetic vision through fantasy and utopia under the Japanese Imperialism has essence in the liberation from the reality, it can be explained as the response against Japan. In this sense, his vision contains the periodic value. Generally, Kim is often called as a national and resistant poet because of his experiences like imprisonment. This way of interpretation is understandable. However, by closely considering his romantic vision, Kim`s poetic vision will be completely revealed and so a balanced view on Kim`s poems is successfully established in the history of Korean poetry. This is the aim of this paper focusing on fantasy and utopia in Kim`s early poems.

당단백질의 분석 방법과 적용

박호영,Park, Ho-Young 한국식품연구원 2011 食品技術 Vol.24 No.1

해외 기술: Metabolomics : 식품기술의 현재와 미래

박호영,Park, Ho-Young 한국식품연구원 2010 食品技術 Vol.23 No.2

석탄화염의 층류 화염속도

박호영(Ho Young Park),김시문(Kim Si Moon),안달홍(Dal Hong Ahn),김종진(Jong Jin Kim) 대한기계학회 2002 대한기계학회 기타 간행물 Vol.2002 No.11

Wavelet Transform을 이용한 충격력을 받는 회전하는 외팔 보의 진동 특성 해석

박호영(Park, Ho-Young),유홍희(Yoo, Hong-Hee) 한국소음진동공학회 2008 한국소음진동공학회 논문집 Vol.18 No.10

The vibration characteristics of a rotating cantilever beam undergoing impulsive force are investigated using wavelet transformation. The transient response induced by the impulsive force and the rigid body motion of the beam are calculated using hybrid deformation variable modeling along with the Rayleigh-Ritz assumed mode methods. The vibration characteristics of the beam can be analyzed in time-frequency domain with the wavelet transform method. Therefore, the effects of the impulsive force on the transient vibration characteristics of the beam can be investigated more effectively.

줄질잔사유 적용시 발전플랜트의 에너지 수지 및 성능 변화 분석

박호영(Ho Young Park),김태형(Tae Hyung Kim) 한국에너지학회 2008 에너지공학 Vol.17 No.2

매체연기 특성 연구

박호영(Ho-Young Park),민경원(Kyung-Won Min) 한국콘텐츠학회 2011 한국콘텐츠학회논문지 Vol.11 No.8

무대연기와 매체연기는 매체의 특성상 연기 표현 방법이 확연히 다르다. 그렇지만 연기 기초를 이루고 있는 연기자 내면의 진실이 변형되는 것은 결코 아니다. 연기자 내면의 연기는 무대연기와 매체연기에 공통적으로 적용 된다. 그럼에도 불구하고, 매체연기는 장르적 특성상 무대연기에 비해서 좀 더 섬세하고 자연스러운 연기를 요한다. 매체연기는 스크린을 통해서 무대연기보다 훨씬 더 디테일하고 확대 되어 보이기 때문이다. 이러한 매체연기의 표현특성을 어떻게 하면 무대연기의 표현방법과 차별화시킬 것인지를 연구하는 것이 본 연구의 목적이다. 본 연구를 통해서 매체연기를 학습하는 학생 또는 전문배우가 감정이나 행동을 표현하는데 있어서 매체의 특성을 반영한 리얼한 생활연기를 보여줄 수 있는 매체연기 표현 방법을 제시하고자 한다. 매체연기 훈련에서 제시하는 다양한 표현방법은 매체연기를 도전하는 배우가 내면의 진실을 프레임 안으로 자연스럽게 끌어들이는 훈련을 통해 성과를 낼 수 있을 것이라 기대한다. 또한 매체연기에서 요하는 섬세하고 디테일한 연기 스타일을 구축 할 수 있는 기회와 더불어 무대연기와는 차별화된 연기 스타일을 발견하게 될 것이다. Due to media’s characteristics, the methods of acting expression in stage differ from that in media. However, actors playing in either genre use the same internalization as the basis of their performance. The acting arising from actors’ internalization is the same in stage acting and media acting. Nevertheless, media acting, by its genre characteristics, requires a more delicate and natural acting than that in stage acting. Such is because media acting shows a far more detailed and amplified performance that is shown on screen. The purpose of this research is to examine how to differentiate the expression characteristics of media acting from the expression methods of stage acting. Through this research, I attempt to present the expression methods of media acting that can show real life acting reflecting media’s distinct characteristics, with the aim of benefiting students who practice media acting or professional actors. Diverse expression methods presented by training of media acting are expected to enable actors engaged in this field to produce excellent outcomes through acting training to successfully bring out a realistic and convincing performance through internalization. And together with the opportunity to build delicate and detailed acting styles that are required in media acting, acting styles that are differentiated from those in stage acting will also be discussed.