문학과 융합의 상상력 멀티포엠과 디카시(詩)의 전략

이상옥 ( Sang Ok Lee ) 한국현대문예비평학회 2011 한국문예비평연구 Vol.- No.35

This thesis aims at analyzing two contemporary aspects of Korean poems, known as multipoem and dicapoem. These two novel trends represent the ways Korean poems take to surviving in the era of socal network by adopting strategies of utilizing multi-media languages. Chang Kyong-ki, a leader in the multipoem society, proclaimed the first declaration of multipoems in August, 1996, and continued helping the new attempt settle and stabilize itself by holding several multipoem movements and events, such as, Digital Manhe Festival, Multipoem Academy, Multipoem Contests, Multipoem Exhibitions, and the Multipoem Performance Festival. However, although the multipoem movement is significant in that it has utilized computers and calls for change, it is still hard to define multipoem as a unique new genre because it focuses more on the outward expansion by bringing in the image poems on the internet, flash multimedia poems, large size poems, framed poems, and porcelain ware poems. On the other hand, Lee Sang-ok published the first dica (digital camera) poem book titled The Way to Kosung in 2004. He has ever since helped his development further grow and settle down by opening a net cafe, holding dica poem contests and festivals, publishing a dicapoem periodical, and hosting meetings for dica poems researches. In the early 90s, dica poems remained a simple subject in the minor culture, but gradually found its way in the medium of digital environment. Dicapoem had a challenge to answer the general question of compatibility between the picture images and the text, despite the undeniable characteristics lying in utilizing the digital cameras in creating poems. Despite the several problems the multipoem and dicapoem have posed, it is true that they both attract the public interest in that the two similarly command multi-media languages, transcending the mere letters. The multipoem actively utilize the multi-media while the dicapoem accommodate the digital camera images, a kind of basic multi-media language, in conjunction with letters. In this respect, they may well be both considered a new poetic genre in the multimedia era. There is a strong potential for both multipoem and dicapoem to naturalize as an indispensible genre in the digital era, particularly if more progressive theorists participate and develop sophisticated poetics.

자유주제 : 김현승 시의 변모 양상 -기독교 예정론을 중심으로-

이상옥 ( Sang Ok Lee ) 한국현대문예비평학회 2013 한국문예비평연구 Vol.- No.41

Kim Hyun Sung`s poems in his fifties show the thematic characteristic of solitude. As a poet of Christian metaphysics, he locates himself in a very unique place in the history of Korean poems. He individualizes Christianity and that is an ecology and a way of thinking in his poems. This study deals with his skepticism on Christianity before and after his fifties. The varying patterns of his poems are studied based on the Christian supralapsarianism in the category of three periods after the high blood pressure struck him,Kim Hyun Sung denies God in his fifties whom he believed in his entire life until then. His poems express that well. Born to a church minister, he shows panorama of conflicts with God. The conflict between absolutism and indeterminism is still going on in the two thousand history of Christianity. The varying patterns of his poems are as follows. The first period shows that he accepts God`s absolutism in the conflict with his free will as a poet. He finds it hard to acknowledge God`s absolutism in his strong self-consciousness as a poet. Poems showing such characteristics are “Portrait,” “Platanus,” “Talking about Love,” “Tree and a Long Way,” and “I Will Just Live.”The second period shows that he gets away from God`s absolutism and finds his own way of free will. He becomes a master of himself in the existential solitude. Poems of such characteristics are “Title,” “Disease,” “The Taste of Poems,” “The Solid Solitude,” “The Absolute Solitude,” and “The End of Solitude.”The third period shows that he seems to be victorious in his pursuit of free will after his separation with God. However, the high blood pressure attacked him and made him confess his faith in God in the acceptance of God`s absolutism. Poems of such characteristics are “The Last Day on the Earth,” “In a Country Church,” “The Songs of Weapon,” “The Tree,” and “On the Easter Day.”Likewise, he shows denial and acceptance of God in his poems. His direct experience of supralapsarianism helped him incarnate his belief in God well in his poems. His place in the history of Korean poems is distinct in this respect. It is worthwhile to look into his poems in the light of theology. He made it an ecology in his poems to deal with ongoing conflict between absolutism and indeterminism.

이상 시의 시간의식 연구

김대웅(Kim, Dae-woong),이상옥(Lee, Sang-ok) 한국어문학회 2016 語文學 Vol.0 No.133

This essay purposes to explain the consciousness on time in Lee Sang’s poems, focusing specifically on his poem, Strange Reversible Reaction. The argument will start from the obvious fact that the poet"s literature was based on the discovery of the material condition, called, the colony Gyeongsung. Through this discussion, what caused rejection and distrust for the time, which appear repeatedly in his literary texts, will be explained. Once, the modernist Lee Sang was dreaming of the perfect world of modernity. But the modern world he experienced was nothing but a cruel civilization with no vitality. As a result, he gave the death sentence to the world and tried to build up a new civilization. His literary texts will answer to the question, “Did the straight line kill the circle?”

[베트남 통신] 흥왕 기념일 짜빈 투어 - 메콩델타에 위치한 아름다운 해안도시

이상옥(Lee Sang-ok) 도서출판 작가 2023 쿨투라 Vol.- No.108

2000년대 후반의 ‘시와 정치’ 논쟁과 근대적 문학 관념의 아포리아

이상옥 ( Lee Sang-ok ) 한국문학언어학회 2017 어문론총 Vol.74 No.-

This essay aims to discuss the poetry and politics debate in the late 2000s from the viewpoint of aporia of modern literary ideas. The recent debate on poetry and politics needs to be examined seriously in terms of debates on the essence of modern literature. It is especially noteworthy as it shows the reality of Korean literature, which is trapped in a self-sufficient world while losing hostility (or tension) with politics. However, this debate, in which many poets and critics participated, ceased without yielding meaningful results due to several reasons. First, it did not raise questions about the modern literary paradigm, which is essentially aesthetic autonomy. Second, it did not expand into the reflective discourse on current Korean literature. The poetry and politics debate in the late 2000s was in fact concluded at the level of reaffirming the aporia of modern literary notions. Through this, we can see that the discussion of “poetry and politics” is idle without a fundamental question about the paradigm of aesthetic autonomy. In order to deal with the issue of “poetry and politics” or “poetry politics,” it is necessary to remember that it is a fundamental reflection on the nature of modern literature as aesthetic autonomy.

<조선농민사>와 <카프> 농민문학론의 창작 주체와 방법 연구

이상옥 ( Sang Ok Lee ),조난희 ( Nan Hui Jo ) 한국문학언어학회 2012 어문론총 Vol.56 No.-

In this paper, Concretely, it tries to talk that it considers about the Subject and Method of Creation in theories about Peasant Literature of ``Chosun Nongminsa`` and ``KAPF``. And these relate closely because of giving the peasant poetry for example. As to ``Chosun Nongminsa`` Peasant Literary Theory at first, the Subject of the Creation was the intellectual literary man. At the time of 1920`s in the above Illiteracy Rate 80% the thing of thought is no problem. After ``Chosun Nongminsa`` is recognized admitting the intellectual literary man or peasant. Afterward it admits only the peasant as the Subject of Creation in the Peasant Poetry. On the other hand, the ``KAPF`` Peasant Literary Theory did firstly the intellectual literary man about Subject of Creation and had to guide the peasant writer. Heo Munil who was the peasant as the Subject of Creation that did the creative activity around ``Chosun Nongminsa``. In the creating Method, it used the daily life poetic language of the peasant. It used the honorific ending sentence expressing the feeling of solidarity with peasant was used. And the early stage modern poetry form was accommodated and the form of (Dansi) in which 1 stanza of 1 line becomes one poem as the form of free verse was shown. On the other hand, Park Aji was the ``KAPF`` member and the intellectual literary man as the Subject of Creation. He was firstly injected the ideology injection by the Method of Creation. and he was used the ideological poetic language and the end of a sentence expressing the leadership was used. He was the form of free verse showing the literary accomplishments of the intellectual accommodated and he was it can deliver the ideology well it showed the form series of poetry(Yeonjaksi) shown. Therefore, we could know from the Peasant Poetry of the peasant poet Heo Munil and intellectual poet Park Aji to be changed according to the Subject of Creation till Method of Creation. The Subject and Methods of Creation have been continuing as two kind of tendency into the contemporarily reality-oriented poetry. This can do in being the importance of the this paper.

[베트남 통신] 한인타운 푸미흥은 거대한 대한민국의 홍보관

이상옥(Lee Sang-ok) 도서출판 작가 2023 쿨투라 Vol.- No.106

1940년대 국민문학의 모호성과 텅 빈 기표의 정치성

이상옥 ( Sang Ok Lee ) 한국문학언어학회 2014 어문론총 Vol.62 No.-

Unlike existing common idea, the national literature of colony period is a very ambiguous concept. In the process of establishing its connotation intention and extension, numerous confusion arose. However, in existing discussion, the fact that the national literature had been a state of confusion consistently wasn``t treated importantly. Meantime have we understood the national literature narrowly? If so, what does the contemporary different in kind interpretation mean? How do we interpret a decent number of literatures which aren``t exposed the political intension superficially. Especially many literatures which came out in the end of colony were almost pure literatures, not were exposed the political intension directly. After the Pacific war that made the current situation change completely, pure literatures that weren``t exposed the current situation had been come out. However, from the point of contemporary, nonpolitical literatures weren``t considered as noncooperative literatures. If anything, enlightening literatures with political overissues were criticized as the literatures that are deficient national awareness. From the point of contemporary, not only the dichotomy of pure literatures and political literatures were meaningless but also impossible. The boundary between literature and politics didn``t exist.

근대적 문학 관념과 국민시의 난점-『국민시가』(1941~1942)를 중심으로-

이상옥 ( Lee Sang-ok ) 한국문학언어학회 2018 어문론총 Vol.78 No.-

This article aims is to discuss the poetry magazine National poetry(國民詩歌) that began in the first half of the 1940s in terms of incompatibility between literature and politics. In particular, it focuses on the difficulty of establishing national poetry as a key literary concept at the end of the Japanese colonial period, paying attention to the fact that National Poetry was founded for the purpose of building a national poetry in the process of establishing a national state system. As a result, unlike the aforementioned purpose of National poetry, this article revealed the reason why many non-state poems that did not respond positively to the political demands. This result is meaningful in that it provides an opportunity to more comprehensively understand the national poetry of the late period of Japanese imperialism, beyond the existing discussion on it.

[베트남 통신] 베트남에서 만나는 글로벌 코리아 - 한국으로 유학 오는 것이 꿈

이상옥(Lee Sang-ok) 도서출판 작가 2023 쿨투라 Vol.- No.103