순수시의 상호작용ㆍ金永郞과 朴龍喆

김용직(Kim Yong-jik) 한국시학회 2004 한국시학연구 Vol.- No.10

This paper is to study two major ´Si-mun-hak' school poets, Kim Young-rang and Park Yong-chul, who take important positions in the history of Korean Poetry. It is noticeable that they both are from Honam and study together in Seoul and Yomiuri Institute, Japan. Thus we can say that they compose pure poems under the base of mutual emotional bondage. They publish monumental poems in the history of Korean poems just after and before the first publication of Si-mun-hak, and this process we can notice friendship and close literary bondage between them. Both of them are composers of pure poems, however, a close examination indicates that they have their own independent characteristics. Though Kim Young-rang starts from a composer of pure poems, small notices could be found that he accepts historical consciousness, awareness of the contemporary situation, and ethnic emotion. On the contrary Park Yong-chul is romantic and mostly publishes melpoems, which shows that he is under the influence of Kierkegaard, a Danish philosopher. This melancholy sense demonstrates his poetic colour, to stick with pure poems due to the lack of present situation. Park ,Yong-chul a scholar of German Literature, is different from Kim Young-rang who wants to concretize the world of folklore and ethnic emotion Park Yong-chul is interested in the current of the poems worldwide, is deeply embedded in romantic world, and attempts to revitalize the poems in his own way.

한국문학(韓國文學)과 형이상시(形而上詩)의 전통(傳統)

김용직 ( Kim Yong-jik ) 한국어문교육연구회 2006 어문연구(語文硏究) Vol.34 No.4

現代詩論에서 形而上詩는 觀念詩를 지양, 극복한 것을 가리킨다. 西歐의 경우, 17세기 영국의 形而上派 詩人들로 대표되는 形而上詩에서는 사상·관념의 내용에 남녀간의 애정이 흔하게 나온다. 그러나 韓國의 形而上詩에서 그것은 철저하게 第一原理에 관계되는 것을 뜻한다. 가령, 韓國 古典文學期의 形而上詩는 漢詩를 쓰던 性理學者 李退溪, 李栗谷 등의 文人들에 의해 매우 빈번하게 발표되었다. 李退溪의 時調·漢詩에는 儒學의 敎養을 바탕으로 한 道學的 世界가 노래된 것이 매우 많다. 그리고 現代文學期의 形而上詩를 대표하는 것이 萬海의 作品이다. 그의 시집 『님의 沈默』에 수록된 대부분의 作品은 불교의 근본 원리를 다룬 것이다. 그 가운데 하나인 「알 수 없어요」는 불교의 세계관 가운데 핵심이 되는 緣起說에 그 생각의 바탕을 두었다. 韓龍雲은 그런 사상, 관념을 객관적 상관물을 통하여 ‘장미의 향기’처럼 느끼게 만들었다. Korean literature has developed and formed its peculiarity as a part of East-Asian literature for a long period of time. Metaphysical poetry in Korean literature differs from the one in Western literature. Metaphysical poetry of Western literature which is represented by 17th century's poets has focused mainly on the love between man and woman. However, it is exclusively related to the first principle in Korean metaphysical poetry. That is, metaphysics in this context was strictly under the principle of ontology. Metaphysical poetry during the classical period of Korean literature was written by poets who was writing Chinese poetry. They are represented by the rationalists such as Yi, Toy-gye(李退溪) and Yi, Yool-gok(李栗谷). Many of Toy-gye's poem and Chinese poetry dealt with moral philosophy based upon the culture of Confucianism tradition. Metaphysical poetry during the modern period of Korean literature is represented by Man-hae, Han, Yong-woon(韓龍雲). He was a presti- gious and famous Buddhist monk. Most of works included in The Silence of My Lovers dealt with the meditation knowledge he acquired during his Buddhism training period. One of them, Not Knowing was based on the one of the Buddhism's main world views. Han, Yong-woon made his thought and philosophy like a “Odor of Rose” as referred by T. S. Eliot through The Metaphysical poets, Yong-woon expressed his deep thought and philosophy successfully in his own particular way. His poems are the most valuable treasure in Modern Poetry history of Korea.

한국현대시 해석과 전통문학의 감각 : 한시(漢詩)의 경우를 중심으로

김용직 국어국문학회 2004 국어국문학 Vol.- No.138

The purpose of this work is to study the relationship between Modern Korean poetry and Classical Korean poetry in Chinese. Classical Korean poetry in Chinese has a history of more than 2,000 years. In the Koryo and Choson period, Chinese characters were central to the culture of Korea. At that time, a lot of classical Korean poems in Chines were written by the educated class, some of them were superior to Chinese poems. In the Modern period, Korean poetry strongly had the Western impact. As the result, the modern poetry of the West such as Great Britain, Germany, France, Russia, the United states and so on was imported and translated. Since then, Korean poets has written the modern poetry within the discontinuity of the tradition of classical Korean poetry in Chinese. This tendency that prevailed not only in the poetics but in the criticism resulted to various problems of the interpretation in modern poetry of Korea. Han yong-un is one of the most important poets in the history of modern poetry in Korea. When he was young, he studied Chinese letters and read some Chinese works. When he was grown up, he became a buddhist monk. He remained many excellent classical Korean poems in Chinese, based on the study of the Buddhist scriptures, because most of Korean buddhist monks had to learn the Buddhist scriptures through the Chinese letters. He also wrote a lot of beautiful Korean poems, <Al-soo-upseoyo (I don't Know)> is one of his masterpieces. The last part of this poem is as follows. Burn ashes become fuel again. My endlessly burning heart, whose night does this flickering lamp illumine? A Korean critic interpreted these lines as a 'Love song'. But we can realize this is a wrong interpretation when we carefully look up his classical Korean poetry in Chines. Most of the classical Korean poems in Chinese written by Han yong-un reflected the Buddhist thought and spirit. Those are metaphysical poetry.<Al-soo-upseoyo (I don't Know)> is one of the metaphysical poetry. Some of Korean critics, however, misinterpreted this poem as a 'Love song' because of the influence of the West, which has lots of love songs in its literature. It may be a new direction in poetics to analyze the structure of classical Korean poetry in Chinese. The theory of metaphor has been studied actively in modern criticism of the West. P. Wheelwright defined the metaphor is the combination of the two elements and a juxtaposition. He tried to analyze one of E. Pound's poetry, In a Station of th Metro as the example. The apparition of these faces in the crowd; Petals on a wet, black bough 'Apparition' and 'petals' are juxtaposed in these two lines. The modifying phrases of them have the same pattern. But it can be differently interpreted from the standpoint of the characteristic of respective words in the lines. In the first line, 'these faces defined by 'the crowd' is noun(pronoun) but 'wet' and 'black' in the second line are the adjective form. So these lines are not the complete juxtaposition grammatically. If we know 律詩 (Lu shih, Regulated verse), one of the forms of classical Korean poetry in Chines, the problems we faced here can be overcome. 律詩 consists of 8 lines. Line 3, 4 and line 5, 6 are strictly formed as a couplet. This is line 3, 4 of 黃眞伊(Whang Jin-i)'s poem, <奉別蘇判書世讓>(Bong Byul So Panseo Se-yang, Parting from a Lover), in the period of King Joongjong in the Choson dynasty. 樓高天一尺 In the pavilion that soars into the sky 人醉酒千觸 We have got drunk over many cups of wine The pattern of the third line is Noun+Modifier+Noun+Modifying phrase and the forth line has the same pattern. The strict rule of a couplet is kept. This two lines are juxtaposed not only in the form but also in the context. This strict juxtaposition relates organically to the meaning structure of this poem. It is impossible to use the strict juxtaposition by the Korean language and the Western languages - English, German, French, Italian, Russian and so on. 律詩, however, shows lots of examples of the strict juxtaposition in the theory of metaphor. We can have the meaningful outcome in the understanding of Korean poetry when we understand the tradition of classical Korean poetry in Chinese.

「感情의 誤謬」와 그 批評理論으로서의 限界

金容稷 단국대학교 인문대학 국어국문학과 1975 國文學論集 Vol.7-8 No.-

여기서 우리는 물론 스필러의 목소리가 너무 感情的이라는 사실을 지적할 수는 있을 것이다. 그러나 달리 생각한다면 그의 흥분에도 결코 까닭이 없는게 아니다. 「感情의 誤謬」가 「意圖의 誤謬」와 함께 作品을 그 自體로서 다루고자 한 試圖으 표현임을 우리는 시인한다. 그리고 그런 범위내에서 또한 거기에는 그 나름의 眞實이 있음을 인정할 수 있는 것이다. 그러나 우리에게 문제인 것은 어떤 批評理論이 어느 정도 그 나름의 독특한 體系를 가졌는가 하는 사실이 아니라 그것이 作品의 評價와 理解에 어느 정도로 도움이 될 수 있을까 하는 점이다. 새삼스레 밝힐 것도 없이 批評은 批評을 위해서만 그 存在價値를 가지는 게 아니라 文學의 이해와 意味把握을 위해서 존재한다. 그와같은 관점에서 볼때 「感情의 誤謬」역시 그나름의 限界를 가진다. 스필러의 격한 發言이 반드시 空疎하게만 들리지 않는 까닭이 그런데 있다 할 것이다.

韓國 프로文學의 이데올로기 追求過程에 관한 硏究

金容稷 서울대학교 사회과학연구소 1982 社會科學과政策硏究 Vol.4 No.3

韓國 現代詩에 끼친 Leaves of Grass 의 影響

金容稷 서울대학교 교양과정부 1970 論文集 Vol.2 No.-

傳統的文法에 의한 文藝批評의 理論과 實際

金容稷 서울대학교 교양과정부 1972 論文集 Vol.4 No.-

現代韓國의 浪漫主義詩에 關한 硏究

金容稷 서울대학교 1968 서울대학교 論文集 Vol.14 No.-

1. This paper is mainly concerned with tracing romantic trend in modern korean poetry and pointing out its characteristics. I believe such an effort will be conducive to a survey of modern Korean literature. 2. In my opinion, romanticism in modern Korean poetry dates back to the later years of the 1910's. So far some critics has mistaken romanticism of an early stage for symbolism. According to their opinions of these reviews, the poems by Choo Yo Han(朱耀翰), a typical poet of that period, are symboliste. But I regard them as romantic, on the ground that passion and impulse play the most important part in them. 3. Choo Ho Han found followers in the poets of the Peho(the Ruins). Usually they are regarded as decadents, but such poets among them as Oh Sang Soon(吳相淳) and Nam Goong Byuk(南宮璧) are romanticist rather than decadents. 4. The Peho was followed by the Baikjo(the White Tide). The poems published in the Baikjo areas is well known, romantic. 5. The romantic poetry played the most important role in modern Korean literature from the 1910's till the 1920's. Major poets of that period are Choo Yo Han, Kim Ok(金億), Kim So Wol(金素月), Kim Suk Song(金石松), Lee Sang Hwa(李相和) and Park Chong Hwa(朴鍾和). 6. The romantic poetry of the period declined with the rise of Korean proletarian poetry.

正常 姙婦의 肺機能에 關한 硏究

金容直 충남대학교 의과대학 지역사회의학연구소 1978 충남의대잡지 Vol.5 No.2

To investigate the effect of pregnancy on the pulmonary functions, vital capacity, maximum voluntary ventilation, maximum midexpiratory flow and timed vital capacity were measured in the same age ranged 17 healthy non-pregnant and 35 pregnant woman of 28 to 43 weeks gestation. The results summaryzed are as follows: 1. The mean values of age, height, body weight and body surface area in experimental groups were 27. 5 years, 157.1Cm, 50. 3kg and 1.49m² in non-pregnant women, while 27. 0 years, 157. 1Cm, 58.0kg and 1.58m²in 28∼35 weeks gestation, 25. 9 years, 156. 5 Cm, 58. 3kg and 1.58m² in 36-43 weeks gestation. 2. The vital capacity was 3335±107m1 in non-preagnant woman, while 3496±84m1 28∼35 weeks gestation and 3234±85m1 in 36∼43 weeks gestation. 3. The maximum voluntary ventilation was 105.6±3.6L/min in non-pragnant women, while 101.9±4.9L/min in 28∼35 weeks gestation and 97.1±3.7L/min in 36∼43 weeks gestation. 4. The maximum mid-expiratory flow was 200.1±10.3L/min in nonpregnant women, while 209.0±8.1L/:min in 28∼35 weeks gestation and 202.7±11.7L/min in 26∼43 weeks gestation. 5. Timed vital capacity in the first second was 84.1±1.0% in nonpregnant women, while 83.2±1.0% in 28∼35 weeks and 84.7±0.9% in 36∼43 weeks gestation.

단독주택의 에너지효율 등급설정 및 인증기준(안) 연구

장용성,홍성희,박효순,서승직 대한건축학회 2004 대한건축학회논문집 Vol.20 No.12

This study aimed to make out certification criterion and establishment of the energy efficiency rating of a detached house To this end, we surveyed the energy consumption and plan type of a existing detached house And we also set a reference house throughout a investigation data and developed simple energy analysis software program for a energy performance evaluation of a detached house A energy efficiency rating of a detached house was established by a comparison and analysis of heating energy simulation result according to variation of the U-value of a window and construction, ratio of a window area, setting temperature of a room and air change of rate