한국 현대 여성시에 나타난 제국저의의 남근(Phallus) 읽기

김승희 한국여성문학학회 2002 여성문학연구 Vol.7 No.-

The purpose of the present thesis is to explore the problem of the persecution of women in the Korean female poets poems from the viewpoint of postcolonial feminism. The problem of women's persecution in the Korean female poetry cannot be assessed only by the interpretation of imperialistic assault of the phallus. It should be analyzed within the context of multi-discourse of the Korean patriarchal ideology, traditional sex discrimination, the modernization process of the Korea assisted by imperialistic powers, global capitalism, and nationalism. Thus the present paper examines how imperialism and nationalism, along with patriarchal capitalism, are largely responsible for the Korean women s persecution by drawing on various texts. It analyzes Ko Jung-hee's "The Spring of Chirisan" and "Declaring Women's Liberation" which most poignantly and successfully indict the imperialistic powers in the Korean history and modernization process. It also deals with the sufferings of Asian women who have been forced to play only a minimal role in the capitalistic market economy by the imperialistic phallus powers, referring to Ko Jung-hee's serial poem Rice and Capitalism." Using the text of Kim Seung-hee' s Mother Standing Outside the Door," the paper also explores how the discourse of the “homogeneous” nationalism ostracizes women's body already impaired by the imperialistic powers, It reads the body' of Yun-gum, who is brutally murdered by a mentally deranged American soldier, as the allegory of the nation doubly colonized. Finally, it calls for the attention to the postcolonial feminism by examining the seductive appellation mechanism in the age of global capitalism and telecommunication where the imperialistic pop culture is already invading. 한국 여성시에 드러난 '여성 수난'의 문제는 제국주의라는 하나의 층위에서만 분석될 수 없다. 여성의 수난은 세국주의의 공걱적이고도 님근중심적인 침틸에시만이 이니리 한국내의 가부장제 이데올로기와 전통적 성별 의식, 제국의 경제적 도움으로 시작된 한국의 근대화 과정, 전지구적 자본제와 민족주의 담론 안에서 중층적으로 함께 고찰되어야 할 사항이기 때문이다. 이에 본고는 한국 현대 여성 시인 중에서 한국 역사와 근대화 과정 속에 드러난 제국주의적권력을 가장 날카롭게 고발한 고정희 시인의 시 텍스트, 「지리산의 봄」,과 「여성 해방 출사표」에서 제국주의와 민족주의, 가부장제적 자본주의가 어떻게 한국 여성의 수난을 구성해 왔는지를살펴본다. 또한 고정희의 연작시 「밥과 자본주의」에서 남근적 폭력을 가진 가부장제 자본주의시장 경제 속에서 하위주채로 자리할 수 밖에 없는 아시아 여성의 수난들을 분석한다. 또한 김승희의 시 텍스트 「문 밖에 계시는 어머니」에서 민족주의라는 동일성의 환상 담론이 어떻게 제국의 권력으로 오염된 여성의 몸을 추방해왔는지를 분석하고 기지촌에서 정신병자 미군 마이클이병에 의해 잔혹하게 살해된 윤금이의 '몸' 을 이중적으로 식민화되어 있는 민족의 알레고리로사용하고 있는 것을 분석한다. 또한 제국주의의 대중문화가 일상적으로 파고 들어오는 위성 미디어, 글로벌 자본주의 시대에 제국의 유혹의 호영 기제를 살펴봄으로써 탈식민주의적 페미니즘의 인식의 긴요함을 설명한다.

[시부문_김승희 수상소감] 일인칭의 이슬 속에 각각의 자신이

김승희 고요아침 2021 열린시학 Vol.26 No.3

[시부문_김승희 자선대표작] 모란의 시간 외 9편

김승희 고요아침 2021 열린시학 Vol.26 No.3

한국 현대 여성시의 고백시적 경향과 언술 특성-최승자, 박서원, 이연자를 중심으로

김승희 한국여성문학학회 2007 여성문학연구 Vol.18 No.-

이 논문은 1970년대 후반과 80년대 초에 모습을 드러내기 시작한, 한국 여성시의 고백시적 특성을 연구한 것이다. 그동안 한국 여성시는 전통적 서정형식과 부드럽고 절제된 언어로 여성적(feminine) 주제라고 할 수 있는 사랑, 모성, 자연 등을 노래했다. 그러나 70년대 후반에 이르러 한국 여성시는 기존의 서정적 양상을 크게 벗어나 페미니스트적 목소리로 사회비판적 분노와 개인의 상처 등을 노래하게 되었다. 필자는 이러한 페미니스트 시들을 여성주의적(feministic) 비판시와 여성주의적 고백시(feministic confessional poems)로 구분하였다. 이러한 여성주의적 비판시의 시인으로는 고정희를, 여성주의적 고백시의 시인으로는 최승자, 김승희, 김혜순, 김정란, 박서원, 석영희, 이연주 등을 들 수 있다. 그러나 논문의 초점을 선명하게 하기 위하여 최승자, 박서원, 이연주 시인으로 연구의 대상을 좁혔다. 한국 여성시가 고백시적인 경향으로 전환하게 된 원인을 필자는 3가지로 보았다. 첫째, 정치적으로 권위주의 정치 체제 안에서 ‘반정부’ ‘민족’ ‘민주’라는 큰 틀이 힘을 가지게 되었고 그 틀 안에서 ‘개인’은 억압을 당하였다. 그리하여 ‘개인’의 내면의 위기를 탐구하기 위한 방법으로 고백적 경향이 부상하였다. 둘째, 문단 내적으로는 60년대의 순수/ 참여 논쟁, 70년대의 민족문학혹은 민중 문학 논쟁들이 있었는데 그 논쟁으로 다 표현할 수 없었던 ‘개인’의 무의식이 고백적 목소리로 분출되었다. 셋째 페미니즘 이론의 소개와 실비아플라스나 앤 섹스턴의 고백시의 번역, 소개 등에서 문화적 자극을 받아서 고백시가 나타났다. 여성주의적 고백시의 대표적 시인으로 논의된 최승자 시인의 경우 고백시 비평가인 알바레즈의 『잔인한 신』을 번역하여 고백시 비평과실비아 플라스의 시와 자살 등을 소개하기도 하였다는 것은 중요한 시사점이라고 할 수 있다. 최승자, 박서원, 이연주의 텍스트는 형식면에서 일인칭 화자의 목소리를 부각시키면서 자전적 맥락을 많이 드러낸다. 시 속에서 일상 구어체를 사용하고‘개새끼’ ‘똥강아지’ 같은 쌍욕, 비속어 등을 사용하기도 한다. 또한 시의 서정적 형태를 허물고 산문체를 사용하여 시를 ‘열린 형식’으로 개방시켰다. 내용면에서는 자신의 상처와 치부를 과감히 드러내며 가부장적 사회, 문명에 대한 분노와 광기를 충동적으로 표출한다. 그동안 전통 서정시에서 많이 드러나지않았던 여성 광기의 표출과 죽음 충동이 여성주의적 고백시에서는 절박하고도 직핍적인 어조로 나타난다. 반어나 역설, 패러디, 언어유희의 전략 등을 과감하게 사용하기도 하였다. 실비아 플라스와 비슷하게도 가부장적 문화 속의‘아버지-남성’은 ‘지킬박사와 하이드, 히틀러의 합성 완제품’(박서원)으로 나타나며 ‘딸-여성 자아’는 희생자, 제물로 나타나기도 한다. 고백시는 정화적, 속죄적, 초월적 효과를 가진다는 의미에서 치유적이다. 그러나 종교적 고백의 경우 죄를 사하고 신과 재통합하는 효과를 주는 반면 고백시인의 경우 자신의 어둡고 불우한 상처를 드러낸다는 의미에서 사회적 고립과 소외를 받을수도 있기 때문에 위험한 글쓰기라고 할 수 있다. 그런 위험성에도 불구하고 고백시인들은 문명과 가부장 질서를 부정하고 자신의 상처와 광기와 고통을 극적으로 드러냄으로써 현대 세계 안에서 소외와 고립을 앓고 있는 개인의 심리적 위기를 ... Toward the end of the 1970s, Korean feministic poetry underwent a radical change of direction. Until then, accepting traditional lyric forms, the poetry written by women had been lyric poetry that celebrated in gentle, restrained language what might be termed feminine subjects such as love, motherhood, or nature; now rejecting that, it underwent a tremendous change, moving toward feministic critical poetry and feministic confessional poetry. Among the poets writing feministic critical poems Go Jeong-hui stands out, while among the feministic confessional poets we might include Choi Seung-ja, Kim Seung-hee, Kim Hye-sun, Kim Jeong-nan, Bak Seo-won, Seok Yeong-hui and Yi Yeon-ju. For the purposes of this particular study, discussion will be limited to texts of the feministic confessional poets Choi Seung-ja, Bak Seo-won, Yi Yeon-ju. The present study suggests that there are 3 main reasons why Korean feministic poetry turned in the direction of confessional poetry. The first was that, politically, in the political structures of authoritarianism, the three major areas considered as 'anti-governmental,' 'nationalistic' and 'democratic' gained in power and in those areas the 'individual' was oppressed. Then, the confessional mode arose as a method of exploring the crisis in the meaning of 'the individual.' Second, in literary circles, there had been conflicts in the 1960s between 'pure' and 'committed' writing, and in the 1970s between 'nationalistic' and 'populistic' writing, but the lack of awareness of the individual, that could not be fully expressed in those terms, emerged as a confessional voice. Third, there was the impetus given by the translation and diffusion of the theories of feminism, as well as the confessional poems of Sylvia Plath and Anne Sexton. The fact that Choi Seung-ja, the main feministic confessional poet discussed here, translated The Savage God, the critique of confessional poetry by the English critic A. Alvarez, can also be seen as providing an important impulse, by introducing acritique of confessional poetry and a link between Sylvia Plath's poems and her suicide. In formal terms, the texts of Choi Seung-ja, Bak Seo-won and Yi Yeon-ju, in stressing the voice of a first-person speaker, introduce a large amount of autobiographical context. Using colloquialisms, they also employ vulgarities such as curses. Abolishing the lyrical forms of poetry, they evolve in the direction of prosaism and 'open form.' In terms of content, they daringly include mention of their own wounds and private lives while expressing impulsively their rage and madness caused by paternalistic society and civilization. Expressions of female madness, that had not previously figured much in traditional lyric poetry, and of the death wish, were also included in feministic confessional poem,s using dramatic expressions. Irony or paradox, parody, strategies of word play were also used boldly. As in Sylvia Plath, we find the 'father-male' of paternalistic culture depicted in terms of "Dr. Jekyll and Mr. Hyde, Hitler's final solution" (BakSeo-won) while 'daughter-female' appears as sacrificial victims. Confessional poetry is therapeutic in the sense that it plays a purifying, redeeming, transcending role. But in contrast to religious confession, which has the task of forgiving sin and bringing reconciliation with God, confessional poetry, where the individual's dark and painful wounds areexpressed, may be termed a dangerous form of writing since the author may experience social isolation and alienation. But despite such dangers, confessional poets, by rejecting civilization with its patriarchal systems, and by dramatically introducing their own wounds, madness, and suffering, bring healing to the psychological crisis of the individual enduring alienation and exclusion in the modern world. In this way, the texts resulting from the turn toward confessional poetry among modern Korean feministic poets, by introducing frankly the female ego'...

Development of Semi-basement Type Greenhouse Model for Energy Saving

김승희,전종길,권진경,김형권 한국농업기계학회 2016 바이오시스템공학 Vol.41 No.4

Purpose: The heat culture areas of greenhouses have been continuously increasing. In the face of international oil pricefluctuations, development of energy saving technologies is becoming essential. To save energy, auxiliary heat source andthermal insulation technologies are being developed, but they lack cost-efficiency. The present study was conducted to saveenergy by developing a conceptually new semi-basement type greenhouse. Methods: A semi-basement type greenhouse,was designed and constructed in the form of a three quarter greenhouse as a basic structure, which is an advantageousstructure to inflow sunlight. To evaluate the performance of the developed greenhouse, a similar structured general greenhousewas installed as a control plot, and heating tests were conducted under the same crop growth conditions. Results: Althoughshadows appeared during the winter in the semi-basement type greenhouse due to the underground drop, the results ofcrop growth tests indicated that there were no differences in crop growth and development between the semi-basementtype greenhouse and the control greenhouse, indicating that the shadows did not affect the crop up to the height of the cropgrowing point. The amount of fuel used for heating from January to March was almost the same between the twogreenhouses for tests. The heating load coefficients of the experimental greenhouses were calculated as 3.1 kcal/m2 ․ °C ․ hfor the semi-basement type greenhouse and 2.9 kcal/m2 ․ °C ․ h for the control greenhouse. Since the value is lower than thedouble layer PE (polyethylene) film greenhouse value of 3.5 kcal/m2 ․ °C ․ h from a previous study, Tthe semi-basement typegreenhouse seemed to have energy saving effects. Conclusions: The semi-basement type greenhouse could be operated withthe same fuel consumption as general greenhouses, even though its underground portion resulted in a larger volume,indicating positive effects on energy saving and space utilization. It was identified that the heat losses could be reduced byinstalling a thermal curtain of multi-layered materials for heat insulation inside the greenhouse for the cultivation ofhorticultural products by installing thermal curtain of multi-layered materials for heat insulation inside the greenhouse, itwas identified that the heat losses could be reduced.

몇 가지 키위 품종의 대목에 따른 접목 활착 특성

김승희,강성구,박상근,곽용범,Kim, S.H.,Kang, S.K.,Park, S.K.,Kwack, Y.B. 국립한국농수산대학교 교육개발센터 2020 현장농업연구지 = Journal of practical agricultural resear Vol.22 No.1

최근 다양한 키위 신품종이 육성, 보급되고 있다. 과수의 증식법은 무성번식의 한 종류인 접목이 많이 이용되고 있으며, 대목은 실생 대목을 많이 이용하고 있다. 키위 품종도 증식법으로 실생대목을 활용한 접목이 주로 이용되고 있다. 많은 키위 종 중에 상업적으로 재배되는 종은 크게 A. chinensis, A. deliciosa 2종이다. 최근 식이편의성을 위해 다래(A. arguta) 교잡종이 육성되는 등 종간 교배를 통한 품종이 육성되고 있다. 종이 다를 경우 접목 불친화성이 발현될 수 있기에 최근 육성된 골드품종과 교잡종의 대목에 따른 접목친화성을 알아보고자 하였다. 접목 50일 후 신초 신장량을 조사한 결과, 골드 3품종은 같은 종인 '괴밀(Kuimi)'을 대목으로 이용한 처리에서 1미터 정도로 가장 양호했고 종이 다른 대목에서는 신초신장이 억제되는 경향이었다. 다래(A. arguta) 교잡종 '스키니그린'은 모든 대목에서 1미터 정도자라 친화성이 좋은 것으로 보였다. 하지만, 이종간의 접목에서는 몇 년 뒤에 불친화성이 발현되기도 하기에 장기적인 추가 연구가 필요할 것으로 본다. To date, various kiwifruit cultivars have been developed and released. Asexual propagation by grafting onto seedlings rootstock have been widely utilized commercially in fruit trees including kiwifruit (Actinidia spp.). Most of commercial kiwifruit cultivars belong to A. chinensis and A. deliciosa. Recently, several cultivars were developed by interspecific hybridization with different species including A. arguta. There is a possibility for graft-incompatibility due to interspecific hybridization and therefore, we investigated graft-compatibility of newly released yellow-fleshed kiwifruit cultivars and a hybrid cultivar with various rootstocks of different species. The yellow-fleshed cultivars grafted onto same species, A. chinensis 'Kuimi', showed good shoot elongation, about 1 m in length 50 days after grafting. In contrast, the shoot elongation of the yellow-fleshed kiwifruit grafted onto different species was retarded. The shoot length of a hybrid cultivar (A. arguta × A. deliciosa) 'Skinny Green' grafted onto four different species was about 1 m in length, showing good graft compatibility with other species. Nevertheless, long term studies for graft compatibility of hybrid cultivars are still needed since graft-incompatibility between different species can occur several years later.

재외국민 대학생을 위한 문법 교육의 필요성에 관하여

김승희 한국문화융합학회 2017 한국문화융합학회 전국학술대회 Vol.2017 No.12

우리나라 중장년기 성인의 비타민 D 수준에 따른 골관절염 위험은 골관절염 진행상태, 증상 및 성별에 따라 다르다

김승희,박한샘,박용주 한국식품영양과학회 2018 한국식품영양과학회 학술대회발표집 Vol.2018 No.10

19세기 감로도의 인물상에 보이는 새로운 양상

김승희 서울대학교 규장각한국학연구원 2010 한국문화 Vol.49 No.-

Gamnodo, a painting genre which emerged during the Joseon Dynasty, has as its theme the emancipation of the so-called mujugohon (forlorn wandering spirits with no posterity) from the bondage of pain and suffering to which they are subjected, through Buddha’s grace, symbolized by a sweet beverage called “gamno.” This genre remained current for nearly four hundred years, from the late 16th century to the early 20th century. Of the many paintings produced on this theme, about sixty have survived to the present, some located in Korea and some others overseas. Gamnodo, which may be translated into ‘nectar ritual paintings,’ were aimed at guiding forlorn spirits back to the spirits’ world. These paintings had common iconographic elements and stylistic traits that were recognizable, regardless of the place or time of production. This stable tradition, however, underwent major changes starting from the late 19th century. Nectar ritual paintings produced around this time, in Buddhist temples located in Seoul and its environs, depart from works from previous periods of time, in style and also in some of the iconographic details. New types of human figures, never seen in previous nectar ritual paintings, make their appearance from this point on. Previously, the only human figure portrayed was the forlorn wandering spirit, given a brief visual incarnation in the scene of the former life, at the moment of his passing. Paintings produced from the late 19th century, meanwhile, introduce other human figures, depicted in their everyday environment, rather than in an abstract and timeless setting. In depicting a forlorn spirit at the final moment of his past life, Joseon artists could have felt it necessary to invoke at least some of the everyday context surrounding his existence and the conclusion thereof. However, real life scenes introduced into nectar ritual paintings from this period are, at times, much more than simple deathbed scenes; they are close to scenes from genre paintings, capturing the lifestyles and customs of an era. This seems to have been the result of a desire on the part of the authors of these paintings to portray their society and the time in which they lived. The budding urban culture developing in Seoul, since the 18th century, brought about subtle changes in lifestyle in this region, and these changes, echoed in literature and paintings, appear to have also influenced more conservative genres such as religious paintings. Also remarkable is the magnified importance of the scene of the nectar ritual, now depicted like a large open‐air banquet or event. These new trends, although they failed to give rise to a constructive or transformative process in subsequent periods, are nevertheless significant as attempts to reflect contemporary lifestyles and customs in a painting genre having an abstract and timeless theme. In this paper, I discuss ritual nectar paintings from the 19th century as iconographic records with a special ethos, by focusing on various human figures making a new appearance in the lower section of these paintings.

노니(Morinda Citrifolia)를 함유한 화장품 제형이 30-50대 여성 안면 피부에 미치는영향

김승희 한국뷰티경영학회 2016 한국뷰티경영학회 학술지 Vol.2016 No.06