전후 한국시의 ‘현대성’과 그 계보적 가설 : 김종삼 시를 중심으로

김용희(Kim Yong-hee) 한국근대문학회 2009 한국근대문학연구 Vol.10 No.1

김종삼 시는 한국 현대시사에서 암시와 생략, 절제와 순수로 익히 정평이 나 있다. 이는 1950년대 한국 전쟁 상황이라는 비극적 인식 속에서 본질적 이념으로서의 기의를 상실한 채 시적 징후로서 현실을 형상화할 수밖에 없는 전후 시인들의 시대적 실어증을 내포하고 있다. 이는 김수영과 김춘수, 김종삼을 포함한 1950년대 문학인 전체에 해당하는 사안이다. 이들은 “외국어(일본어)로 사고하고 구성하고 모국어로 그것을 옮”겨야하는 불구적 창작방식의 세대였다. 유려한 리듬과 토속의 능숙한 구사를 원천적으로 제약당했던 세대가 민족 고유어나 민요를 계승할 수 없는 것은 당연한 일이었다. 박재삼이나 박용래와 같은 일부 시인을 제외하고 대부분 시인들이 모더니즘에 경사된 측면은 어쩌면 필연적이라 할 수 있다. 이 가운데서 김종삼은 비극적이고 황폐한 현실 인식, 가난과 소외와 죽음의식, 실존의 문제에 천착하면서 독자적인 시 형식을 보여준다. 불완전한 구문, 자주 급격히 끊어지는 리듬, 논리적 유추를 거부하는 생략과 비약, 여백들. 이는 ‘낡은 언어를 버리고 새로운 언어’를 찾고자 하는 시인의지이다. 세계 인간에 대한 부조리, 폐허 속에서의 부재의식, 피안-순수의 세계를 지향하고자 하는 초월적 낭만의지와 연관되며 릴케 영향 받은 후 실존주의에 대한 심취, 서양문화, 음악에 대한 경도와 연관된다. 이와같은 심취는 다시 미학적 시적 형식으로 육화된다. 1950년대 한국시 모더니즘은 1960년대에 안정적인 구도를 찾아간다고 할 수 있다. 한국시의 새로운 흐름은 소월, 만해에서 페시미즘과 토속적 초월주의, 미당의 전통설화에서의 민속주의, 청록파의 자연주의를 부정하면서 김수영, 김춘수라는 한국 모더니즘의 새로운 국면으로 접어든다. 김수영의 현실부정의 시학과 역동적 시적 주체의 문제, 김춘수의 언어실험 극단에 발생하는 도발적 이미지 충돌과 언어 본질 기능의 천착. 그 극단의 양 갈래 사이에 김종삼이 위치하는 것은 아닌가 한다. 김수영의 대사회적 삶의 태도, 김춘수의 역사허무주의 속에서 언어본질 탐구, 그 사이에 김종삼의 무정부주의적 삶의 한 단면을 생각해 볼 필요가 있다. 1960년대 한국 현대시 모더니티의 정착에서 새로움이 자아 인식, 개인의 발견, 일상적 개인의 추구라 한다면 김종삼 시는 지금까지 한국시에서 일찍이 볼 수 없었던 묘사적 ‘이미지를 통한 상징성’, 개성적 언어형식을 통한 ‘여백과 생략의 심미성’을 보여준다. Jongsam Kim's poetry is well-known for its suggestion, omission, temperance and genuineness in Korean modern poetry history. This has postwar poets' epochal aphasia of representing reality as poetic indication deprived of significance as the essential ideology, within the tragic recognition called Korean war in the 1950s. Such is a case relevant to the entire literary men in the 1950s, including Suyeong Kim, Chunsu Kim and Jongsam Kim. They were the generation of crippled creative method that conceived, composed in foreign language (Japanese) and then put into native language. It was a natural outcome for the generation, which was fundamentally constrained from having skillful command of elegant rhythm and folkways, to unable to inherit ethnic native tongue or folk song. Except for some poets like Jaesam Park or Yongrae Park, it was some what of perforce for most poets to show sides slanted towards Modernism. Jongsam Kim among them shows original poetry form by inquiring into recognition of tragic ruined reality, awareness of poverty, alienation and death, as well as the existent issues. Defective construction, frequent sudden breaks of rhythm, omission and leap refusing rational analogy, and blanks. These are the will of the poet to 'discard old language and search for new language'. After being influenced by Rilke in relation to transcendental romantic volition of heading towards absurdity for cosmopolitans, absent consciousness in the ruins and the world of Nirvana-purity, it was related to the fascination with existentialism, western culture and the degree of music. Such fascination is incarnated again into aesthetic poetry form. It can be said that Modernism of Korean poetry in the 1950s found its stable composition by the 1960s. From Sowol and Manhae, the new flow of Korean poetry approached the new aspect of Korean Modernism with Suyeong Kim and Chunsu Kim, by denying feminism; ethnic transcendentalism; ethnicism within traditional tale of Midang; and naturalism of the Cheongrokpa. Suyeong Kim's poetry of denying reality and theme of dynamic poetic subject, Chunsu Kim's collision of provocative imagery generated from the extreme language experiment and inquiry into the essential function of language. One thinks Jongsam Kim stands in the middle of the two extremes. It is necessary to think about one slice of Jongsam Kim's anarchistic life among Suyeong Kim's anti-social attitude to life and Chunsu Kim's investigation of linguistic essence seen in Historical Nihilism. When the recency was pursuing self-perception, discovery of individuals and ordinary individual in the modernity of Korean modern poetry in the 1960s, Jongsam Kim's poetry shows depictive 'symbolism through imagery' which was never seen in Korean poetry before as well as 'aesthetic appreciation for blank and omission' through his unique linguistic form.

김수영 시에 나타난 분열된 남성의식

김용희(Kim Yong-hee) 한국시학회 2001 한국시학연구 Vol.- No.4

In previous studies, Kim Soo-young had been considered as a precursor of modernist, who adopted the core spirit of modernism. Sometimes he was believed hard to be understood This study will focus an male consciousness revealed in his poems, Although his poems show conflict between self and world, they reveal his self-consciousness as a man, who lived a difficult time. In his poems Kim reveals his male consciousness as a intellectual, who confronted modernity. A stereotype of modern "macho man" is very close to the image of a man who possesses a sense of responsibility and determination, independence and achievement, power and humanity. It is very different from the traditional image of a man which was valued in the pre-industrial society, in which a man was thought to be scholastic. An ideal man in the traditional society should re idealistic and nominalistic, but was actually powerless and interdependent in the real world He evaluated human relations very high and was very social. In this view Kim felt the conflict between the image of "traditional man" and "modern man" and found discontinuity between the two images. Facing modernity, Kim was exposed to the reality of backwardness of Korea, which had been refused to maintain the traditional way of life or normal historical development. Continuity of history and tradition was identified with male consciousness in Kim At this point. Kim experienced historical discontinuity and disorganization of identification. A father was not supposed to be confronted face to face, a wife was a front-runner of new civilization and a quick adopter of the real world. In this respect, "Pul(Grass)," which had been usually interpreted from a viewpoint of people (minjung), needs a new interpretation In "Pul" Kim could not avoid the dichotomy of comparison, describing as 'faster than the wind,' 'ahead of the wind,' or 'later than the wind' Kim revealed that he was not free from the competitive world by using adverbs and verbs which mean comparison to describe the wind It shows he was in conflict with reality. From the viewpoint that the 'laughing' of a man on the grass was not 'laughing' of anybody but 'faster one,' Kim's poetry was interlocked with the lives of modern men. It reveals disorganization and conflict of modern men and 'the process of manly overcome' because 'laughing' on the grass is a laugh of revolutionary achievement and also a laugh busted at the end of manly 'self-confrontation' 'The victory of grass' is clearly different from the value of new creation which attempts universal reconciliation through cycling, prosperity, and expansion.

김용희 질병칼럼

김용희,Kim, Yong-Hui 대한양돈협회 1987 養豚 Vol.9 No.1

A Lattice-Based Monte Carlo Evaluation of Canada Deuterium Uranium-6 Safety Parameters

김용희,DONNYHARTANTO,Woosong Kim 한국원자력학회 2016 Nuclear Engineering and Technology Vol.48 No.3

Important safety parameters such as the fuel temperature coefficient (FTC) and the power coefficient of reactivity (PCR) of the CANada Deuterium Uranium (CANDU-6) reactor have been evaluated using the Monte Carlo method. For accurate analysis of the parameters, the Doppler broadening rejection correction scheme was implemented in the MCNPX code to account for the thermal motion of the heavy uranium-238 nucleus in the neutron-U scattering reactions. In this work, a standard fuel lattice has been modeled and the fuel is depleted using MCNPX. The FTC value is evaluated for several burnup points including the mid-burnup representing a near-equilibrium core. The Doppler effect has been evaluated using several cross-section libraries such as ENDF/B-VI.8, ENDF/B-VII.0, JEFF-3.1.1, and JENDL-4.0. The PCR value is also evaluated at mid-burnup conditions to characterize the safety features of an equilibrium CANDU-6 reactor. To improve the reliability of the Monte Carlo calculations, we considered a huge number of neutron histories in this work and the standard deviation of the k-infinity values is only 0.5–1 pcm.

직접설계법(直接設計法)에 의한 철근(鐵筋)콘크리트 2방향(方向) 슬래브형(型) 구조체(構造體)의 최적설계(最適設計)

김용희,유홍렬,박문호,Kim, Yong Hee,Lyu, Hong Leal,Park, Moon Ho 대한토목학회 1985 대한토목학회논문집 Vol.5 No.1

This study is conserned for the optimum design of reinforced concrete slab-beam-column structures with multi-storys and multi-bays by Direct Method. Flexural and shear strength, sectional size, and steel ratio etc., were considered as the design-constraints and the cost function was taken as to objective function. They became high degree nonlinear problems. Using SLP as an analytical method of nonlinear optimal problems, an optimal algorithm was developed in this study and the algorithm was applied to the optimization of reinforced concrete structure system of 5 storys. The result converged to a optimal solution with 3 to 5 iterations, and proved that economical design could be possible when compared with conventional designs. 본(本) 연구(硏究)는 직접설계법(直接設計法)에 의한 다층(多層), 다경간(多徑間)을 갖는 철근(鐵筋)콘크리트 슬래브형(型) 구조체(構造體)의 최적화(最適化)에 관한 것이다. 설계제약조건(設計制約條件)으로는 슬래브, 보, 기둥의 휨강도(强度), 전단강도(剪斷强度), 단면치수, 철근비(鐵筋比) 등을 고려했고 목적함수(目的函數)로는 공비함수(工費函數)를 취했는데 이들은 고차(高次)의 비선형계획문제(非線型計劃問題)가 된다. 본(本) 연구(硏究)에서는 축차선형계획기법(逐次線型計劃技法)을 사용하여 전체(全體) 구조(構造)를 종합적(綜合的)으로 최적화(最適化) 할 수 있는 최적설계(最適設計) 프로그램을 개발하였다. 개발된 알고리즘의 타당성(妥當性), 경제성(經濟性), 수렴성(收斂性) 등을 확인하기 위해 5층(層)의 구조체(構造體)로서 각층(各層), 각 경우에 대해 직접 적용(適用)하였다. 그 결과 3~5회 반복시행(反復試行)으로 최적해(最適解)에 수렴(收斂)했고 재래(在來)의 설계(設計)에 비(比)해 경제적(經濟的)임이 입증(立證)되었다.

쓰는 작가는 많은데 읽히는 작품이 드물다-창작동화 위기론에 탈출구는 없는가

김용희,Kim, Yong-Hui 대한출판문화협회 1994 출판저널 Vol.148 No.-

장려상-초고층건물

김용희,양효범,허영석,Kim, Yong-Hui,Yang, Hyo-Beom,Heo, Yeong-Seok 한국건축구조기술사회 2007 건축구조 Vol.14 No.3

5G와 혁신성장과 산업변화에 관한 연구

김용희,Kim, Yong-Hui 한국방송∙미디어공학회 2019 방송과 미디어 Vol.24 No.3

본 연구에서는 요즘 글로벌한 화두가 되고 있는 5G의 혁신과 산업변화에 대해서 논의해보고자 한다. 이를 위해 5G의 주요이슈에 대해 논의하고 우려점과 대안에 대해서 고민해 보고자 한다. 5G 서비스를 활성화하기 위해서는 지금 단계에서는 사업자의 투자와 함께 정부의 정책이 마련되는 것이 시급하다.

김용희 질병칼럼

김용희,Kim, Yong-Hui 대한양돈협회 1987 養豚 Vol.9 No.3

21세기의 주력전차 (2)-전차의 변천과 향후 발전방향

김용희,Kim, Yong-Hui 한국방위산업진흥회 1989 國防과 技術 Vol.- No.126