1950년대 시의 에로티시즘 연구

여지선 겨레어문학회 2001 겨레어문학 Vol.27 No.-

신동엽 『금강』의 텍스트 분석

여지선 한국시학회 1999 한국시학연구 Vol.- No.2

황지우론 : 시론(詩論)과 시작(詩作)의 연계성을 중심으로

여지선 건국대학교 2001 겨레어문학 Vol.26 No.-

近ㆍ現帶詩史와 <春香傳>

呂知宣 건국대학교 2000 겨레어문학 Vol.25 No.-

신동집 연구 : 1960년대 작품을 중심으로

여지선 건국대국어국문학연구회 1999 겨레어문학 Vol.23·24 No.-

민재식의 「속죄양」에 나타난 시의 장형화와 비평적 상상력

여지선 우리말글학회 2015 우리말 글 Vol.66 No.-

Born in 1932, Min Jae-shik was a poet that expressed the consciousness of times such as Liberation and Korean War. In his long poem The Scapegoat and his series poems Dissonance, Unfinished Reality, and Chapter 1, Paragraph 4, he proposed the current location of his homeland and future directions for it in the international situations. He especially depicted the confusing situations of Korea in the interests of USA, Russia, and China poetically in his series poem The Scapegoat. The first characteristic of his poems is the elongation tendency, which was the result of Elliot's influences and the request of the times. Min wrote his master's dissertation on Elliot, which demonstrates the close connections between the two poets. The second characteristic of his poems is critical imagination, which also has something to do with Wasteland by Elliot. Min scientifically analyzed the problems with the reality through his critical imagination by using a documentary-style objective viewpoint sometimes. The third characteristic of his poems is Christian imagination. He saw his homeland as the scapegoat of the world in the 1950s and criticized the West represented by Christianity. There is also a need to pay attention to his dramatic composition method. As he mentioned himself, he set a stage and had many different characters make a comment according to his dramatic composition method. His imagination eventually proposed Cheongsanbyeolgok, a work of traditional imagination, as an overcoming measure. 1932년에 태어난 민재식은 해방과 한국전쟁 등 시대의식을 표현한 시인이다. 그의 장시 「속죄양」 연작시와 「불협화음」, 「미완성실제」, 「사절일장」 등은 국제정세 속에서 조국의 현 위치와 조국이 나아가야 할 방향을 제시한 시이다. 특히 「속죄양」 연작시는 미국, 러시아, 중국의 이해관계 속에서 혼란스러운 한국의 정세를 시화하였다. 민재식 시의 첫 번째 특징은 시의 장형화이다. 시의 장형화는 엘리엇의 영향과 시대적 요청의 산물이었다. 두 번째 특징은 비평적 상상력이다. 민재식은 비평적 상상력을 통해 현실의 문제점을 과학적으로 분석하였는데, 이를 위해 다큐멘터리식의 객관적 시선을 활용하기도 하였다. 세 번째 특징은 기독교적 상상력이다. 민재식은 1950년대의 조국을 세계의 속죄양으로 인식하였으며, 동시에 기독교로 대변되는 서구를 비판하였다. 네 번째 특징은 전통적 상상력이다. 민재식은 현실 극복방안으로 「청산별곡」을 통해 서구적 근대성의 문제제기와 함께 새롭게 나아가야 할 세계를 말하고 있다.

『태서문예신보』에 나타난 전통성 연구

여지선 겨레어문학회 2003 겨레어문학 Vol.31 No.-

추사 김정희의 <세한도(歲寒圖)>와 황지우의 <유리끼운 세한도(歲寒圖)>의 비교 연구

여지선 강남대학교 인문과학연구소 2011 인문과학논집 Vol.22 No.-

본 연구는 19세기에 그려진 추사(秋史) 김정희(金正喜)의 <세한도(歲寒圖)>가 당대와 현대를 가로지르면서 시대적, 문화적 차이를 통해 수용된 다층성을 밝히고자 한다. 김정희는 조선후기의 뛰어나 서화가(書畵家)이자 금석학자(金石學者)이자 실학자(實學者)이다. 그는 1844년, 그의 나이 58세 때에 제주도로 귀양을 가게 되었다. 그때 김정희를 기억해준 유일한 제자, 역관 ‘李尙迪’을 기리는 마음으로 <세한도>를 그렸다. 이 <세한도>는 네 종류의 글로 오늘날까지 기억되고 있다. 그 첫 번째는 김정희가 이상적을 기리기 위한 발문이다. 두 번째는 이상적이 김정희의 의사와 무관하게 정치적인 이유로 청나라 명사 16인에게 보여주고 받은 찬문찬시이다. 세 번째는 광복 후 김석준, 오세창, 이시영이 더한 찬문찬시이다. 네 번째는 황지우를 비롯한 여러 시인이 남긴 현대시이다. 롤랑 바르트가 제기한 것처럼, 하나의 기호는 2차 의미체계에 의해 새로운 의미를 생성해낸다. 그런 측면에서 바라볼 때, 추사 김정희의 <세한도>는 오늘날 황지우의 <유리끼운 세한도>에 영향을 미쳤다. 추사 김정희가 <세한도>를 통해 자신에게 의리를 지킨 이상적을 기억하며 19세기의 ‘의’를 밝혔다면, 황지우는 추사 <세한도>를 20세기에 불러내어 현 시대의 문제와 해결방안을 제시하였다. 즉 거대담론이 사라진 것처럼 인식된 현실세계에서 추사 김정희의 <세한도>를 다시금 불러 세워, 아직은 사회적 문제, 거대담론의 문제로 행동해야할 때임을 드러냈던 것이다. 추사 김정희의 <세한도>는 당대 개별적 작품성뿐만 아니라 시대를 넘나드는 시대사적 의의를 지닌다. 이를 드러낸 현대 시인이 바로 황지우이다. A highway stretches out between Chu Sa Kim Jeong-hui and Hwang Ji-u. Thus the fact that only readers can spread the highway determines whether the highway is comprised of only one road or many forks according to the extent of the reader's interest. Chu Sa Kim Jeong-hui and Hwang Ji-u are scholars and artists of the century who first walked the same path then went on their separate ways. Most of all, I will focus on four aspects of the path they walked together.Firstly, Chu Sa Kim Jeong-hui and Hwang Ji-u are regarded as pioneers who led a change in a transitional period. Hwang Ji-u witnessed the miserable lives of his father and uncle who had suffered during the Japanese Ruling and Korean War. Therefore he has developed his revolutionary esprit from the Japanese Ruling, even though he was born in 1952. Secondly, both Kim Jeong-hui and Hwang Ji-u were exiled for political reasons. Thirdly, Chu Sa Kim Jeong-hui and Hwang Ji-u wished to communicate with the world. Lastly, Chu Sa Kim Jeong-hui and Hwang Ji-u led religious lives after they returned from exile. As Hegel said that all beautiful arts flow into religion or philosophy, Kim was converted to Buddhism in his later years, even though he was a privileged elite in the Confucian society. He became a monk after receiving Buddhist code of conduct in Bong-eun Temple. Hwang also revealed that he is interested in oriental spirit, buddhism, and Taoism.In short, Chu Sa Kim Jeong-hui and Hwang walked the same path. This junction not only resulted in similarities between Kim's Sehando and Hwang's Midwinter Picture Seen Through Glass, but also created contrast. In order to look into their differences.

주요한의 일본시 번역과 문화접변 현상 : 《창조》를 중심으로 With the focus on Changjo

여지선 한국비교문학회 2004 比較文學 Vol.32 No.-

The history of literature is the history of comparative literature. It means that the history of literature is the history of impact and acceptances among people for the native literature one another. The core of comparative literature consistsin that it should not be one-sided but be mutual. It must also be needed to see any other literature with the focus on native literature. Literature can be called a flower of culture in the sense that culture is under the control of the innate element. In other words it is because of that it is possible to have an influence and acceptance of literature one another on the base of innate national literature. I have studied acculturation with the focus on Japanese poem translated into Korean in Changjo. Ju Yo-Han started to study on his age 13 in Japan. He introduced Ethnic Formationalism and translated Sijo, whichis one of the Korean traditional poetry in that country. He had national spirit and knew ethnic forms innatethrough his childhood. He had been a professional poet acknowledged by Japanese poets who had been leading the literary world on the early new literary period in Japan about the time when he introduced Ethnic Formationalism. He translated 24 pieces of poetry that was written by poets on the early new literary period in Japan into Korean when he was a chief editor on Changjoin Tokyo, Japan. It is not very difficult to find that the literary works in Changjohad ethnic forms. I am not talking about several pieces of poetry translated. What is remarkable is that 66.66% of the literary works in Changjocontains of ethnic forms. Furthermore, there is even the literary work that transformed from tetrameter to dimeter in order to make our national meter. It does not mean that he made a mistake in his works because he did not know of the tendency in Japanese poetry. Not only had he published Haiku and free verse but also he had been a professional writer in those time acknowledged by Japanese professional poets. This expresses that Ju Yo-Han must have accepted Japanese free verse and he must have translated it to introduce it in the light of ethnic identity on the early new literary period. When Korea had been under the control of Japan the Korean overseas students in Japan encouraged national spirit through all the various fields of arts such as language, history, literature to put a high value on Korean literature under the name of Hukjikwung. They created free verse on the base of ethnic forms in their works. This inclination influenced Ju Yo-Han, and he started to translate under the subconciousness of patriotic passion. He wrote works both in Korean and Japanese. The most remarkable result of him is the ethnic form that we can see in Korean free verse on the early new literary period. His translation must have had an effect on the history of the literary world as great as both he and Changjohad. I suggest that the history of Korean literature in the new literary period is not the history of literature only planted but comparative literature right after cultural impact.

한국 근대시에 나타난 용사의 층위와 의의

여지선 국제어문학회 2006 국제어문학회 학술대회 자료집 Vol.2006 No.2