2006년에는 ' 건강한 당뇨인' 이 됩시다!

유혜숙,Yu, Hye-Suk 사단법인 한국당뇨협회 2005 당뇨 Vol.193 No.-

'당뇨식사' 하면 먹고 싶은 것을 먹지 못하고 맛도 덜한 음식만 먹어야하는 것으로 생각하는 당뇨인들이 많다. 그러나 당뇨식사는 영양적으로 균형잡힌 건강식으로 온가족이 함께 할 수 있는 식사이다. 이번 달에는 유혜숙 대한당뇨병교육영양사회 부회장을 만나 당뇨병 식사요법에 대한 궁금증을 풀어보았다.

상화 시의 ‘원망 공간’과 생명성

유혜숙 ( Yu Hye-suk ) 한국문학이론과 비평학회 2007 한국문학이론과 비평 Vol.36 No.-

With considering Sang Hwa’s poetry in the external context, I like to focus my attention to internal logic throughout Sang Hwa’s poetry. Sang Hwa has tried to show, throughout his life, what a real ideal place is. The real ideal space is conceptualized as Wunschr ume in his poetry. Usually, Sang Wha’s poetry is understood as poetry of decadence, poetry of sensualism, poetry of resistance. But Analysing Sang Hwa’s early poems and his outstanding poems in the new perspective makes it possible to see his inner consciousness concealed in the apparent themes of nationalism and resistance. Creating Wunschr ume as a ideal space is a kind of psychological compensation. The poet undergoes three stages with Wunschr ume. Firstly, the poet, who is frustrated with the gloomy situation in the real world, has the inclination for getting to sentimental ‘death world’. As the time passes by, the longing for the sentimental death world become transformed into ironical attitude towards a feeling of vitality. Secondly, the poet shows us immersion into ‘a she-vital space’ - two types of Wunschr ume: erotic space of life and womb space of life. The poet presents ‘Madonna’ image with ritual power to give a feeling of vitality - a road to eternity. She can not be a real salvation for the poet. She is, for the poet, just far horizon and functions as a step to make the poet feel eternity beyond death world. After the Madonna stage, the poet presents the ‘mother’ as the space of Wunschr ume. The poet goes through the experience of ‘paradise regain’ in mother’s immortal smile of vitality. It serves as a space of utopia and eternity beyond human conditions. Finally, the poet’s focus moves from the description of city life into nature and native place. It functions as a kind of ideal space to make the poet recover his identity lost. Through the movement of space, the poet tries to get to his ‘near horizon’ lost. The poet, in his spare times, makes pilgrimages to his own land and returns to his own native place. He, in the new space, with a sense of unity in perfect order of nature, experiences vitality of a new life against civilization of exploitation. The consistent theme throughout his whole life as a poet is to inquire the recovery of vitality lost in life. The essential theme of Sang Wha’s poetry lies in the lyricism of recovery of vitality lost. not in nationalism and resistance spirit. Nationalism and resistance spirit, grounded on the lyricism of vitality, are the only expression of his senses of the gloomy era.

김현승 시에 나타난 일원성 회복- 수용,실명,사랑을 통한 인식의 통합

유혜숙 ( Hye Suk Yu ) 충남대학교 인문과학연구소 2015 인문학연구 Vol.51 No.1

김현승 시인은 어둠과 밝음, 불행과 행복 등의 이항대립항을 동일한 근원으로 파악한다. 시인의 이런 일원적 세계 인식은 세계를 향한 시인의 적극적인 수용과 사랑의 태도에서 비롯된다. 시인에 의하면 인간의 관점 자체에 모순과 갈등이 내재해 있기 때문에 주변의 현상들이 대립·모순되는 것으로 인식되지만, 실상 저들 본연의 속성만은 일원적이라는 것이다. 시인은 수용 및 육적인 것의 소멸.실명이 있을 때 사물 본연의 모습을 볼 수 있는 투명한 눈을 얻게 되고, 이로써 일원적 인식이 가능함을 그의 시편들을 통해 역설해 준다. 김현승 시의 본질인 이원대립→일원성 회복은 바로 이상과 같은 수용 및 소멸.실명이라는 요인을 전제로 하고 있다. 이질적인 것들을 사랑하고, 육적 소멸과 실명을 감내할 때 이항대립항은 더 이상 대립이 아닌 일련선상에 놓인 동일체임을 발견하게 된다. 삶에 갈등과 장애를 일으키는 이들 대립 요소를 일원적으로 파악하는 통합적 관점이야말로 오늘의 우리 삶을 행복하게 만드는 가장 중요한 능력이라고 할 수 있다. 그럼에도 불구하고 시인이 작품을 썼던 과거 및 오늘의 시단에서 그의 작품과 시인으로서의 자리매김은 엇갈리고 있다. 왜냐 하면 오늘같은 물질문명 시대에는 물질과 정신, 어둠과 밝음 등 대립 항 너머로 존재하는 일원성을 간파하기가 쉽지 않아졌기 때문이다. 그러나 우리들 관점의 한계와 모순에도 불구하고, 김현승시인은 사물과 세계의 본질 속에 담긴 일원성을 응시하며 20세기 중반 이후 한국시단의 인식지평을 심화·확장시켜준 시인임에 틀림없다. Kim Hyeon-Seung appreciates the identical origin of the opposite binary of the darkness and the light, or the happiness and the unhappiness. The poet``s monistic world-comprehension comes from his acceptive attitude and love for the world. From the poet``s standpoint, the phenomenal world around us is seemingly opposite or dualistic because of human``s viewpoint itself which is full of conflict and contradiction, but noumenal world or thing-in-itself has the monistically intrinsic property. In his poems, the poet emphasizes that we can get eyes of transparency only with the physical extinction or blindness, that is, losing a physical sight let inner eyes open and see thing-in-itself, and thus one can get monistic comprehension. The binary opposites→recovery of monism is the essence of Kim Hyeon-Seung``s poetry, which in effect needs a precondition of the physical extinction or the sightless. It is revealed that the opposite binary is no more opposite but the coidentity laid on one line, when loving the dissimilitude and enduring a physical extinction or a sightless. When we embrace opposites occurring conflicts and obstacles with an integrated perception, which is the most significant ability to make our lives happy. Nevertheless, he and his works do not earn proper estimation during his day and nowadays. Because, in the material culture of these days, the monism beyond the opposite binary of the substance and the spirit, of the darkness and the lightness does not easily comprehended. But in spite of our limited and confused sight, Kim Hyeon-Seung is an undoubtedly distinguished poet to lead Korean poetry community to more profound comprehensive horizon, with gazing the unity of thing-in-itself and the world-in-itself.

김현승 시에 나타난 ‘어둠ㆍ밤’ 이미지

유혜숙(Yu Hye-suk) 韓國批評文學會 2009 批評文學 Vol.- No.33

In Kim, Hyeung-Seung’s poem, we can find various image groups. Among them, the strongest obsessive one is ‘darkness and night’ images - that is called the ‘web of obsessive metaphor’. This metaphor is the very obsessive one in that it has been formed with ‘emotional vestiges’ in the unconsciousness. It is very important to analyze the obsessive metaphor for chasing ‘theme formation’. A lot of studies for images have been proceeded. The problem is that the studies have been carried out for the individual image, not for the images as a whole. Also, they missed biographical elements that are the very essential part of understanding the meaning and corelation of the images. In this paper I inquire into the meaning and corelation of, chronologically, a series of group images - ‘darkness?night’, ‘black color’, ‘poet’, ‘crow’ images. First, in the ‘darkness?night’ image lies unconditional love that does embrace others’ sorrow and does not blame others for their faults. In short, the motherhood of salvation lies in the ‘darkness?night’ image. Secondly, as for the ‘night’ and ‘poet’ images, there are similarities (metaphor) and adjacencies(metonymy) between them. And it becomes evident for the poet to prefer the ‘night’ image. As Bachelard says that night dominates a daydreamer, the poet’s way of thought, not analytic, like a daydreamer, is kin to the night image. This leads the poet to the reconciliatory outlook on the world. Thirdly, it is time to talk about ‘psychic medium of salvation’ in the raven image. The poet regards the raven as a ‘psychic medium’ or ‘messenger’ that connects this world with the world beyond. The poet has thought the raven as a bird that takes the divine punishment on behalf of human beings. This reflects the Korean folk belief and is linked with the call of a crow without hesitation, which seems to forgive all kind of human faults. Another point from the above discussion is that there exists an ontological similarity between the ‘raven’ and the ‘poet’. The poet sings the raven as a ‘wondering poet from the sky’ and a ‘poet wondering in the wilderness’. As Heidegger says, the poet is a divine messenger and is a being who cries with and sings of others’ sadness and pain. The poet identifies himself with the raven. Fourthly, ‘darkness·night’ images are linked to ‘spiritual and religious awakening’. Jonah has the ‘cave experience of darkness and confinement’. It is not God’s curse, but God’s disguised blessing. Jonah cannot see the truth in the light. So God leads Jonah to face the truth in the darkness and then leads him to ‘spiritual and religious awakening’. In conclusion, the particular obsessive images of ‘night/darkness’ have an undercurrent in common : ‘divine messenger’ and ‘salvation’. Why does the poet cling to the ‘salvation theme’ constantly in a lifetime? The reason is that the ‘poet’ must have a reconciliatory outlook on the world and be a ‘divine messenger’.

박목월 시와 "나선"의 시학

유혜숙 ( Hye Suk Yu ) 현대문학이론학회 2012 現代文學理論硏究 Vol.0 No.51

이 논문은 박목월의 시에 나타난 공간 이미지와 강박 은유를 검토하여, 시인 특유의 ``나선의 시학``을 규명하고자 한 것이다. 박목월의 시세계를 분석한 선행연구들에서 공간 이미지를 중심으로 한 연구들의 양이 적지 않으나, 대체로 이항대립적으로 접근하려는 경우가 많았으며, 공간 이미지와 색채 이미지를 함께 연결하여 연구한 논문은 찾아볼 수 없었다. 목월의 시에 나타난 공간 이미지를 일견 이항대립적으로 보이는 것은 사실이지만, 대립적인 공간형상이 뚜렷하게 나타나는 시편들에서조차 이미 양자 사이의 소통과 원융의 가능성을 추정할 수 있게 하며그 부족함을 메우려는 의지의 회동을 뜻하는 것도 되기 때문이다. 시인의 이상과 같은 중도적 의지는 ``보라빛 어스름``의 이미지와 연결해 이해할 때 보다 뚜렷하게 설명된다. 시인의 시에서 한동안 이상세계와 현실 세계는 서로 조화를 이루지 못해왔으며, 두 세계의 불연속과 갈등으로 인해 고통 받아 온 것이 사실이다. 이 불연속은 상층과 하층과 같은 대립적 공간 이미지를 통해 자주 나타나고 있는데, 상층과 하층은 각각 서로 대립되는 이상: 현실, 혹은 시쓰기: 일상생활의 세계로 표상된다. 상:하의 불연속과 대립으로 인한 고통 속에서 시인은 끊임없이 ``열에 하나가 부족한`` 상태를 겪어내고 있었다. 그러나 ``이상과 현실의 불연속과 간극``으로 인한 ``결핍의 감각`` 때문에 괴로워하면서도, 양자를 맞물릴 수 있는 ``교차지점``을 끊임없이 갈망해 왔다는 점에 목월 시인의 시가 의미를 갖는다. ``열에 하나가 부족한`` 상태는 상층과 하층의 연속성과 융합 가능성을 내포하기 때문이다. 상하를 연결하는 층계가 열에서 단 ``한개`` 부족한 상태라는 것은 두 공간의 분리를 의미하는 동시에, 공간의 분리가 결정적이지 않음을 보여주는 것이다. This thesis is to examine space images and obsessive metaphors in Mok-wol`s poems to find out his peculiar poetics of the spiral. In his poems, the ideal and the real are not apparently coincide with each other, which makes him suffer from the discontinuity and conflict between them. The discontinuity is expressed with the binary spatial images, like upstairs and downstairs. Upstairs and downstairs respectively represent the ideal world of poesy and the real world of the daily life which separate and opposite from each other, which makes the poet constantly undergo the state of ``short by one to ten``. ``The sense of deficiency`` and ``the chasm or the discontinuity`` lying between ideals and realities which the poet had suffered from, led him to being unceasingly thirsty for ``transitional stage`` on which those two could match with each other. In effect, the state of ``short by one to ten`` also means the expected possibility of continuity and conciliation of the upper space and the lower space. The pursuit of ``transitional stage`` endowed his poets with a peculiarity of meso-phase pathos, accompanied by the obsessive metaphor of ``the purple``. The purple is a mixture of the red (sensibility) and the blue (rationality), thus, that obsessive color metaphor exhibits his world view which is reconciliating and harmonizing. In addition, embracing the left hand designated to the world of the livelihood reveals important meaning. by embracing the left hand, the state of discontinuity is turned into the state of continuity. Supposedly, the encounter with the Mediator (Jesus) who redeems the poet from his very sins, got his discontinuous cognition convert to reconciliating one, which enabled him to find the way mediating and communicating between the good and the evil, the God and the human, the ideal and the real. Ultimately, the discontinuous lines ascending and descending among the world of binary opposition are led to encounter through a roundabout route of reflection (Repentance), and an ascendant spiral have made from their harmony. And the ascendant spiral symbolizes the poet`s life journey along the way of growth and advance which the Mediator takes him into.

徐廷住 詩의 自畵像 變貌過程

유혜숙(Hye-suk Yu) 어문연구학회 2007 어문연구 Vol.55 No.-

  This thesis is to study the self-portrait transfiguration process appeared in the ‘mirror-image" poetry throughout his early poetry to later poetry.<BR>  The poet(Seo, JungJu) had expressed ‘Anima" image as his own female self in his poetry. The self-portrait transfiguration process as a his own self-protype is a key to understand his poetry. The self-portrait transfiguration process shows divided self-portrait images caused by divided self-consciousness in his early poetry. The reason is that one lacks inner self-introspection to put together the diverse images latent in his self.<BR>  After the early poetry, he, with ‘Anima’ image like ‘Sister image", copes with disruption of self. The unfriendly elements, such as ‘anger and worry’ and ‘sorrow and cry’ in the life are seen to be merged in the ‘Anima’ image like ‘Sister image’, that is, in the images of reconciliation and communication. It unifies two conflicting worlds and leads to mutual understanding of two. The same case with ‘Mother(maternal grandmother) image’.<BR>  The self-portrait transfiguration process-‘divided self’→‘elder sister’→‘mother(maternal grandmother)’-throughout his poetry life shows the salient striking mark of ‘psychic medium’. It unifies two conflicting worlds and leads to mutual understanding of two. The one thing we come to know throughout the process is the poet himself is a kind of ‘psychic medium’. As H?lderlin says, a poet is the one who carries the divine message. The poet(Seo, Jung Ju) had tried to reconciled with the dark and negative side of life, not to confront the dark side of life. This attitude toward life has its origin with his life not to consider conflicting and hostile things like ‘life and death’ and ‘purity and impurity’ as a separate thing, to consider conflicting elements in life as deeply connected each other.<BR>  But the transformation of ‘the earthy’ into ‘the airy’, as Bachelard says, demands the intervention of ‘the fire’. The fire in his(Seo, Jung Ju) poetry is presented with the image of love that serves as ‘psychic medium’ to cope with humbleness and darkness of life.<BR>  The poet, gazing the flowering process of an orchid rooted in the opaque and hard ‘rock’, put stress on the vitality of flowering that leads the poet the new stage of changing ‘the opaque state’ into ‘transparent state’. Through the love of ‘Master singer’ who does not turn aside the filthiness of feces and urine urn and comb up his hair in front of it, he shows a divine power to cross ‘life and death".<BR>  As the poet sees ‘death’ as an extension of life, he can buy the thing(forsythia) of the dead man without hesitation. And with this action he can meet both grandmother of this world and grandfather of the world beyond. Again, he can make certain his self-portrait as ‘psychic medium’ throughout the identification with ‘forsythia’ that mediates both this world and the world beyond.

서정주 시의 ‘꽃’ 이미지에 나타난 제의성 고찰

유혜숙 ( Yu Hye Suk ) 한국문학이론과 비평학회 2001 한국문학이론과 비평 Vol.11 No.-

Seo Jeongju(Midang) had constantly pursued “the poetics of aliveness” from his early stage of writing. His aspiration of ‘aliveness’ is related to ‘sacredness,. Because ‘sacredness’ means here the pursuit of ‘aliveness, that intermediates between hostile and contradictory things such as ‘death and life’. Midang’s poetry showed sacred images again and again expecially in his poetic depictions of the ‘flower’. There are three types of sacred images in his depictions of the ‘flower’. First one is "sacredness of eroticism”,second one is "redemptive sacredness”,and the last one is “sacredness of intermediation.” G. Bataille regarded eroticism as sacredness. Because he identified man's inner violence to women with human’s external violence to the sacrificial offerings : both are just alike in reaching into union and eternality. In the first chapter, “Flower of an erotic sacredness’’,I considered the erotic ecstasy caused by eating 'Hotsue1 (narcotic flower). In this poem, eating ‘Hotsue’ symbolizes the sexual intercourse. By experiencing such a erotic ecstasy, the limited being,poetic narrator, meets with the Unlimitedly open world’. Such a ecstasy of crossroad’ in which the limited and the unlimited intersect, let him intermediate between ‘death and new life'. In the second chapter, “Flower of redemptive sacredness”’ I considered a reversal from 'filthy to purity’,and from ‘pain to peace’ that take place in ‘orchid’ and ‘wild flower'. Such a reversal symbolizes sacrificial performance represented as ‘sins to redemption1. In the third chapter,"Flower of spiritual intermediation.” I examined the sacred function of flower ‘forsytia, and ‘royal azalea’ that intermediate spiritually between 'this world and the other world’. In conclusion, the sacredness of ‘flower’ represents Midang himself, his anima. And such sacred image in his ‘flower’ have two major factors. The one is the intermediate beings who has influenced him for pursuit of eternity, and the other one is his lifelong love for human beings and things. Because only love’ can intermediate between hostile and contradictory things, “love” is “aliveness” itself.