일반논문 : 근대시론의 재현 인식 연구

윤의섭 ( Eui Soup Youn ) 현대문학이론학회 2011 現代文學理論硏究 Vol.0 No.44

본 연구는 근대시에 대한 논의가 활발히 펼쳐졌던 1910년대부터 1920년대 말까지의 비평 자료를 대상으로 하였으며 근대시론의 재현인식이 갖는 특징을 분석하였다. 근대시 초기에 형성된 재현인식은 재현성 및 비재현성의 양상을 이해하는 데에 중요한 역할을 할 것으로 본다. 또한 재현 대상, 또는 재현 대상의 모호성을 설명하기 위해서도 근대시 초기부터 이어져 온 재현인식을 우선적으로 파악할 필요가 있는 것이다. 이러한 관점에서 본 연구는 근대시론에 나타난 재현에 대한 인식을 살펴보고 재현인식이 어떠한 양상으로 형성되고 전개되었는지 그리고 근대의 시적 재현에 대한 인식이 어떠한 의미를 갖는지 알아보았다. 근대시론의 재현인식은 모방적 재현, 주관적 재현, 그리고 비재현성 등의 양상을 보이고 있다. 근대시의 재현인식에 대한 문학적 논의를 살펴보는 것은 다양한 양상으로 전개된 근대시를 이해하기 위한 또 다른 관점의 시도이기도 하다. This study discusses about critique materials from 1910s to 1920s when the discussions on Modern poetry were in the heyday; and analyzes the characteristics of the perception on representation in modern poetry theories. The perception on representation was formed in the early period of Modern poetry will be important to understand representability and non-representability in contemporary poetry. Also, understanding the perception on representation continued from the early Modern poetry is required to explain the subject of representation and its ambiguity. From this perspective, this study examines the perception on representation in Modern poetry theories; formation and development of the perception on representation; and the significance of the perception on poetic representation in modern times. The perception on representation of Modern poetry theories shows the aspects of imitative representation, subjective representation and non-representability. Looking into literary discussions on the perception on representation of Modern poetry is another approach to understand modern poetry which are developed in various directions.

정지용 시에 나타난 시간성의 수사학적 의미

윤의섭(Youn Eui-Soup) 한국시학회 2003 한국시학연구 Vol.- No.9

The poem written by Jung Ji Yong shows change of time attribute in process transformed to poem revealing scenery and pictures through the early and middle of religious poetry world. In the change, a metaphorical change of recognition become motive. His early works reconstructed the past by metaphorically cognizance. That is to say, the past and present came to continuous time systematically, and formed through metaphorically cognizance. Sensuous description , one of the early poetry characteristic is realized by attempt reconstructed continuous time to the present. In the basis of these figure, an attitude that understanding metaphor comes into motive. In middle poetry, it shows eternity rising above the past or present. The time of eternity means timeless situation above past, present and future. Eternity becomes to recognition about speaker's world filled faith. so, it can express through a simple symbol. Accordingly, a metaphorical recognition that is different from the early poetry stands in the base. But, the reality of Japanese imperialism age is realized that reconstruction having in the early poetry is impossible. Also, the middle poetry seems to be in a transition. Finally, Jung Ji Yong creates another world about real world. That is, in the latter half of the year, changing time attribute, it comes to metonymy recognition looked timeless situation. In the under the rule of Japanese imperialism, another world indicated scenery forms a part of the realization of a positive and subjective self and is the world of metonymy figure made by will of seclusion. Jung Ji Yong appreciates another world having timeless through metonymy yielding principle of contiguity. In the poetry of the latter term, however, timeless and metonymy recognition exhibit the limitation coexisting with metaphorical recognition. This is confirmed that Jung Ji Yong intended the real time lastingly. A metonymy recognition of the time attribute assumes an aspect that doesn't make deeper poetic figure.

한국 현대시의 종결 구조 연구

윤의섭(Youn Eui-Soup) 한국시학회 2006 한국시학연구 Vol.- No.15

This study reviewed end structure of poetry focused on poems by Jeong, Ji-Yong, Baek, Suk, and Lee, Yong-Ak. End structure indicates the structure shown in the way of ending a poem. This paper divided the end structure of poetry into formal type according to relationship between the world and a self, and a type according to cognitive method of an end. Formal type according to relationship between the world and a self is also divided into regressive end structure and extensive end structure. Type according to cognitive method of an end is divided into subject-oriented end structure and object-oriented end structure. Subject-oriented end structure is characterized by use of vocabulary that is more direct and carries more poetic significance, or presenting different structure from overall structure using emphasis and repetition. Object-oriented end structure recognizes an end as an object with cognitive potential, plans and reflects the present of the subject. This paper presents the significance of the ending in poetry associating with time structure, and relationship between ending part and horizontal structure. At the end of a poem, poetic time is created. A point where poetic time is created starts from where a sign for ending appears. The part where this sign appears can be called a preparation stage for ending. A preparation stage for ending is a basic structure in a poem that distinguishes ending part from the part before. The end of a poem is the last and the first stage at same time, that forms horizontal structure of the poem. Therefore, ending is where metaphor is formed as poetic significance and intention are finalized and transferred to readers' cognitive will. In such case, time of poetry identified with poetic self corresponds to readers' experience, therefore the poem is reconstructed and internalized.

한국 현대시의 체험 변용 연구

윤의섭(Youn Eui-Soup) 한국시학회 2007 한국시학연구 Vol.- No.18

This paper covers transformation system of experience. In addition, it intends to find out that primal experience affects and indirectly acts in a poet's poetry creating process, through which the paper views a principle of creating poetry and further examines the existence of experience of modem poetry. Experience transforms through memories with sense of time, interference of subject, and will for poetic recreation. Reaction to certain experience subject and exclusion, enhancement and interest in experience are also important variables; such experience transformation does not occur in specific order but simultaneously. Especially strong reaction to experience functions as a continuous transformation factor on experience. Such experience transformation process is associated with will to obtain ego identity. Such will is a motive to lead experience transformation. Primal experience, on the other hand, affects and interferes poetry even if it were not directly associated. primal experience therefore generates strong reaction associated with subject, which can also be found in other poetry by a poet in a way of continuous transformation. primal experience exists as a potential subject. Such primal experience does not simply act but according to the poet's intention and inclination. This is because primal experience does not simply stay in the level of subject matter but largely affects formation of a poet's world view and obtain ego identity.

시의 지평 형성과 시간성 연구

윤의섭(Youn Eui-Soup) 한국시학회 2009 한국시학연구 Vol.- No.24

This paper observes characteristics and time quality of horizon in poetry that are formed within the readers when they perceive poetry as an object of experiences and examines the presence of poetry due to its forming horizon. Various definitions on poetry show many signs that poetry can be perceived as an object of experiences. In addition, poetry is a subject that can be experienced by active participation of the readers. Horizon, as the collective world, formed within the readers changes creatively time limit of the readers. Forming horizon by poetry is associated with closure structure of poetry. If poetry had regressive closure structure, it would require the readers to have negotiated perception in forming horizon and time quality would be defined under closed condition. If poetry had extensive closure structure, it would require the readers to have receptive perception in forming horizon and time quality would be defined under open condition. Such horizon is characterized by its ability to extend horizon and memory range of the readers. Not only it changes horizon of the readers, it also shows its ability to form creative time quality. And horizon of poetry makes the readers to form time quality of horizon ranged from the past and the future. Presence of poetry by such horizon formation can be described in three ways: first, poetry is a catalyst to encourage the readers to experience, change and extend horizon; poetry reveals essential, aesthetic values of horizon; and change of horizon within the readers provides an opportunity to transcend the reality. In conclusion, presence of poetry lies in the fact that horizon formed within the readers is more realistic, truthful one.

감각의 복합성과 모더니즘 시의 '회화성' 연구 : 1930년대 김기림·김광균·정지용 시를 중심으로

윤의섭 한중인문학회 2008 한중인문학연구 Vol.25 No.-

본고는 1930년대 모더니즘 시에 나타난 시각적 감각작응의 복합성과 복합감각적 지각 작용에 의해 형성된 이미지의 성격, 그리고 1930년대 모더니즘 시가 강조했던 '회화성의 감각적 의미를 살펴보았다. 감각 작용의 일반적인 특성상 감각 작용은 복합감각적으로 이루어지는데, 시의 회화성과 시각적 감각을 강조했던 1930년대 모더니즘 시의 감각 역시 시각적 감각만 작용한 것이 아니라 시각을 중심으로 여러 감각 작용이 이루어졌다. 즉, 모더니즘 시의 시각중심주의는 대상의 ‘회화성'을 극대화하여 그 시각적 이미지를 형성하는 데에 주력하고 있지만, 실제에 있어서는 시각적 감각 역시 복합감각적 이미지를 보여주고 있는 것이다. 한편 1930년대 모더니즘 시가 강조하는 이미지가 시각적 감각과 깊은 관계를 맺고 있는 것은 사실이나 그 이미지와 이미지가 내포하고 있는 의미를 의도한 바대로 드러내기 위해서는 대상에 대한 복합감각적 지각이 함께 이루어지고 있었다. 이와 함께 회화성이 갖는 감각적 의미는 다음과 같다. 당시 모더니즘 시의 '회화성'에 나타난 감각은 복합감각적 지각에 의한 동시적 지각의 양상을 보이며 입체적이며 다원적인 공간성을 형성하고 있다. 그리고 1930년대 모더니즘 시가 중요시한 이미지 획득이라는 의도와 함께 시각적 감각이 갖는 종합적 인식의 특성이 가세해 시각적 감각이 두드러지게 나타나고 있다. 그럼에도 복합감각적 회화성이 시에 드러나고 있는 것은 1930년대의 근대적 풍경을 근대적인 시각으로 더듬어보고자 하는 당시 모더니즘 시인들의 감각적 인식 태도가 반영되어 있기 때문이다. This paper covers complexity of visual sensibility in Modernism poetry in 1930s; characteristics of the images formed by perception of complex senses: and significance of sensibility in picturesque quality emphasized by Modernism poetry in 1930s. Due to its generalized nature, effect of sensibility is achieved by complex senses; sensibility in Modernism poetry in 1930s, which emphasized picturesque quality and visual sensibility, was also achieved by various effects of sensibility focusing on visual sense, not solely by visual sensibility, In other words, visual-oriented tendency in Modernism poetry maximized picturesque quality' in an object to form visual image; however it actually shows image of complex senses. Although it is true that images emphasized in Modernism poetry in 1930s have close relationship with visual sensibility, complex senses were at work in order to convey meaning of an image as intended, In addition, significance of 'picturesque quality' in terms of sensibility is as follows: sensibility shown in 'picturesque quality in Modernism poetry at that time created a quality of space that is three-dimensional and plural, showing synchronized perception of complex senses. Also with intention to achieve image which Modernism poetry in 1930s emphasized, visual sensibility stands out with help of nature of complex perception, Picturesque quality of complex senses in poetry, notwithstanding, is because of clear reflection of perception of senses among Modernism poets of the time who attempted to view modern landscape in 1930s through modern viewpoint.