용호비결 연단술의 분석심리학적 의미

신용욱 ( Yong-wook Shin ) 한국분석심리학회 2018 心性硏究 Vol.33 No.2

용호비결은 조선 중기의 문신이던 정렴(1506~1549년) 선생이 저술한 일종의 선도(仙道) 수련서로 매월당 김시습의 용호론의 맥을 잇는 조선시대 가장 중요한 도교문헌의 하나라고 할 수 있다. 본 논문은 정렴 선생과 용호비결 판본에 대하여 소개하고 책의 제목인 용호(龍虎), 책의 내용 중 수단지도(修丹之道), 폐기(閉氣), 호흡법, 단전(丹田), 현빈일규(玄牝一竅)의 연금술적 내용을 분석심리학적 측면에서 살펴보았다. 용호(龍虎)는 정신양(psychoid) 단계에서 작용하는 변환의 요소로 이를 통하여 단(丹)이 만들어지는데 단(丹)은 메르쿠리우스이자 철학자의 돌로 연금술의 적화 단계를 의미하기도 한다. 정렴 선생은 단(丹)을 이루기 위하여 가늘고 긴 호흡을 통한 단전에의 집중을 강조하였는데 이를 폐기(閉氣)라고 한다. 폐기(閉氣)는 능동적으로 니그레도(nigredo)상태로 들어가는 것으로 이때 우리의 정신은 외부로 향한 투사를 거두어들여 단전(丹田)을 향해 집중한다. 니그레도를 통한 지속적인 수련은 알베도(albedo)상태로의 이행을 가능케 하며 이를 통해 투사에 의한 객체의 오염으로부터 정신이 자유로와져 마음의 중심이 자아(ego)로부터 자기(Self)로 옮겨간다. 현빈일규(玄牝一竅)란 노자가 곡신(谷神)으로 표현한 우주의 여성적 원리를 경험하고 이를 체화하는 것이다. The article is about Yong-Ho-Bi-Gyeol(龍虎秘訣), which is one of the most important Taoist text in Korea written by Jeong-Ryum, a Taoist and alchemist in the Chosun Dynasty. The article deals with the alchemical and psychological meanings of Yong-Ho (龍虎, Dragon-Tiger), the way of nurturing cinnabar (修丹之道), the closing of the qi (閉氣), the method of alchemical breathing, the Dantian (丹田, cinnabar-field), and the Mysterious Female’s One Opening (玄牝一竅), in addition to the brief introduction of the life of Jeong-Ryum and the bibliography of the book. The Yong-Ho (龍虎) meaning the dragon and tiger is the archetype of transformation in the form of their opposites, rooted in the psychoid system of the human psyche. The unified Yong-Ho makes Dan and the Dan, literally indicating cinnabar, has many alchemical connotations such as Mercurius, the rubedo state of the alchemical process, and the philosopher’s stone. In the book, Jeong-Ryum emphasized the slow and subtle way of breathing in and out of Dantian to develop neidan (內丹, inner cinnabar or inner alchemy). The refining of neidan begins by the closing of the qi, which symbolizes the radical introversion and withdrawal of all the projections on the outer objects. The Dantian located at the lower part of the abdomen has been known to preserve jing (精), the vital essence of life, which can be refined into qi and spirit (神). In Jungian perspective, the Dantian is a mandala where an individual’s mind can stay and focus at the center of psyche detached from ego and related to the Self. The long-nurtured introverted energy makes the Mysterious Female’s One Opening (玄牝一竅), a pit or cavity in the transcendental space, through which the meditator can have a relationship with the great female principle of the universe. The current article has introduced the contents of the Yong-Ho-Bi-Gyeol in the perspective of analytical psychology. However, it has not dealth with the remaining topics including Taesik (胎息, embryonic breathing) and Juchenhwahu (周天火候, the great Celestial circuit firing), due to the lack of author’s sufficient knowledge and experience. The unexplored areas of Yong-Ho-Bi-Gyeol will be studied in the future.

한국형사법학자 차용석의 생애와 형사법학

최용성(Choi Yong-Seong) 한국형사법학회 2022 刑事法硏究 Vol.34 No.1

차용석 교수는 1970년대부터 1990년대까지 한국의 형법학과 형사소송법학 분야에서 당대의 불평등하고 억압적인 법현실을 극복하기 위하여 인권보장을 최우선 가치로 삼는 헌법적 형사법학을 펼친 석학이다. 헌법적 형법, 헌법적 형사소송법의 사고에 기초하여 차용석 교수는 인권존중의 헌법가치를 최고원리로, 역사적·사회적 맥락을 인식의 기초로 삼아 법규정의 인권보장기능을 극대화할 수 있는 기능적 사고의 해석방법을 전개하였다. 국가형벌권의 남용을 경계하여 형법을 불명확하게 하는 요소를 배제하면서 형법의 비범죄화, 탈윤리화, 탈주관화, 불간섭주의를 주장하였다. 형법이 사회통제의 최후수단임을 전제로 겸억성을 강조하면서도 현대자본주의 사회의 변화에 대응하여 독점자본주의의 폐해라고 할소비자착취행위, 표현의 자유 침해행위, 독점행위, 정경유착, 기업공해범죄 등에 대하여는 형법의 범죄화 기능이 강화되어야 함을 역설하였다, 이러한 주장은 한국 형법의발전방향을 정확히 인식한 사회학적·기능적 사고의 성과이다. 형사소송법학에서는 당대 학계의 주류와는 달리 법의 적정절차 이념과 당사자주의소송구조론을 일관되게 적용한, 인권보호에 충실한 헌법론적 해석을 통하여 대법원과헌법재판소의 해석이 변경되는 데에 영향을 미치고 형사소송법이 개정되는 방향을선도하는 공헌을 하였다. 차용석 교수는 범죄학 분야에서도 부차문화 이론을 통하여 범죄발생의 원인을 탐구하고 해결책을 제시하기 위한 노력을 하였다. 차용석 교수의 형사법 이론은 책임원칙을 벗어나는 과도한 형벌권 강화 또는 법의 적정절차의 후퇴 양상이 나타날 때마다 이를 극복할 수 있는 해석론으로 현재는 물론이고 미래에도 중요한 기능을 할 수 있다. 이처럼 차용석 교수가 한국 형법학과 형사소송법학 분야에 남긴 업적은 실로 크다. Professor Cha Yong-Suk is a Korean scholar who developed the theories of constitutional criminal law and criminal procedure that took human rights protection as prime principle in order to overcome the selective and oppressive law enforcement of criminal justice system in Korea from the 1970s to the 1990s. Using interpretational methods by considering the task and function of criminal law to protect human rights through constitutional perspective in historical and social contexts, Professor Cha Yong-Suk claimed many theories, such as decriminalization, excluding obscure factors like morality or subjectivity, and non-intervention in criminal law. While criminal law is ultima ratio of social control, he thought that the criminalization function of criminal law, in response to social changes, should be strengthened against the misconduct of exploitation of consumers, harmful effect of monopoly capitalism, suppression of freedom of expression, political and economic collusion, and pollution caused by businesses. His constitutional criminal procedure theories which interpreted Korean Criminal Procedure Law through due process of law and adversary system, unlike the mainstream theories of the time, had contributed to change some interpretations of Supreme Court and Constitutional Court of Korea and to lead the direction of revisions of criminal procedure law. On criminology, Professor Cha Yong-Suk made an effort to study the causes of crime and proper criminal policy through sub-culture theory. The theories of Professor Cha Yong-Suk can be effective to analyze and find solutions on any brutal reinforcement of criminal law and violations of due process that may happen in the present as well as in the future. In this way, the achievements that Professor Cha Yong-Suk left on criminal law and criminal procedure in Korea are great.

식민지시대 시에 나타난 ‘얼굴’ 표상 연구

신용목(Sin, Yong-Mok) 한국문학회 2019 韓國文學論叢 Vol.82 No.-

이 논문은 식민지시대에 쓰여진 시들의 ‘얼굴’ 표상에 관한 연구이다. 얼굴은 ‘자아’라는 내면과 ‘세계’라는 외부의 접점을 형성한다는 측면에서 ‘표상적 실재성’을 가장 뚜렷하게 보여주는 대상이고, 은유와 환유는 시적 대상이 출현하고 배치되는 양상이다. 이 논문은 얼굴 표상이 시 속에서 구조화되는 방식을 살핌으로써 식민지시대 시인들의 시적 인식의 한 측면을 조망하고자 한다. 세계와 자아에 대한 성찰과 고뇌를 이어가거나 당대 현실을 유이민적 과정으로 체험했던 정지용, 윤동주, 백석, 이용악의 시에 얼굴 표상이 많이 등장한다. 또한 언어 실험을 통해 세계의 분열의 징후들을 보여줬던 이상과 세계의 이상에 자아의 목표를 일치시켰던 임화의 시에서도 자주 등장한다. 반면, 현실 동인과 자아에 대한 질문을 뒤로 물린 채 관념적 세계와 미적 언어에 탐닉했던 청록파 시인 등에게는 ‘얼굴’ 표상이 거의 등장하지 않는다. 정지용과 이용악 시에서 ‘얼굴’ 표상은 세계와 관계하는 화자의 내적상태를 직접적으로 대리한다. 그들 시에서 얼굴은 세계와 자아의 만남에서 비롯된 주체의 외상 자체를 표상한다는 점에서 은유적 표상으로 나타난다. 이는 얼굴 표상이 내적 상태와의 유사성을 바탕으로 등장한다는 것으로도 설명 가능하다. 은유적으로 등장한 ‘얼굴’ 표상은 불우한 시간의 연속성 속에서 주체의 내력을 위치시키는 역할을 한다는 점에서 ‘통시적’ 성격을 띤다. 이는 외적 폭력의 강도를 더욱 선명하게 드러내는 역할을 한다. 윤동주와 백석 시의 경우 ‘얼굴’ 표상이 병렬적 배치를 통해 세계를 연쇄적 과정으로 지시한다는 점에서 환유적 성격을 가지고 있다고 볼 수 있다. 얼굴 표상이 주체의 외상을 주체 외부에 배치한다는 점에서 환유의 특징인 인접성을 띠고 있는 것이다. 즉 자신의 얼굴을 분리시켜 그 진의를 묻거나 얼굴 옆에 또 다른 얼굴을 배치함으로써 세계와 자아의 실체에 닿고자 한다. 환유적으로 등장한 ‘얼굴’은 화자의 사유나 인식을 일관되게 전개시켜 현실 또는 정념과의 유비적 연결망을 만들기보다는, 오히려 그 연결망을 저지하고 대상화시킴으로써 현실 또는 정념의 정체를 되묻는 역할을 한다. 환유적으로 등장한 얼굴 표상은 그 공시적 성격을 통해 외적 폭력이 가진 비극의 폭을 확장시킨다. 이상 시의 ‘얼굴’ 표상은 은유와 환유의 과정이 중첩되어 등장하고, 임화 시에서는 그 과정이 무화되어 나타난다. 이상의 시는 세계와 자아의 관계가 단일하게 포착되지 않기 때문이며, 임화의 시는 세계와 자아의 관계가 이미 결정된 상태로 등장하기 때문이다. 그러나 이는 원관념과 보조관념이 결합된 ‘동일성의 원리’와는 다르다. 그러나 이는 원관념과 보조관념이 결합된 ‘동일성의 원리’와는 다르다. 은유와 환유는 시어 출현 방식에 따라 시의 구조를 형성한다. 이상의 시의 ‘얼굴’ 표상은 구조적 맥락을 지움으로써 세계의 비결정성을 표상하고, 임화 시의 ‘얼굴’은 그 자체로 세계의 표상을 구조화한다. 그로써 이상의 시는 세계의 분열을 드러내고, 임화의 시는 단일한 세계를 지향한다. This study is a study on the ‘face’ representation of poems written during the colonial period. Facial representations are the objects that show the representational “reality” in terms of forming the interface of inner ‘self’ and outer ‘world’, and metaphors and metonymy are the aspects in which the poetic objects appear and place. Therefore, this study is a study that reveals one aspect of the poetical perception of poets in the colonial period by examining the way facial expression is structured in the poem. Many face representations appeared in the poems of Ji Jung Yong, Yoon Dong Joo, Baek Seok, and Yong Aak who experienced the reflection of the world and the self and the reality of the time through the immigrant process. It also appeared frequently in Im Hwa s poems, which matched the goal of the self with the ideal of the world, and Lee sang s poem which showed the splitting of the world by the technique of self-targeting. On the other hand, “face” representations rarely appeared in the poets from Pure Green Color school who indulged in the ideological world and aesthetic language but rejected the questions about reality motif and egos. In the poems by Jung Ji-yong and Lee Yong-ak, the ‘face representation directly represents the inner state of the speaker who is related to the world. Shortly, it is metaphorical in that it represents the trauma itself originated from the meeting between the world and the self. This can also be explained by the fact that facial expressions appear based on their internal state and similarities. At this time, the “face” representation by Jung Ji-yong and Lee Yong-ak is of a “diachronic” nature in that the subject s internal strength is positioned in a series of unhappy times. This plays a role to clearly reveal the intensity of external violence. In the poems by Yun Dong-ju and Baek-seok, ‘face’ has a metonymic nature in that it directs the world in the manner of chain process through parallel arrangement. This can be explained that the facial representation has a proximity in that the trauma of the subject is placed outside the subject. That is, it questions the true intention by separating own s face, or it intends to reach out to the whole world by placing another face next to the face. Face , which appeared in metonymy, plays a role of reclaiming the identity of reality or emotions by blocking the connection and objectifying it through objectification, rather than consistently developing the speaker s thoughts and perceptions to make the organic connection between reality or emotion. This expands the tragedy of external violence through its public nature. In the poem by Lee Sang, the process of metaphors and metaphors is overlapped in face, and in the poem by Imhwa, the process becomes blurred and appeared. This is because the relationship between the world and the self is not captured in a single way while the relationship between the world and the self has already been determined in the poem by Imhwa. But this is different from the “principles of homogeneity,” in which the original and auxiliary concepts are combined. Metaphors and metonymy are classification of the structure of poetry depending on the way the words appeared. Thus, the “face” of the poem by Lee Sang represents the world s non-determinism by erasing the architectural context, and the “face” of the poem by Imhwa in itself constructs the world s representation.

경대(經臺) 김상현(金尙鉉)의 교유시에 대한 일고찰

김용태 ( Kim Yong-tai ) 한국한문학회 2021 韓國漢文學硏究 Vol.- No.83

김상현은 19세기 중반 서울 문단의 중요한 작가였지만 안타깝게도 문집이 오늘날 전해지지 않고 있는 가운데, 그가 젊은 시절에 지은 시들을 모은 『경대시략』과 『경대시존』만전하고 있다. 본고는 이 자료를 통해 김상현의 교유시를 살펴보았다. 젊은 시절 김상현의 교유는 크게 ‘정약용 부자와의 교유’, ‘김매순과 홍석주 등 선배 문인과의 교유’, ‘윤종의와 박규수 등 동료 문인과의 교유’로 나누어 볼 수 있다. ‘정약용 부자와의 교유’에서는 김상현이 어떻게 당파가 다른 정약용에게서 가르침을 받을 수 있었는지 그 경위를 밝혔고, 어린 김상현의 눈에 정약용과 정학연이 어떠한 모습으로 비쳤는지를 살펴보았다. 이 부분은 향후 다산학단의 시문학 연구에 활용될 수 있을 것이다. ‘선배 문인과의 교유’에서는 ‘북촌 한문학’이 19세기 전반기 세대에서 중반기 세대로 이어지는 모습을 확인할 수 있었다. 김상현은 김매순, 이정리, 홍석주 등 선배들의 학문과 문학을 존경 어린 시선으로 증언하고, 선배들은 김상현을 격려하며 이끌어주었다. ‘동료 문인과의 교유’에서는 1840년 무렵 김상현이 동료 문인들과 매우 활발한 교유 활동에 나섰음을 확인하였다. 이 당시 이들의 움직임에서는 대단히 활기찬 에너지가 감지되는데, 끈끈한 동지적 결속을 바탕으로 미래에 대한 희망이 이들의 마음을 사로잡았던 것으로 보인다. 이 점은 문학사를 넘어 정치사에서도 주목할 지점이라고 생각되는바 향후 학계의 집중적인 연구가 이루어질 필요가 있다. Kim Sang Hyun is an important writer of Seoul literary circles in the mid-19th century, but unfortunately, his collection of literary works is not available today. However, the books of poetry he wrote when he was young, “Kyung Dae Si Ryak(經臺詩略)” and “Kyung Dae Si Jon(經臺詩存)” remain. Therefore, in this paper, I analyzed the poems he wrote while interacting with people, based on Kyung Dae Si Ryak and Kyung Dae Si Jon, which are the only materials that can examine the literary world of Kim Sang Hyun. Kim Sang Hyun’s social interaction in his youth can be divided into three categories: “interaction with Jeong Yak Yong’s family”, “interaction with senior writers such as Hong Seok Ju”, and “interaction with fellow writers such as Yoon Jong Eui and Park Kyu Soo”. In the chapter on “interaction with Jeong Yak Yong’s family”, I revealed how Kim Sang Hyun was able to be taught by Jeong Yak Yong of other factions. In addition, Kim Sang Hyun’s poems about Jeong Yak Yong’s family were examined to understand what the appearances of Jeong Yak Yong and Jeong Hak Yeon were reflected in the eyes of Kim Sang Hyun at that time. The contents in this chapter can be used for future study on literature of Dasan Academy. In the chapter on “interaction with senior writers”, it was possible to see how “Sino-Korean literature in Bukchon” was changing from the first half of 19th century to the mid-19th century. Kim Sang Hyun respected the studies and literature of his seniors such as Kim Mae Soon, Lee Jeong Ri, and Hong Seok Ju. Hence, the seniors encouraged and guided him. In the chapter on “interaction with fellow writers”, it was confirmed that Kim Sang Hyun had active interaction with many fellow writers around 1840, while he had mainly interacted with the Jeong Yak Yong family and senior writers before. This fellowship seems to come from the strong comradeship between young writers and their hope for the future. However, this atmosphere rapidly disappeared after the death of Heonjong of Joseon. This point should be noted not only in the history of literature, but also in the history of politics, and intensive research will be necessary for the future.

당풍(唐風) 수용기 정용(鄭鎔)의 한시(漢詩)에 대한 고찰 -시선집(詩選集)에 수록된 작품을 중심으로

박용만 ( Park Yong-man ) 한국한시학회 2016 韓國漢詩硏究 Vol.24 No.-

조선중기 盛唐詩를 수용한 三唐詩의 등장은 우리 문학사에서 매우 중요한 분기점이 된다. 문학사에서 새로운 풍조의 유행은 몇몇 작가의 노력만으로 이루어질 수 없으며, 당시 활동했던 많은 시인들이 교유하고 참여하는 과정에서 典範의 논리와 방향성이 자리를 잡게 된다. 그러나 三唐詩人을 제외하면 이 시기에 활동했던 여러 시인들에 대한 논의는 절대적으로 부족하다. 鄭鎔은 그동안 전혀 알려지지 않았던 시인으로 삼당시인이 활동했던 시기에 참여한 인물이다. 靖國功臣으로 海平府院君에 봉해진 鄭眉壽의 후손으로 화려한 가문의 배경과 경제적 풍요에도 출사하지 않고 자연을 벗 삼아 시작에 전념하였다. 많은 작품을 남긴 것은 아니지만 許筠은 그의 작품을 높이 평가하여 『國朝詩刪』에 6수를 선발하여 넣고 『鶴山樵談』과 『惺所覆?藁』에도 그에 대한 詩話를 수록했을 만큼 당시 상당한 비중을 지녔던 것으로 평가할 수 있다. 그는 唐風을 수용하여 정회를 표출하였다. 때로는 미숙한 작품이 보이기도 하지만, 절구 형식을 선호하여 주로 주위 경물과 심사를 소박하게 표현하는 특징을 보인다. 시화에 실린 일부 방대하고 현란한 의경의 작품을 허균은 詩魔가 들어 지은 것으로 소개하였다. 소박한 의경의 다른 작품과 연관성이 떨어지지만 정용의 입을 통해 지어진 것만은 분명하다. 조선 중기 당풍의 정착과 유행의 관점에서 정용의 담백하면서 소박한 한시는 일정한 의미를 지닌다고 할 수 있다. 아울러 당시 알려지지 않은 많은 시인들의 다양한 시풍을 논의하는 것은 당풍의 수용을 폭넓게 이해하는 단서가 될 것이다. The appearance of Chinese poems of the Tang Dynasty style by three poets in the Joseon Dynasty(三唐詩) that accepted the Tang poetry during its flourishing period(盛唐詩) became the turning point of Korean literary history. Trends of new tendencies in literary history cannot be done by several writers` efforts and model(典範)`s logic and directivity get to settle in the process that many poets who are active then associate with each other and participate. However, except the three poets who wrote the Tang Dynasty`s Chinese poem styles, discussion on several poets who were active in this period are desperately lacking. Joeng Yong(鄭鎔) is the figure who participated in the period that the three poets who wrote the Tang Dynasty`s Chinese poem styles were active as the poet who has never been known to us in the meanwhile. He devoted himself to writing his poems by communing with nature without entering government service despite the background of his distinguished family and economic affluence as the descendant of Jeong Mi-su(鄭眉壽) who was raised to Haepyeongbuwongun(海平府院君) as Jeonggukgongsin(靖國功臣). He did not leave many works of art. However, he can be evaluated to account for a considerable proportion of the period as Heo Gyun put his 6 poems in Gukjosisan(國朝詩刪) and included stores about his poems in Haksanchodam(鶴山樵談) and Seongsobugo(惺所覆?藁) by thinking highly of him. He expressed his thoughts by accepting the Tang Dynasty`s Chinese poem styles. Sometimes, he shows unpracticed works of art. However, his works of art usually feature simple expressions of the scenery of the seasons around him and his mind and thought as he gave preference to quatrain forms. Heo Gyun introduced his partial works of art about the vast and ornate scenery written by him because of a kind of spells that he felt a disposition to do them(詩魔) to people. It is clear that they were written by Jeong, Yong`s mouth even though they are not linked to his other works of art about the simple scenery. Jeong, Yong`s light and simple Chinese poems can somewhat be meaningful from an angle that the Tang Dynasty`s Chinese poem styles settled and were popular in the middle of the Jonseon Dynasty. In addition, discussion on various poetical styles by many poets who were not known then will be a clue to understand acceptance of the Tang Dynasty`s Chinese poem styles widely.

순수시의 상호작용ㆍ金永郞과 朴龍喆

김용직(Kim Yong-jik) 한국시학회 2004 한국시학연구 Vol.- No.10

This paper is to study two major ´Si-mun-hak' school poets, Kim Young-rang and Park Yong-chul, who take important positions in the history of Korean Poetry. It is noticeable that they both are from Honam and study together in Seoul and Yomiuri Institute, Japan. Thus we can say that they compose pure poems under the base of mutual emotional bondage. They publish monumental poems in the history of Korean poems just after and before the first publication of Si-mun-hak, and this process we can notice friendship and close literary bondage between them. Both of them are composers of pure poems, however, a close examination indicates that they have their own independent characteristics. Though Kim Young-rang starts from a composer of pure poems, small notices could be found that he accepts historical consciousness, awareness of the contemporary situation, and ethnic emotion. On the contrary Park Yong-chul is romantic and mostly publishes melpoems, which shows that he is under the influence of Kierkegaard, a Danish philosopher. This melancholy sense demonstrates his poetic colour, to stick with pure poems due to the lack of present situation. Park ,Yong-chul a scholar of German Literature, is different from Kim Young-rang who wants to concretize the world of folklore and ethnic emotion Park Yong-chul is interested in the current of the poems worldwide, is deeply embedded in romantic world, and attempts to revitalize the poems in his own way.

해방기 문학의 내적 형식과 길 모티프 연구-이용악의 시와 허준의 「잔등」을 중심으로

노용무 ( Noh Yong-moo ) 한국문학이론과 비평학회 2005 한국문학이론과 비평 Vol.26 No.-

This study is to consider (road or journey( in Lee Yong-ak's poetry and Heo Jun's 「The Faint Light」, focused on the symbol of road as a inner form of Korean Literature in independence times. This writers made an effort for representing the meaning and impression of independence in each janre objectivly against sentimental expression. Moreover they made a inner form focused on a foreign country and a journey for returning to motherland, and then they exclued a general inspiration and excitement in independence times. Lee Yong-ak expressed their emotion for independence objectivly by moving along a journey of the people to their homeland from a foreign country, and Heo Jun pursued to represent an inner description of a scenery at a public station toward released Seoul. These aesthetic sense of modernity of Heo Jun take another meaning of the independence in Korea at that times by raising compassion like tolerant sadness be latent in human-being. On the other hand, the view of Lee Yong-ak through the political modernity or aspiration for core of world is a world of political sense in that he recognized the reality of nation. But each intention to modernity of them had not been overcome the political situation in turbidity and eventually their political direction had been toward North Korea.

이용악 시에 나타난 길의 의미

노용무 현대문학이론학회 2004 現代文學理論硏究 Vol.0 No.21

Ever since making his debut with 「패배자의 소원(A Hope Of A Loser)」(1935) in the Journal『Shinin-munhak』, Lee Yong-ak worte a lot of poem and remains really active in his creative work. His works on the whole poeticized the kernel situation of his times through the impoverished conditions of rural communities under coercive Japanese imperial rule and the consequent people's nomadism This paper aims to consider the "Road" motif as the coherent relation and the literary convention in Lee Yong-ak's poetic system. Cnsidering this problem, this paper seek the meaning of Road by literary immanent methods, and search of symbolism and paths in the Road. The Road is a search for self-identity by problematic character as poetic speaker, and for self-consciousness in a world degraded. This symbolism develops two paths in Lee Yong-ak's poetry, one path to the South, another to the north. It is homology between Lee Yong-ak's life and the path of Road in his poetry. Also the meaning of are changed in his historical environment.

룡산서원(龍山書院)의 거접(居接)활동 기록과 그 의미

김경용 ( Gyung Yong Kim ) 교육사학회 2006 교육사학연구 Vol.16 No.-

이 연구의 목적은 조선후기 전통 교육기관의 교육활동에 대한 재해석을 시도하는 데 필요한 또하나의 사례를 제시하는 데 있다. 일제강점기 일본인 학자들이 주장했던 것과 같은 조선의 전통 교육기관에 대한 통상적인 견해, 즉 조선에는 학교다운 학교가 없다는 견해는 사실 입증할 만한 구체적인 증거에 바탕을 둔 것이라고 보기 어렵다. 근래에 조선후기의 교육체제와 교육활동에 대한 구체적인 사례를 담은 사료들을 접하는 일이 점점 더 용이해짐에 따라서 조선후기 교육상황에 대한 종래의 해석과는 다른 접근을 시도할 가능성이 갈수록 높아지고 있다. 따라서 당시에 여러 지방의 서원·향교·양사재 등 각 학교에서 작성된 교육활동 관련 고문서 자료를 바탕으로 다각적인 분석을 가하는 사례연구의 축적이 중요하다. 이 연구에서는 경주 용산서원의 교육활동 및 교육행정 관련 기록을 소개·분석하고 그것이 갖는 의미를 도출하였다. 용산서원의 거접록은 단순히 유생들에 대한 제술 경쟁 또는 제술 考課의 사실만을 보여주는데 그치지 않고, 경전에 대해 문답·토론·논쟁을 벌이는 강학·강회 활동까지 시행되었음을 보여주고 있다. 또한 과거시행일정 통보 및 과거웅시자 명단 작성·보고 등의 교육행정 활동은 해당 학교에서 강학활동을 전제로 이루어진 것이었으며, 이는 용산서원에만 국한된 것이 아니라 향교는 물론 여타 사액 서원도 공히 담임하고 있던 역할 이었다. 조선시대 전통 교육기관의 교육활동에 대한 사례연구를 지속적으로 축적해 나가는 것은 조선후기 전통 교육기관에 대한 새로운 시각과 손에 잡히는 이해를 모색하는 데 필수적인 작업이 될 것이다. The main purpose of this study is to reinterpret the educational system and practice of traditional school in late Chosen Dynasty. In fact, the customary viewpoint on traditional schools, as japanese old scholars to speak there was not a real educational institution in late Chosen Dynasty, has just rare positive testimonies to justify itself. Nowadays, increasing advent of old archives carrying concrete evidences on the system and practices of education in late Chosen Dynasty make it possible to reinterpret the traditional school system and educational practices. It is important to produce case studies based on practical academic activities recorded in official document at that times. In this study, I introduce some important records on educational activities in Yong-San Traditional College and on its administrative service and function. From the composition(製述) activities, we can lead another fact that these activities have coexisted with relating educational practice or academic conference(講會) to read the confucian textbooks and to discuss or argue about some subjects in them. Also, the administrative service and function of Yong-San Traditional College, such as reporting to the superior office the personal information about the candidates for public examination (科學) or composition contest(白日場), was closely related to the educational activities in this college. To take part in any sort of competitive examination academic or selective, it was necessary for cadidates to study in school. On the other hand, for school having responsibility to report on list of examinee, opening academic conferences had to be carried on even temporarily. We can make another viewpoint of the traditional school system and practices from the reinterpretation on educational practice in Yong-San Traditional College. It played some educational role suitable to the occasion at that times.

근대화 과정에서 홍익의 자유이념 소통

김용환(Kim Yong-Hwan) 고조선단군학회 2009 고조선단군학 Vol.20 No.-

As a nationalist of colonial days, Han Yong-Un tried to analyze western modernization as viewpoint of the general trend. He tried to apply freedom and equality which was from Buddhism to those of modernization. That is to say, he considered Buddhism which was traditional thought as the religion which was very much close to the mass of people. Because of that, he thought national emotion had the power of subjectivity of modernization. Compared with the freedom of Han Yong-un, in the context of liberty of Liang Qichao, He reveals his social Darwinism and organic nationalism in the most systematic manner as a result of danger of colonization by the great powers. In his idea of New Citizen, each individual of a nation is a highly independent modern person who owns civil virtues such as ‘the nationalist idea’, ‘the spirit of liberty’, and ‘the economic spirit’. Han Yong Un thought freedom, equality and peace which is main point of Buddhism must be realized in the future. He also thought that realization must be done public commune subjectively by the revolution of the mass of people by degrees. Therefore, he basically denied outer interference and aggression. But Liang Qichao's organic consciousness indicates that since nation and its people are not in a subordinate relationship but nation is rather a colligation of each individual's welfare, nation cannot run counter to individual's happiness or benefit despite its attempt to limit each individual. Even if so, it is true that the fact that the total sum of each individual's benefit and happiness cannot exceed the benefit or the existence of the nation sets it apart from the individualistic modern democracy. ‘liberty’ for Liang meant ‘strong and sacrificial enough to secure the freedom of the collective/state’. In such collectivists Social Darwinist interpretation, “freedom” did not contradict at all the overall “statist” understanding of “modernity” and “civilization”-on the contrary, it functioned as its organic part. We can say that in the process of modernization, Han Yong Un focused his idea of public commune value through the freedom from the colonial days, Liang Qichao stressed his idea of liberty on the new citizenship by the new way of national building.