남부연합군의 패인론 : 로버트 리의 지휘력과 군사전략을 중심으로 Robert E. Lee's Generalship and Military Strategy

이주천 한국미국사학회 2003 미국사연구 Vol.18 No.-

This study analyzes one of the important reasons why the Confederacy was finally conquered by the Union’s armed forces during the American Civil War. It concentrates on the generalship and military strategy of the most prominent Confederate general, Robert E. Lee. Lee’s military activity during the Civil War can be divided into three parts. The first period was from April 1861 to June 1, 1862, when General Lee reluctantly had to conduct a defensive strategy. The second period was from early June 1862 to July 4, 1863, when General Lee and his Army of Northern Virginia won a string of significant victories, notably the Seven Days battles, Second Manassas, Fredericksburg, and Chancellorsville, as part of an energetic offensive-defensive strategy. But his defeat at Gettysburg forced him to temper his boldness. The third period lasted from July 5, 1863 to April, 1865, when once again Lee’s strategy had to return to a defensive style, because of the lack of manpower and other war resources. He could not find a reasonable strategy to deter the Union’s forces. At critical times Lee was still eager to engage the Union armies directly because he assumed that the independence of the South could be obtained only by winning victories on the battlefields. He did not expect foreign intervention. But Lee’s dilemma was how to replace his heavy casualties as the South could not afford to provide sufficient material and manpower resources in support of Lee’s defensive-offensive strategy. General Lee’s extreme localism toward the Commonwealth of Virginia influenced his conduct of war and military strategy, because he was too concerned with the defense of Richmond and Virginia to realize the significance of the Western theaters until the final period of the war. In addition, Lee did not spend much energy to educate his general staff after the death of General Thomas J. “Stonewall” Jackson. He was too kind toward his subordinates on the battlefield, and gave them too much authority when his charismatic leadership was necessary. He did not succeed in managing his aides-de-camp effectively vis-a-vis the requirements of the modern warfare. Consequently, his military strategy and generalship remained in the old style of warfare. He did not encourage new patterns of warfare, rejecting the guerrilla war that the South could have offered by utilizing its mobile cavalry forces.

樂愚堂九曲과 樂愚堂九曲'時의 분석

李相周 청주대학교 교육문제연구소 2001 교육과학연구 Vol.15 No.2

Nak-U-Dang Goo-Gog(樂愚堂九曲) was established by Sin, Duk-Chi(申得治 1592~1656), is located in Bongwoang-li(鳳凰里), Naibuk-Myon(內北面), Chongwon-Kun(淸原郡), Chungbuk(忠北). Nak-U-Dang Goo-Gog Poem was(樂愚堂九曲詩) written by Lee, Hong-Yu(李弘有 1588~1671), Lee, Hong-Yu(李弘有) and Sin Duk-Chi(申得治)relatived by marrige. Sin Duk-Chi's only one son named Sin, Jib(申潗 1623 ~1688)married with Lee's ganddaughter. Lee Hong-Yu retired from the world in Okwoa-li(玉華里), Miwon-myon(米院面), Chongwon-gun(淸原郡), Chungbuk(忠北), Sin, Duk-Chi retired from the wold in Naibuk-myon(內北面), Cungwon-gun(淸原郡), Chungbuk(忠北), exchaned poems mutually Lee, Hong-Yu(李弘有) pursued the style of literary and life of Moralphilosophe(道學者) like Ju, Don-Yi(주돈신)·Jung, Yi(정신)·Jung, Ho(程顥)·Zucius(朱子), it is expressed in Nak-U-Dang Goo-Gog Poem(樂愚堂九曲詩). Nak-U-Dang Goo-Gog Poem(樂愚堂九曲詩), it is found that the effect of thought and literary of Zucius(朱子) who created Mu-E-Do Song(武夷棹歌) in Moo-I-Goo-Gog(武夷九曲)continued by the 17C of Chosun Dynasty.

신소설 「血의 淚」에 대한 수사학적 접근-이항 대립에 의한 대조법을 중심으로-

이주라 ( Lee Ju-ra ) 한국어문학국제학술포럼 2005 Journal of Korean Culture Vol.7 No.-

In transition to modern ages, the old orders which once ruled Chosun dynasty lost their power, so various discourses for new orders struggled to possess the initiative position. Also the way of writing got rid itself from discipline of medieval grammar that it was once based on, and stared to obtain new compositions of discourses for order of changing world. And also newspapers of this era took a very important role to provide writers with opportunities to try and experiment brand new ways of writing. Newspapers tried to make new compositions of discourses in various artistic and non-artistic types of writing, such as sundry reports, essays, and stories. ‘Shin so-sul’ was made on this background in the era. Because of that, with criteria of modern novels which were established after the time that literature became professional work, ‘shin so-sul can be easily criticized as a premature style that the composition was naive and the writers’ intention was shown too directly. But ‘shin so-sul’ was not a professional writing style, but a new style invented to show the discourse of that era. So the approach to ‘shin so-sul’ should be made with analysis focused on its own compositions of discourses. For that reason, this paper will consider, through rhetorical method, how the era's discourse was composed < The Tears of Blood > by In-jik Lee, known as the first ‘shin so-sul’ was published on {Man-se Bo}. {Man-se Bo} was a bulletin newspaper of ‘Chun-do Kyo’ (a religion developed by Jae-woo Choi), and Lee was a chif editor and played a core role of it. He published many ‘shin so-sul’ like < The Tears of Blood >, < The Sound of Ghost >, and so forth on the bulletin. For him, ‘Shin so-sul’ was a method to teach readers the importance of education and development of knowledge. That’s why we can find out a special feature of transition to modern ages’ style of narrative from Lee’s composition of discourses of enlightenment and education in his works. The most significant rhetoric is antithesis. The antithesis in this work is based on dichotomy and negation. Lee presents a situation which is very familiar to the public reader, and presents a specific situation to make them two terms of a comparison. After that, he makes these two terms confrontational by denying the former and granting the latter. By comparison of general situation and specific situation, Lee emphasizes that the time was very different form the past. And by comparison of the characters, he distinguishes a special person with great ability from ordinary people. Also comparison of old tradition and modern civilization suggests a feature of new society which must be pursued by a self with new identity for new world. The antithesis used for compose the phrase, escalating into a method of narrative composition, emphasizes the discourse of enlightenment. Lee’s < The Tears of Blood > clearly presents the new world order must be chased by the society of the era and new possibility to alternate old things with new things, by comparing them. This antithesis shows that the era's rhetorical feature pursues the langage's transparency and also it plays a effective role to transmit the discourse of enlightenment.

<포의교집(布衣交集)>의 ‘초옥(楚玉) 서사’ 구성 과정 연구

이주영(Lee Ju young) 한국고전연구학회 2017 한국고전연구 Vol.0 No.36

이 논문은 <포의교집>의 서사를 ‘초옥에 관한 서사’라고 규정하고, 그것이 구성되는 과정을 탐색하였다. 초옥은 적극적으로 자신의 욕망을 표출하고 실현하고자 하는 인물이다. 그녀는 진정한 선비와 포의지교(布衣之交)를 맺고 자신의 시재(詩才)를 인정받기를 열망한다. 이 열망은 역사서와 유교 경전(經典), 시집, 전기(傳奇)소설 등 한문(漢文) 교양에 의해 형성된 것이다. 궁녀로서의 이력과 허난설헌(許蘭雪軒) 같은 여성 시인에 대한 선망이 그녀의 내면에 영향을 끼치고 정체성을 형성했다. 초옥과 이생의 사귐에는 주변인들의 전언(傳言)과 풍문(風聞)이 개입한다. 이를 통해 초옥의 시재(詩才), 초옥의 언행, 초옥을 둘러싼 사건의 전말이 드러난다. 외모와 재주가 빼어난 초옥은 사람들의 시선과 말 속에서 이미지가 규정되고 구성되며, 이를 통해 ‘초옥에 관한 이야기’가 만들어진다. 그런데 전언과 풍문에는 진실과 거짓이 섞여 있으며, 이생은 초옥에 대한 거짓말을 믿어버리기도 한다. 주변인들은 주인공들이 어떤 선택을 하도록 부추기기도 하고 이들의 관계에 직접 개입하여 사건을 일으키기도 한다. 장사선(張士先)은 이 중 가장 큰 역할을 하는 인물이다. 초옥은 유부녀의 처지로 이생과는 거리낌없이 사귀었으면서도 젊고 부유한 중약의 구애는 거절하고 남편에게 항거해 자살까지 시도한다. 초옥에 대한 소문은 서울 시정(市井)에서 유명한 이야기가 된다. 이생과 초옥은 고종(高宗)과 민비(閔妃)의 가례(嘉禮)를 준비하던 예조(禮曺)의 뜰에서 재회한다. 유부녀임에도 불구하고 여령(女伶)으로 뽑혀와 정절을 빼앗길 처지에 놓인 초옥을 이생이 구해준다. 초옥은 많은 사람들 앞에서 기생들과의 문답을 통해 이생과의 만남에 대한 자신의 입장을 밝힌다. 사람들은 초옥의 외모와 재주, 태도를 칭찬하고 감화(感化)된다. 그러나 이 직후 서양 오랑캐의 침입, 즉 병인양요(丙寅洋擾)의 혼란 속에 초옥의 소식이 끊기게 된다. 이러한 특징은 1864년 6월부터 1866년 6월 사이의 서울이라는 독특한 시공간적 배경과 관련이 있다. 이 시기는 500년을 이어온 조선이 내부의 체제 정비와 서구(西歐)의 침략에 의해 변화를 겪던 시기이다. ‘초옥 서사’는 이러한 변화와 맞물려 지난 시기 조선을 지탱해오던 가치관에 균열이 생긴 것을 드러내는데, 이 작품의 창작은 ‘초옥 이야기’의 또 다른 형식으로의 전언과 풍문에 해당하는 것이다. This study defines the narration of <Po-eui-gyo-jip(布衣交集)> as that about Cho-ok(楚玉) and investigated the process to compose it. Cho-ok is the character who tries to actively expose and achieve her desire. She has been aspiring to have ‘Po-eui-ji-gyo(布衣之交)’ with a true classical scholar and hoped that her materials of poetry will be recognized. This aspiration has been formed by the Chinese classics such as histories, Confucian scriptures, collections of poems and romance novel(傳奇小說). Her envy for female poets such - for example, Heo Nan-seol-heon(許蘭雪軒) - as well as her history as a maid of honor influenced her inner world and formed her identity. The friendship between Cho-ok and Lee-Saeng(李生) is intervened by messages and rumors of surrounding people. Through this, her materials of poetry, the characters words and behaviors and whole story about Cho-ok are disclosed. The images of Cho-ok, who is outstanding for appearance and talent, are defined and composed by the perspectives and words of people. However, both the message and rumor include the truth and falsehood, and Lee-Saeng sometimes believes falsehoods about Cho-ok. The surrounding people incites the characters to make a selection, directly intervenes their relationship, and cause incidents. Jang Sa-Seon(張士先) plays the biggest role among them. Even though Cho-ok dates Lee-Saeng as a married woman, she rejects the courtship of Jung-Yak(仲約) and attempts to commit a suicide, resisting against her husband. The rumor about Cho-ok becomes a famous story in the Seoul. Lee-Saeng and Cho-ok meet again at the garden of the Ministry of Rites(禮曺) preparing for the wedding ceremony of Emperor Gojong(高宗) and Queen Min(閔). In spite of her status as a married woman, Lee-Saeng, whose standing is raised, saves Cho-ok, who is about to lose her chastity after being selected as a Yeonyeong(女伶) . In front of many people, Cho-ok makes her position clearly related to Lee-Saeng through questions and answers with giseng(妓生)s. But in the invasion of the Western barbarians , namely the chaos of Byengin Yangyo(丙寅洋擾), only unproved rumors about Cho-ok circulate. This is related to the unique spatiotemporal background of Seoul between Jun. 1864 and Jun. 1866. This period is in the changes by the Western invasion as well as the interior system maintenance of Chosŏn Dynasty with the history of 500 years. The Cho-ok narration in compliance with these changes reveals the crack of the values that supported Chosŏn Dynasty, and the creation of this work as a novel style of story about Cho-ok corresponds to messages and rumors.

이성복 시에 나타난 영화적 기법의 양상

이기주(LEE, Ki-ju) 숭실대학교 한국문학과예술연구소 2021 한국문학과 예술 Vol.37 No.-

본 연구는 베르토프의 ‘키노-아이’를 이론적 토대로 하여 이성복 시에 나타난 영화적 기법과의 연관성과 그로 인한 양상을 그의 시와 시론, 산문을 바탕으로 살펴보았다. 이성복은 미학적 실험과 더불어 개인적 삶의 기억을 세계로 확장시키는 방법을 통해 시세계를 드러내고자 했다. 베르토프는 이전의 영화가 인간의 주관적 시선을 모방하는 데에 그치고 있다고 지적하고, 인간의 시선과는 다른, 세계 전체를 인식하는 도구로서 ‘키노-아이’를 주장하였다. 이성복 시의 몽타주는 삶의 세부를 기억함으로써 ‘나’와 세계의 본모습을 보이고자 한다. 이를 통해세계의 총체성을 인식하는 역할을 한다. 이때 키노-아이의 몽타주는 평범한 현실의 시간과 공간, 운동을 파편화하고 재조립하여 은폐된 것을 수면 위로 드러나게 한다. 이성복의 시가 포함하는 미학적 형식들은 내용과 긴밀히 연관되어 있는데, 몽타주로 나타나는 이질적인 이미지들의 충돌-조합은 모순적 세계를 그대로 드러낸다. 베르토프의 ‘간격’은 이미지와 이미지의 관계 혹은 상호작용을 가능하게 하는 장치이다. 간격은 ‘붙인 틈’으로, 관객이 새로운 의미나 지각을 할 수 있도록 유도하는 것이다. 이성복 시에 나타난 ‘간격’은 서로간의 상호작용을 통해 관객에게 현실의 진실이 무엇인지 알려주는 역할을 한다. 파편화된 현실은 몽타주를 통해 여러 공간으로 재조합되며, 이때의 간격은 단순히 모순만을 드러내는 것이 아니다. 이는 세계의 부조리가 과거-현재-미래를 모두 포함한다는 인식에 기반한다. 또한 이성복 시에서 주체의 시선은 이질적 공간에서 타자를 바라보고 이미지를 조합한다. This study examined the relations and aspects of the cinematic techniques in Lee Seong-bok"s poems based on his poetry, poetry, and prose based on Bertov"s "Kino-eye" theoretically. Lee Seong-bok tried to reveal the world of poetry through an aesthetic experiment and a method of expanding the memory of his personal life into the world. Bertov pointed out that previous films were only imitating the subjective gaze of humans, and insisted on Kino-eye as a tool for recognizing the whole world, different from the human gaze. The montage of Lee Seong-bok"s poem tries to show the true form of the subject and the world by remembering the details of life. Through this, it plays a role in recognizing the totality of the world. At this time, the montage of Kino-eye fragments the time, space, and movement of ordinary reality and reassembles it to reveal the hidden things. The aesthetic forms included in Lee Seong-bok"s poems are closely related to the content, and the collision-combination of heterogeneous images as a montage reveals the contradictory world as it is. Bertov"s "Interval" is a device that enables the relationship or interaction between an image and an image. The gap is a ‘pasted gap,’ which induces the audience to have a new meaning or perception. The Interval in Lee Seong-bok"s poems serves to inform the audience about the truth of reality through mutual interaction. Fragmented reality is recombined into multiple spaces through montage, and the gaps at this time do not simply reveal contradictions. It is based on the perception that the absurdity of the world encompasses the past, present, and future. Also, in Sung-bok Lee"s poem, the subject"s gaze looks at the other in a heterogeneous space and combines images.

이효석과 ‘구인회’

이현주(Lee, Hyeon Ju) 구보학회 2008 구보학보 Vol.3 No.-

이 글은 이효석 문학과 구인회(九人會)의 관련 양상을 논의하고자 하였다. 그 동안 이효석 문학 연구는 1933년을 기점으로 전기와 후기로 나뉘어져, 흔히 두 가지 경향으로 대별되어 이루어져 왔다. 이러한 논의에는 작품 「돈(豚)」(『삼천리』 , 1933. 10)이 1933년에 발표되었다는 것과 이효석이 1933년 8월 창립한 구인회의 창립 회원이었다는 사실이 중요한 근거로 작용하고 있다. 하지만 이 글은 구인회(九人會)가 조직적 의도를 지니고 있었던 것으로 보이는 창립 당시의 구성과 우리가 흔히 알고 있는 최종적인 구인회의 모습 사이에는 차이가 있다는 전제에서 논의를 시작하고 있다. 구인회를 ‘순수문학단체’ 내지 ‘예술파 문학’ 경향을 띠는 ‘문인적 사교 그룹’, ‘강렬한 세대의식을 바탕으로 한 도시 문학 세대의 집단’ 혹은 ‘모더니즘’ 문학 단체로 보는 연구들은 나름대로 의미가 있다. 하지만 이러한 논의는 구인회의 다양한 의미망을 제대로 포착하지 못한 측면이 있다. 이 글은 이러한 견지에서 이효석과 구인회의 관계를 논의해 보고자 하였다. 이 글은 우선 구인회 창립 회원들에 주목하여 이효석과 구인회의 관계를 살펴보고자 하였다. 그에 앞서 이효석이 1930년대 초반에 몸담았던 단체들인 “조선 씨나리오․라이터 협회”와 “이동식 소형극장(移動式小型劇場)”과 구인회(九人會)의 관련 양상에 대해 살펴보았다. 이효석은 이 두 단체에서 함께 활동했던 카프 계열 영화 감독 김유영과 1930년대 초반에는 물론 「애련송(愛戀頌)」(1939)에서도 작업을 함께 하고 있다. 김유영은 카프계 영화로 불리는 「유랑(流浪)」(1928), 「혼가(昏街)」(1929), 「화륜(火輪)」(1931)의 감독이었을 뿐 아니라, 「유랑(流浪)」(1928)의 원작자인 이종명과 더불어 구인회 창립 주도 인물이기도 하다. 이 글은 이효석과 김유영의 관계에 주목하여 이효석과 구인회의 관계를 탐구하여 보았다. 나아가 이효석의 鏡成 선택과 鏡成 경험의 의미를 살펴본 후, 이를 이효석의 1933년도 작품 세계 해명에 있어 참조점으로 활용하고자 하였다. 이 글은 1920~40년대 초반 식민지 조선에서 신문, 잡지 등의 근대 매체 장에서 작품 활동을 한 이효석 문학의 내적 원리를 구명하기 위한 예비 작업의 하나이며, 여기서 해명하지 못한 논의는 차후의 과제로 남겨두기로 한다. This paper is a study on the relationship between HyoSuk Lee’s Literature and “GUINHOI”(nine members’ literary society). Final GUINHOI’s character was unlike what is generally known. Most of researchers regard GUINHOI as a pure literature organization or a social group of art for art’s sake which represented contemporary generation’s consciousness strongly. Additionally they defines it as a modern city generation or modernism literature group. However, this perspective fails to notice diverse meanings which were immanent in GUINHOI. Thus this study will make inquires in to the way HyoSuk Lee was related to GUINHOI noting it’s founder members. Especially focusing the relation between HyoSuk Lee and YouYoung Kim the former’s activities in GUINHOI will be inquired into. Furthermore, by understanding why He stayed at “KYUNGSEUNG” (a city in HAMKYUNGBOOKDO) and what his such experience means this study will apply those facts to explaining HyoSuk Lee’s works in 1933. Finally, this study is a spade․work for bringing light on the fundamentals of HyoSuk Lee’s works.

교대로 운전되는 두 개의 UV/광촉매반응기로 구성된 폐가스 처리시스템에서의 광촉매의 비활성화 및 재생 특성

이은주 ( Eun Ju Lee ),정찬홍 ( Chan Hong Chung ),임광희 ( Kwang-hee Lim ) 한국화학공학회 2021 Korean Chemical Engineering Research(HWAHAK KONGHA Vol.59 No.4

본 연구에서는 교대로 운전되는 두 개의 UV/광촉매 반응기로 구성된 폐가스 처리시스템의 운전단계와 단계별 광촉매의 비활성화의 상관관계를 사용된 광촉매에 대한 기기분석을 통하여 규명하였다. 선행연구[Lee와 Lim, Korean Chem. Eng. Research, 59(4), 574-583 (2021)]의 광촉매 반응기 시스템 운전에 사용되지 않은 광촉매를 담지한 다공성 SiO₂ 담체(A4), 1회 운전하는 동안 사용되고 재생을 경험하지 않은 광촉매를 담지한 다공성 SiO₂ 담체(A1), 2회 운전에 사용되고 1회 재생된 광촉매를 담지한 다공성 SiO₂ 담체(A2) 및 3회 운전에 사용되고 2회 재생된 광촉매를 담지한 다공성SiO₂ 담체(A3)와, 1차 재생(AD1) 또는 3차 재생(AD3)된 광촉매를 담지한 다공성 SiO₂ 담체에 대한 BET 분석, SEM, XPS, SEM-EDS 및 FTIR 분석 등을 수행하여, 광촉매를 담지한 다공성 SiO₂ 담체의 비활성화 및 재생 특성을 포함하는 특성 분석을 수행하였다. 그 결과로서, 3회 이상의 여러 번 재생을 수행하는 광촉매의 적정 재생 온도를 200℃ 미만으로 도출하였다. 이러한 광촉매의 적정 재생 온도는 BET 분석결과에서 도출된 기공에 흡착된 에탄올 산화분해 중간생성물의 대부분이 완전 분해가 되어 기공이 재생되는 재생 온도와 거의 일치하였다. 특히, XPS 분석 결과는, 선행 연구[Lee와 Lim, Korean Chem. Eng. Research, 59(4), 574-583 (2021)]에서 광촉매 반응기의 첫 번째 운전 후에 광촉매의 미세한 비활성화가 발생하였음을 나타내었다. 또한, XPS 분석 결과는, 선행연구[Lee와 Lim, Korean Chem. Eng. Research, 59(4), 574-583 (2021)]에서 광촉매 반응기의 두 번째 운전에서 비교적 큰 광촉매의 비활성화가 발생하여 첫번째 운전성능보다 약 5%만큼 못 미치는 에탄올과 황화수소 각각의 제거효율을 초래하였으나, 세 번째 운전에서의 에탄올과 황화수소의 제거효율은 두 번째 운전에서의 에탄올과 황화수소의 제거효율 실험 결과와 거의 비슷하였다는 연구 결과와 일치하였다. 한편, AD3를 사용하여 선행연구[Lee와 Lim, Korean Chem. Eng. Research, 59(4), 574-583 (2021)]에서와 같은 광촉매 반응기의 네 번째 운전을 수행할 것을 가정하면, 두 번째 운전에서보다 더 큰 광촉매의 비가역적 비활성화의 발생으로 인하여 에탄올과 황화수소 제거효율이 가장 크게 저하되리라 예상되었다. In this study, the correlation between operating stages of waste air-treating system composed of two alternatively-operating UV/photocatalytic reactors, and the deactivation of photocatalyst used in each operating stage, was investigated by instrumental analysis thereon. The repeated deactivation and subsequent re-generation of photocatalyst used in the waste air treating system of previous investigation performed by Lee and Lim (Korean Chem. Eng. Research, 59(4), 574-583(2021)), were characterized on virgin photocatalyst-carrying porous SiO₂ media (A4), used photocatalystcarrying porous SiO₂ media (A1, A2 and A3) collected from the corresponding photocatalytic reactor upon 1^st, 2^nd, and 3^rd run, respectively, regenerated photocatalyst-carrying porous SiO₂ media upon 1 time-run (AD1) and 3 times regenerated photocatalyst-carrying porous SiO₂ media upon 3 time-runs (AD3) by instrumental analysis including BET analysis, SEM, XPS, SEM-EDS and FT-IR. As a result, the proper regeneration-temperature for deactivated photocatalyst to be regenerated several times (more than 3 times), was suggested below 200℃. Such temperature of deactivated photocatalystregeneration was almost consistent to the one, according to BET analysis, at which tiny nano-pores blocked by adsorbed ethanol-oxidative and degraded intermediates (AEODI), were regenerated to be reopened through almost complete mineralization of AEODI. In particular, the results of XPS analysis indicated an incurrence of insignificant deactivation of photocatalysis upon 1^st run of UV/photocatalytic reactor (A or C) of the previous investigation. In addition, the results of XPS analysis were consistent with the experimental results of the previous investigation in that 1) deactivation of photocatalyst incurred during 2^nd run of the UV/photocatalytic reactor (A or C) resulted in decreased removal efficiency, by ca. 5% and 5%, of ethanol and hydrogen sulfide, respectively, compared with its 1^st run; 2) there was insignificant difference between the removal efficiencies of its 2^nd run and 3^rd run. Furthermore, the removal efficiencies of ethanol and hydrogen sulfide for hypothetical 4^th run of photocatalytic reactor in the previous investigation, using AD3, were expected to decrease, compared with its 3^rd run, by much more than those for 2^nd run in the previous investigation did, compared with its 1^st run.

혼종문화 속의 수행적 주체로서 수키 김과 창래 리

이선주 ( Seon Ju Lee ) 미국소설학회(구 한국호손학회) 2011 미국소설 Vol.18 No.2

This study tries to view Korean American novelists in the perspective of hybrid culture. Korean English literature scholars tended to concentrate on the problems of Korean immigrants` exclusion and alienation by main stream American society or the problem of their identity through Korean American novels. However, the perspectives that scrutinize into problems of domination/assimilation or of identity in Korean American novel is being doubted through the complex reality of hybrid culture. The perspective of hybridity required in the fast changing modern times questions positions that consider identity as being fixed or pure. The perspective of hybridity is an effort to explain the Korean American novels` complexity which is difficult for clear ethical evaluations to do within the opposition of resistance/ assimilation. This study evaluates Suki Kim and Chang-rae Lee as the representative Korean American novelists who intensely face with the ongoing American hybrid society. This study examines how the two novelists look upon the ethnic minorities` and racial problems differently from general ethnic writers and achieve significant narrative developments. Examining The Interpreter and her articles in American newspapers and magazines, we see how aspects of Suki Kim`s performative subject can be characterized as ``addressing to the American mainstream society as a immigrant.`` Chang-rae Lee has transcended the title of Korean American novelist and already established as a prominent modern American novelist. Aspects of Chang-rae Lee`s performative subject is exhibited in how he is striving in the difficult search for mutual understanding within the hybrid culture through Native Speaker and Aloft. This study also deals with the self consciousness and ethical demands of Suki Kim and Chang-rae Lee who rely on Korea and the life of the Korean immigrant as their asset.

여성작가가 재현한 신여성이라는 현실 -이선희,박화성, 강경애를 대상으로

이은주 ( Eun Ju Lee ) 한국문학연구학회 2013 현대문학의 연구 Vol.0 No.49

이선희, 박화성, 강경애는 1930년대라는 동시대를 산 여성작가들이다. 하지만 그들이 작품 속에 재현하고 있는 여류문사(신여성)의 모습은 다르 다. 계몽이 필요한 아이 혹은 속물적 인간으로 재현되거나 자기 욕망과 내 면에 집중하는 근대 개인으로 체현되기도 한다. 박화성은 1930년대 연애 담과 사치, 허영 등의 부정적 에피소드들로 담론화되었던 여류문사에 대 한 소문들을 그대로 받아쓰기하지는 않았지만 당대 가부장 문화에서의 일탈을 욕망하던 신여성을 담아내지는 못 했다. 강경애가 보여주는 여류문사는 1930년 당대 매체를 통해 형성되었던, 조롱과 반감의 대상으로서의 여류문사(신여성)의 모습과 일치한다. 자기 반성을 모르는 사람, 지적 허영 등은 강경애가 포착한 당대 여류문사의 일 면이다. 박화성과 강경애는 신교육을 받은 여성작가로 살았지만, 작품에 서 한 인간으로서의 신여성에 대해서는 특별한 관점을 드러내고 있지 않 다. 부르주아적 감성을 드러낸다고 이야기되는 이선희의 작품 속에 등장하 는 신여성들에게 중요한 것은 자기의 욕망, 감정, 내면의 변화이다. 이선 희의 작품에서 재현된 신여성들은 식민지 근대를 살아야 하는 도시인들의 양면성, 즉 근대 문화를 향유하면서도 그 속에서 느끼는 소외감과 내 것이 될 수 없음에서 느끼는 고독을 육화하고 있다. 1930년대 여성작가들이 신여성을 재현하는 눈은, 조선의 빈궁한 삶(과 공간)을 바라보는 신여성의 시선에도 그대로 투영된다. 박화성의 신여성 은 놀라고 배우는 자세로 조선 하층 현실을 수용한다면, 강경애의 여류문 사는 자기가 사는 세계와 다른 세계, 인간들이 사는 곳이라고 할 수 없는, 그래서 내가 있어서는 안 되는 공간으로 위계화한다. 한편 이선희의 신여 성들에게 농촌과 어촌은 생활과 삶의 공간이 아니라 개인의 욕망과 자아 가 투영되는 배경(자연)이 될 뿐이다. 부르주아 신여성들에게는 나(의 욕 망) 자신에 대한 몰두가 곧 삶이고 생활이었기 때문에 외부세계는 중요한 것으로 선택되지 못 한다. 그들의 현실은 조선 민중의 현실과 다른 것이었 다. Lee Sun Hee, Park Hwa Seong, and Kang Kyeong Ae are female writers who lived contemporarily in the 1930`s. However, the ways they represent female writers (modern women) in their works are distinct. They are reproduced as a girl or a snob who needs enlightening, or they are embodied as a modern individual who concentrates on the personal desire and inner side. Park, Hwaseong did not take down the rumors of female writers who had been discussed on such negative episodes as love stories, extravagance, and vanity in the 1930`s. She, however, failed to show a modern woman who longed to break away from the contemporary culture of patriarchism. The modern woman that Kang, Kyeongae showed corresponds to the image of modern women as a figure of mockery and hostility which was presented on the media of the 1930`s. A woman who does not know self-reflection and possesses intellectual vanity is an aspect of the contemporary female writer that Kang captured. Park and Kang were female writers who received new education, but they do not reveal any particular stance on modern women as a human being in their works. What is important to the modern woman in Lee, Sunhee`s works that have been said to expose bourgeois sentiment is her own desire, emotion, and inner variation. The modern women represented in Lee`s works incarnate ambilaterality of urbanites who had to live in colonial modernism; that is, they bask in the modern culture but they feel a sense of alienation and solitude due to the fact that they cannot actually have it. The perspective of the female writers` in the 1930`s on modern women is starkly reflected on the modern women`s eyes that view Joseon`s penurious life (and space). Park`s modern woman accepts the reality of Joseon`s lower class in a surprised and educational way, whereas Kang`s modern woman hierarchizes it into a disparate space where people cannot live and therefore she should not belong. Meanwhile, for Lee`s modern woman farming and fishing villages are not a space for life and living, but they are just a background (nature) on which an individual`s desire and ego are projected. For bourgeois modern women, engrossment in themselves (their desires) is equal to life and livelihood, and thus the outside world cannot be considered significant. Their reality was different from that of Joseon`s general public.

이광수와 나쓰메 소세키의 문학교육론이 지닌 근대성 비교연구

권혁건(Kwon,Hyuk-Gun),이호규(Lee,Ho-Gyoo),김주현(Kim,Ju-Hyun) 동북아시아문화학회 2011 동북아 문화연구 Vol.1 No.28

Soseki is representative novelist and theorists of Japanese modern literature, and Lee Gwangsoo (Lee) is known as person who opened doors to Korean modern literature. They are representing not only Korean and Japanese modern literature, but also Oriental modern literature. We focused on the early stages of their literary theories. As well, looked into their arguments based on their ideas of literary education in relation between literature and society. Although Soseki and Lee are both representatives of Korean and Japanese modern literature, we have found their literary theories to have contrasts, as well as undertoned ideal substance. Their findings show identical recognition in defining the workings of human mind as intellect, emotion and volition. Also, their thoughts on the realm of emotion is the characteristic of literature, and explained modern literature by drawing the concepts of rationality and truth. Soseki insisted literary art is not a simple skill; a literary artist could influence others due to their ideals that a literary artist is someone who has the biggest and highest ideals. Lee’s argument resembles Soseki’s argument. Lee contended literary art can be made simply with skill and endeavor. Only highly gifted artist can take charge of a growing self-regulating person who could lead society through literature. Soseki and Lee both, therefore, conclude the Occidental natural science (in other words, education that is logical and substantiate) is modern education, and upcoming Oriental new education need to take after. We found Soseki and Lee have contended education through literature that could produce self-regulating and liberal individuals based on the mentioned Occidental new education.