서정주 문학의 현재적 의미와 논의의 새로운 출발점

남기혁(Nam, Ki-Hyeog) 한국시학회 2015 한국시학연구 Vol.- No.44

본고는『미당 서정주 전집』(은행나무, 2015) 간행의 의미를 검토하였다. 이번 전집 간행은 전 20권 분량으로 기획되어 미당이 생전에 남긴 모든 시집과 산문집을 아우르는 것으로 기획되어 있다. 미당 생전에 15권으로 간행된 시집 전체를 묶어낸 다섯 권의 전집 간행이 현재까지 진행된 상황이다. 미당 전집 간행은 미당 문학을 집대성하는 것이란 점에서 일반 독자는 물론 연구자들에게 각별한 의미를 던져 준다. 본고는 이번 전집의 간행 원칙을 비판적으로 검토하고, 향후 진행될 전집 간행의 완성도를 높일 수 있는 실천적 제안을 제시하였다. 먼저 본고는 전집 간행에 적용된 몇 가지 편집상 원칙을 검토하고, 기존 단행본들의 집대성 과정에서 빚어진 일부 텍스트의 누락 문제, 특히 시집에 수록되지 않은 작품들의 수록 문제와 친일시의 처리 문제 등을 비판적으로 검토하였다. 이와 함께 미당 시와 산문에 내재하는 상호텍스트성 문제가 부각될 수 있도록 향후 전집 간행에서 유연한 간행 및 편집의 원칙들을 세워줄 것을 제안하였다. 이와 함께 본고는 향후 일반 독자와 연구자들이 친일 문제를 포함하여 미당의 정치적, 문학적 편력을 어떻게 접근해야 하는가에 대해 논의하였다. 시와 시인(삶)의 분리라는 순수문학적 논리가 사실의 은폐로 귀결될 위험성을 제기하면서, 그의 문학적·정치적 편력을 가감 없이 기록하되 그것을 타자화하고 일방적으로 매도하는 태도에서 벗어나 그것이 지닌 정신사적 의미를 되돌아보고 근대성 비판 혹은 반근대적 사유의 실험에 비판적인 참고로 삼자는 것이다. This essay aims to review the meaning of publishing Midang Seo, Jeong-Ju"s Complete Works(『미당 서정주 전집』). This publication is planned for collecting all the works by Midang including poems and prose in twenty volumes. Now, this publication is in progress to edit five volumes that collect all Midang"s poetry. So this publication gives the special meaning not only to reading public but also to reachers. At first, this essay examined critically some editorial principles, and made some suggestion how to upgrade the integrity of this complete works. And this essay criticized the omission of Midang"s early works that was not collected in his seventeen anthologies, especially his pro-Japanese poetry. In addition, this essay demanded the flexible editing principle to reveal the intertextuality between Midang"s poetry and prose which contains his own self-narratives. Finally, this essay discussed the matter how we can gain proper viewpoint to approach Midang"s literary and political apostasy including his pro-Japanese action. When we argue and evaluate a poetic accomplishment, the logic of pure literature that separate poet"s life and poetry has the tendency of hiding the literary historical fact. So this essay suggested that this publication should record all his literary and political apostasy. In this way, this publication will give all the reading public and reachers chances to retrospect the Midang-Discourse in terms of Korean intellectual history, and chances to reevaluate Midang"s poetics of eternity in terms of ostmodern thinking.

오차 보정에 의한 피드포워드 증폭기의 고조파 왜곡 특성에 관한 연구

김남호,류지구,정종혁 釜慶大學校 1997 釜慶大學校 論文集 Vol.2 No.2

In this paper, a feedforward amplifier with error correction is designed and implemented. So as to ecaluate its performance of the characteristics of the haminic distortion that proposed inverting and moninverting feedforward amplifier is compared with that of the referemce amplifier without error correction. This result of the secondary harmonics level is improved about 10[㏈]. Thus, it should be noted that the proposed feedforward amplifier network is also acceptable for wide-band amplifiers.

웃음의 시학과 탈근대성 - 전후 모더니즘 시를 중심으로 -

남기혁(Nam Ki-hyeog) 한국현대문학회 2005 한국현대문학연구 Vol.0 No.17

서정주의 동양 인식과 친일의 논리

남기혁 ( Nam Ki-hyeog ) 국제어문학회 2006 국제어문 Vol.37 No.-

이 논문은 일제말기 미당 서정주의 친일문학 작품에 나타난 동양 인식과 친일의 논리를 밝혀내는 데 주안점을 두었다. 주지하듯이 미당은 『화사집』에 수록된 초기시 창작을 통해 경험 세계로 환원되지 않는 심미적 주체를 정립하려 했고 그것을 통해 근대 문명에 대한 부정의식을 표출하였다. 하지만 미당은 1930년대 후반에 들어와 점차 서구지향적 미의식에서 벗어나 전통주의, 혹은 동양주의의 노선으로 전회하게 된다. 그러니까 근대에 대한 심미적 부정을 위해서 서양 대신에 동양 혹은 조선을 내세우게 된 것이다. 이러한 동양회귀가 보다 구체적으로 나타나는 경우가 바로 국민시론과 친일시 창작이다. 이러한 친일적 글쓰기는 미당 문학의 동양주의적·전통주의적 전회가 어떤 논리적 기반을 지니고 있는지, 그리고 그것이 지닌 의미는 무엇인지에 대해 설명할 수 있는 중요한 단서가 된다. 친일시 창작 단계에서 미당이 보여준 동양적 전통 회귀(전통주의)는 역사를 심미화하는 파시즘적 상상력에 연결되어 있다. 구체적으로 그는 `國民詩`論을 통해 한자를 중심으로 하는 일환의 문화, 즉 동양문화로의 회귀를 주창하면서 당대 시인들에게 일본의 전적에 대한 교양과 그것의 미적 전유를 요구한 바 있다. 피식민 주체의 분열된 자의식을 결코 발견할 수 없는 이러한 친일의 논리는 친일시 창작을 통해 보다 구체화되었다. 그는 일본제국주의가 강요하는 전쟁동원 논리에 함몰된 채, 국가의 부름에 자발적으로 응하는 `국민`의 목소리를 표출하였다. 특히 친일시의 시적 주체는 한편으로는 공동체를 위해 개인을 희생해야 한다는 파시즘적 논리를 뒷받침할 목적으로 죽음의 심미화를 감행하였고, 다른 한편으로는 피식민 주체를 동양이라는 상상의 공동체에 접합시킴으로써 피식민 주체의 타자성을 부정하였다. 이와 같이 미당은 제국주의적 전쟁의 폭력성을 고발하는 대신 오히려 그러한 행위를 찬양·고무하는 일을 선택하였다. 그것은 `영원성`에 대한 심미적 체험을 중시하는 미당의 미학적 프로젝트가 `태평양전쟁`이라는 역사적 환경을 만나면서 필연적으로 봉착하게 된 윤리적 굴절을 보여준다. 특히 미당의 윤리적 굴절은 삶과 역사조차 심미적으로 인식하는 심미파적인 영원성지상주의, 그리고 과거와 기원을 낭만적으로 이상화하는 전통주의가 결국은 근대성 담론의 폭력성을 은폐하고 또 강화하는 수단으로 변질될 수 있다는 점에서 문제적이다. 뿐만 아니라 미당의 친일 행위는 특정한 시기의 일회적인 사건에 그치는 것이 아니라, 그가 일생을 통해 추구하였던 동양주의적·전통주의적 미의식의 부정적인 양상의 한 원형을 보여준다는 점에서 주목할 필요가 있다. This paper aimed to shed light on the Eastern understanding and pro-Japanese logic appearing in the pro-Japanese literary works of Seo Jeongju at the end of the Japanese colonial period. As is generally known, Seo Jeongju left behind his Western-oriented aesthetic consciousness and turned toward traditionalism or Easternism after he published his Flower Snake Collection (Hwasajip). That is, he advocated things Eastern or Korean rather than things Western in order to aesthetically reject the modern era. This return to his Eastern roots was given concrete form through his theory of national poetry and his composition of pro-Japanese poetry. Seo Jeongju`s pro-Japanese writing is an important clue that explains the logical basis for and meaning of his turn towards Easternism or traditionalism. The Eastern traditionalism that Seo Jeongju displayed in composing pro-Japanese poetry is connected with a fascist imagination that aestheticizes history. Specifically, through his theory of national poetry he advocated a return to the culture centered around the classical Chinese writing system--that is, Eastern culture--and called upon contemporary poets to educate the people in and aesthetically appropriate the Japanese classics. This sort of pro-Japanese logic, which shows no sign of the divided self-awareness of the colonized, took even more concrete form in his pro-Japanese poetry. Convinced by the logic of the war mobilization forced by the Japanese imperialists, he expressed the voice of the "people of the nation" that voluntarily heeded the nation`s call. In particular, the poetic subject of his pro-Japanese poetry aestheticized death with the goal of supporting the fascist logic that the individual must be sacrificed for the community on the one hand, and denied the otherness of the colonized by identifying the colonized with the imaginary community of the East on the other. In this way, Seo Jeongju did not cry out against the violence of an imperialistic war, but rather chose to praise and encourage such actions. This shows the inevitable abandonment of his ethical principles when his aesthetic project that valued the aesthetic experience of "eternality" came face to face with the historical environment of the "Pacific War." In particular, Seo Jeongju`s abandonment of his ethical principles is problematic in that it shows that the aestheticist idea of eternality for its own sake, which perceives even life and history aesthetically, and traditionalism, which romantically idealizes the past and origins, can both be perverted into means of concealing or even strengthening the violence of the discourse on modernity.

16주간 운동프로그램이 NIDDM 비만 중년남성의 Leptin, HbA1c, BMI 및 신체조성에 미치는 영향

남기혁(Nam Gi Hyeog),신말순(Sin Mal Sun),유재현(Yu Jae Hyeon),배종진(Bae Jong Jin),이상학(Lee Sang Hag),김성수(Kim Seong Su),홍윤숙(Hong Yun Sug),변재종(Byeon Jae Jong),박현경(Park Hyeon Gyeong) 한국사회체육학회 2003 한국사회체육학회지 Vol.20 No.2

The purpose of this study was to define that the effect of exercise program during 16weeks on Leptin, HbA1c, BMI and Body composition in middle aged men with obesity and NIDDM. The subjects for this study were 14 middle aged men with obesity and NIDDM who didn`t have any history of cardiorespiratory disease. The subjects were divided into two groups: exercise training group(N=7), and control group(N=7). exercise program was performed 3days a week for 16weeks. The exercise program was combined aerobic exercise and resistance training. Aerobic exercise was performed for 10-30minutes using the treadmill and cycle ergometer at the intensity of 50-60% on HRmax. Resistance training was performed for each 2-3set at 40-60% of one repetition maximum. For the data, all the measurements were represented by mean and standard deviation using SPSS statistical package(version 10.0). Statistical techniques for data analysis were Tow-way repeated ANOVA to determine the difference between each group and each time. Additionally, correlation analysis was performed among the leptin, HbA1c, BMI, and %BF at pre and post of exercise program. The 5% level of significance was used as the critical level for acceptance of hypotheses for the study. The result of this study were shown as followed; 1. In the exercise group compared control group, leptin, HbA1c, BMI and %BF decreased significantly after exercise program. 2. The correlation coefficient among the leptin, HbA1c, BMI and %BF wasn`t a significant at correlation pre exercise program. But those was a significant on high level after exercise program. In conclusion, the result of this study suggests that exercise training can contribute to the better improvement on hormone sensitivity of cell.

윤동주 시에 나타난 윤리적 주체와 저항의 의미

남기혁(Nam, Ki-hyeog) 한국시학회 2013 한국시학연구 Vol.- No.36

본고는 윤동주 시에 나타난 운명론과 "시쓰기"의 자의식, 내면적 모럴을 규명하고자 하였다. 특히 당대 현실을 고려하는 가운데, 윤동주 시에 그려진 시인-표상과 분열적인 자아-서사, 더 나아가 시쓰기의 자의식이 지닌 함의를 윤리적 주체의 형성이란 관점에서 밝혀내고자 하였다. 흔히 윤동주 시는 저항문학의 측면에서 논의되고 있다. 그런데 그의 저항성은 특수한 집단(민족)의 정치적 이념이 아니라 보편지향적 윤리(가령, 인류애처럼 )에 기초하여 내면적 모럴의 진정성을 드러내는 방식을 통해 획득된 것이다. 특히 기독교 신앙은 윤동주가 윤리적 주체를 확립하며 내면적 모럴의 진정성을 확보하는 과정에서 절대적인 영향을 끼쳤다. 따라서 본고는 먼저 윤동주의 초기시에 나타난 "풍경의 발견과 내면의 탄생" 문제를 분석하고, "소외"된 내면이 역설적으로 시적 주체를 역사적 자아로 정립시키는 출발점임을 확인하였다. 한편, 1938년부터 1940년경에 이르기까지 윤동주는 내면에 잉태된 신실한 믿음을 길러냈으며 지속적인 자기성찰을 통해 이를 절대자에 대한 확고부동한 믿음으로 발전시켰다. 그 결과 후기시(1941년 이후)에 이르러 윤동주는 신앙인의 윤리적 결단과 실천에 한걸음 다가서게 된다. 그것은 신이 부과한 "시인의 운명", 즉 "시인"이란 슬픈 "천명"을 받아들이고 이에 기반한 모럴 의식을 "타자로서의 시쓰기"로 표출하는 위태로운 길이었다. "시인=천명"론이 지닌 가장 큰 특징은 절대적 타자인 "신"의 시선을 도입한 점이다. 그에게 "신"의 시선, 혹은 신이 부과하는 "비극적 운명"의 문제는 식민지 근대 사회의 타자로서 시인-표상을 드러내고, 자신의 내면의식 공간에 절대적인 윤리를 구축하는 계기로 작용했다. 특히 그의 시적 사유가 지닌 저항성은 특수성이 아닌 보편성을 윤리적 가치판단의 준거로 절대화함으로써, 특수성의 절대화로 치닫고 있던 "대동아공영권"의 이데올로기적 허구성을 폭로한 점에서 찾을 수 있다. 또한 이 저항성을 통해 한국시의 내면성을 확대·심화시킨 점에서 문학사적 의의를 확인할 수 있다. This article aims to understand the fatalism, and the cognition of “writing poems as the other”, and the poet’s inner moral appeared In Yun Dong-ju’s poetry. For this analysis, this article examines the formation of ethical subject. Critics have argued on Yun Dong-ju’s poetry from the view point of resistance literature. However, his resistance is not expressed through the political ideology of special ethnic community such as a nation, but through the authenticity of inner moral based on the universal ethic such as love for humanity. Especially, christian faith had an absolute effect on the process of his building “ethical subjectivity” and acquiring the authenticity of inner moral. At first stage, this article analyzed “the discovery of landscape and the birth of the inner world” in Yun Dong-ju’s poetry, and examined that the aliened inner world of the poetic subject should be the beginning point of founding historical-self. But from 1938 to 1940, Yun Dong-ju expressed his sincere christian-faith germinated in his inner world. His faith is gradually converted into a firm belief on the absolute by his self-reflection. Finally, his poetic subject arrived at the point of ethical resolution and its practice based on his christian -faith. Now, he accepted the fate, “the sad heaven’s will(슬픈 천명)” that the God imposed on the “poet”. The heaven’s will was the only reason that he should write poems based upon his faith and morality. The thinking that the poet’s fate is the heaven’s will needs the God’s gaze as an absolute other. Through the God’s gaze, or poet’s tragic fate imposed by Him, Yun Dong-ju could represent the fate of “poet” as the other against the colonial modernity. And he could build the absolutely ethical base on the authenticity of his inner world. Especially, the resistance of his poetic thought is not obtained by the particularity but by the universality as an absolute standard of ethical evaluation. Thus, he could betray the ideological fictive-ness of “the Greater East Asia Co-Prosperity Sphere(대동아공영권)” that would absolutize “the particularity” of the nation.

정지용 중ㆍ후기시에 나타난 풍경과 시선, 재현의 문제 : 식민지적 근대와 시선의 계보학(4)

남기혁(Nam Ki-hyeog) 국어문학회 2009 국어문학 Vol.47 No.-

溫州蜜柑 貯藏에 관한 硏究

南基雄(Nam Ki Woong),權赫謀(Kweon Hyeog Mo),宋南顯(Song Nam Hyun) 한국원예학회 1993 Horticulture, Environment, and Biotechnology Vol.34 No.4

백석 시에 나타난 풍경과 시선, 그리고 여행의 의미

남기혁(Nam Ki-hyeog) 우리말글학회 2011 우리말 글 Vol.52 No.-

This article aims to analyze the technic of visualization in Baik Suk’s poetry. For this analysis, this article puts an eye on “the seeing subject” devided into two subjects in the process of describing the landscape of poet’s own born-place. The one is the seeing subject(=S2) who is supposed to see the landscape. S2 appearing as a child’s gaze in Baik Suk’s early poetry is only a shown subject. The adult subject(=S1) who is seeing and describing the child in the landscape hides in the text, but S1 is the real seeing subject in Baik Suk’s poetry. In this, we can say Baik suk’s seeing subject is like the seeing and editing subject who hides behind the camera in movie. Meanwhile, this article illuminates the traveler’s gaze. As we know, Baik suk wrote many poems based on the experience of traveling strange places like Manchuria or northern area in Korean peninsula. In this travel, Baik suk happened to meet the other’s face which led him to introspect the self. In this way, he found his own identity integrated with the bigger “I”, and Baik suk could describe himself as a poet cherishing pure soul. So, We can say Baik suk’s gaze in the travel poetry is the gaze of self-reflection.

시어로서의 ‘조선어=민족어’의 풍경과 시단의 지형도 : 1930년대 중후반 임화의 시와 평론을 중심으로

남기혁(Nam Ki-hyeog) 韓國批評文學會 2009 批評文學 Vol.- No.33

This paper attemps to reconstruct the landscape of ‘Chosuneo(조선어)=National language’ and the topographical map of poetical circles reflected on Im-Wha’s linguistic practices. For this study, I examined the ideological characteristics of Im-Wha’s consciousness of language and poetic practices. The prism of Im-Wha may be too old and crude to illuminate the various aspects of linguistic practices and ideological orientation of Korean poetry in 1930s. However, this study could be an useful approach to Korean poetry in 1930s because Im-Wha showed a critical mind in various fields of Korean modern literature, especially in Korean modern poetry. We can find Im-wha’s linguistic consciousness in his poems and critical writings together. In his poem “The poetry of Earth(지상의 시)”, Im-Wha criticized the idealistic view of language which put the language before the behavior. He thought that the primary principle of poetry is the function of freely interpreting of language and behavor. This linguistic and poetic cognition was influenced by Marxism, especially I. Y. Marr’s lingustics. Marr was a soviet’s linguist who put the class language before the national language, but his the vulgar-materialism on linguistic was denied formally by Stalin in 1950s. Im-Wha adopted Marrism(Marr’s lingustics) to criticize the group of pure poetry(순수시파), whose aesthetics was based on the Kantian theory of aesthetic autonomy. But, Im-Wha’s consideration of class language could not be lasted in his all critical writings. On the crisis of national language caused by Japanese Imperialistic policy, Im-Wha had not choice but to bring national language to completion as poetic diction. Besides, national language was the core in establishing “national literature”. Im-Wha thought that this work must be accomplished by “Gyeonghyangsipa(경향시파)” because nationalistic poets, the group of pure poetry(순수시파) and the modernist group in 1930s’ Korean literature gave rise to confusion in national language. Im-Wha’s demand on the hegemony of the proletariat in national language and national literature could be found in his topographical map of poetical circles. Especially, Im-Wha denied dialect as poetic diction, which could be found in Baik-suk’s poetry. Im-Wha did not regard the dialect as literary language because he thought that it’s provincialism could regress to reactionism, national reformism and aestheticism. Im-wha’s linguistic consciousness, especially his emphasis on national language was based on the standard language, connected with the imagined community ‘modern nation’(=nation state). But On the condition of Imperialist control, “Whangguksinminwha(황국신민화)”, there was no room for “Chosuneo(조선어)”, the Korean national language. So Im-wha asserted the necessity of “Chosuneo”, only in the view of usefulness in describing reality. In this opinion, he did not demand on the nationality of language any more. This was Im-Wha’s tactic of postcolonial practice which could protect the “Chosuneo” in the crisis of extinction under the Japanese Imperialistic policy of “Whangguksinminwha”.