욕망의 발현과 억압 : 「드럭 칵테일」 외 2편

김혜원 동국대학교 2016 국내석사

김종삼 시의 양가성 연구

김숙이 동국대학교 2015 국내석사

본 논문은 김종삼의 시를 대상으로 그의 시에 나타난 양가성과 현실 초극 의지로서의 서구적 이미지와 동양적 정신, 천상과 지상의 세계를 살펴보았다. 兩價性(Ambivalenz)이란 이중가치성(Ambivalor)을 일컫는 것으로 결합될 수 없는 것처럼 보이는 두 개의 의미론적, 이데올로기적 가치들의 결합으로 해석할 수 있다. 즉 질과 양, 강한 것과 약한 것, 선과 악이 통일을 이룰 때 이를 양가성이라고 한다. 근본적으로 양가적인 세계는 대립이 있지만, 단순히 대립에만 그치지 않고 서로 종합하기도 하는 것이 양가성이 가지고 있는 숙명이라고 할 수 있다. 김종삼 시에서의 양가성은, 초기와 중기에는 묘사중심의 서구적 이미지와 동양적 정신의 세계가, 후기에는 진술중심의 천상과 지상의 세계가 강하게 나타나며 아울러 현실을 초극하려고 하는 의지를 볼 수 있다. 김종삼은 전쟁과 분단으로 고향을 상실한 1950년대라는 시대적 상황을 온몸으로 겪었으며, 아픔과 가난 속에서도 세상과 타협하지 않고 영원지향적인 순수시와 실험적 기법으로 자신만의 독특한 시세계를 구축하였다. 본 논문은 이점에 주목하면서 서구적 이미지와 동양적 정신, 천상과 지상의 세계라는 측면에서 작품을 분석하고자 하였다. 김종삼 시의 양가성과 현실 초극 의지는 분단, 고향상실, 가난 등 불우한 경험세계를 바탕으로 형성된 부정적인 현실을 벗어나려는 의지로 볼 수 있다. 2장에서는 김종삼의 시에 나타나는 서구적 이미지와 동양적 정신, 천상과 지상의 세계를 살펴보았다. 김종삼 시의 특질인 현실 초극 의지의 특징으로 서구적 이미지와 동양적 정신을 들 수 있다. 서양의 세계관이 자연과 인간을 나누고, 정신과 물질을 나누고, 주체와 객체를 마주 세워 단절시키면서 모든 문제를 해결하려는 이원론적 세계관이라면, 동양적 세계관은 현상과 실체의 구분을 허용하지 않는, 유기적으로 서로 관계된 전체인 일원론적인 세계관이다. 김종삼은 음악과 畵集을 통해 접한 서구에 대한 동경, 선망 등이 그의 시 세계의 한 축을 형성하고 있다. 서구적인 것을 추구하는 가운데서도 어렸을 때 ‘스와니 강’을 듣고 자란 곳은 이북이었듯이 그의 정서에는 전통적인 동양적 정신이 깃들어 있다. 김종삼의 시들에서 보이는 서구 지향적인 이미지와 인물들은 미지의 세계에 대한 동경과 더불어 이것들이 환기하는 정서로 인해 환상성을 갖게 함을 보았다. 고요함, 비어 있음의 충만함, 虛無, 虛寂, 餘白, 무욕의 세계, 우주와의 교감, 일원론 등의 김종삼 시에 나타나는 동양정신을 발상으로 한 시편들에서는 불우한 현실의 세계를 초극하고자 한 그의 의도적 노력을 볼 수 있었다. 천상과 지상의 세계라는 이원론적인 갈등은 인간에게 있어 피할 수 없는 숙명이며 인간은 그 갈등 속에 살면서 그것을 넘어서고자 꿈꾸고 갈망한다. 인간의 의식 속에 함께 존재하는 이원성 즉, 어두운 것과 밝은 것, 가변적인 것과 불변적인 것, 절대적인 것과 상대적인 것, 순간적인 것과 영원한 것의 두 요소들은 한 편의 시 속에서 끊임없이 대립하고 투쟁하며 존재의 의미를 획득하려 한다. 김종삼의 다수의 시들은 초월적이고 환상적인 세계를 지향하며, 세속적이고 일상적인 지상의 세계를 부정한다. 이는 그의 시가 지상에서 천상으로, 현실세계에서 이상세계로의 도피공간을 확보하고자 한 경향으로 보인다. 김종삼은 가난하고 소외받은 현실 세계에 발 담그고 있으면서도 늘 천상의 세계를 그리워하였으며 천상 세계를 추구함으로써 현실을 극복할 수 있는 통로로 삼고자 하였다. 본 논문은 서구적 이미지와 동양적 정신, 천상과 지상의 세계라는 측면에서 김종삼의 시세계를 파악하고자 하였다.

한국 현대 소설의 퀴어 비평적 연구 : 1990년과 2000년대 소설을 중심으로

박정혜 동국대학교 2015 국내석사

This study aims to deal with homosexuality emerging in Korean literature after the 1990s. Queer theory, led by Judith Butler and based on deconstructive insights, defines individual sexuality as a fragmented, fluid, and dynamic aggregate of sexualities. Because sexuality exists within the dynamics of desire, it is difficult to precisely define it through terms such as “sex” (biological) or “gender” (cultural). To wit, sexuality goes far beyond the confines of those definitions, and has its own volition, creativity, and the will to express. Homosexuality should not be understood as an antithesis to heterosexuality, because the scope of human sexuality cannot be understood through the limited concepts of homo- and heterosexuality. In that sense, Queer Criticism encompasses to all criticism that reads texts from a non-heterosexual point of view. Gay and Lesbian Criticism all falls into queer criticism. The purpose of queer criticism is to reveal various ways in which sexual dynamics are newly reproduced or fail. Queer theory that has been discussed in-depth in the western hemisphere in the 1990s began to affect Korean society in the 2000s. The literary field also partook in efforts to question fixed notions about sexual identity. Through the new lens of Queer Criticism, Korean literature yields an unexpected wealth of works that can be discussed. without the readers’ knowing, authors have been questioning the societal taboo, looking for answers. In Korea, where even the task of sexual inequality remains unresolved. advocating homosexual rights and equality can be a sensitive issue. To deal with homosexuality in their literary works despite the negative sentiment is creative activity that requires courage, therefore it should not be brushed off as mere sensationalism or literary garnish. However, a careful approach must be taken as the Korean society still has many blank spaces within the concept of “Queer”-encompassing homosexuality, bisexuality, and asexuality, standing as a counterpart to heterosexuality based on male superiority-and a rash approach may create undue misconceptions. In fact, Korean literature that dealt with Queer issues in the 1990s and early 2000s, homosexuality is treated with negativity, and homosexuals described as those who failed to integrate into mainstream society. Some literature has even produced homophobia by linking homosexual intercourse with AIDS. In light of the concept that language concretizes “reality” and not vise versa (linguistic performance theory), these errors must be corrected. Queer literature after mid-2000s holds as its basic tenet that various sexual preferences must be accepted. Being queer is an individual’s choice and her or his preference, and thus there is no need to seek the readers’ approval. Without making homosexuals the “other,” Un-young Cheon and Su-ah Bae in their works exemplify an attempt at the bold deconstruction of male-centered sexual ideologies. Un-young Cheon, to deconstruct hetero-normativity through actively using the motif of physical human bodies and embracing biological sex. There are only differences, and not discrimination. Each person’s sexual identity, formed as a result of culture and environment, is unique; and there are as many as the number of individuals in this world. There is no standard that determines right and wrong among those identities. Therefore one must respect others’ sexual identities as much as one does one’s own. On the other hand, Su-ah Bae’s deconstructive strategy recognizes the fact that all ideologies?not only race, nationality, language, employment, or education, but also gender and sex?are societal constructs, and there is no need to label and differentiate relationships as “homosexual” and “heterosexual.” As one deconstructs the preconceived values and fixed notions around her or him, it reaches “nothing” and then one can find one’s true self. Our society that once demanded individual sacrifice in lieu of nationalism or the “greater good” went through great advancements in politics, freedom of speech, and the economy that improved the quality of people’s lives; and it is now faced with demands for individual freedom. The social atmosphere that encourages tolerance and acceptance of individuality creates a place to re-think hetero-normativity that was once considered a given, and the authors are trying to find answers through questions aimed at the readers. The experimental efforts across many fields of art to deconstruct sexual identities has fostered society’s understanding and broadened the tolerance for queer sexualities. In the literary field, I hope more and more authors would hopefully question fixed conceptions and values about sex and sexuality, and strive to take a “queer” look. 본 연구는 1990년대 이후 한국 현대 소설 속에 나타난 동성애 문제를 다루어 보고자 한다. 주디스 버틀러를 중심으로 전개된 퀴어 이론은 해체론의 통찰을 바탕으로, 개인의 섹슈얼리티도 파편화되고 유동적이며 역동적인 섹슈얼리티의 집합체로 정의한다. 섹슈얼리티는 욕망의 역학 관계 속에서 존재하기 때문에 생물학적 성별, 문화적 성역할로 번역하는 방식으로는 완벽히 정의되지 않는다. 즉, 섹슈얼리티는 그러한 정의들을 초과할 뿐 아니라 섹슈얼리티만의 의지와 창조성, 독자적인 표현욕을 갖는다. 동성애는 이성애의 반대적 개념을 정의하려고 할 때 필요한 규범으로 이해되어서는 안 된다. 왜냐하면 인간 섹슈얼리티의 범위는 동성애나 이성애같은 제한된 개념으로는 완전히 이해될 수 없기 때문이다. 이러한 의미에서 퀴어 비평은 비이성애자의 관점에서 텍스트를 해석하는 모든 종류의 문학비평을 가리킨다. 게이, 레즈비언 비평의 사례들도 모두 퀴어 비평의 범주에 속한다고 할 수 있다. 텍스트 안에서 동성애와 이성애라는 범주가 무너지고 겹쳐짐에 따라 인간 섹슈얼리티의 역학 관계가 새롭게 재현되거나 실패되는 다양한 양상들을 보여주는 것이 퀴어 비평의 목표라고 할 수 있다. 1990년대 서양에서 진지하게 논의된 퀴어 이론들은 2000년대의 한국사회에도 서서히 영향을 미치기 시작했다. 성정체성에 대한 고정관념에 의문을 제시하는 시도는 문학의 영역에서도 이루어졌다. 퀴어비평이라는 새로운 시각을 가지고 한국 현대 소설들을 살펴보면, 논의될 수 있는 작품이 예상보다 많이 발견 된다. 작가들은 미처 독자가 알아채지 못하는 사이, 사회가 터부시 하고 있는 것에 대해 의문을 제시하고 해답을 찾으려고 노력하고 있었다. 남녀차별의 문제조차 완전히 해결하지 못한 가부장제 한국사회에서 동성애자의 인권을 외치며 평등을 인정하자고 주장하는 것은 상당히 예민한 측면이 있다. 부정적 여론이라는 부담을 마다하고 자신의 작품에서 동성애를 주제로 삼는 것은, 용기와 도전 정신이 필요한 창작행위이므로 흥미위주 소재주의의 산물이라고 폄하되어서는 안 된다. 그러나 남성중심주의를 바탕으로 둔 이성애의 반대 축으로서 동성애, 양성애, 무성애를 아우르는 퀴어라는 개념에 대해 많은 여백을 가지고 있는 한국사회에서, 이를 다루는 창작 활동들은 자칫하면 잘못된 편견을 만들어낼 수 있으므로 신중한 접근이 이루어져야 한다. 실제로 1990년대∼ 2000년대 초반, 퀴어를 소재로 다룬 한국 소설 속에서 그 위상은 부정적이며 동성애자들은 주류사회에 적응하지 못한 실패자들로 묘사되고 있다. 심지어는 동성과 성행위를 하면 에이즈에 감염된다는 식의 정보를 독자들에게 심어줌으로써 동성애 혐오증을 유발하기도 한다. 실제가 있어서 언어가 생겨나는 것이 아니라 언어가 규정됨으로써 실제가 고착된다는 언어 수행성의 관점에서 본다면 독자들에게 왜곡된 가치관을 고착시키는 이러한 잘못들은 시정되어야 한다. 2000년대 중반 이후 발표된 퀴어 소설은 다양한 성적 취향을 인정하는 것이 기본 전제이다. 퀴어는 개인의 선택과 취향이므로 더이상 독자들에게 동의를 구할 필요가 없다. 동성애자들을 타자화(他者化)시키지 않고 남성중심 성이데올로기 해체를 과감하게 시도한 작가로 U천운영과 배수아를 예로 들 수 있겠다. 천운영은 이성애 중심 해체의 전략으로 생물학적 섹스를 부정하지 않고 성별을 가진 육체를 적극 활용한다. 거기에는 차별은 없고 다만 차이가 있을 뿐이다. 문화와 환경에 따라 형성된 각자의 성정체성은 고유한 것이고 종류는 인류의 수만큼 다양하다. 그 정체성 사이에 우열이나 옳고 그름의 기준은 없다. 그러니 내 것처럼 타인의 성정체성도 존중하자는 것이다. 그에 비해 배수아의 해체 전략은 젠더, 섹스를 포함한 인종, 국가, 언어, 직장, 학연 등 모든 이데올로기는 인간사회가 필요에 의해 만들어낸 허상일 뿐이므로, 애정관계에 대해서도 이성애니 동성애니 하고 이름 붙이고 구분할 필요가 없다는 것이다. 나를 둘러싼 고정관념과 기존 가치관을 해체하다 보면 결국 무(無)에 이르고, 그러고 나서야 나의 진실한 모습을 발견하게 된다는 것이다. 국가주의, 단체주의의 중요성 속에서 개인에게 많은 희생을 요구하던 우리 사회는 1990년대 이후 정치, 언론 자유, 경제 발전 등 삶의 질이 향상됨에 따라 개인의 자유에 대한 요구가 많아졌다. 개인의 특성을 존중하자는 사회 분위기는 당연하게만 여겨졌던 ‘이성애중심주의’에 대해서도 재고(再考)의 장을 만들고 작가들은 독자들에게 작품을 통해 질문을 던지고 해답을 구하고자 한다. 2000년대 들어 여러 예술 분야에서 실험되는 성정체성 해체 시도는 사회적 인식을 변화시키고 새로운 섹슈얼리티를 포용하는 범위도 넓혀 놓았다. 문학 분야에서도 보다 많은 작가들이 성에 대한 고정관념과 가치관에 대해 끊임없이 의문을 제기하고 ‘다르게 보기’를 시도해 나갔으면 한다.

存在와 記憶의 詩的 形象化 : 「흑백사진」 外

유병란 동국대학교 2013 국내석사

Writing poetry is not some narrations or descriptions, but representations with indirectness for any sensuous and intellectual symbols. The Image is a series of ways to playback some experiences and to represent a kind of specific emblems. Languages is to become an image. When writing poetry, the most important thing is not to express our subjective feelings directly, but to create some objective correlatives of emotions in order to express something along with touch. That’s why the poetry is an activity to create some objective correlatives, in other words, phenomenons objectified with artistic styles. As for me, writing poetry is a self confession. Confession starts with lacking and absence. As confession has some poetic significances, the poetic narrator corresponds with the poet oneself. The realistic life of a poet builds up some poetic significances and give truth to the poetic language. By expressing emotions with some poetry and delivering some messages intended with internal sounds, I sometimes feel a kind of catharsis. I have grown in the country, so the beautiful natures are a good sources of my writings. My trial to express all the things in the nature sensuously and to create some formations make me feel joyful, and this joy cannot change with anything. This is valuable experiences and my pleasure. I try to express my own personality and experiences by writing poetry, for the poetry is a work to state my own experiences, thoughts, and emotions in a special and individual way.

다양한 페르소나가 만들어내는 삶의 변주곡 : 「고등어케밥」 外 2篇

이정은 동국대학교 2016 국내석사

We share other people’s emotions and thinkings through literatures. Also some get vicarious experiences and others can get meaning of their lives through them. For me, ‘human nature’ is one of diverse subjects to eagerly write for a long time. Immanuel Kant defined “Human nature means everyone’s universal sympathy. Also it signifies an ability to deliver his/her feeling internally and universally.”Throughout my school years and working life, human relationship gave me both a hard time and a strong willpower also. Anyhow, whenever I come face to face with profound and mysterious human relations in literatures, I could breathe a sigh of relief. Because I could heal not only my real sticky situation at the moment but also wounded heart while reading literatures. I think various social conflicts are originated from a lack of understanding others. A lack of understanding is what leads to prejudice. Consequently I argue the reason is this generation do not like to read literature than before. Some novelists previously mentioned this kind of view. Susan Sontag emphasized that “Literature develops and uses our ability to drop tears for others and their problems.” On this way, we exercise to understand someone else by reading literature. Actually pursuit, loss and destruction of humanity became good material of novels. William Faulkner said “Novelist needs three elements of experince, observation and imagination.” In my attached short stories -「Kebab Mackerel」, 「Show: Man of His Word」, 「Country of Somebody」- various types of characters appear through some of my real experince, observation and imagination. There are some fictional characters who deeply wounded by people and society, but there’s no happy-ending for them. I think healing his own wound depends on pulling his own weight.

동심(童心)의 눈으로 바라본 세상 : 동화 『아기부처』 외 2건

최상아 동국대학교 2016 국내석사

What can you, as a grown-up, infer from children's literature? Why do you think you read children's book even though you are not a child anymore? This article redefines the meaning and the implication of children's literature by showing some factors which have grown-ups find children's book worth to read. Looking at the world with children's viewpoint is valuable because it not only makes adults take the glasses off of which frame prevents from flexible thinking, but also gives them opportunities to revisit their childhood and to find their innocence. Though readers of children's literature consist of two segments: children and adults, this article rather focuses on giving adults the chance to rethink the fundamental reason and psychological background which they can get while reading children's literature. In the first writing,「Baby Buddha」, I intended to describe 'mercy and compassion' through the frame of children's innocence. Buddhism put an importance to mercy and compassion which basically value the life of all living creatures. The main character, Joon Seo, lives his everyday life without recognizing that he has the aforementioned mercy and compassion inside him. For example, he broke a branch accidentally and felt sorry for hurting the life. It shows that Joon Seo instinctively assumes that the life of every living creature deserves to be respected no matter how small the creature is. Also, I intended to describe Joon Seo is pursuing universal values such as respect, freedom and peace by praying for small and weak animals to be happy. No matter how selfish the society becomes, it is fundamental and important to pursue this kind of universal values and I showed it by Joon Seo's standpoint. In the second writing,「Two, One, and Three」, I created a situation of which one of twin sister died and the left one has to suffer the painful process of accepting the loss of her beloved sister. A study concerning the children's attitude toward death shows that kids' reaction varies depending on ages. It says children at the age of Doona recognizes the death as the way that adults do, but the difference is that children do not assume that the death may not happen to their family. This means that children should be well-guided to accept the family member's death in a proper way so that they can overcome the consequences of the death and come back to their normal every day life. If children undergo the loss of family and their parents do not provide timely and proper care to children, the psychological aftereffect of the children may get worse. In this case, the parents should be out of the shock and sorrow as soon as possible in order to take care of Doona in terms of not letting her fall into unnecessary psychological defect. In the third writing,「Blue toad」, my priority was to show the positive power of the imagination as a means of overcoming the hardship. Jae Seon creates many different kind of cars using Play Doh, not because he simply loves to make them but because his parents were not able to afford a family car. By doing so, Jae Seon thinks that he can travel anywhere in his imagination though he doesn't have a 'real' car. Also, I wanted the readers of this writing find the fact that a goal of Jae Seon's family is also a goal of Jae Seon because he belongs to a family and this means Jae Seon functions as a family member not just a kid who blindly obey his parents. I put an importance on this situation because a 'family' is the first organization when a kid belongs to for the first time. What he/she learns in the family naturally extends to a wider society such as school and sports club, etc. I intended to describe the importance of learning the mutual interaction among the family members using Jae Seon's family. Understanding others' feeling is critical in having a relationship in an organization. This functions as a fundamental among people. Should everyone insists what's important to themselves not considering others' situation, the golden rule of 'give and take' would not work. I created what is called an ordinary family in order to make children think that people in a fictitious story are based on the reality. This means that children who read this kind of story would imagine the interaction and episode which are close to reality. Children may apply their thoughts from the story to real situations. We put an emphasis on viewing everyday life with a different frame. This attitude encourages creativity, so that we will be able to have flexible thinking. I hope readers of this article enjoy the chance.

소외계층의 시선으로 바라본 일상의 폭력

양예지 동국대학교 2016 국내석사

The characters in the writer's short stories; 「Moojigae Moonbanggoo(Rainbow Stationery Store)」, 「Woorineun Wae(Why Are We...)」 and 「Heogi(Hunger)」 don't have remarkable backgrounds. They match the words like 'failure', 'crisis' and 'alienation' much better. They are described as the socially weak, but it doesn't mean they are classified into a failure of life. They are various types of characters that we can encounter in life. Readers can feel empathy for them, since they have a good heart of human being. 'Father' in 「Moojigae Moonbanggoo(Rainbow Stationery Store)」 is a normal man. Though he lacks passion and mettle, he constantly keeps the stationery store that he opened up with his mother a long time ago, all the time. 'I' is described as a child, who is optimistic and has a little mature way of thinking. They rely upon the warmth of each other in the space of the 'rainbow stationery store'. 「Moojigae Moonbanggoo(Rainbow Stationery Store)」 describes the pitiable situation and reality of 'I', who grows up without a mother and 'father' that keeps the rainbow stationery store alone without a wife, in a folksy and humorous way. 「Woorineun Wae(Why Are We...)」 reflects the circumstances that the youth are going through, today. 'I' in the novel feels inferior to her older sister from a young age, whereas 'older sister' is a typical model student to be loved by elders. But older sister fails to achieve her dream of being an actress and chooses the worst alternative eventually by killing herself. The writer shows the dispositions of the two sisters contrastively, but wants to say about the pain that the young generation has to experience, in the end. 「Heogi(Hunger)」 expresses the feeling of loneliness, anxiety and deficiency of individuals. 'Man' belongs to neither of his family and workplace after retirement. He tries to remove mental stress from his unstable position by eating. 'Pan' also suffers from bipolar disorder after retirement. He shows off and speaks ill of others, but miss people at the same time. He feels uneasy from beginning to end, displaying these twofold aspects. ‘Wife' becomes addicted to home-shopping and constantly buys something after her younger sister died. In this novel, the writer talks about the loneliness and anxiety of modern people, which are deep-rooted in everyday life. All of the writer's short stories target the socially weak, but contain different problems of life. It is easily found in a family, or becomes a big social issue. The writer tries to talk about violence in daily life, from the perspective of the underprivileged class. Readers need to understand the mentalities of the characters in the novels and look at them with a warm heart.

體驗에 依한 이야기詩의 可能性 : 「창문 값」外

조봉익 동국대학교 2016 국내석사

Experience stays in one's memory. Usually memory has some sorts of forms of situation or story. Of course, it is not that there is no strong impression, i.e., the subject's sensible face. However, most of the stories are mainly consisted with the process of one's life or conditions. Human's activities are the succession of stories, which are made with a flow of time. I tried to demonstrate it choosing sources of poem from daily affairs or routines. Because it is easy to write a story without any burden, like when saying about something to somebody. Story-poem is suitable to write in a form of description for the process of how the subject exists rather than Emotion or Subject. Although possible to change as a descriptive aspect, we can develop it without a high degree of metaphor or symbol. As a case be the center of poem, we are able to write a poem just with the behaviors or the environment, where the main character was. All of us have lots of personal stories. We have often been heard that 'it will not be a single fascicle to hold my life stories'. That means there are many things to say. When writing a poem, I strived to make a story. In my poems, there are lots of stories about how people make their livings. They are rather the description of the main character's features than the evens or contents, in which he/she was the main source. I'll not deny that it was not described well as a personified image due to a lack of imagination. For the first time, Poem is completed after gaining readers' sympathy by having objectivity. Some people say that good poems should have unique metaphors or symbols though, there are many poems difficult to understand because they are too much strong. Although it makes sense the level of readers' abilities should be developed before blaming those are too much hard to understand, it is very hard to do and long to go. Sometimes doubtful that they do not respect and ignore readers so much. And also I think that it is a unilateral way out of consideration of communication. Personally, I like the poem which has a communication. Provided that a poet tries to say about the truth of experience through a poem, the subject of poem becomes the life in which we are living. As much as possible, I dealt with the sources of poems from neighbors, who are living hard around us. I tried to give a warm heart by finding out the truth from the suffering of the time. I'll look out whether it is possible to show the meaning by the way of description from the idea I gained.

욕망과 자아정체성의 스펙트럼 : 『정조능행반차도(正祖陵幸班次圖)의 황동 램프』 외 2편

김성국 동국대학교 2016 국내석사

1. Human desire provides enduring inspiration for literature Human desire has been an enduring subject or motif for literature, or in particular, for novels. The dictionary definition of desire is “wanting to enjoy something or such feeling, or feeling a lack of something and wanting to fill it.” Typically, “desire” is another word for “need.” In Buddhism, desire is expressed as greed (rāga), lust (kāma), enthusiasm (chanda) or burning desire (tanhā), and greed is regarded as the worst of three poisonous attributes. The desire to live in splendor is called greed, and this is said to be the very source of suffering. In his book “Romantic Lie and Romanesque Truth,” Rene Girard says, “Human desire is mostly not his own subjective desire but one mediated by others.” According to the author, anyone can be a mediator of desire, including parents, siblings or surrounding people, and, because one deludes himself into believing that the desire to reach an object by imitating the mediator is his own subjective desire, the desire is warped and not true. Jacques-Marie-Émile Lacan introduced the concept of “staring” to explain this desire of the mediator. Staring by parents dominates their child even before birth. They desire the child’s future to be as they picture it and exercise power over the child’s ego yet to be formed. In this way, staring by substitutes like parents firmly exists before and after the child’s own staring. Staring is essentially “desiring eyes,” and desire intrinsically presupposes want. It can be said to be another way of “complaining of his incompleteness” on the part of the subject. Lacan identifies the subject and object in the structure as enabling mutual displacement through a “mirror relationship.” A subject can immediately exchange positions with its object because the subject’s desire is none other than the other’s desire. If we follow Lacan‘s assertion, a child’s desire can become an adult’s own desire, and the adult’s desire can also be reflected to become the child‘s desire. Freud, the major creator of Western psychoanalysis, claimed that humans have developmental stages of desire, including the oral stage, anal stage, phallic stage, latent stage, genital stage, etc., depending on the eruption of the libido, his sexual energy. Lacan tried to define desire based on this concept of libido. Libido is the pure instinct of life (pur instinct de vie). He claimed that all humans have libidos, and that, the more thorough the subject is with it, the more obviously the contradiction of the symbolic is exposed. The symbolic is this world that has been in existence even before we were born. Lacan also claimed that we can reach the real by fulfilling our desire. If we accept Lacan‘s claim, the role of the subject should be emphasized more than ever. Here, the subject is not a heteronomous self-limiting being but should be regarded as “the subject of autonomy” creating new knowledge and a new generality of its own. As a result, Girard‘s “Mediator of Desire” theory and Lacan’s “Staring” theory have persuasive power. This is because all men emulate others’ desire to in order to develop their own. 2. Triangle of desire theory Rene Girard claims that “Modern man’s desire is of a triangular structure in which the mediator is positioned between the subject and object.” As an argument for the claim, he analyzes such novels as Cervantes’ “Don Quixote,” Stendhal’s “Le Rouge et Le Noir,” Flaubert‘s “Madame Bovary,” Proust’s “In Search of Lost Time,” etc., to suggest that the desire possessed by the novels’ protagonists is a trigonal structure warped by mediators. In other words, the desire does not go from a subject directly to an object, but through a mediator. This is called médiation. For example, Don Quixote wants to be an ideal wandering knight. However, the ideal wandering knight is none other than the legendary knight called “Amadis.” Don Quixote does not try to achieve ideal chivalry himself but attempts to become an ideal knight by copying the médiateur, Amadis. This is médiation. Médiation can be classified into two types: médiation externe is when there is no competitive relationship between the subject and the mediator, while médiation interne is when there is a competitive relationship between the subject and the mediator. Because médiation interne allows mutual imitation, conflict can be more intensified. 3. Conflict between desire and subject ego If desire is regarded as not being generated by the subject but through another’s mediation, the conflict between desire and subject ego should be an inevitable consequence. That is, opposition and rift should occur between the subject’s desire to follow himself and mediation-derived desire to imitate others. Rene Girard says that desire, which has become so strong that the subject and the mediator can no longer be distinguished, causes the subject tremendous pain. However, if the subject undergoes religious reform called “conversion” at the last moment when finds out the true nature of desire, the opposition and the rift should disappear. The truth of desire is death, but it cannot be the truth of novels. Before death, the subject of desire in conflict can ultimately separate himself from the other, who is a mediator of desire, to be free from the conflict and finally move forward to a new world. This is so called conversion. I think that, through this conversion, literature finally can provide readers with comfort and rest.

나태주 초기시의 리듬양상 연구

정지은 동국대학교 2017 국내석사

Na Tae-joo is a pure poet of this age singing in his own way with an emphasis on "feelings" and "emotions" rather than traditional subject and thought. His poetry is easy through simplicity and repetition, but it resonates deep inside. Since 1971, for the past 45 years, poets who have worked so sincerely and have been publishing works every year are rare. But his research on poetry is still not active because his work is currently in progress. In this paper, I examined the rhythm of poetry rhythm and the rhythm of Naejae poetry belonging to modern liberal poetry which emphasized intrinsic rhythm as well as external rhythm by examining how traditional rhythm has been inherited to modern free poetry. He is a prolific poet, and his work has been extensively compressed into a collection of poems published in the early 70s. His works include the first and second poems, "Under the Great Forest," “Sister's Autumn Season” and the third poem "The sketch of Makdong-li“. The characteristics of the early poems of Na Tae-joo were repeatedly studied. The characteristics of the early poems of Na Tae-joo were repeatedly studied. I found out the origin of the rhythm of Na Tae-joo poetry different from other poets in the rhythm of Na Tae-joo poetry, studied and analyzed how his rhythm consciousness influenced the rhythm of his poetry in general and his rhythm pattern I found two patterns: First, The rhythm of the first appearing rhythm is rhythm through various repetition. It is a rhythm through repetition of various phrases such as similar phrases and syntactic phrases. This can be seen as the most commonly used start-up technique by the poet's poet. Poets frequently used the same or similar sentence or phrase repeatedly. The repetition of syntactic phrases is very effective in emphasizing the content of the sentence, and helps the reader to understand the contents in depth by repeatedly touching the same sentence while reading the poem. Repetition of similar sentences can lead to break reading in poetry reading, and it can improve reading comprehension because of similar sentences. It also helped to convey various stories in a unified way. The second is rhythm through onomatopoeia and onomatopoeia. I can meet various idioms and idioms in Na Tae-joo's poetry in various places in the city, because he is a teacher of elementary school. The idioms and righteous words that appear in his poetry have made the contents of poetry three-dimensional and vitality, and have shown the effect of seeing the poetry with eyes in the five senses. The rhythm of Na Tae-joo's poetry so far has been attracting attention in modern society where his poetry is gradually getting away from his eyes and his eyes are deprived of multimedia, and he is approaching the reader more easily because he is like an oasis.