이영도 문학에 형상화된 ‘목숨(생명)’의 기원과 의미

김수이(Kim, Su-yee) 한국시학회 2016 한국시학연구 Vol.- No.46

이 논문은 이영도의 시조가 한국 현대시조에 부여한 근대적 특성에 입각해, 이영도 시조의 특징을 ‘한’과 ‘그리움’의 미학으로 설명하는 기존의 연구들과 다른 관점을 확보하는 데 초점을 맞추었다. 이영도 문학에 대해 보다 정밀한 분석이 필요하다는 판단 아래 이영도 시조와 산문에 매우 높은 빈도로 등장하는 ‘목숨(생명)’에 주목해 그 독특한 용법을 분석하는 데 주력하였다. 이영도의 문학에서 ‘목숨(생명)’은 핵심적인 위상을 차지할 뿐 아니라, 보편적인 의미를 내포하면서도 독자적인 의미와 용법으로 활용되고 있어 주목을 요한다. 본고는 이영도의 시조와 산문, 이영도와 ‘연인들만의 언어 공동체’를 형성한 청마 유치환이 이영도를 단독 독자로 하여 보낸 편지 등 텍스트를 중심으로 이영도 문학에 나타난 ‘목숨(생명)’의 기원과 의미를 분석하였다. 이 과정에서 이영도의 ‘목숨(생명)’에 대한 인식에 결정적인 영향을 끼친 생애사적 사건을 참고하였으며, 크게 네 가지 측면에서 ‘목숨(생명)’의 기원과 의미를 규명하였다. 요약하면, ‘목숨(생명)’은 이영도가 존재론적 차원에서 인간과 삶의 제반 문제를 사유한 근거였으며, 살아 있는 모든 존재를 평등하게 호명하는 공통의 본질적인 명칭이었다. 이영도의 삶과 문학은 ‘목숨(생명)’의 존재론적 차원에 입각해 삶과 죽음, 자아와 타자, 개인과 사회․역사, 사랑과 도덕, 생활(생계)과 문학, 유교와 불교와 기독교, 전통과 현대 등의 다양한 갈등과 차이를 통합해나가는 과정이었다. 이영도에게 ‘목숨(생명)’은 삶과 죽음을 관통하면서 유한한 존재의 한계를 넘어서고, 가치 있는 생명 행위를 가능하게 하는 구체적이고도 초월적인 동력이자 인간 존재의 영속적인 기반을 의미했다. This paper regards the modern literary characteristics given by the sijo (traditional three-verse Korean poem) to modern sijo as a starting point for discussion. To suggest a different perspective compared to existing discussions, the author concentrated on life that is very frequently appeared in the sijos and proses by Lee, Young-do. Life in his works occupies a dominant status and is used in a unique meaning and usage that can only be seen in the works of Lee. This paper revealed the origin and meaning of life in terms of four aspects by analyzing the usage of life that is added with a unique context by Lee in the universal one. Life was a sign that the literary works by Lee, Young-do tried to contemplate various matters of human and life in an ontological dimension, and was an absolute criterion and power handling that matters. Life and literature of Lee was a process of combining various conflicts and differences such as life and death; self and others; individual and society; love and morality; life (living) and literature; Confucianism, Buddhism, and Christianity; and tradition and modern, based on ontological dimensions of life.

다문화시대의 문화교육과 국어/문학교육

김수이(Kim Su-Yee) 우리말글학회 2008 우리말 글 Vol.42 No.-

The In a cultural age when culture leads all the spheres of society, a Korean education must be given together with the role of a cultural education. This paper, in line with the development of 'a cultural age' and 'a multi-cultural society' is intended to examine the desired method of connecting a Korean with a cultural education mostly referring to a literary-criticism education. A Korean education is, recently, reforming identity as a course of study aiming at a learner-centered open education. It results from having given new educational duties suitable for a new age to it as a main body in charge of 'a cultural education' that a Korean education, aiming at an opening education, renewed existing identity of a Koran subject. A multi-cultural society requires its members to correctly understand culture, and the difference and diversity of culture. The reason and method that a Koran education is able to carry out the role of a cultural education in a multi-cultural age are as follows. First, it is possible to train learners as 'a cultural subject' by teaching them literary works, important texts of a Korean education. Because literary works may be cultural texts reflecting a variety of cultural phenomena of society. Second, learners may have proper cognition of the difference and diversity of culture by learning various cultural phenomena and values, reflected in literary works. Third, learners may be trained as cultural talents having a reflectiv e?subjective?creative view through training of diversely interpreting literary works as cultural texts. This also corresponds to the conditions for training talent, which means "a well-educated person carving his/her way", "a person creating a new value who well understands our culture", as defined in the 7th educational course. A literary-criticism education has an important part to play in the connection of a Koran and a cultural education. It is because the power of viewing literary works from the cultural standpoint increases through criticism. This paper, citing Kim Su-young's poem as an instance, proposed a method of teaching literary works from a literary-criticism view.

1960년대, 김수영, 라디오 ― 김수영의 시와 산문에 나타난 ‘라디오’의 양상과 의미

김수이 ( Kim Su-yee ) 현대문학이론학회 2021 現代文學理論硏究 Vol.- No.87

이 글은 김수영의 문학에서 ‘라디오’가 갖는 다양한 의미와 중요한 위상을 검토하는 데 목적이 있다. 김수영의 시와 산문에 서술된 ‘라디오’의 구체적인 문맥들을, ‘라디오’로 표상되고 압축된 1960년대의 정치ㆍ경제ㆍ사회ㆍ문화 현실과 관련해 살펴보기로 한다. 이는 김수영의 문학에 형상화된 ‘라디오’를 분석하는 작업이자, 1960년대 한국사회를 대표하는 사물/미디어인 ‘라디오’를 통해 김수영이 1960년대를 이해하고 재구성한 양상을 고찰하는 작업이기도 하다. 이러한 사회ㆍ문화사적 접근 방식은 김수영의 문학에서 ‘라디오’를 사물(상품)이나 미디어 등 주로 제재의 시각에서 살펴보는 관점에서 더 나아가, ‘라디오’가 김수영 문학의 작동 원리로 활용되고 있음을 규명하는 데 목적을 둔다. 이와 함께, 그간 김수영의 문학세계를 한 위대한 시인-개인의 독자적인 모험으로 보고 ‘김수영 신화’를 강화하는 데 일조해 온학계의 (무)의식적경향을 재고하는 데도지향성을 둔다. 김수영의 문학에서 ‘라디오’는 단순한 소재나 수사의 차원을 넘어, 김수영 문학의 결정체인 ‘자유’와 ‘사랑’을 이행하고 ‘행동을 계시’하는 중대한 계기이자 동력으로 작동한다. ‘라디오’는 김수영이 당대 역사와 현실에서 경험한 다양한 국면들을 압축하고 있는 복합적인 실물이며 장치이자 상징으로서, 김수영이 당대 현실 및 자기 자신과 불화하며 새로운 자유와 사랑을 향해 성장해 간 과정을 치밀하게 담아내고 있다. 그 양상을 살펴보기 위해 이 글은 김수영의 문학에 나타난 ‘라디오’를 일상 속의 불온성의 현장, 소리의 품행, 문학에서 이탈하는 자유, 사랑의 주파수와 공동체 등의 관점에서 접근하였다. The purpose of this article is to review the various meanings and important status of "radio" in Kim Soo-young's literature. It is also oriented to examine Kim Soo-young's poems and prose from various angles in relation to the political, economic, social, cultural reality of society in the 1960s, symbolized by "radio," and reconsider Kim Soo-young's tendency to strengthen "Kim Soo-young Myth." This article analyzes the "radio" embodied in Kim Soo-young's literature, and examines one aspect of Korean society in the 1960s through "radio," and examines the aspects Kim Soo-young understood and reconstructed in the 1960s. In Kim Soo-young's literature, "radio" goes beyond simple subject matter or investigation and acts as a significant opportunity and driving force to implement "freedom" and "love," which are the determinants of Kim Soo-young's literature, and to "sign action." "Radio" is a complex reality, symbol, and device that compresses various aspects experienced in Kim Soo-young's history and reality of the time, and carefully captures Kim Soo-young's discord with the reality and herself and growing toward new freedom and love. In order to examine this process, the "radio" that appeared in Kim Soo-young's literature was approached from the perspective of the scene of temperature in daily life, sound conduct, freedom from literature, and frequency and community of love.

문학비평 방법론의 적용,변주를 통한 문학교육 : 작가비평,주제비평,복수의 비평적 관점을 적용한 문학교육에 대한 상상 Imagination on a Literary education which appropriated writer criticism,subject criticism,multiple critical viewpoints

김수이 ( Su Yee Kim ) 한국현대문예비평학회 2008 한국문예비평연구 Vol.- No.25

‘먼 나라/전원’의 상상의 지리학

김수이(Kim Su-Yee) 한국시학회 2007 한국시학연구 Vol.- No.20

This paper 1) finds out modern character in scenery of Shin's early poetry, 2) considers 'distant country/fields' as sensuous and aesthetic spacefor self-preservation of dissociate modern ego. Representation of 'nature' in Shin's early poetry is under the influence of Eastern and Western view of nature in poetry of Do Yeon-myung and Tagore etc. In this basis, his 'nature' has reborn as characteristic-aesthetic space. Negative reality and desperate inner-state has neutralized to the 'nature' called 'distant country' or 'fields' imaginarily and aesthetically. That is, it is the imaginary-geographical space as a 'reversed form of repression'. This space, as an imaginary opponent of dissociate modern ego's inner scenery, is divided into opposite form of realty. Yet, it doesn't have any individual self-regulation. Thus, it is hard to interpret the 'Mother' of his early poetry symbols Mother Earth's maturnity and redemption. The 'Mother' only functions as mere listener who receives unilateral solicitation and confession of poetic narrator. In conclusion, it is reasonable to have a hermeneutics point of view, which put a matter of monotonous, plane scenery and aesthetic itself, rather than a reflective point of view, which criticizes lack of reality-recognition, in reviewing 'nature' of his poetry.

생태시의 교육 목표와 범주 설정

김수이(Kim Su-yee) 한국비평문학회 2008 批評文學 Vol.- No.28

The future literary education is required not only to deal with internal contexts but to attach importance to intertextuality of literature and society. Because the contents and types of literature also diversely vary with the rapid changes of society' culture. The literary education laying stress on intertextuality with societyㆍculture means educational practice which swiftly applies many-sided changes of literature to an educational site. Also, it means giving more lively literary education directly to readers/learners, on the basis of directㆍindirect relation aspects between society and culture. Under these contexts, Ecology Poems becomes good properties for the present and future literary education. This paper is in the nature of a work of forming the foundation of recognition for desirable Ecology Poems. This paper concretely defined the educational goal and scope of Ecology Poems and obtained concreteness by applying this educational goal and scope to selecting works to be included in the literary textbook in a essayistic method. The educational goals of Ecology Poems defined by this paper are: First, to understand that works of Ecology Poems are literary texts and simultaneously societyㆍculture texts; Second, to realize the real fact of natural destruction by modern civilization and to make an alternative to it; Third, to reflect critically on an angle on nature, appearing to be used as a tool for modern civilization; Fourth, for each learner to be born again as a subject of creating civilization in which nature and humankind coexist; Fifth, to understand that Ecology Poems aims at essentially reorganizing the relation between humankind and civilization; and Sixth, to re-perceive the role of poems[literature] as a proposal on the reality and a practical action.

우울증에 따른 자살 예방을 위한 한국문학 콘텐츠 구축의 필요성과 방안

김수이 ( Su Yee Kim ) 한국언어문화학회 2010 한국언어문화 Vol.0 No.42

Depression, as a product of sociocultural experiences, shows a variety of differences according to races and culture. The cultural specific character of depression proposes two prerequisites in study on depression. First, a medical study should be carried out simultaneously with a cultural study for prevention and treatment of depression. Second, the cultural study on depression should be conducted with the culture and products of the relevant society as a text. For developing a method of treating depression fit for the reality of modern Koreans` lives, it is urgent to establish contents of modern Korean culture about depression and a suicide. This paper aims to develop a cultural program of preventing committing suicide from depression, and examined a methods of establishing modern about depression and a suicide. The suicide-preventing program proposed by this paper is a video of a multi-art type, formed by music, a video, recitation, theatrical elements, etc. being combined, which a depressive patient experiences a problem-solving process in an initiative and aesthetic process. As a concrete case of contents, this paper looked into 〈Laughter〉, Choi In-hun`s novel that written the process in which a woman who lost love goes a suicide trip and returns. This novel is a piece of work which dealt with and figured in detail the mental state of a suicide of a depressive patient and expected to be an effective text for depression treatment and suicide prevention.

임화의 서정주 시 비평의 논리와 근거 : 임화의 비평에 나타난 시차(視差, parallax) 2

김수이(Su-yee, Kim) 어문연구학회 2010 어문연구 Vol.63 No.-

This paper begins with the reflections self-examination about existing studies that put in order Imhwa's criticism and literature on the foundation of materialstic reason and socialistic realism. lmhwa's criticism includes large and small parallax etc, and lmhwa explicitly utilizes parallax as a concept tooI for 'divine surplus’ and 'creative criticism’ This can be said to result from recognition and approval as, actually and politically, one of 'reflective regulations' against materialistic dialectics and socialistic realism and. literarily, of various differences existing in the reality as productive power of literary works. lmhwa. stressing breaks/gaps the reality itself created. that is, dynamic motility of 'surplus' , defines this as the foundation for inherent and creative criticism. Imhwa's poems criticism play a surplus role lmhwa's total criticism and Imhwa discovers 'divine surplus', the new method of life of m띠ern times and new sphere of m띠ern poems, from sea Jeong-ju's poems that escaped from the sphere of materialistic reason and realism criticism. This, as ‘a scamper in a prison’ named modern times which do not discern an action of secession and return, is connected with irony of modernity. One is irony that dissolves and simultaneωsly materializes maintaining a dual attitude of life of secession and return, and the other is irony that modern poems and art are create and simultaneously suppressed through fatal parallax with modem world/order.

임화의 '신성한 잉여'의 세 가지 의미 : 임화의 비평에 나타난 시차(視差, parallax) 1

김수이(Kim Su-Yee) 우리문학회 2010 우리文學硏究 Vol.0 No.29

임화의 '신성한 잉여' 개념은 1930년대 후반의 혼돈의 현실에서 임화가 마련한 비평적 저항기제이자, 비평의 위상을 문학과 현실을 새로운 질서로 재편하는 최종 심급으로 정립하고자 한 기획의 산물이었다. 이 개념에는 당시 임화가 지닌 유물 변증법에 대한 과거와 현재의 시차, 문학작품의 본질과 완성도에 대한 과거와 현재의 시차, 비평의 역할에 대한 과거와 현재의 시차 등이 반영되어 있다. 임화의 '신성한 잉여'의 구체적인 의미는 세 가지로 해석될 수 있다. 첫째, '잉여'는 유물변증법과 사회주의적 사실주의에 입각한 '과학적 비평'의 한계를 극복하기 위한 임화의 비평적 고뇌의 산물이다. 임화는 문학의 비의적 본질과 예측 불가능의 운동성을 통찰하면서, 과학적 비평을 쇄신할 보다 고차원의 '(변증법적) 전환'의 필요성을 인식하였다. 둘째, '잉여'는 현실과 문학작품에 생래적으로 포함된 균열들, 즉 현실의 의미체계의 '내재적 외부'로서 위대한 예술작품의 아이러니컬한 원천이 된다. 셋째, 작가의 의도와 무관하게 텍스트에 자동 첨부된 '새로운 세계'인 '잉여'는 비평(가)의 창조적 역할과 독자적 영역의 토대가 된다. Im Hwa's 'Divine Surplus' concept is resistive mechanism prepared by Im Hwa and at the same time a product resulted from the planning aiming at establishing the position of criticism as the final stage that reorganizes literature and actuality into new order. This concept reflects the parallax of the past and present held by Im Hwa against materialistic dialectic at that time, the one of the past and present against the essence and completeness of literary works, the one of the past and present against the role of criticism, etc. The concrete meaning of surplus can be interpreted in three. First, 'surplus' is a product of Im Hwa's critical distress for coping with the limit of 'scientific criticism' based on materialistic dialectic and socialistic realism. Im Hwa recognized the necessity of higher '(materialistic dialectic) conversion to reform scientific criticism, having an insight into the metaphysical essence and unexpectable motility of literature. Second, 'surplus' as crevices inherently included in actuality and literary works, that is, 'intrinsic outside' of meaning system of actuality, becomes an ironical source of great literary works. Third, 'surplus', a new world attached to text regardless of the writer's intention, constitutes the bases of the creative role and independent sphere of criticism(a critic). Im Hwa ranks criticism as the final judge that reorganizes actuality and literature into new order by granting literature a role of discovering a surplus belonging to unconsciousness of a writer and of making it actual order.

공동체의 목소리, 목소리의 공동체 -1980년대 황지우의 시를 중심으로-

김수이 ( Su Yee Kim ) 현대문학이론학회 2015 現代文學理論硏究 Vol.0 No.62

이 글은 1980년대 황지우의 시를 텍스트로 하여, 황지우가 불합리한 사회 현실에 맞서 ‘목소리의 민주주의 체제’를 설립하기 위해 감행한 해체적 실험들을 ‘목소리’를 중심으로 분석한 것이다. 이를 위한 예비적 고찰로서 현대사회에서 ‘민주주의’가 처한‘혼란’과 ‘무효화’의 정황을 살펴보고, 민주주의의 중핵인 공동체의 바람직한 존재방식과 운영방식에 대해 생각해 본다. 최근 ‘공동체’ 관련 논의들에 대한 비판적인 검토도 함께 수행한다.(Ⅱ장) 다음으로, 유용한 ‘메시지’와 무용한 ‘잡음’으로 목소리를 이분하는 사고방식의 오류를 경계하고, 메시지 소통의 필수 조건이자 민주주의 체제의 필수내용물로서 잡음의 역할을 재조명한다. 잡음을 소거하는 사회는 민주주의를 부정하는 사회이다. 폭력적인 사회에 저항하는 문학이 ‘목소리 없는 자들’로 표상되는 ‘몫 없는 자들’의 목소리, 즉 잡음에 관심을 기울이는 것은 이 때문이다.(Ⅲ장) 1980년대 황지우의 시는 독재정권의 검열과 은폐, 조작에 의해 소거된 민중의 잡음을 복원하는 데 주력한다. 이 잡음들은 당대의 민중문학이 충분히 포섭하지 못한 것으로, 황지우는 낯설고 새로운 언어와 비언어를 도입해 잡음을 텍스트화함으로써 독재정권에 대한 저항과 민주화 촉구의 메시지를 전달한다. 황지우는 재현 불가능하고 가산(可算) 불가능한 잡음을 그 자체로 시에 기입하는 방법을 창안하는데, ‘소통’으로 환원될 수 없으며 소통에 포함되어 있는 소통의 불가능성 자체를 텍스트에 기입하는 차원으로 나아간다. 이 글은 황지우 시의 전략을 1) 메시지의 기록을 통한 목소리의 환기, 2) 목소리들의 균열 포착, 3) 받아쓰기와 다시쓰기, 4) 침묵의 텍스트화 등의 네 범주로 나누어 분석하였다.(Ⅳ장) What literature and writing pursue is ‘the democratic system of voice.’ Of course, this pursuit does not directly guarantee the democratic system of literature and writing because as voices are ambiguous and exist in various ways, movement methods of democracy are also various and ambiguous. This writing focused on considering ‘community and democracy’ through the issue of voices. In the 1980s, Hwang’s poems were a poetic experiment to build ‘a democratic system of voice’, fighting the undue reality of the then society. The 1980s were an age of intense fights for democracy, a momentary and exceptional age. In that age named ‘an age of poetry,’ his poems tried to listen to/textualize the communal voice hovering in the public space in the form of noise and soundlessness. His disassembling experiment to build ‘communities of voices’ in the poetic space can be summarized as an effort to find ‘what’s poetic’ not registered in the previous poems and invent democratic gadgets for textualizing strange voices. Hwang’s poems build community of voices in poetry in the process of listening to voices of communities. This is a condition surrounding messages of mutual interactions and is reached in a way that activates the noise of communal reactions enabling communication of messages. This writing analyzed and considered the strategies of his poetry by dividing them into four categories; ventilation of voices through written messages, capturing fissures among voices, dictating and rewriting them and textualizing silence.