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한전의 밀양 765kV 송전탑 건설 갈등 관리전략으로 인한 이해관계자 변화와 공동체 붕괴
김우창,윤순진 한국환경사회학회 2018 환경사회학연구 ECO Vol.22 No.1
This article applied the single case study method to analyze how the KEPCO managed the Miryang Transmission Tower conflict and how it affected the stakeholders and the village community. In order to resolve the conflict and continue with the construction, the KEPCO utilized a conflict management strategy that involved force, compensation and legal action. The KEPCO dismantled the protest camp through unilateral administrative enforcement to suppress the opposing residents. Moreover, individual compensation, strictly prohibited in the past, was used to reach a quick agreement to complete the construction. Although the KEPCO managed to increase consensus and finish the construction through its conflict management strategy, it also brought the conflict to the community, causing a division among its members. Additionally, how the KEPCO charged the different opposing stakeholders and brought them to the KEPCO camp resembled the divide and rule strategy. Such conflict management methods that excluded the residents, has broken the relations among the residents and destroyed the long sustained community. This study thoroughly analyzed the authoritative business promotion and conflict management strategies, and the conflict and division the village community has experienced. Follow-up studies need to comprehensively analyze the conflicts around the Miryang 765kV Transmission Tower construction by analyzing the intervention of the central government and its role in the planning and construction of the transmission tower. 이 글은 한국전력공사가 밀양송전탑 갈등을 어떻게 관리하려 했고, 그 결과 이해관계자들과 마을공동체가 어떤 영향을 받았는지 문헌조사와 심층면접을 주요 연구방법으로 진행한 단일사례연구 결과이다. 한전은 갈등을 해결하면서 공사를 강행하기 위해 물리력과 보상을 바탕으로 한 독자적 갈등관리와 고소, 고발 등의 법적 대응을 활용했다. 또한 일방적 행정집행으로 반대주민들이 세운 농성장을 철거하면서 이들의 저항을 무력화시켰고 그간 엄격히 금지해왔던 개별 보상금 지급을 통해 지지부진하던 합의를 빠르게 늘리면서 공사를 마무리하였다. 이러한 갈등관리 전략으로 주민합의를 늘리면서 공사는 완공되었지만 갈등의 축이 주민들 사이로 옮겨지면서 마을공동체가 분열되는 계기로 작용했다. 또한 사업에 반대하는 다양한 이해관계자들을 고소, 고발함으로써 자기편으로 만들었는데, 이 과정은 분할지배의 양상을 띠었다. 이러한 주민배제적인 갈등관리방식은 주민관계를 악화시켜 오랜 기간 유지되어온 공동체가 붕괴되기에 이르렀다. 이 연구는 한전의 권위적인 사업추진과 갈등관리 전략 문제를 비판적으로 검토하는 데서 나아가 마을공동체가 겪게 되는 갈등과 분열을 깊이 있게 분석했다는 데 의의가 있다. 후속 연구에서는 송전탑 계획 수립과 공사과정에서 있었던 중앙정부의 개입과 역할을 함께 분석하여 밀양 송전탑 갈등을 종합적으로 다룰 필요가 있다.
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慣習詩論 : 그 構造와 背景 Its Structure and Background
金禹昌 서울대학교 1964 서울대학교 論文集 Vol.10 No.-
In the history of English poetry(and Korean poetry as well) we can distinguish two kinds of poetry: Conventional and realistic poetry. They are distinct in their basic assumptions about the nature of poetry and also in their poetic structure. The Romantic Movement in the early nineteenth century roughly serves as the watershed that divides the two periods when these two types of poetry prevailed respectively, but the seventeenth century rather belongs to the period of realism. In Korea, sijo is a kind of conventional poetry. The assumption in the one is that poetry is composition or imitation and that its business is to create a directly apprehensible surface beauty, with little or no realistic considerations, according to the rules set forth by certain definite conventions of literary genres, while the other assumes that poetic process is essentially an act of discovery, and clarification of reality. As the basic assumptions are different, so poetic structure differs. In the conventional poetry, imagery is there to create either pictorial or rhetorical beauty, and, consequently, its structure is synthetic. The basic structural principle of a poem is usually rhetorical syllogism or temporal procession. And the rhetorical structure is essentially keyed to the expression of what might be called public or communal emotion, thus making it ineffective for the experssion of private or personal emotion, which is the emotion usually expected in lyric poetry. Meanwhile, the function of imagery in the realistic poetry is to clarify, and, consequently, its structure is analytical. The imagistic or spatial structure is, as the organizing principle of a poem, most appropriate in the realistic kind of poetry. The difference in the basic assumptions and structure is closely bound up with the difference in their social and intellectual backgrounds. Conventional poetry seems to flourish when the accepted world picture is based on the idea of the rule of universal law. The business of poetry is, in such a time, conceived to be that of furnishing convincing arguments for the harmonious relation maintained between the universal order and concrete poetic experiences. The focus of attention is not on the content and nature of such experiences nor on the validity of the accepted Weltanschauung. Owing to this necessity, consciously felt or not, for the reaffirmation of social values in terms of a universal law, and also to the homogeneity of culture in such a world, poetry comes to have syllogistic or temporal structure which has a relatively open frame of reference. At the decadence of the world of universal order, on the other hand, poetry feels the need for a close re-examination of the reality, heretofore taken for granted uncritically, and tries to express its poetic experience without relating it to a system of universally valid principles outside the autonomous unity of a poem. Thus it becomes realistic and comes to have the imagistic and spatial structure with a closed frame of reference.
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