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尹戶炳 陸軍士官學校 1986 한국군사학논집 Vol.31 No.-
한편의 시는 시인의 사유 세계가 언어에 의해 상징화된 하나의 실체이다. 시인이 표한하고자 하는 느낌이나 생각은 언어를 통하여 전달되며, 일반독자가 시를 읽을 때도 언어를 통하여서만 가능하다. 시인에 의해 선정되어 재조합되어진 언어는 응축된 의미를 내포하고 있으며 그 의미현상은 잘 익은 석류알이나(pomegranate) 히드라(hydra)와 같다고 볼 수 있다. 한편의 시가 가지는 의미의 재해석은 또 다른 의미의 재해석을 가정하게 되며, 그것은 읽는 이에게 전달되는 시어의 의미가 석류알이나 히드라의 머리처럼 무한하기 때문이다. “님의 침묵”이 지니는 님의 계속되는 침묵과 시속의 보이지 않는 “나”의 계속되는 설명 ---끝 없이 말하기 ---의 상관관계를 언어의 기능에 의해 살펴 볼 때, 침묵은 설명이 있을 때만 가능한 것이며 설명은 또 다른 침묵을 예상한 설명임을 알 수 있다. 왜냐하면 쓰여진 언어는 이야기되는 언어를 구체화한 것이지만 그것이 내포하는 의미는 의미이전의 의미 즉 하나의 존재를 가능하게 하고, 그 존재를 본 연구에서는 “님의 침묵”으로 보았기 때문이다. 님의 침묵은 시속의 나를 눈멀고 귀먹게 하지만 그 “나”로 하여금 계속 이야기할 수 있는 능력을 가능하게 해준다. “나”의 설명은 님의 침묵을 대신하는 한편, 언어의 힘 즉 숨겨진 의미를 드러내고자하는 기능에 의해 “님의 침묵”을 규명한다.
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한국 현대시로 전이(轉移)된 김정희 그림 <세한도(歲寒圖)>의 세계: '문화적 기억'으로서의 시와 그림의 상관성 연구
윤호병 한국비교문학회 2004 比較文學 Vol.0 No.32
As one of the persuasive fields of comparative literary studies, HenryH. H. Remark has emphasized us to compare literature with other art.Understanding the importance of such a comparison, I have focused on thecontemporary Korean poets who have transfered Cheong-HuiKim’spainting into their poems. Cheong-Hui Kim(1786-1856) is one of the mostimportant Korean painters in the history of Korean paintings. Not only asa wel-known politician but also a leading painter of his day, Kim wasinterested in the genre including painting itself, Chinesewritings known asChusache, studies in the field of monumental inscriptions.In my study, I have compared Kim’s painting entitled “Sehando ”(Painting in the Period of Cold Weather)with contemporary Korean poemsfrom such poets as the 1950s to the 190s. Having compared Kim’spainting with the various twenty-five contemporary Koreanpoets and theirthirty-one poems, I have found out hat ‘cultural memory’ has ben themain stream of their spiritual factor in their world of art and poetry:confirmation of identity as a Korean ancient and modern, emphasis on theindomitable life-style in the period of opresion, understanding the visionof everlasting honest atitude, and recognition of the important Koreancultural heritage.Through their poetic atitudes toward Kim’s painting, the world ofcontemporary Korean poets can be divided into four categories: they arethe poems mainly related to the postscript of Kim’s painting, the poems ofrecognizing the reality of the painting itself, poems of reflecting individual emotions, and the poems of visiting the place where Kim was exiled to theCheju Island. To follow up the needs of international flows of comparative literary studies, the importance of comparing poetry with painting should be understood in our comparative literary society.
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윤호병 한국비교문학회 2004 比較文學 Vol.32 No.-
As one of the persuasive fields of comparative literary studies, Henry H. H. Remark has emphasized us to compare literature with other art. Understanding the importance of such a cornpanson, I have focused on the contemporary Korean poets who have transferred Cheong-Hui Kim's painting into their poems. Cheong-Hui Kim(1786-1856) is one of the most important Korean painters in the history of Korean paintings. Not only as a well-known politician but also a leading painter of his day, Kim was interested in the genre including painting itself, Chinese writings known as Chusache, studies in the field of monumental inscriptions. In my study, I have compared Kim's painting entitled "Sehando" (Painting in the Period of Cold Weather)with contemporary Korean poems from such poets as the 1950s to the 1990s. Having compared Kim's painting with the various twenty-five contemporary Korean poets and their thirty-one poems, I have found out that cultural memory has been the main stream of their spiritual factor in their world of art and poetry: confirmation of identity as a Korean ancient and modem, emphasis on the indomitable life-style in the period of oppression, understanding the vision of everlasting honest attitude, and recognition of the important Korean cultural heritage. Through their poetic attitudes toward Kim's painting, the world of contemporary Korean poets can be divided into four categories: they are the poems mainly related to the postscript of Kim s painting, the poems of recognizing the reality of the painting itself, poems of reflecting individual emotions, and the poems of visiting the place where Kim was exiled to the Cheju Island. To follow up the needs of international flows of comparative literary studies, the importance of comparing poetry with painting should be understood in our comparative literary society.
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윤호병 국제언어인문학회 2001 인문언어 Vol.1 No.-
In his discussion of some desirable tuning points in comparative literary studies, Henry H. H. Remark has emphasized the importance of literary approach to other forms of art. Understanding the significance of such a method of comparative literature, the present study focusses on three contemporary Korean poets who have transferred Mark Chagall′s paintings into their poetry: Youngtae Kim, Chunsoo Kim, and Sunghun Lee. They are usually evaluated as surrealist/modernist in our literary circles. In transforming Chagall′s paintings into his poems, Youngtae Kim has incorporated a variety of surrealist mosaic techniques such as montage and collage. The resultant peculiarity of his poetry makes it hard to lay bare the correspondence or similarities between his poetic world and the world of Chagall′s artistry. It is nonetheless possible to see how Kim, as a poet and painter, had interpreted Chagall′s world with a bird′s-eye view of it. Chunsoo Kim′s "Snow Falling on the Village of Chagall" relates specially to one of Chagall′s paintings, "I and My Village." The present study has taken notice of this correlation in sorting out some basic elements of poetic transfiguration. One of the techniques employed in the poem under discussion is that of juxtaposing the Russian village of Chagall and the Korean village the poet visualizes, with the effect of putting two national traditions in contrast. A reading of the poem reveals that it is not so much the result of a detailed analysis of the painting as a revival of its lingering impression as a whole. In Sunghun Lee′s poetry, surrealist techniques are again a hallmark. But his method of transferring the images of the paintings into his poems falls somewhere between those of Youngtae Kim′s and Chunsoo Kim′s: it is akin to the ′bird′s-eye method′ of the former and shares the impressionistic touch with the latter, but at the same time Lee is analytical by disposition and opts for concrete descriptions. ′Love,′ ′farm,′ and ′time′ are the keywords that are brought under discussion in the present study. There is a growing demand in the current international comparative literary studies for broadening the area of comparative literature. This study hopes to be a small contribution to endorsing the importance of comparative approach to fine arts.
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