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이정인 ( Lee Jeong-in ) 한국현대문예비평학회 2016 한국문예비평연구 Vol.- No.51
본고는 정지용 수필의 의미망을 낭만적 총체성으로 보고 그런 관점으로 해석을 시도하였다. ‘낭만적’이라는 말의 개념은 낭만주의의 정신적 기조인 동경에 초점을 둔 것으로 부재하는 대상에 대한 그리움을 의미한다. 정지용 작품세계에서의 향수는 현실에 대한 부정적 인식으로 인한 과거에 대한 동경이자 피상적 현실인식으로 인한 미지의 세계에 대한 동경으로써 이러한 특성을 낭만적이라 규정하였다. 자연순환의 흐름이 곧 삶이었던 근대 이전은 총체성이 지배하던 시대로 ‘총체적 삶’이 지배했던 고향에서 벗어나 떠도는 정지용은 끊임없이 ‘선험적 고향’을 찾아 나섰다. 정지용은 원형적 공간과의 분리는 상실감을 낳았고 낯선 근대에서 파편적 존재 같은 소외감에 빠져들었다. 가톨릭신앙은 그 극복의지의 방안으로 자기구원을 얻고자 하였으며 리런드ㆍ라이컨(Leland Ryken)의 말처럼 문학과 종교가 삶의 가치와 의미를 탐구한다는 점에서 접맥이 된다면 정지용의 가톨릭시즘은 그런 맥락에 있다고 할 것이다. 1930년대 일본의 문화정책으로 옥죄는 시대의 암울함 속에서 근대문인의 소외ㆍ상실감은 데카당한 혼으로 나아가고 정지용은 30년대 후반 ‘지금-여기’를 떠나 현실의 굴레를 잠시나마 벗어던지는 여행길을 나선다. 본고에서는 이러한 정지용의 기행여정을 메를로 퐁티(Merleau Ponty)의 말에 따라 ‘몸’으로 ‘세계에로’ 나아가는 작가의 총체적 몸짓으로 보았다. 모더니즘 사조의 시와 가톨릭신앙이라는 의식에 가두어온 내재된 동경을 쫓아 직접 몸으로 느끼고 체험하고자 했던 것이다. 정지용이 여행지 곳곳을 다니며 총체성의 표상들을 보고 느낀 소회를 쓴 것이 기행수필이라는 점에서 기행수필은 곧 그의 ‘몸말’이라 해도 좋을 것이다. 이미 오래전 체화된 향수는 잃어버린 총체성의 표상들을 직접 보고 느끼면서 다시 그의 몸말이 된 것이다. 정지용 작가의식의 근저인 향수와 그것의 종교적 변용 같은 가톨릭신앙, 그리고 ‘몸적’ 기행은 삶의 근원적 그리움, 즉 근대이전의 삶이 간직한 총체성을 희구하는 낭만적 문학적 여정으로 읽을 수 있다. The study considers the semantic network of Jeong Jiyong`s essays as the romantic totality and tries to analyze based on such view. The word of ‘romantic’ refers to the missing for absent objects focusing on the yearning which is the psychological stance of the Romanticism. Nostalgia shown in the works of Jeong Jiyong is the yearning for the past due to negative recognitions on realities and for the unknown world due to superficial recognitions on realities. Such feature is defined as ‘romantic’. In the pre-modern times, the flow of natural circulation was life itself. Leaving his home where the ‘life of totality’ prevailed, Jeong Jiyong ceaselessly wandered to seek the ‘a priori home’. Separation from the spatial prototype resulted in a sense of loss and Jeong Jiyong felt left out as a fragmentary being in a strange modern era. Catholicism was the way to overcome and to save oneself. As Leland Ryken said, if literature and religion have a common in that they explore the value and meaning of life, Jeong Jiyong`s Catholicism would lie in such context. In the gloomy times suppressed by the 1930s Japanese cultural policies, alienated and bereft modern writers progressed decadent spirits and Jeong Jiyong set out on a trip to free himself from the reality by leaving the late 1930s ‘Now-Here’. According to the words of Merleau Ponty, this study deemed the travel of Jeong Jiyongas the holistic gesture of the writer advancing from the ‘body’ ‘toward the world’. He was to experience in person pursuing the yearning underlying and oppressed in the modern poem and Catholic mindset. Jeong Jiyong wrote about what he felt and thought seeing the presentations of totality in his travel essays. In that respect, his travel essay could be deemed as his ‘body language’. The missing embodied long before became his body language again by seeing and feeling the presentations of lost totality. The yearning which is the basis of Jeong Jiyong`s writer consciousness, the Catholic faith of its religious transformation, and the ‘bodily’ travel were a romantic literature travel in pursuit of the totality of pre-modern times or the fundamental missing of life.
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이정인(Lee Jeong-in) 한국어문학회 2017 語文學 Vol.0 No.135
The article assumes that the literary text is a reflection of the inner psychological landscape, as the writer writes down his orher experiences of life. Jeong Jiyong"s essays are the texts that his views and thoughts of life and life values are textualized. In considering such aspect, this article aims to examine the inner world of the poet, by employing the perspective of the four seasons. Here I contend that the four seasons not only represent the organic cycle of growth, maturity, decline and death, but also is organically correlated with the value system in accordance with the cycle of human life, which is as a part of the nature. In other words, it can be assumed that the natural law is also incorporated into the literary work, given that the author’s life is not free from the cycle of the nature. The perspective of the four seasons is therefore employed as an approach and framework that enables us to explore the inner world of the poet. This study categorizes Jeong Jiyong’s writings into four modes of the inner state: “nostalgic mind to childhood,” “psychological aspiration,” “speculation on youth and aging,” “the sign of neurosis and existential skepticism,” and “the loss of farewell and realization of life.” The main current of Jeong Jiyong’s literary consciousness is based on melancholy in isolation, also caused by loss and anxiety. Simultaneously, the device of self-consolation helps to overcome such depression and provides evidence and support to his existence. Jeong Jiyong’s literary creation therefore aims to satisfy his desires suppressed and contained in unconsciousness, and his essays reveal the process of seeking pleasure to meet such desires. Therefore, this study is a journey of the inner world of Jeong Jiyong, reflected through his essays, in which the voices inside and outside texts are identified, when we interpret the essays.
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목성균 수필의 휴머니즘 고찰 : 레비나스의 ‘타자 윤리’를 중심으로
이정인(Lee Jeong in) 한국문화융합학회 2020 문화와 융합 Vol.42 No.4
Despite essayist Mok Seong-gyun’s short ten-year period of writing activity, he is known as “Gi Hyung-do of the Essay World” and has posthumously attracted enthusiastic attention. Mok Seong-gyun’s collection of essays titled Nu-bi-cheo-ne condenses his essay-writing philosophy in one succinct statement: “An essay must contain the writer’s moral character, personality, and life philosophy.” With a focus on Nu-bi-cheo-ne, this paper aims to consider humanism in Mok Seong-gyun’s essay world from the perspective of Levinas’ ethics of the Other. Such a perspective allows us to understand Mok Seong-gyun’s life values and humanity as expressed in his essays based on human beings’ existential sympathy and duty at a much deeper level, since we encounter the essence of essay literature, especially as it pertains to life values such as warm affection, human duty, and insight. Recently, Mok Seong-gyun has received considerable attention as a hot trend in the essay world. His work is being established as a “repository of essays” that showcases his intimate emotions and elaborate writing skills. His essays preserve the essence of essay literature by providing a diverse array of sincere personal experiences and impressions of literary figuration. The essence of essay literature refers to insight into life through the interpretation of daily experiences and semantic assignment. Mok Seong-gyun’s essay world is recognized for its excellence because it extracts universal values and meanings from life based on human-to-human affection. It is anticipated that this study could make a contribution to looking back on the precious meanings that Mok Seong-gyun has revealed in his life, namely engaging in warm communion with others, ethical responsibility, and humanity. Moreover, the study intends to provide an answer to the fundamental question “How should we live?” with respect to emotion. 수필가 목성균은 십여 년이라는 짧은 작품 활동에도 불구하고 사후 뜨거운 조명을 받는다는 점에서 ‘수필계의 기형도’라 불린다. 목성균 수필전집 『누비처네』는 “수필은 필자의 품성, 인성과 삶의 철학이 담겨야한다”는 작가의 수필관이 고스란히 응집되어 있다. 이 글은 목성균 수필전집 『누비처네』를 대상으로 그의 수필세계의 인간애를 레비나스의 타자윤리로 읽어 보았다. 실존적 연민과 인간으로서의 도리가 근간이 된 그의 수필은 레비나스의 타자의 윤리학으로 읽을 때 작가의 삶의 가치관, 인간애를 더욱 깊이 해석할 수 있기 때문이다. 이를 통해 따뜻한 정과 인간적 도리로 살아가는 삶의 가치와 통찰을 이끌어내는 수필문학의 본질을 만나고자 하는 데 있었다. 최근 수필계의 뜨거운 한 기류로 주목받는 그의 수필은 내밀한 정서와 섬세한 필력으로 ‘수필의 보고’로 자리매김하고 있다. 온몸으로 느낀 다양한 체험의 진정성과 문학적 형상의 감동으로 수필문학의 정수를 간직하고 있기 때문이다. 수필문학의 본질이란 일상 체험의 해석과 의미 부여를 통한 삶의 통찰이다. 목성균 수필세계는 인간에 대한 정을 바탕으로 삶의 보편적인 가치와 의미를 끌어낸다는 점에서 그 탁월함을 인정받고 있다. 이 연구를 통해 작가의 삶이 보여준 타자와의 따뜻한 교감과 윤리적 책임, 그 인간애가 우리들에게 얼마나 소중한 의미인지 돌아볼 수 있을 것이다. 또한 ‘어떻게 살아야 하는가’하는 근원적 질문에 대한 답을 감동으로 제시해줄 것이다.
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이육사 수필의 자기의식 연구 : 리쾨르의 이야기정체성을 중심으로
이정인(Lee Jeong-in) 한국언어문학회 2021 한국언어문학 Vol.116 No.-
Yi Yuk-sa was a poet of resistance who aimed to overcome the colonial reality of the Joseon Dynasty with his indomitable willpower. This paper examines the flow of self-awareness revealed in Yi Yuk-sa’s essay based on the viewpoint provided by Paul Ricoeur’s narrative identity(triple mimesis theory). The main point stressed by Ricoeur s poetics is that narrative identity is constructed through the relationships with others and also the interchange with texts like traditions, history, and education. Based on the fact that essay is a form of writing about the writer s life story, there is a point of contact with the understanding about text-mediated narrative identity. Firstly, the main world of preunderstanding(mimesisⅠ/prefiguration) for Yi Yuk-sa is a ‘Confucian discourse in an intimidating scale’, including traditions, a code of conduct, and an awareness system. Under the Confucian nature which points out the importance of rules of ethics, he embodied basic Confucian refinement, including the principles of life and personal duties required to live as a member of community. Moreover, he acquired a strategic directivity towards the anti-Japanese movement by new learning that he gained through Japan and China as well as new ideologies. The autonomous historical consciousness that shaped under this influence served as the basis for Yi Yuk-sa’s own existence. The act of embodying(mimesisⅡ) narratives before it shaped into narratives through languages, symbols and signs established a foundation for internalizing the patriotic resistance awareness even further. With this, we have reached a point where we recognize that Yi Yuk-sa’s writings symbolize a time of selfreflection as an anti-Japanese patriot and also a literary response that he chose as a detour of resistance. Likewise, the text internalized(re-figuration/mimesisⅢ) by Yi Yuk-sa ‘applied’ as practical acts. Despite the Japanese oppression, he sustained his identity as an anti-Japanese patriot by fulfilling his self-promise to stay determined about his anti-Japanese spirit. In conclusion, the self-awareness revealed in Yi Yuk-sa’s essay was classified into three mimesis phases of narrative identity and the findings revealed that the text world formed and transformed into a new world of acts and each phase of mimesis mutually functions as a foundation for the other stages. Namely, Yi Yuk-sa’s patriotic spirit of resistance internalized based on the historical consciousness constructed under the Confucian discourse was embodied as the literature of ‘acts’, an existence method of sustained self-examination, and it was identified that this developed into ethical practical awareness of the self acting based on his own spontaneity.
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