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전동진(Jeon Dongjin) 한국언어문학회 2009 한국언어문학 Vol.70 No.-
I tried to investigation of the politic of literature that is first aim in this study. The politic was discriminated between actuality and literature. Both the all take cheating to essential property. But the former is to cheat others, the latter is to cheat self. That is to say, the actuality-politic is a 'politic of others', the literature-politic is a 'politic of self'. In this study, I made <The may poetry> group and their works the subject of my study that has been valued through the view point of 'actuality-politic'. I, by the way, investigated their poems with the view point of 'literature-politic'. In the end, I wanted to examine the literature-politic by means of this study. The actuality-politic made harmony between the individualization and the totality to presupposition, the other side, the literature-politic made inharmony between the individualization and the totality to presupposition. I tried to get over a established position that has emphasized one of the both because of the literature-politic was obtained in mutual-subjectivity. I analyzed poems with to get the subject, ‘Hub' among <The may poetry> group's works and indicated a direction of formation of politic. individual The actor that makes meaning in 'the politic-nature' as the passageway between literature and politic is 'poetic-I'. Poetic-I was showed two aspect. One was formed to get autonomy. Such a autonomic subject was based the other-nature on formation. I observed poems to reveal 'other's face to centered. In oder to get over one of this study's goals that gets over an autonomic subject, I expanded discussion to 'self-politic'. Through analyzing poems to subjected 'poem', I observed the self-politic that was formed with being piled one on another. Lastly, I discussed about community or society subject to be formed selfexpansion. In poems of <The may poetry> group, community subject was formed through to call 'the memory of the past', 'the memory of family-community', 'the memory of history'. The memory about 'the may community' in 1980 cloud not write to language with ease, so we cannot help mobilizing such diverse circuitous methods.
상·하류 사회적 가치 추정을 통한 상수원보호구역 정책 고찰
류문현,전동진,김수영,권기동,Ryu, Munhyun,Jeon, Dongjin,Kim, Sueyoung,Kwon, Kidong 한국수자원학회 2023 한국수자원학회논문집 Vol.56 No.5
The conflict between upstream and downstream regions is a representative social conflict in Korea. It is important issues in the economic and environmental aspects related to interests of property rights and water quality conservation. however, it is insufficient for studies on the economic damage and benefits between upstream and downstream by policy. We studied validity for drinking water protect zone, one of the major water conflict in Korea, by comparison between social loss by property rights restriction in the upstream and social benefits in the downstream and we proposed integrated water management policy in basin level.
백석 시의 영상 상상력 연구 ― 「힌 바람벽이 있어」를 중심으로
전동진 ( Jeon¸ Dong-jin ) 현대문학이론학회 2021 現代文學理論硏究 Vol.0 No.86
20세기가 영화의 시대였다면 21세기는 영상의 시대라고 할 만한다. 영화는 제작시스템과 기술을 갖춘 소수의 전문가들이 제작할 수 있었다. 반면 영상의 제작과 유통은 다양한 영상플랫폼을 통해 모두에게 개방되어 있다. 누구나 어렵지 않게 영상의 제작, 유통, 소비에 주체적으로 참여할 수 있게 되었다. 매체로서 영화는 종이 매체와는 다른 위상을 가진 까닭에 둘의 공존은 가능했다. 특히 영화와 소설은 공동 작업을 통해 매체의 상승효과를 누리기도 했다. 21세기는 텍스트의 시대도 영화의 시대도 아니다. 동영상의 시대로 빠르게 전환되었다. 제작자와 소비자는 구분되지 않고 누구나 ‘크리에이터’로서 자리하게 되었다. 대중이 손에 들고 다니는 스마트폰은 동영상의 소비매체이자, 생산도구이다. 오늘날은 과학기술이 세계의 변화를 선도하고 있다. 인문성의 강화에 대한 요구는 절실하다. 종이 매체를 중심으로 한 인문콘텐츠에 대한 대중의 관심은 날로 줄어들고 있다. 문화적인 균형과 조화를 위해서는 대중들이 선호하는 문화콘텐츠의 인문성 강화에 노력하지 않으면 안 된다. 이것은 단순히 인문학 텍스트를 동영상 콘텐츠로 전환하는 것을 의미하지 않는다. 대중문화 콘텐츠의 인문성을 강화하는 하나의 방안을 백석의 시 「힌 바람벽이 있어」의 분석을 통해 찾아보고자 한다. 19세기 말에 영화가 우리나라에 들어왔다. 1930년대의 대중 매체는 영화가 장악했다고 해도 지나친 말은 아닐 것이다. 1950년대 중반에 TV가 들어왔다. 스크린과 브라운관이 공존하는 시대가 열린 것은 1960년대라고 할 수 있다. 백석의 「힌 바람벽이 있어」에 대한 기존의 분석과 해석은 대부분 영화적 상상력에 집중되어 있었다. 백석의 시가 전대미문의 새로움이라는 평가를 받는 것이 가능하다면, 영화적 상상력은 그다지 새로울 것이 없는 것이다. 이 시를 생방송 상상력으로 읽을 수 있다면 이것은 시대를 한참 앞선 상상력이라고 할 수 있다. 여기에서 더 나아가 동영상 상상력을 통해 읽어낸다면 백석의 시에 대한 ‘전대미문의 새로움’이라는 평가에 값할 수 있을 것이다. 이러한 분석과 해석 과정이 동영상 제작에 활용되기를 기대한다. 동영상 제작 전략의 하나로 시적 상상력이 활용되는 계기가 될 것이다. 좀 더 근본적인 차원에서 동영상 콘텐츠의 인문성을 강화하는 데 기여할 수 있을 것이다. If the 20th century was the age of cinema, the 21st century can be said to be the age of video. A film could be produced by a small number of professionals with production systems and skills. On the other hand, the production and distribution of videos is open to everyone through various video platforms. Anyone can participate independently in the production, distribution, and consumption of videos without difficulty. The coexistence of the two was possible because film as a media has a different status from that of paper. In particular, films and novels enjoyed a synergistic effect as a medium through collaboration. The 21st century is neither the age of texts nor the age of films. The transition to the age of video has changed rapidly. There is no distinction between producers and consumers, and everyone is positioned as a 'creator'. smartphone carried by the public are both a consumption medium and a production tool for video. Today, science and technology are leading the change in the world. The demand for strengthening the humanities is urgent, but the public is not interested in the contents of humanity in paper media, which have traditionally represented the humanities. There is no choice but to actively utilize the cultural contents preferred by the public. This should go beyond the primary requirement of simply producing Humanities content as video content. This possibility is to be explored focusing on Baek-seok's poem "There is a White Wind Wall". At the end of the 19th century, cinema came to Korea. It would not be an overstatement to say that movies dominated the mass media in the 1930s. Television came in the mid-1950s. The era of coexistence of screens and CRTs opened in the 1960s. Most of the previous analyzes and interpretations of Baek Seok’s “There is a White Wind Wall” focused on the ci6nematic imagination. If it is possible to evaluate Baek Seok's poetic novelty as never before, his cinematic imagination is nothing new. If this poem can be read with the imagination of a live broadcast, that is, the imagination of a cathode-ray tube, it can be said that it is an imagination far ahead of its time. If it can be read with video imagination, that is, 'monitor imagination', it will be valuable in the evaluation of 'unprecedented novelty'. If this analysis and interpretation process is used for video production, poetic imagination can be utilized as one of the video production strategies. At a more fundamental level, it will be able to contribute to strengthening the humanities of video content.