설정식 시에 나타난 민족의 형상 - 조국건설의 과제 앞에 선 한 해방기 지식인의 특별한 선택과 그 시적 투영

정명교 ( Myeong-kyo Jeong ) 연세대학교 국학연구원 2016 동방학지 Vol.174 No.-

The Korean intellectuals of the Emancipation Period (1945-1950) were faced with the responsibility to build the new independent state. Seol Jeong-Shik, one of the most active intellectuals of the time, approached this task from the perspective of the redemption of the Korean people and saw poetry as the optimal medium. The basis for his thoughts and devices were as follows: 1. The task of people``s redemption originated from his judgement that the Korean People did not have an authentic figure for the new era. 2. It seems that in Seol``s thought, the authentic figure of the people was not that of a specific tribe but rather represented universal humanity, although its concrete aspects were not yet determined. 3. He believed that to arrive at the authentic figure, Korean people should be at once entirely denied and entirely respected. They should be entirely denied for their resurrection, but should also be entirely affirmed as they would rescue themselves without others`` intervention. 4. For the achievement of this re-birth of Korean People through the simultaneous directly-opposed self-identifications, Seol considered that the intellectuals had to take a role of the catalyst who was willing to be sacrificed by the people in return for his severe reproach to the latter, and, by this sacrifice, make them realize their fault and stand out toward self-remediation. Seol came thereby to presume the achievements of Jesus Christ as the symbol of the intellectuals`` task. 5. At the same time, he took the poetry for the optimum medium of the intellectuals`` task for the self-awakening of the people. Therefore, his poetry was composed basically by the oxymoron that included both the statement and counterstatement about the people. This oxymoron put the multi layered meanings and the complex resonances on his poems.

김현 비평에 있어서의 고향의 문화사적 의미

정명교(Jeong Myeong-Kyo) 韓國批評文學會 2011 批評文學 Vol.- No.42

이 논문에서 필자는 김현의 고향이 진도와 목포라는 두 장소로 나뉘어졌다는 점에 착안하여, 김현의 고향 체험이 그의 정신적 성장에 어떤 영향을 주었으며, 그러한 영향이 그의 비평적 태도에 어떻게 투영되었는가를 살폈다. 우리의 고찰에 의하면, 김현은 자연 속에서 뛰어노는 즐거움을 만끽했던 진도를 떠나 목포로 이사하면서 사회화의 길에 들어서게 된다. 진도의 체험은 그에게 감각적 쾌락을 제공하고, 목포의 생활은 그에게 사회적 윤리를 요구한다. 이 두 가지 정신적 지향의 갈등은 그에게 문학을 선택하게 하고, 문학을 통해서, 그는 사회적 현실원칙에 저항하는 감각적 쾌락의 의미를 보전하고, 그 언어적 실천들을 섬세히 감식하는 비평가로서 자라나게 된다. 그러나 이러한 현실원칙과 쾌락원칙 사이의 갈등은, 김현에게 있어서 좀 더 복잡한 맞물림의 단계로 나아가게 된다. 즉, 그는 현실원칙에 대항하여 쾌락원칙을 추구한 게 아니라, 현실 원칙 및 그 원칙의 실제적 삶의 양상들에 감각적 매력을 부여하여, 그것들을 호기심 및 탐구의 대상으로 바꾼다. 그러한 변환의 밑바닥에는 그가 어린 시절에 행한 무의식적 작업이 개입되어 있는데, 그 무의식적 작업이란 정신의 활동성으로 하여금 사유를 앞지르게 하고, 음운론적 혹은 문법적 모호성을 활용한 의미의 치환을 통하여 현실원칙(신성성으로 대표되는)의 사항들에서 무거움을 덜어내고 그것들을 낯설어서 궁금한 것으로 만드는 작업을 가리킨다. 그러한 작업을 통해, 현실원칙은 단순히 따라야할 엄격한 윤리가 아니라, 주체가 스스로 제것화해 개발시켜 나가야 할 미지의 것이 된다. 이러한 전환은 섬세한 감각적 음미를 즐기면서도 그것을 어김없이 반성적 사유(현실원칙의 거울에 비추어진)로 이끌고 갔던 그의 비평적 생애의 근본 모형으로서 자리 잡았다고 할 수 있다. In this article, we tried to look for the childhood experience of the critic Kim Hyun and its influence over his criticism. Kim Hyun's childhood in Jindo Island, his birthplace, was fulfilled by the enjoyment of the romping in the forest and on the beach. Since he moved to Mokpo in his first year of elementary school, he entered the world of socialization, and needed to learn the way to observe the social disciplines instead of enjoying the nature. This change oppressed him, and he began to realize the contradiction between the desire for the sensual pleasures in nature and the demand of the principles of the reality. The perception of this discordance led him to the literature. When reached full age, as a literary critic, he became a delicate connoisseur of the descriptions and the expressions of the Korean literary works, and had defended the sensual feast of the literature against the symbolic system of the society which includes norms, inhibitions, oppressions, punishments… Then his criticism evolved gradually to the more complicated level. He was not obstinate in pursuing the principle of the pleasure fighting against the principle of the reality; he turned the latter and its real items into the objects for inquiry and for curiosity by putting proper values and, in addition, proper bewitchment on them. This modification had its ground in his work of the unconsciousness in the childhood which had reduced the heaviness of the principle of the reality, represented by the obedience to the divinity. His work of the unconsciousness transformed the principle of the reality into what was strange, and therefore, what he wanted to know, by making the excess of the speed of his mental activity and by semantically displacing the word 'divinity' through the exploitation of homophonic ambiguity. With this unconscious work, the principle of the reality became attractive and gave the heuristic pleasure to Kim Hyun. He appreciated the value of the reflection through the reconsideration of the principle of the reality and sought the projection of the reflexive activity on the literature. His criticism proposed the interconnection between the sensual pleasure and the reflexive thought, arriving at the dreaming of the literature, to be presented as the suffering of the world by the writing itself: the very thing for enjoyment.

마을관리사회적협동조합의 경제적 성과 영향 요인: 매출액과 당기순손익을 중심으로

정명교 ( Myeong Kyo Jeong ),전동일 ( Dong Il Chun ) 인천대학교 사회과학연구원 2024 사회과학연구 Vol.17 No.1

The successful establishment of village management social cooperatives, which were legislated to ensure the sustainability of urban regeneration projects, is one of the important factors that determines the success or failure of urban regeneration projects. The purpose of this study is to derive factors influencing the economic performance of village management social cooperatives. For this purpose, PLS regression analysis was performed using management disclosure data of village management social cooperatives. As a result of the analysis, first, the level of economic performance of the village management social cooperative remains at the level of the initial stage of entrepreneurship, and it can be interpreted that it is maintained by support funds. Second, the factors influencing the economic performance of village management social cooperatives were found to have a large impact in the order of capital, assets, number of employees, and number of non-profit organizations. In order to form capital, this study proposed support systems such as the creation of a village management fund, the application of special exceptions for public land sold, and the provision of information on the human resource pool.

한국문학의 세계화를 향한 문학적 기반 구축에 관한 연구 -교류 텍스트 구성과 번역을 중심으로

정명교 ( Myeong Kyo Jeong ) 국제비교한국학회 2015 비교한국학 Comparative Korean Studies Vol.23 No.2

I have stayed from the September 1 2013 to August 1 2014 in Aix-en-Provence of France for the Sabbatical year. During this period, I’ve connected with the diverse researchers of the East-Asian Culture and Literature and some publishers who have published or are publishing now the Korean Literary Works translated by French and examined the situation of the publishing house of the Decrescenzo which had been founded in order to spread the Korean Literature. I have inspected the circulation of the Korean literary works and Korean cultures and I saw against my hope, the miserable degree of the reception of Korean literature by French readers. There was above 20 years that the Korean literature presented oneself at the book market in Europe, and since above 10 years the European people has been acquainted with the Korean culture through the K-Pop music and Korean dramas. Nevertheless the Korean literature is far from the horizon of the expectation of European readers. In the background of this situation, there are several causes which constraint the dissemination of the Korean literature regardless of the aesthetic values of Korean literature. First of all, the European cultural field is barely furnished with the mediating dispositifs, especially books which could explain the Korean literature systematically in the context of Korean History and in the interrelations with other literatures and so hence could help the European readers to understand the Korean literature and realize solidly the experiences and the troubles in the Korean Literature. Secondly, the European media is hardly interested to the Korean literature and moreover, they was in the state of the overwhelming unknowingness of that. This situation is associated with the respective disinterest about the Korean culture against the two big East-Asian cultures and also with the fact that even well-known Korean cultures aren’t estimated highly in the spiritual qualities of culture, so therefore aren’t venerated as important references. Thirdly, the personnel in the circulation system of the cultural things including the booksellers aren’t prepared with the ability to present Korean literature to the public. They have no manuals to do it in spite of the increase of the will about the more vending of Korean literary works. To struggle these irritated situations, we should endeavor after not only the expansion of the aesthetic values of the Korean literature, but the opening the traffic for the clear and systematic explanation of the Korean literature and the realistic experience of that literature. This way, above all, demands the multiple publications of the manuals about the Korean literature including the literary history of Korea. In addition to it, we should grope for the linking between the enjoying of the Korean mass culture and the hopefully enthusiastic reading of Korean literature. Lastly, we should try to resettle the circulation space of the literature to the direction of Korea-friendliness.

사르트르 실존주의와 앙가주망론의 한국적 반향

정명교 ( Myeong Kyo Jeong ) 국제비교한국학회 2015 비교한국학 Comparative Korean Studies Vol.23 No.3

The Existentialism is a thought which has been so influential on Korean Intellectuals. Especially the latter has been interested in that of Jean-Paul Sartre and his theory of Engagement. This article investigated the 3 ways through which the existentialism and the theory of Engagement have been introduced and the meaning of these ways. At first, in the late of 1940s, Koreans met the existentialism on their search of ideal type that would be the spiritual criterion of the new emancipated society from the long colonized period. Secondly, during the 1950s, they found the existentialism as the correlative of the devastated mind, sense of despair and futility from the Korean War. Thirdly, in the early 1970s, Korean intellectuals examined the Sartrian theory of Engagement as a representative of the ideologies which are insisting the participation in the reality of the literature. However, in these heteroclite process, the Koreans were attracted to the existentialism by the same impulsion that is the will to new life. Therefore, it is necessary to discard the cliche that ‘the existentialism was related to the desperate feelings in front the radical situation.’ On the other hand, in the first process, the Koreans assumed the critical attitudes against the existentialism. That is, they didn`t consider the existentialism as a reference to build the spiritual touchstone of the new Korea. In the third process too, the some intellectual group refuted fiercely the theory of Engagement in literature being seized with terror by the hunch that the theory of Engagement in Sartrian existentialism could slide down to the communism. The two attacks started at the absolutely different political and philosophical grounds. The intellectuals in the liberation period had been sucked into the communism as the alternative system of the Modernity. Those in the early 1970s, as survivors of the war against the communists of North Korea, were afraid of the affinity between Sartrian Engagement theory and Socialist Realism. Nevertheless, these two attitudes criticized the position of Sartre by the same argument that asserted that the thought of Sartre falls under the subjective idealism. What does this bizarre accord between the incompatibles attitudes mean? This resulted from the equal naive consideration into which two antagonistic philosophies were taking the relation between subjectivity and objectivity and the illusion they walked into by their obstructed logical structure. These naive attitudes retreat before Sartrian existentialism under the cause of passing it ahead.

세계문학과 번역의 맥락 속에서 살펴 본 한국문학의 오늘

정명교 ( Myeong Kyo Jeong ) 국제비교한국학회 2013 비교한국학 Comparative Korean Studies Vol.21 No.2

This article was written with a critical view that the Korean literature now should be understood within the sphere of World Literature beyond the enclosure of national literature. Is it possible that, in the rapid progress of the globalization, Korean literature would be situated in the sphere of World Literature as one of the important constituents of it, maintaining her own originality? The response can`t be given easily especially because of the fact the Korean literature has developed in a unique language that only Koreans use as their everyday language. If Korean writers couldn`t and shouldn`t give up the Korean language, then they need a separate equipment to communicate with the readers around the world. Many Koreans perceived that this equipment is merely translation. Therefore, since, in the early 1990s, some pioneers translated the important works of Korean Literature into world languages (English, French…), the translation became the almost sole principle for the globalization of Korean Literature and this principle has been proliferated laboriously over 20 years. Fortunately, these endeavors made a good result in a certain degree. Nevertheless this success is simply an early stage and furthermore is limited to Europe. Therefore, at the present point of time, it is necessary to, while looking over the development of these translations so far, re-inspect the significance and the possibility of the translation, and inquireinto the accomplishments of the contemporary Korean literature enough to correspond to the efforts of the translators. Through such reflections, we can confirm that the ‘translation’ is not the obsession of minor culture but the universal device as core method for all sorts of the spiritual interchanges in all ages of the humanity, recognized that the ultimate goal of the translation is the harmony of the two heteroclite spiritual worlds and the creation of the new culture through the synthesis of two, and inferred that the ideal translation is neither “word[-]for[-]word” translation, nor translation of the core meanings, but “text for text(lettre-a-lettre)” according to the insight of Paul Ricoeur. These reflections also show that, to arrive in this ideal level of translation, the compatibility between the languages and, in addition to it, between the literatures of both sides must be maximized, and for this that, above the correctness of the translation, both the level and the uniqueness of the thinking, expressions, figures … etc. of the literature of the departure language should be worth to be interchanged with the literatures around the world. In conclusion, we affirmed the coincidence of the Korean Literature with this demand by analyzing the poems of the two contemporary Korean women poets, Kim Seung-hee and Kim Hyesoon.

특집논문 : 위기가 아닌 적이 없었다. 그러나 때마다 위기는 달랐다: 위기 담론의 근원, 변화, 한국적 양태

정명교 ( Myeong Kyo Jeong ) 한국문학연구학회 2013 현대문학의 연구 Vol.0 No.51

이 논문에서 필자는 ‘위기’ 담론에 대해 다음의 사항들을 추론하였다. 첫째, ‘위기’라는 개념은 인류가 동서양을 막론하고 아주 오래전부터 사용하였고, 동시에 오늘날에도 아주 빈빈히 사용하고 있는 것이다. 이렇다는 것은 ‘위기’가 모든 인류가 공유하고 있는 정신적 영역에 속하면서 항존하는 개념임을 가리킨다. 둘째, 그러나 ‘위기’라는 개념은 시대에 따라서 다른 의미를 가진다. 고대의 ‘위기’ 개념이 얼마간 예측 가능한 결정적 변화가 임박한 상황에 대한 지칭이라면 근대에 와선 예측불가능하게 쉼 없이 닥치는 항상적인 요동 상태가 그것을 대신하게 되었다. 이러한 의미의 변화의 근저에는, 그 표면적인 현상이 암시하는 재앙적인 분위기와는 달리, 근대적 주체로서의 인간들이 세계의 변화를 자신의 몫으로 돌리고자 하는 의도가 자리 잡고 있었다. 즉 위기는 근대인들에게 닥친 불가항력의 재앙인 것처럼 보이지만 실은 근대인들이 세계의 주도권을 쥐고 세계의 변화를 가속화시키기 위한 기획이었다는 것이다. 셋째, 따라서 근대의 위기는 근대인들이 세계를 변화시켜 나가는 과정, 즉 그들의 생체험이 최고의 밀도로 실험되는 장이었다고 할 수 있다. 근대인들은 이 생체험의 밀도를 나타내는 표지를 자신들의 몸 안에서 찾게 되는데, 그것은 바로 감각이었다. 즉 ‘기획으로서의 위기’는 ‘감각의 탄생’으로 이어졌고, 이 과정을 통해, 인류는 위기를 치러내는 과정을 자연스런 일상사로 만들고, 변화를 수행하는 살아있는 주체의 존재태를 자신의 육체 안에 내장시킬 수 있게 되었다. 이어서 필자는 위기 개념이 근대 이후 한국인들에게도 똑같이 하나의 기획으로 받아들여졌음을 다양한 문헌들을 통하여 확인하였다. 그것은 한반도의 문인들이 근대 문명의 한 양태를 통해 피식민지인이 되는 치욕을 겪었는데도 불구하고, 근대의 원리 자체는 적극적으로 받아들였다는 것을 가리킨다. 다만 이러한 기획이 자연스런 감각으로 이어지기가 어려웠다는 것을 동시에 확인할 수 있었는데, 그것을 결정적으로 확인시켜주는 것은 아이러니컬하게도, 세계구성적 주체로서의 체험을 한국인으로서는 처음으로 치러낸 4ㆍ19세대들, 즉 최인훈과 김승옥의 소설들이었다. 이렇다는 것은 한국에서의 근대가 서양에서처럼 자연스럽게 출현할 수 없으며 따라서 특별한 방법적 고안을 통해 근대를 제것화하는 경로를 통해야만 서양의 근대화과정과 경쟁할 수 있는 나름의 근대화체제를 갖출 수 있다는 것을 암시한다. 따라서 필자는 근대 초엽 즈음의 문학인들에게서 그러한 방법적 고안의 노력을 찾아보았는데, 김소월과 한용운의 시는 극단적으로 대조적인 두 가지 응답을 들려주고 있음을 확인하였다. 필자는 한용운의 태도를 ‘질 수 없는 자의 신비주의’로, 그리고 김소월의 그것을 ‘질 수밖에 없는 자의 현실주의’라고 명명하고, 근대 이후 한국의 지식인 및 문인들의 위기에 대한 근대적 기획은, 대체로 ‘질 수 없는 자의 신비주의’ 쪽으로의 쏠림이 두드러진 가운데, 두 태도 사이를 요동해 온 것으로 판단했으며, 그러한 요동은 오늘날까지 지속되어 온 것으로 파악하였다. In this article, I examined the origin and the change of meaning of the concept ‘crisis’ and demonstrated its change of meaning, as follows:The concept ‘crisis’ has been used broadly by the humanity from remote antiquity to our days. It means that this concept has been permanently functional in the evolutionary history of the humanities. However, the meaning of this concept has been varied with the passage of time. While, in ancient times, the crisis meant the somewhat predictable, critical moment on the brink of the change of any situation, modern men see the crisis as unpredictable and continually approaching state of big catastrophes. Despite of the negative appearance of anxiety, fear and chaos, what lies under this change of meaning was the will of modern men who wanted to take the initiative of and credit for the world`s changes and to prove themselves to be the constitutive subject of the World. That is, what appeared to be the inevitable catastrophe against the modern men has actually been the optimum opportunity for modern men to realize this will. In this sense, the crisis, for the modern society, is not the disaster but the project of the modern men to proactively accelerate the changes of the world. The modern men found the organ inside their body to signify the extent of the organic experiment, i.e., the experience of realizing their will to the cranial nerve, and, subsequently to the consciousness and feeling. This organ was the sensibility. With the birth of the sensibility, the crisis was rooted in the ordinary life of mankind. After these examinations, I turn the question to the sense of crisis of Korean intellectuals since the encounter with the Modern Civilization. The Korean intellectuals took the severe shock from the Western civilization which swept them as the chance for setting up themselves on the stage as the modern subjects. Their intention couldn`t be realized naturally because the ‘implanted’ modernity needed time for maturation and the colonization by a modernized neighboring country plainly pressed Korean people against the will to accept the Modernity. As such, Korean intellectuals had to find a way to their own methodology to adjust on the Modernity. I was able to extract such attitudes from two poets, Kim So Wol and Han Yong Un. These two attitudes upon the situation of crisis can be named respectively ‘mysticism of man who denies the loss’ and ‘realism of man who is obliged to lose’. I reasoned that not only these two attitudes were the basic attitudes of the Korean intellectuals, but also they obsessed Koreans` judgments and actions even until now.

한국 현대시에서 서정성의 확대가 일어나기까지

정명교(Jeong Myeong-Kyo) 한국시학회 2006 한국시학연구 Vol.- No.16

This article aims at elucidating the formative process of Korean lyricism of 1920s. First of all, I set forth as premises the following propositions. (1) The lyricism, as we understand these days, is a set of particular affects and attitudes about the world including peculiar aesthetic and linguistic points of view that had been constructed by the romanticism of 18-19th century of Europe. Especially, it is distinguished by the literary genre triad: the epic, the lyric and the dramatic. (2) Like all the cultural materials entered from the Outside, the lyricism was also strange to Koreans in the early 20th century. Therefore, it was very difficult to be received as it was by Koreans. The Korean poets in the early 20th century had the earnest desire for establishing new modern poetry in Korea based on the model of the Western literary forms. That is, they tried to recreate the Western poems with Korean language. But they met the resistance of the traditional emotions, attitudes and aesthetic points of view. This situation came in effect to formation of singular forms of Korean poetry different from Western lyric poetry in two directions. Judging from my analysis, I conclude: (1) Manhae(Yong Woon HAN)'s poetry joined the Western poetry in a sense that it included the ‘consciousness of the self.’ But this coincidence is only that of outward appearance. In fact, his poems were created through other process different from the transplantation of Western poetry. I presume that his poetry was a result of the overdetermination of three sources at least: First, the fact that Korea was, in the cultural dimension, the colony of the colony; Second, the Buddhism as moral philosophy; Lastly, the Koreans' unique world view of which we can understand the basic concepts(‘innaecheon’, i.e. ‘man and god are same’) from the ‘Donghak Sasang(Eastern Philosophy).’ (2) So Weol KIM saw through the essence of Western lyric poetry: ‘disaccord with or alienation from the world.’ But He also felt keenly the resistance of the traditional aesthetic emotions. His poetry was not created through the mechanic application of Western poetry with Korean language. Korean traditonal forms of culture were utilized to make possible the settlement of Modern lyricism. The result was that he built an exceptional aesthetic feeling about parting, i.e, ‘Zeuryeoparbko Kasiopsoseo(Leave over leaves).’

한국적 서정시를 태동시킨 김영랑의 시와 박용철의 시론

정명교(Myeong Kyo JEONG) 연세대학교 강진다산실학연구원 2017 다산과현대 Vol.10 No.-

오늘날 상당수의 한국시인들이 공유하고 있는 시쓰기의 양태인 이른바 ‘한국적 서정시’는 1930년대 김영랑과 박용철에게서 발원하였다는 게 이 글의 전제이다. 필자는 김영랑의 시와 박용철의 시론을 통해서 그들에 의해서 ‘기다림’의 시학이 형성되었음을 밝히고, 이어서 그러한 태도의 역사적 맥락과 그 의미를 찾았다. 김영랑의 대표작인 「모란이 피기까지는」에서 ‘모란’은 피었다 지는 걸 반복한다. 그리고 시의 화자는 모란이 피었을 때 이미 꽃이 질 걸 예상하고 “비로소 꽃을 여흰 설움”에 잠기겠다고 말한다. 이런 ‘꽃 지는 때’의 예상 때문에 그가 기다리는 모란이 꽃피는 때는 “찬란한 슬픔의 봄”이 된다. 그리고 시인이 기다리는 것은 바로 이 찬란한 슬픔의 봄이다. 이러한 시적 진술을 꼼꼼히 살피면 ‘모란’을 조국 광복으로 이해하는 종래의 해석은 적절하지 않은 것으로 판단된다. 이 시에서 중요한 것은 ‘모란’의 정체가 아니라 ‘기다림’의 태도 자체를 삶의 원리로 삼았다는 사실이다. 그 태도는 기다림의 자세를 가다듬으며 오실 이를 맞이할 자세를 닦는 데서 의의를 얻는다. 이와 비슷이 박용철은 그의 시론 「시적 변용을 위하여」에서 ‘절차탁마’의 중요성을 거듭 강조하고는 그것이 시적 성취를 얻으려면 시의 정령이 가브리엘이 ‘수태고지’를 하듯 시의 완성을 ‘염화시중의 미소’로 점지해주어야 한다고 주장하였다. 이 시론 역시 김영랑의 시적 태도와 근본적으로 상통한다고 할 수 있다. 이런 태도는 어떻게 형성되었는가? 무엇보다도 3.1운동의 좌절이 핵심적인 진원이다. 이로 인해 자주적 근대화의 불가능성에 직면한 조선 지식인들의 상당수는 근대에 대한 추구를 포기하고 ‘조선심’, ‘조선적인 것’ 등 상상의 모국으로 회귀하였다. 그러나 근대에 대한 추구를 포기하지 않은 사람들도 많았다. 그러나 그 추구의 방법은 폐색된 채로 있었다. 그렇다면 불가능성 앞에서 어떻게 살아갈 것인가? 한국의 근대시는 바로 그 문제에 대해 가장 적극적인 대답을 하면서 형성되었다. 김소월과 한용운은 먼저 그러한 추구와 불가능성을 동시에 끌어안고 어느 것도 외면하거나 포기하지 않으면서 둘 사이의 팽팽한 긴장을 형성하였다. 그들에게는 ‘시간의식’이 부재했기 때문에 그 긴장을 최고도로 유지하는 데서 시적 형상을 얻었다. 다음 세대인 김영랑과 박용철은 거기에 시간을 넣은 방법을 고안하였다. 즉 불가능성이 하염없이 지속되는 부동의 시간에 ‘기다림’의 자세를 집어 넣어 그들이 소망하는 이상이 ‘도래할 것’에 대한 믿음을 유지시킬 힘을 얻는 것이었다. 다만 그 이상이 도래할 때, 도래하실 ‘임’에 합당한 존재가 되기 위해서는 끊임없이 기다림의 자세를 갈고 닦아야 하는 것이다. 그럼으로써 일제에 굴하지도 않고 허망한 과거에 매달리지도 않으면서 현실을 의연히 견디어내면서 자신의 내실을 다지는 삶을 살아가게 되는 것이다. 바로 이와 같은 ‘공덕 쌓으며 기다리는 의연한 기다림’의 시학이 이때 만들어졌으며 그것은 훗날 한국시의 가장 중요한 흐름을 이루게 된다. I suppose that the poems of KIM Yeongrang and the poetic theory of Park Yongcheol formed the beginning of the ‘Korean Lyric Poetry’ that have been produced by the large majority of the Korean Poets after them. I had clarified at first that two companions made a ‘poetry of waiting’ as a great foundation of Korean Poetry, and subsequently I traced the historical context of this poetic tendency and its meaning. In “Till the peony comes into bloom”, a major work of Kim Yeongrang, the flower repeats the circle of the inflorescence and fall-off and the Poetic narrator, anticipating in advance its fall-off in the moment of the bloom of a peony, says that he will be in the sorrow due to the its loss. By these anticipations, the spring in the florescence of the peony becomes that of the “glittering mourning.” The narrator waits the spring of this nature, not the spring itself. On these poetic dictions, we can judge that the conventional interpretation about this poem that the peony is the metaphor of the homeland, is irrelative. Because it is illogical that the poet would hope the circle of the loss - recovery of his country. The important thing in this poem is not the identity of the peony but the fact that the poet established the consistent attitude of full-hearted waiting in the cycle of the flower as the principle of the life. Similarly, his friend Park Yongcheol claims in his essay, “On the Poetic Transformation” that the poet should wait the instant of the poetic perfection in the endless refinement of the language and this moment arrives as the Annunciation. The poem of Kim and the theory of Park share the same literary perspective. From where this view has been originated? Above all, the failure of march.1st 1919 movement for independency is the first seismic center. By it, most of Korean intellectuals (including the men of letters) under the colonial subordination were frustrated deeply. Many of them abandoned the pursuit of the modernity that had incited them to fight for the ‘independency of the state’ and the ‘autonomy of the Korean People’ and sank into the possessed indulgence in the Chosun’s proper qualities which were supposed imaginarily. While the Korean intellectuals who did not the pursuit of the modernity should have faced with the impossibility of the achievement of their hope. Kim Sowol and Han Yong-un, poets of the previous generation of Kim Young rang composed the tragic vision maintaining exhaustively the tension between hope and despair. In their poems, the Time was absent. Kim Yeongrang and Park Yongcheol have opened the time of endurance and have modified the feeling of despair into the willing for the hope by the patient and devoting waiting. This attitude formed a so influential poetics, which so many poets of their post-generation have followed.

디지털과 문학 사이 – 융합의 사례 분석과 전망

정명교(Jeong Myeong-kyo) 어문연구학회 2017 어문연구 Vol.91 No.-

이 논문은 문학과 하이퍼텍스트의 융합의 필연성을 밝히고 그 한 사례를 소개, 분석한 것이다. 필자는 문자문화와 디지털 문화가 서로를 참조할 수밖에 없는 까닭을 설명하고그 상호참조의 인류학적 의의를 문학의 본성에 근거해 풀이하였다. 인류학적 의의라 한것은, 이 상호참조가 단순히 유희적이거나 실험적이라기보다 인류 문명의 바람직한 진화를 위해 필수불가결하다는 점을 가리키기 위해서다. 그러나 그렇기 때문에 이 일은 그만큼 어렵고 고통스러울 수밖에 없다. 그것을 필자는 ‘죽음을 담보로 자기 변혁을 꾀하는’ 문학의 최첨단적 실천이 문학의 근본적 본성에 해당하기 때문임을 밝혔다. 필자는 이러한 상호참조의 뜻에 비추어, 필자가 직접 시도했던 두 문화의 융합의 사례, 즉 ‘언어의 새벽: 하이퍼텍스트와 문화’의 내용을 소개하고 그 의의와 한계를 헤어 보았다. 이 사례는 ‘최초 의’ 시도라는 점에서 충분한 의의가 있었으나 그 실제적인 전개는 실패로 규정되었다. 필자는 그 실패의 의미를, 하이퍼텍스트이 방향에서, 문학의 방향에서, 그리고 제도의 방향 이라는 세 가지 측면에서 살펴보았다. 향후 다시 이러한 시도가 집단적인 차원에서 재개될 때 유의미한 정보로서 활용될 수 있을 것이다. In this article, I describe the characteristics of the digital cultures and literature and the anthropological meaning of their relationship. In my opinion, the literature has been dreaming on the state of hypertext so that it could overcome the limit of the linearity of the letter and acquire all the possibility of the existence through the infinitely free writing. From the side of Hypertext, since its apparition, it has been continued to refer to the mode of being of the literature because that in the hypertext, users can easily lose their identities even if they do the hypertext practice in the desire of self-fulfillment by the effect of hypertextualization which leads the individuals to the continuous moving and deconstruction of the identity. So, it’s necessary to try to synthesize literature and hypertext and create new mode of art with texts. But this dialectical practice is very hard to be realized by the fact that it makes it necessary for the literature to approach close to its limit so that it would demand the its death for the renewal, and it also brings the hypertext users about the uncomfortable feelings through the self-reflection by the influence of the literary practice.In 1999 I made a first attempt in Korea of this sort of fusion through the Project named ‘The Daybreak of the language: Hypertext and Literature’ as the public service of the Ministry of Culture and Tourism. I look back on this experience for the examination of the achievement and the failure of this project and the obtainment of the lesson for the future challenge.