김춘수와 도스토예프스키 (2)

김유중(Kim, You-joong) 한국어문학회 2016 語文學 Vol.0 No.134

This article aims to comprehend in depth the structure and characteristics of the dialogical relationship shown in Kim Chun-su’s Deulim, Dostoevsky. In the poems, Kim Chun-su used negative expressions related to ‘father’. This seems to be related to Kim’s negative reaction to paternal power. While trying to get away from this paternal power, however, Kim faces unexpected difficulties. It is because paternal power controls reality. Kim Chun-su’s poetry was the product of his dilemma between these extremes. More specifically, it was anxiety and conflicts he suffered between the existential request of eliminating paternal power and the perception of reality in which fulfilling such a request was impossible. In the process of dealing with his dilemma, the poet Kim Chun-su focused on Dostoevsky’s novels, which paid close attention to similar problems. He tried to bring out the existence of innumerable inner-others from his ego by the voices of the characters in Dostoevsky’s novels. In the poems, the poet is talking about others and listening to others’ confusing and disorderly utterances. Furthermore, it is the act of accepting others’ utterances and understanding their situations. In short, this process was a way to understand and forgive others, who could not reveal their inner truth in an organized form by themselves. Therefore, it is the process of transforming something meaningless into meaningful. If psychoanalysis is defined as a process of making a dialogue with inner-others, it is possible to say that Kim Chun-su shows this attitude in his poetry.

하이데거 시 이해의 관점에서 본 김수영 문학의 근본 목표

김유중 ( Kim You-joong ) 한국하이데거학회 2009 존재론 연구 Vol.19 No.-

시란 언어 예술의 일종이다. 그러나 이때 언어 예술이라는 말이 누구에게나 동일한 의미를 지니는 것은 아니다. 김수영 문학을 이해하는 길은 그가 언어 예술로서의 시를 과연 어떤 각도에서 이해하고 바라보았는지를 냉철하게 따져보는 데서부터 시작되어야 할 것이다. 그리고 이러한 문제의식은 그가 왜 하이데거의 언어관과 예술론에 흥미를 느끼게 되었는지를 우리에게 알려주는 지름길이라 할 것이다. 김수영의 시작 활동은 그가 시를 어떤 방식으로 이해하였는가 하는 점과 밀접한 상관성을 지닌다. 일반인들의 경우와 마찬가지로 그 역시 시를 언어 예술의 일종으로 이해하였다는 점에 대해서는 별 차이가 없다. 그러나 이때 ‘언어’와 ‘예술’을 바라보는 그의 시각은 일반인의 경우와 상당한 차이를 보인다는 점에 유의할 필요가 있다. 먼저 언어 문제에 대해 살펴본다면, 일반적인 경우 우리는 시어를 일상어의 언어 사용의 특수한 형태로 이해한다. 다시 말해서 일상어가 먼저고 시어는 그것으로부터 파생된 예외적인 경우라고 생각하는 것이다. 그러나 김수영은 시어와 일상어의 관계를 둘러싼 이와 같은 전통적인 이해에 대해 의문을 제기한다. 그의 판단에 따르면 일상어에 앞서 시어가 좀더 본질적인 언어이며, 도리어 일상어가 시어로부터 파생된 예외적인 경우에 해당된다는 것이다. 이러한 그의 태도는 하이데거의 언어관과 상당 부분 일치한다. 둘째로 예술 면에서 본다면, 김수영에게 있어 예술 일반의 보편적인 가치 규범으로서의 미학적 가치 기준은 별 의미가 없다. 그가 바라는 시작이란 기존의 미학적 이념과 그것의 가치 기준을 충실히 따르는 작업과는 거리가 멀다. 오히려 사물과 세계의 본질 자체에 내재하는 새로운 가치를 발견하는 작업, 즉 기존의 획일적인 미적 가치 기준에 의해서가 아닌 존재의 진리 (진)와 양심 (선)까지를 포함한 보다 근원적인 가치 개념에 의해 정립되어야 할 과제인 것이다. 이러한 그의 해석 또한 하이데거적인 사유 방식과 일치하는 것으로 판단될 수 있을 것이다. 이러한 관점에서 본다면 김수영이 언어 예술로서의 시를 이해하는 방식은 일반인들의 경우, 기성 시인이나 문학자들의 경우와는 썩 다르다는 것을 알 수 있다. 요컨대 김수영 식의 사고방식은 전통적인 시인이나 문학 연구자들의 입장에서 본다면 받아들이기 어려운 것이다. 그에 대한 학계의 평가가 엇갈리는 것은 이런 이유 때문이라고 할 수 있다. 그러나 그가 기존의 자동화된 방식으로 시작 활동과 그 과정을 이해하는 데서 벗어나, 새로이〈시란 무엇인가〉라는 점과 관련된 근원적인 의문을 제기하고, 이것에 다가서기 위해 노력한 점에 대해서는 충분히 인정해줄 필요가 있다고 생각된다. 아울러 이러한 그의 모색과 노력은 오늘날 우리 시대의 많은 시인과 문학 연구자들이 이러한 근원적인, 본질적인 문제에 대해 깊이 있게 생각해보지 않고 문학 활동을 하는 것에 대해 반성을 촉구한 것이라는 점에서 그 의의를 발견할 수 있을 것이라고 생각된다. Poetry is a kind of language art. Language art, however, this word is not to stand the same meaning for everyone. The right way to approach Kim’s literature is related to understand what he took poetry. And this point is also related to why he takes an interest in Heidegger’s language and art theory. Kim’s literary activities and his way to understand poetry are correlated. Undoubtedly, he takes poetry as a kind of language art, like common people. But this time, his viewpoint of ‘language’ and ‘art’ is far away from theirs. First, about the language problem, generally we accept the poetic use of language is special case which come from the ordinary use of language. But Kim doubt this common sense, and besides, he asserts that the poetic use of language is essential one. This his view considerably agree with Heidegger’s language theory. Second, about the art problem, aesthetic standard of value as universal art standard of value is not important to Kim. Because his ideal type poetic activity is far from faithful following established aesthetic standard of value. On the contrary, it is very important to him such as like work which find new value from the essence of things and world itself, not by established and unified aesthetic standard of value, but by more essential standard of value which includes the truth and the conscience of existence. This view is overlap with Heidegger’s too. From this viewpoint, the way by which Kim understands poetry as language art is far away from the one that common people or other poets understand at that time. In brief, Kim’s this viewpoint is hard to understand to others. The adverse criticism on his literature is partially due to this fact. But we must justly appreciate him as his true worth. For he focused upon the fundamental question, “What is poetry?”, and constantly tries to get that answer. Together like this his evening twilight and effort there makes be a depth about the problem which essential are original today our time many poets and researcher literature are like this, is and thought does not try and not to be is thought will be able to discover the questionable matter from the point to urge literary activity a reflection about doing. Today, these efforts are very important, for many poets and literary scholars of our time who do not think deep about these fundamental issues, Kim provides the opportunity of self reflection to them.

김춘수의 시적 정서와 기독교적 심상

김효중 ( Hyo Joong Kim ) 세계문학비교학회 ( 구 한국세계문학비교학회 ) 2007 世界文學比較硏究 Vol.19 No.-

This Article is a research on Choon Soo Kim`s poetic Emotion and Images based on the Christianity. To Jesus, the man in poverty should be first. Jesus as an arnachist on the basis of his anti-historical thought, because Jesus stands on the side of the poor and the weak against the rich and powerful. In Kim`s poems, Jesus appears as a character of solitary existence. Jesus is not portrayed as a historical being but as poetic reality that removes the thought of dichotomy and closes in upon our being. Kim finds the view of his poetry. the so-called Aesthetics Uselessness, in the spirit of Jesus. That the common notion which insists that labour is more worthy than play should be removed. We must recognize that the value of play is as the value of labour. Every means to that end or that ideology is always justified. Jesus endures the terrible pain of crucification to save mankind from evil. Choon-Soo Kim sees a high souled person in Jesus who opposed violence with his nonresistance. Kim thinks that the soul Jesus can overcome the untruth of history made by man. In short, Kim doesn`t trust history made by man. He writes in his poems of the dreams and realities made by the solitary existence of Jesus.

Animalized Asians in Li-Young Lee`s “The Cleaving” and Myung Mi Kim’s Poetics of Commons

( Dae Joong Kim ) 한국영어영문학회 2013 영어 영문학 Vol.59 No.3

This paper aims to address Asian (im)migrants` animalized or Otherized humanity and representations of humanity transposed to animlaity in two poets` poems (Li-Young Lee and Myung Mi Kim) which jointly create a constellation that provides a universal picture of Asians in oppressive history. By this analysis, this paper endeavors to envision two cross-ethnic and cross-aesthetic relations between Li-Young Lee`s commonplace of animalized Asians and Myung Mi Kim`s poetics of commons. Li-Young Lee`s poem, “Cleaving” raises a fundamental question of historicity related to beings` facticity and visualizes, as an ontological de-hierarchization, death as commonly relational ethos of all beings. By these fundamental question and visualization Lee posits this imagery of history and universal Being to physical and spiritual imageries of immigrants; in turn, Lee ends his poem with an image of gathering of all different immigrants into a common place or a ring where the alterity on their faces requires ethical responsibility. Myung Mi Kim`s poems, relational and experimental, draw a constellation which delivers ideas about animalized humanity in the context of global violence such as wars and colonization of Korea and other nations. This paper especially focuses two long poems from her Commons which can be read as a manifesto of her poetics. This paper also shows how Myung Mi Kim traces Western philosophies, aesthetics, and their spirits by forming commons as a literary space of a community through the rhythm of historicity from which she envisages a space of errancy or a trans-spatial experience.

김춘수와 존재의 성화(聖化)

김유중(Kim, You-joong) 한국어문학회 2015 語文學 Vol.0 No.128

Kim Chun Su often questioned the problems of human existence’s ethics on the levels of existentialism and religion. In order to resolve such questions, he studied the figure of Jesus, wishing that Jesus would be a humane existence who stands by human and understands human’s pain and sorrow. Such thoughts led to Kim’s interest in the characteristics of Georges Rouault’s paintings. Rouault did not paint Jesus as the one who stands afar from human, detached and aloof. Instead, Rouault’s Jesus is the human’s true companion who appears in a shabby and humble form, endlessly loving and pitying foolish human. Rouault endeavored to transfer such an image of a human or Jesus to his paintings. In this context, the themes of Rouault’s paintings included prostitutes and clowns, for they are truly the marginalized existence who are shunned and abandoned by the society. In looking at this existence, he discovered the typical image of human who are lost yet waiting for someone’s helping hand out of the fateful depth of sin. Thus, Rouault argues that sanctification is more important than purification for human. Because humans are not as perfect as gods, their effort to rid of human imperfection would eventually fail. It is unnatural to narrow the distance between human and god in such a way. Instead, Rouault saw the new way to sanctification in understanding humans as they are and in humbling oneself, confessing one’s flaws, and pleading for forgiveness before god. As such, the absolute distance from god could be overcome in the human’s internal world, and through this overcoming an existence could reach the level of sanctification. Kim’s poetry demonstrates the poet’s attraction to Rouault’s such thoughts and keys to resolving his own questions. He specifically materializes such attitude in his series of poems “Grandfather Rouault’s Two Oil Paintings” and several poems including “Madrid’s Young Prostitute.” Through these works, Kim freed himself from his own existential agony and questions and provided for himself an opportunity to build oneself more mature and free.

김수영 문학을 어떻게 이해할 것인가

김유중 ( Kim,You-joong ) 한국문학이론과 비평학회 2005 한국문학이론과 비평 Vol.29 No.-

Interpreting Kim Su-Young's literature can be categorized into two major kinds: a social participation from the perspective of realism, and style and modernity recognition from the perspective of modernism. This categorization led us to the positive criticism as well as the negative one, which reflects well a traditional confusing criticism about his literature. It is true that there have been various efforts to unify this confusing criticisms, but they all turned out to be failure due to the lack of correct research direction. In fact, discussions on the Kim's literature have been useful to clarify his literal characteristics in one way or another. However, we need to study more details about his literature, not a partial way but a wholistic one. In my judgement, a correct approach to his literature should be focused on his attitude on the literature. In particular, his consistent interest in translation and philosophy should be studied more carefully. In this study, I argue that his concern on the translation and philosophy developed his ontological attitude in his poetic works, and this ontological attitude was based on Heidegger's philosophy. In many ways his literature was influenced by the basic characteristics of the ontological philosophy and thus, I claim that any future research on Kim's literature should be focused on it. This correct research direction will ultimately contribute to the advancement of the future literature.

논문 : 『시경(詩經)』『큰 쥐(碩鼠)』와 김시습의 「큰 쥐」 비교 연구

김대중 ( Dae Joong Kim ) 민족문학사학회·민족문학사연구소 2013 민족문학사연구 Vol.51 No.-

본고는 김시습(金時習, 1435∼1493)의 「큰 쥐(碩鼠)」와 『시경(詩經)』 「큰 쥐」의 비 교 연구이다. 김시습의 「큰 쥐」는 『시경』「큰 쥐」에 바탕을 둔다. 따라서 김시습이 『시경』의 어떤 전통을 자각적으로 계승했는지, 그와 동시에 어떤 창의적인 전변(轉變)을 이루 었는지, 김시습의 「큰 쥐」는 『시경』「큰 쥐」에 비해 어떤 변별적인 특징을 갖는지 등등을 구체적으로 밝히기 위해서는 두 작품 간의 비교 고찰이 필요하다. 비교 연구의 궁극적인 목표는 현실 비판시를 새롭게 인식하기 위한 연구 방법을 모색하는 것이다. 과거에 민족문학론이 힘을 얻었을 때 현실 비판시에 대한 연구는 활기를 띠었지만 이제는 그렇지 않다. 본고는 이런 상황에서 현실 비판시를 『시경』이라는 고전적 전통과의 관계 속에서 재인식하기 위한 시도이다. This is a comparative study on Kim si-seup(金時習, 1435∼1493)`s ``Big Mouse``(碩鼠) and the poetry of the same title included in the Book of Poetry(詩經). Kim`s ``Big Mouse`` is based upon ``Big Mouse`` of the Book of Poetry. Therefore, it is necessary to compare these two works in order to explain how Kim appropriated the literary tradition of the Book of Poetry, and what the peculiarity of Kim`s ``Big Mouse`` is. The ultimate aim of this study is to investigate new methodology which can help new understanding of critical poetry written in classical Chinese during Choseon period. When the realistic literary theory based on counter-nationalism got wide consent, many scholars studied the critical poetry written in classical Chinese during Choseon period. But such studies are seldom found nowadays. This study is an attempt to reconsider critical poetry written in classical Chinese during Choseon period in relation to classical tradition.

Korean Americans in the Space of Racial Formation

( Kim¸ Dae Joong ) 동국대학교 영어권문화연구소 2012 영어권문화연구 Vol.5 No.1

This paper aims to show how Asian Americans, especially Korean Americans, as a race or ethnic group has been represented in early immigration history. In the postmodern global society, social status of Asian Americans is overdetermined by ideologies of the model minority. To understand these phenomena, research on the racial space or urban ethnic enclaves Korean Americans have created is necessary. In this regard, spatial theory can be a theoretical framework Asian American literary scholars can take. Applying various spatial theories which emphasize spatial interconnection of different spaces the oppressed create to resist authentic rule of the teleological history, in this paper, I will analyze how the early Korean immigration history created the dialectic space of utopia and heterotopia in the Korean enclave within the complex, hegemonic context of nationalism, class, racism, and colonialism. For this project, I will analyze Clay Walls written by Ronyoung Kim. By this research, I will also demonstrate the spatial meaning of race and racism in early Korean immigration societies in the U.S. history. And then, I will argue that this Korean enclave, founded by early Korean immigrants who were the ideologues of nationalism aspiring to build an ethnic utopia, are placed in a contradictory relation to heterotopia for the second generation.

강용흘의 『동양, 서양으로 가다』에 나오는 코스모폴리탄 멜랑꼴리아

김대중(Dae-Joong Kim) 한국동서비교문학학회 2014 동서 비교문학저널 Vol.0 No.30

This paper aims to explore Young Hill Kang’s East Goes West with thematic inquiries of so-called cosmopolitan melancholy. East Goes West, written in 1937, has been acclaimed as a harbinger of Korean American fiction though in numerable aspects it has raised serious questions of its themes and characters due to dominating geographical, ideological judgments. This paper, avoiding falling into the pit of politically bipolar understanding, maintains that the characters, Chungpa Han and Dowan Kim, are allegorical figures unfolding their cosmopolitan melancholia as political unconsciousness persevering in the most capitalistic urban space in the U. S. Alienation, reification, exile, diaspora, and melancholia form a constellation of allegory reflecting characters’ unstable identity, resistance to assimilation to capitalistic culture, and interstitial obscurity confronting imperialism and intricate machine of capitalism in the U. S. as well as global space. As theoretical scaffoldings, to explore melancholia as both creative force and ideological fantasy, this paper uses Sigmund Freud’s idea of the difference between mourning and melancholia, Walter Benjmain’s understanding of Baudelaire’s themes?flaneur, poetic hero?and melancholia as galvanizing source of creativity. Embracing these themes and theoretical ideas, the paper consists of three parts: First, it throughly analyzes Chungpa’s melancholia using Freud’s theory of melancholia focusing on ideological fantasies of cosmopolitanism; In turn, using Benjamin’s understanding of flaneur in Baudelaire’s poetry, it delves into the limit of Chungpa’s recognition of capitalistic system as a symptom of his melancholia; Last, focusing on Dowan Kim’s eternal exile and his suicide, the paper suggests power of melancholia as creativity.

신규 3작용성 메타크릴레이트의 치과용 광중합형 콤포짓트 레진용 단량체로서의 응용 연구

김중곤,정찬문,김민성,김광만,김경남 大韓齒科器材學會 2001 대한치과재료학회지 Vol.28 No.4

Tris[4-(2-hydroxy-3-methacryloxypropoxy)phenyl]methane(THMPM) was prepared easily from triphenylolmethane triglycidyl ether in good yield. As compared with composite resin formulated with difunctional bis-GMA, the physical properties of a newly developed composite resin formulated with trifunctional THMPM was evaluated. Cytotoxicity and acute toxicity of composite resin based on trifunctional THMPM evaluated according to ISO standard method. The depth of cure of the composite resin based THMPM was higher than that of the bis-GMA composite. There were no significant differences in flexural strength and water sorption between the composites resin based on THMPM and bis-GMA. The water-solubility value for the light-activated composite resins formulated with THMPM was much lower than that for a control bis-GMA composite. According to cytotoxicity evaluation, the composite resin based on THMPM showed very mild cytotoxicity with the response index of between 0/0 and 1/0. No acute toxicity of composite resin formulated with trifunctional THMPM was also observed. It is believed that THMPM is promising candidate for application as a photocurable dental composite resin.