『廢墟』 동인과 야나기 무네요시(柳宗悅)

조윤정 서울대학교 규장각한국학연구원 2008 한국문화 Vol.43 No.-

This paper is aimed to consider the literature of P’yehŏ Coterie and Yanagi Muneyoshi with the thought which they had owned jointly. All the members of P’yehŏ Coterie had gone abroad to study in Japan and they were in the center of modern ages translated through their study abroad experience. They also had developed literature of relationship affected by various people and thoughts. The theory of sorrowful beauty of Yanagi Muneyoshi was not accepted directly by P’yehŏ Coterie and they got to observe Chosun and Japan in the mutually influential relationship. In this point of view, it can be found that P’yehŏ Coterie and Yanagi Muneyoshi had held anarchism in common but they gained different currency with each other within such a reciprocal thought. Interchange between Yanagi Muneyoshi and P’yehŏ Coterie had been in various methods such as publication of magazine like a P’yehŏ, exposition of concerts and lectures, translation, correspondence of letter, inspection of art museum, etc. And these aspects of correspondence had been represented in the form of literature. It revealed that Japanese and the people of Chosun had felt sorrow of self-gazing while accepting the new trend of thought from the scene in which they looked at and called the roll toward their own races. All the members of P’yehŏ Coterie had commonly kept passion of developing new culture through the art and religion from Hwang Seok-Woo who left P’yehŏ Coterie early by reason of differences in ideology to Yeom Sang-Seop who had presented straightforwardly the influence from Yanagi Muneyoshi in his works. Influential relationship with Yanagi Muneyoshi can be seen from essays of Hwang Seok-Woo, who had wanted to make changes of the people of Chosun by introducing world’s new trend of thought as a proposal of improvement, Oh Sang-Soon, who had thought reconstruction of art and literature of Chosun through the christian mysticism transformed from the theory of religious art of Yanagi Muneyoshi and Lee Ik-Sang, who had found ruinous beauty from religious love of mankind, etc. There were also some people who had projected the theory of aesthetics of Yanagi Muneyoshi into their works of literature. Yeom Sang-Seop had reflected activity of Chosun at death’s door by appropriating the theory of art of Yanagi Muneyoshi. Nam Goong-Byeok had presented aesthetics of self-discovery through the imagination and intuition about nature. And Min Tae-Weon had insisted literature of life and blood from reversal of Yanagi Muneyoshi’s view of nature. Byeon Young-Rho, Na Gyeong-Seok et al. represented reception and criticism of foreign ideologies in their essays by making Yanagi Muneyoshi as a node. Byeon Young-Rho had severely criticized vague praises about Korean white principle. Na Gyeong-Seok had insisted the literature of the common people as being free from proud in loneliness principle of art supremacy. Tendency of being literature of intuition, new life and personality shown by P’yehŏ Coterie connected to the difference between Chosun and Japan, which had been experienced by them from the period of study abroad. In the same time, It had revealed difference of realization between Yanagi Muneyoshi and P’yehŏ Coterie. The former just only had looked at Chosun from outside but the latter had lived in Chosun. This paper is aimed to consider the literature of P’yehŏ Coterie and Yanagi Muneyoshi with the thought which they had owned jointly. All the members of P’yehŏ Coterie had gone abroad to study in Japan and they were in the center of modern ages translated through their study abroad experience. They also had developed literature of relationship affected by various people and thoughts. The theory of sorrowful beauty of Yanagi Muneyoshi was not accepted directly by P’yehŏ Coterie and they got to observe Chosun and Japan in the mutually influential relationship. In this point of view, it can be found that P’yehŏ Coterie and Yanagi Muneyoshi had held anarchism in common but they gained different currency with each other within such a reciprocal thought. Interchange between Yanagi Muneyoshi and P’yehŏ Coterie had been in various methods such as publication of magazine like a P’yehŏ, exposition of concerts and lectures, translation, correspondence of letter, inspection of art museum, etc. And these aspects of correspondence had been represented in the form of literature. It revealed that Japanese and the people of Chosun had felt sorrow of self-gazing while accepting the new trend of thought from the scene in which they looked at and called the roll toward their own races. All the members of P’yehŏ Coterie had commonly kept passion of developing new culture through the art and religion from Hwang Seok-Woo who left P’yehŏ Coterie early by reason of differences in ideology to Yeom Sang-Seop who had presented straightforwardly the influence from Yanagi Muneyoshi in his works. Influential relationship with Yanagi Muneyoshi can be seen from essays of Hwang Seok-Woo, who had wanted to make changes of the people of Chosun by introducing world’s new trend of thought as a proposal of improvement, Oh Sang-Soon, who had thought reconstruction of art and literature of Chosun through the christian mysticism transformed from the theory of religious art of Yanagi Muneyoshi and Lee Ik-Sang, who had found ruinous beauty from religious love of mankind, etc. There were also some people who had projected the theory of aesthetics of Yanagi Muneyoshi into their works of literature. Yeom Sang-Seop had reflected activity of Chosun at death’s door by appropriating the theory of art of Yanagi Muneyoshi. Nam Goong-Byeok had presented aesthetics of self-discovery through the imagination and intuition about nature. And Min Tae-Weon had insisted literature of life and blood from reversal of Yanagi Muneyoshi’s view of nature. Byeon Young-Rho, Na Gyeong-Seok et al. represented reception and criticism of foreign ideologies in their essays by making Yanagi Muneyoshi as a node. Byeon Young-Rho had severely criticized vague praises about Korean white principle. Na Gyeong-Seok had insisted the literature of the common people as being free from proud in loneliness principle of art supremacy. Tendency of being literature of intuition, new life and personality shown by P’yehŏ Coterie connected to the difference between Chosun and Japan, which had been experienced by them from the period of study abroad. In the same time, It had revealed difference of realization between Yanagi Muneyoshi and P’yehŏ Coterie. The former just only had looked at Chosun from outside but the latter had lived in Chosun.

한국 현대문학에서 ‘계몽’과 ‘감정’의 관계성, 그리고 미적표지(美的標識)ㅡ1920년 전후 신진 문학가의 문학론과 작품을 중심으로

장동석 한국시학회 2019 한국시학연구 Vol.- No.60

The autonomy of literature in Korean modern literature is closely related to how the literature responds to the thesis of ‘litterateur for literature (art for art)’ Specifically, it is concentrated on the relationship between ‘emotion’ and ‘enlightenment’ that ‘litterateur for life’ is intended. The emerging artists who appeared around 1920 aimed to write literature for the purpose of literature itself. These literature displace the worry of ‘I’ as a public entity, which was the talk of former literature, to the worry of ‘I’ as a private being. Their literature shares an enlightening will and literature of the past. The sentiment of emerging literature was a literary way of expressing the agony of the private being, ‘I’. ‘Emotions’ was the result of aesthetic reconstruction of 'Enlightenment' into a literary chapter. The emotion of new literary writers has a new relationship with enlightenment. If the literary literature of the past had ‘emotion’ as an intrinsic element of literature, and consequently put it in a position subordinated to ‘moral (community ethics)’, the literature of the new artists reorganizes this master-servant relationship. In other words, put ‘emotion’ in ‘the position of the master’ and reconstruct the issue of ‘morality’ in an aesthetic category. At this time, ‘emotion’ and ‘enlightenment’ form a tension between antagonists. ‘Emotions’ run counter to the excess of enlightenment beyond literary character. The excess of enlightenment completely occupies the object with reason that criticizes and confers upon it. Therefore, there is no room for interpretation expressed in the object above logic. ‘Emotion’ is antagonistic to this state of reason overhang. At this time, ‘I’ consist of more than myself with ‘self’. ‘More than myself’ comes from ‘self’ ‘More than myself’ is ‘mystery infeasible’ that are based on reason and open indeterminately beyond the level of reason. It is a surplus that remains undetermined. ‘Emotions’, such as the agony, symptomatically capture this ‘surplus’ In addition, an aesthetic sign of ‘infinite’ remains on the object captured by emotion. ‘Infinite’ is the product of aesthetic will. The aesthetic will of the New Litterateur is a distance from the enlightened will of former litterateur. At the same time, it is based on enlightening will. Their literature shares an enlightening will and literature of the past. At the same time, they aesthetically divide and reconstruct ‘enlightenment’ from the literature of the past as a self-conscious literary expert. This mutual tension between enlightenment and emotion, and the infinite(surplus) as an aesthetic marker, is a source for a new look at the historical context of the various attributes that are later spread to Korean modern literature history. And while Korean modern literature is interrelated with non-literatures, it is a valid entrance to how the aesthetic autonomy of literature is secured. 한국현대문학에서 문학의 자율성은 ‘문학을 위한 문학(예술을 위한 예술)’이라는 명제에 문학자가 어떻게 대응하느냐와 밀접하게 연관된다. 구체적으로는 ‘인생을 위한 문학’이 문학하기의 목적으로 삼았던 ‘계몽’에 ‘감정’이 어떠한 관계성을 이루냐 문제로 집약된다. 1920년 전후로 등장한 신진 문학가들은 문학 자체를 목적으로 삼는 문학하기를 지향한다. 이들 문학은 전대(前代) 문학의 화두였던 공적인 존재로서의 ‘나’의 고민을 사적 존재로서의 ‘나’의 고민으로 전치한다. 신진 문학의 ‘감정’은 사적 존재 ‘나’의 고민을 외현하는 문학적 방식이었다. 그리고 ‘감정’은 ‘계몽’을 문학 장으로 견인해 미적으로 재구성한 결과물이었다. 신진 문학가들의 ‘감정’은 ‘계몽’과의 새로운 관계성을 가진다. 전대의 문학이 ‘정(情)’을 문학의 고유 요소로 삼으면서도 결과적으로는 그것을 ‘도덕(공동체적 윤리)’의 종(從)의 자리에 두는 것이었다면, 신진작가들의 문학은 이러한 주종 관계를 재편성한다. 즉 ‘감정’을 ‘주(主)의 자리에 두고 이를 중심으로 ‘도덕’의 문제를 미적 차원에서 재구성하는 것이다. 이때 ‘감정’은 ‘계몽’과 길항의 상호 긴장관계를 이룬다. ‘감정’은 문학(성)을 초과하는 계몽의 과잉에 길항한다. 즉 대상(타자)를 비판∙훈화하는 계몽의 이성이 대상을 완전히 점유하는, 그러므로 논리 이상에서 발현하는 해석의 여지를 대상에 남겨 두지 않는 이성 과잉의 상태에 ‘감정’은 길항한다. 이때 ‘나’는 ‘자기’와 함께 ‘자기이상(自己以上)’으로 구성된다. ‘자기이상’은 ‘자기’ 말미암아 비롯된다. ‘자기이상’은 ‘자기’의 이성을 바탕으로 해, 이성의 수준 이상으로 개방되어 불확정적으로 발현하는 ‘신비불가’이다. 즉 해석이 결정되지 않은 채 남아 있는 ‘무한(無限)’의 잉여 부분이다. 오뇌와 같은 감정은 이러한 잉여를 징후적으로 포착한다. 그리고 감정으로 포착한 대상에는 ‘무한’라는 미적 표지가 남는다. ‘무한’은 미적의지의 소산이다. 신진문학가들의 미적의지는 전대 문학가들의 계몽적 의지와 일정의 거리를 가지면서 동시에 계몽적 의지를 말미암아 비롯된다. 그들의 문학은 전대의 문학과 계몽의 의지를 공유하면서도 문학 전문가의 자의식으로 ‘계몽’을 전대 문학으로부터 미적으로 분할하고 재구성한다. 이 같은 계몽과 감정 간의 길항의 상호 긴장관계, 그리고 이를 통해 마련되는 미적 표지로서의 ‘무한(잉여)’은 이후 한국현대문학사에 파생 확산되는 다양한 속성들의 사적 맥락을 새롭게 볼 수 있는 연원이다. 그리고 한국현대문학이 문학 아닌 것과 상호관계를 가지는 와중에서, 문학의 미적 자율성을 어떻게 확보하는지를 알려주는 하나의 유효한 입구이다.

Aesthetic Activity Occurring in Drinking Activities

Haeng Cheol Lee,Wan Sok Jang,Ming Hua Fan 한국차학회 2015 한국차학회지 Vol.- No.S

In recent years, the rapid development and wide application of Aesthetics fully demonstrates this trend of the times. High quality of life have become increasingly demanding of modern times, which naturally lead people to the tea drinking as a way to further improve the quality of life. This means the trend of aesthetic demands and development of tea drinking. “tea drinking activity” means in a space, using tea drinking tool, one or several people’s behavior of drinking tea. This may include all activities related to factors in the needs to drink tea. As Aesthetic Activities organized by diverse factors, Tea drinking can endogenous form a variety of Aesthetic Relations which can be independently stretched into different Aesthetic Activities. Tea drinking is the non-utilitarian, complex aesthetic carried out by a variety of Aesthetic Relations. Aesthetic occurred in tea drinking activities can be divided into appreciation aesthetic, artistic creativity aesthetic, emotional communicative aesthetic and cultivation aesthetic. This four kinds of Aesthetic are not independent but complex occurred.

<특집논문1> 화엄사상과 현대예술의 만남 : 연기(緣起)의 상상력과 관계 미학

이진오 ( Jin Oh Lee ) 동아시아불교문화학회 2015 동아시아불교문화 Vol.0 No.22

불교의 가장 핵심적인 원리는 연기의 원리이다. 연기는 모든 존재가 끝없는 관계 속에서 유동하면서 변화해 나간다는 원리이다. 연기론적 관점은 일상적으로 경험하는 세계를 완전히 다르게 보도록 한다. 망막 중심의 세계 인식에서 나아가, 눈에 보이지 않는 세계까지 상상하게 하기도 하고, 때로는 습관적 연상으로부터 고리를 끊어 존재 그 자체만을 보게 만들기도 한다. 이러한 다른 인식이 우리에게 감성적으로 새로움을 경험하게 하고, 그 경험이 미적 인식을 가능하게 한다. 불교가 예술창작과 밀접한 연관을 지닌 것은 바로 이러한 원리에 기반해 있을 것이다. 연기론에 기반한 불교의 지각 원리와, 이로 인한 미학적 작용 원리를 관계미학이라고 이름붙일 수 있다. 연기론은 대단히 복잡한 원리로 이루어져 있지만, 이를 단순화시켜 인과연기, 의타연기, 그리고 화엄연기로 대별하여 논하였다. 인과연기는 시간적 인과관계를 적용하는 것이다. 하나의 사물은 그것이 있기까지 수많은 다른 존재와의 인과적 관계에 의한 결과로서 현재와 같은 현상을 갖추게 되었다. 따라서, 눈 앞의 하나의 사물은 원인이 되는 수많은 존재의 모습을 함축하고 있는 것이다. 이것이 무한한 상상력을 불러일으키며, 그 사물의 의미와 느낌을 확충시킨다. 의타연기는 사물의 상호의존적 관계를 의미한다. 의타연기에 의한 사물의 모습은 지금 여기에 보이지 않는 다른 사물과의 상호의존적 관계를 연상시킴으로써 현전하지 않은 무수한 사물의 모습과 의미를 함축한다. 화엄연기는 인과연기와 의타연기의 무한 확장한 총체로서의 연기적 존재계의 모습을 일컫는다. 이것은 곧 하나의 사물 속에 온 우주의 존재를 짐작케 하는 무한 의미를 함축한다. 이러한 무한한 연기 관계는 동시에 일상적 관계의 이탈을 통해 그 무한성을 획득하기도 한다. 문학작품이나 이우환이나 뒤샹, 백남준 등의 수많은 예술작품들이 이러한 원리를 구현한다. 한국에서는 불교를 케케묵고 낡은 유산 정도로 생각하지만, 서구에서는 현대 문명의 병폐와 모순을 극복할 대안으로 생각하는 사람이 많다. 예술의 경우에도 현대예술의 가장 첨단은 불교적 감성 원리를 아주 적극적으로 활용한다. 그 중에 핵심적인 하나가 바로 연기론적인 관계미학이라고 할 수 있을 것이다. The most essential principle of Buddhism is the Buddhist theory of causality. The Buddhist theory of causality means infinite change while having endless relationships with each other. The viewpoint of the Buddhist theory of causality is to see the world totally differently to experience on a daily basis. Away from the world recognition limited in retina, this can make us imagine unseen by the world, sometimes breaking the ring from the habitual association makes us see something itself. These different perceptions make us experience the newness emotionally, and like this experience enables the aesthetic perception. The close association with Buddhism and artistic creation is based on this very principle. It can be called ‘realtionship aesthetics’ which is based on Buddhist perception principle and its aesthetic effects. One of the things was to have phenomena such as current as the result of a causal relationship with a number of other beings to have it. Thus, one object is in front of the eyes, which implies the existence of a number of state which cause. That evoke the imagination, thus expanding the meaning and sense of things. In Korea, most people thinks that Buddhist thinking is staying stale old heritage, but many people in the West think it as an alternative to overcome the ills and contradictions of modern civilization. The most cutting-edge contemporary art, even if the art is utilizing the Buddhist principles in a very positive emotion. This will be able to be described as relationship aesthetics.

화엄의 관계미학과 영화‒ 영화 「나그네와 마술사」를 중심으로 ‒

이진오 한국불교학회 2016 韓國佛敎學 Vol.77 No.-

Huayan (華嚴) Buddhism studies the theory of relationships. One of its key doctrines is the realm of causality. This world consists of an infinite number of causal relationships. The imagination about causality serves as an aesthetic principle that induces strong feelings and emotions through extreme expansion, contraction and connection. As an aesthetic principle, it is sometimes referred to as ‘relationship aesthetics.’ This paper analyzes the film “Travelers and Magicians”(2003, directed by Bhutanese director Khyentse Norbu). This movie contains aspects of relationship aesthetics from the point of view of the realm of causality. The reason I chose this film is because it has a narrative structure very suitable for analysis by applying the theory of causality. The themes and subjects presented in “Travellers and Magicians” are based on Buddhism. The film's theme deals with the issue of human desire. But in this paper, I analyzed the film in terms of the realm of causality. Dondup, the main character, changes from hating and rejecting the world he lives in to gradually understanding the importance of the world as it is here and now. The message of the movie is that one can come to understand the whole universe through a chance encounter with a single person. It also shows that when we open our mind and approach each other with truth and sincerity, the world becomes a better place. Key 화엄학은 곧 관계의 이론이다. 화엄학의 핵심 이론 중의 하나가 법계연기론이다. 이 세계는 법계의 무진 연기 관계로 이루어진다는 것이다. 연기론의관점으로 세계를 볼 때 망막에 포착된 세계의 협소함을 넘어서서 무한한 상상력이 동원된다. 연기적 상상력은 극단적으로 확대, 혹은 축소를 통해 강력한 감각과 정서의 환기를 유발하여 미학적 원리로 작용한다. 이러한 미학 원리를 필자는 ‘관계미학’이라 하였다. 본고에서는 부탄의 감독 키엔츠 노르부(Khyentse Norbu)가 연출한 영화 「나그네와 마술사(Travellers and Magicians)」(2003)를 통해 이 영화가 법계연기론의관점에서 볼 때 어떠한 관계미학의 면모를 담고 있는지를 분석하였다. 이 영화를 택한 이유는 법계연기론을 적용시켜 분석하기에 매우 적합한 서사구조를 지니고 있기 때문이다. 영화 「나그네와 마술사」는 소재와 주제 모두 불교를 바탕으로 하고 있다. 이 영화의 주제는 표면적으로 인간의 허황된 욕망의 문제를 다루고 있다. 하지만 본고에서는 이 영화의 내용을 표면적 주제에 머물지 않고 화엄학의 법계연기라는 관점에서 풀어내었다. 법계연기는 깨달은 자의 눈으로 보는 세계의 실상이다. 상즉상입하는 사사무애법계라든지, 하나의 티끌 속에 온 우주가 담겨 있다는 것은 깨달은 자만이 볼 수 있는 것이지, 아무나 그렇게 할 수 있는 것이 아니다. 범부중생으로서는 완벽한 상즉상입의 세계를 체험할 수 없다. 분리와 대립의 세계로부터부분적인 상즉상입의 다양한 층위를 엿볼 수 있을 뿐이다. 이 논문에서는 범부중생의 닫힌 세계가 상호 교섭 속에서 어떻게 열려가고 확대되어 가는지에대한 과정을 추적하였다.

동시대 ‘관계 예술’의 새로운 유형과 가치 - 니콜라 부리오(Nicolas Bourriaud)의 ‘확장된 관계’ 개념을 중심으로

소나영,장민한 유럽문화예술학회 2022 유럽문화예술학논집 Vol.13 No.1

This study is an attempt to closely examine new contemporary artistic practices exploring the relationship between humans and non-humans through the ‘expanded relationship’ concept displayed at the 2014 Taipei Biennial, following the publication of Bourriaud’s Relational Aesthetics. The study’s purpose is, firstly, examining the significance of the ‘expanded relationship’ concept presented through the 2014 Taipei Biennial since Bourriaud’s 1990s ‘relational aesthetics.’ Secondly, it aims to categorize artworks that explored the relationality between humans and non-humans by the three patterns of human - nature, human - new life-form, and human - machine based on Bourriaud’s ‘expanded relationship’ concept, and to analyze this to survey the aesthetic value. The categorizing of new art types exploring the contemporary relationship between humans and non-humans will be able to operate as an evaluation range when assessing the value of the art, and it will lend itself to use as a datum point for creating new narratives. 본 연구는 부리오의 『관계 미학』 발간 이후, 2014년 타이페이비엔날레 전시에서 보여준 ‘확장된관계’ 개념으로 인간-비인간의 관계를 탐색하는 동시대 새로운 예술적 실천을 규명하고자 하는 시도이다. 연구의 목적은 첫째, 부리오의 1990년대 ‘관계 미학’ 이후 2014년 타이페이 비엔날레를 통해보여주었던 ‘확장된 관계’ 개념이 어떤 의미가 있는지 살펴보는 것에 있다. 둘째, 부리오의 ‘확장된관계’ 개념에 입각하여 인간과 비인간 간의 관계성을 탐색한 작품들을 인간-자연, 인간-새로운 생명체, 인간-기계, 이렇게 세 가지 유형으로 나누고 이를 분석하여 미학적 가치를 조망하는 것이다. 동시대인간-비인간의 관계를 탐색하고 있는 새로운 작품 유형들을 분류하는 것은 작품의 가치를 평가할때 평가범주로서 작동될 수 있을 것이며, 새로운 서사를 만드는 기준점으로 활용될 수 있을 것이다.

관계성 측면에서 본 한국 전통건축 미학특성 분석

연태경,이연숙 대한건축학회 2003 대한건축학회 학술발표대회 논문집 - 계획계/구조계 Vol.23 No.1

The purpose of this study was to analyze the aesthetic characteristics of Korean traditional architecture from a view point of relationship. The society and culture have been changed and according to that, the relationship has been disappeared. Accordingly, we need to regain the relationship between everything in the world, so this study did to find characteristics about relationship in Korean traditional architecture. This study did the following; First, it reviewed literature about special character of Korean traditional architecture. Second, it made an analysis standard about aesthetic characteristics for categorizing special character. Third, it categorized aesthetic characteristics again according to a standard for relationship characteristics. The standard for relationship is made up of eight items; people and god, people and people, people and nature, people and architecture, nature and architecture, architecture and architecture, negative and positive, and time and space.

『삼국유사』<수로부인>의 미의식을 중심으로 본 <헌화가>와 <해가>의 의미

김정애(Kim, Jeong-ae) 한국고전여성문학회 2016 한국고전여성문학연구 Vol.0 No.32

이 논문은 삼국유사 <수로부인>에 나타난 미의식을 탐색함으로써 <헌화가>와 <해가>의 의미를 밝히고자 하는 것을 목표로 하고 있다. 이를 위해 본고에서는 <헌화가>와 관련된 헌화담의 인간관계 양상과 <해가>와 관련된 납치담의 인간관계 양상을 분석하였다. 분석의 결과는 다음과 같다. 첫째, 순정공과 수로부인과 노옹은 아름다움을 향유하는 데에 경계를 나누거나 구속하지 않는다는 공통점이 있었다. 그러한 사고를 바탕으로 불린 노래가 바로 <헌화가>이며 이 노래로 하여금 수로부인의 아름다움은 상생의 계기를 마련할 수 있었다. 둘째, 수로부인의 아름다움이 납치라는 사건을 야기한다고 하더라도 순정공은 수로부인을 비난하지 않는 것은 납치사건의 원인이 아름다움에 대한 해룡의 독점욕 때문이지 수로부인 때문은 아니라는 것을 인지하고 있기 때문이며, 수로부인 역시 그와 같은 사유체계를 가지고 있어 복귀 후에도 위축되지 않는 모습을 보여준 것이라고 보았다. 따라서 <해가>는 해룡의 소유욕에 대한 정죄의 의미로서 <해가>가 불린 것이지, 아름다움에 대한 관계 규정을 하기 위한 것은 아님을 보여준다고 하겠다. 결론적으로 이 논문은 <수로부인>와 관련한 미의식의 새로운 해석을 시도한 것이며, 이는 고대에서 중세로 넘어가는 과도기에서 아름다움이 중세적 명분에 귀속되지 않는 가치를 지녔음을 보여주며, 이는 장차 우리 인간관계를 건강하게 운영할 수 있는 대안적 의미가 될 수 있다고 전망된다. This paper aims to reveal the meaning of Heonhwa-Ga(헌화가) and Hae-Ga(해가) by studying the aesthetic consciousness in Sooro-Booin(수로부인). For this goal, I analyzed the pattern of relationship in the story related Heonhwa-Ga(헌화가) and the pattern of relationship in the story related Hae-Ga(해가). The result of analysis among cases are as follows. First, there are common things about the aesthetic consciousness between Sunjeong-gong and Sooro-Booin and Gyunwoo-Nowong(견우노옹) that the beauty is not based on the boundary of relationship. So Heonhwa-Ga(헌화가) is created by this thought and this song contribute the opportunity of coexistence. Second, the reason why Sunjeong-gong does not blame her although the beauty of Sooro-Booin bring about the accident of kidnapping is not Sea-dragon's desire for exclusive possession but Sooro-Booin. And Sooro-Booin never shrink and is always majestic. So Hae-Ga(해가) means persuasion about Sea-dragon's desire for exclusive possession. Consequently, this paper shows that the beauty does not becom vested middle age's moral duty and this thought can become alternative meaning for healthful life.

영화 <올드 보이>에 나타난 포스트모던 미학과 동양적 특성

최민성 ( Choi Min Sung ) 한국언어문화교육학회 2006 언어와 문화 Vol.2 No.2

This paper aims to review new aesthetical aspects shown in movie “Old Boy.” The word “new” was used here to highlight its postmodern features, different from those in traditional western modernity. It also tries to explain the link between the movie’s post modernity with East Asia’s aesthetics. Old Boy’s peculiar features also come from denial of the subject and abnormality witnessed throughout the movie. The movie uses hypnotism to dramatize the rivalry between Oh Dae-su and Lee Oo-jin. Particularly, it provides a most effective tool for Lee to control Oh. Oh also picks up hypnotism to forget the memory of the incest with his daughter. Oh is becoming a new person being controlled and manipulated by hypnotism. The abnormal plots in this movie shake the basis of “subject concept,” bedrock of most modern movies. This proves that Old Boy is a kind of post modernity movie. In East Asia, there has been no strong subject concept. Rather sorcery still prevails throughout nations, which will not change even in the 21st century. This sorcery-centered mentality can be compared with Irrationality from which Max Webber struggled to be liberated. Webber believed that modernization could be possible only when people were disillusioned with sorcery. But Old Boy turns to the irrationality again, placing more emphasis on magical power that manipulates characters’ sub-consciousness than on rational decisions and behaviors. In this regard, Old Boy is a film that represents not only post modernity but East Asian features as well. Post modernity and East Asian features in “Old Boy” come from breakdown of cause-and-effect relationship and much emphasis on destiny. Unlike the original work, Old Boy does not have either typical rival plots or cause and effect link, still providing viewers with impressive stories. As a result, it succeeds in highlighting power of “irrational destiny,” reflecting the reality where rational control of life may not be possible in the first place. Perception of unknown future is one of post modernity’s sublime expressions. East Asian people tend to accept destiny very easily. To them, the world is a place where yin and yang alternate according to ups and downs of chi. Pleasure is followed by agony and ascent followed by descent, albeit not all the time. This proves that the world is a place where two opposite things coexist. It also explains why East Asian people accept destiny as part of universal principles while westerners think of it as irrational. No wonder that aesthetics in Old Boy does not cause rejection from East Asian population. Lastly, Old Boy’s post modernity and East Asian features can be explained by reviewing its hybridity and Ahurum. Unlike the original, the line between fantasy and reality in the movie is blurred as the former frequently interrupts the latter. Sometimes, emotion surplus intensifies images of fantasy. It seems that the movie is straddling between reality and fantasy all the time. Also the movie is not just filled with serious stories but dotted with humorous lines and scenes here and there. Seriousness and humor make a single body and create a peculiar aesthetical emotion. This hybridity explains the post modernity in the movie. Encompassing two opposite things is called Ahurum in East Asia. Our traditional arts always emphasize the beauty of “tighten” and “loosen.” It means that you should neither tighten all the time (not always tragic) nor loosen all the time (not always humorous). Harmonization between tragedy and humor is of great importance. You can draw analogy from the alternation between reality and fantasy in Old Boy. Fantasy and reality mingle together seamlessly. The beauty of East Asia’s aesthetics is Jungyong which means keeping a “halfway” between two opposite values. In this regard, Old Boy’s hybridity comes from East Asian features. ( H a n y a n g University)

창조적 영성을 위한 기독교교육의 과제

김기숙(Ki-Sook Kim) 한국기독교교육정보학회 2009 기독교교육정보 Vol.23 No.-

The last two centuries can be characterized as the age of uncertainty. The purpose of this study is to propose an answer for the question: what are the tasks of christian education in this age of uncertainty? The answer lies in the creative education. To explore the creative education, it is crucial to ponder upon what the creativity would mean in christian theology. In this article, the creativity is studied in the perspective of reformed theology. Three characteristics of the creativity are discussed here: 1) vitality, 2) relationship, and 3) aesthetic. The implementation tasks in nurturing the creative spirituality should aim at 1) the identity education that helps the student keep his/her identity in the life of Jesus Christ, 2) the community education which lets the student acquire the vitality of Jesus Christ in full having relationships with others, and 3) the aesthetic education that purifies human emotion and communicates ideas in an aesthetic context.