단원 김홍도 화제(畫題)의 서체와 낙관인

손환일 한국사상문화학회 2019 韓國思想과 文化 Vol.100 No.-

Kim Hong-do had a great influence on painting and calligraphy. He had learned from Kang Se-hwang, a representative painter, calligrapher of Joseon period; however, the variety of painting was from the genius of Kim Hong-do. The handwriting style of Kim was following Cursive script(Choseo), Semi-cursive script(Haengseo), Regular script(Haeseo), Palbun(a kind of Clerical script) and Seal script(Jeon-seo). Cursive script(Choseo) and Semi-cursive script(Hangseo) of Kim Hong-do followed the Semi-cursive script(Haengseo) writing style of Wang Xizhi as Kang Se-hwang. Also Kim Hong-do was following the style of small-letter-Regular-script(Haeseo) writing style of Wang Xizhi as Kang. However for the big-letter-Regular-script(Haeseo) writing style, Kim Hong-do accepted the style of Aekche(額體: writing style used in Pyeon-aek, a signboard) of Lee Bugwang of Yuan Dynasty; he used the writing style of Yan Zhenqing, a Chinese calligrapher, of Tang Dynasty, in contrast with Kang Se-hwang. For 전서, Kim followed Lee Han-jin(a calligrapher of Joseon) and Im Deuk-myeong(a painter of Joseon) in part; however, he added the pictorial feature, it was the different point from Lee Han-jin. For Palbun(a kind of Clerical script), he learned from Yu Hanji(a calligrapher of Joseon). Through the pen name and the seal of Kim Hong-do, it is possible to guess his age, personal situation, residential area and so on. The pen name ‘西湖(Seo-ho)’ showed ‘his Seoul life, leaving Ansan area’, the seal ‘士能(Sa-neung)’ showed his youth, the pen name using ‘翁(Ong)’ suggested his old age. Also the pen name ‘檀園(Dan-won)’ and ‘小檀(So-dan)’ reflected his respect to Li Liufang(Yi Yu-bang) of Ming Dynasty, thinking of himself as a disciple of Li; it showed that Kim Hong-do was influenced by the style of Li Liufang. Kim Hong-do used various style of Signature Seal(落款印: Nakgwanin), using the technique of ‘depressed(intaglio) engraving’ and ‘embossed(relief) carving’, and with the circular shape and the square shape. Kim used the depressed(intaglio) engraving seal. The signature seal ‘臣弘道(Shinhongdo)’ and ‘士能(Sa-neung)’, of <Jeon Kim-Hong-do Chu-seong-bu-do(a painting by Kim Hong-do, expressing the poetry of Song Dynasty)>, had confirmed the painting as a genuine work of Kim Hong-do. On the contrary, some paintings with unfamiliar signature seal were difficult to be considered as the works of Kim Hong-do; Kim Hong-do has a significant feature of calligraphy and seal of his own. At the contents of Du-in(頭印: a seal used to beginning of the work), it is possible to guess his taste and tendency. Among the frequently used Du-in, ‘一卷石山房(Ilgwonseoksanbang)’ meant his self-portrait, ‘心醉好山水(Simchwihosansu)’ reflected his landscape paintings. As can be seen, Signature Seal was important to show the feature of artist through writing style and seals. Someone can draw the painting similarly, however it is hard to copy the same calligraphic style. 김홍도는 강세황에게 배워 서화에 미친 영향이 크다. 그러나 그림의 다양성은 그의 천재적 기질에서 발현된 것이다. 김홍도가 구사한 서체는 초서와 행서, 해서, 팔분과 전서 등이 있다. 초서와 행서는 강세황과 함께 왕희지 행서필법을 따랐다. 소자(小字) 해서도 강세황과 같은 왕희지의 소자 해서를 썼다. 그러나 대자(大字) 해서는 원나라 이부광의 액체(額體)를 따랐고, 화제에도 당나라 안진경체를 따른 점이 강세황과 다른 점이다. 전서는 이한진과 임득명을 따랐으나 글자에 회화성을 가미한 점이 이한진과 구별되고, 팔분은 유한지를 배웠다. 김홍도의 아호와 인장은 당시 나이, 개인적 상황, 주거지역 등을 엿볼 수 있다. ‘서호(西湖)’에서는 안산을 떠난 서울생활, ‘사능(士能)’에서는 청년 시절, ‘옹(翁)’에서는 노년, ‘단원(檀園)’, ‘소단(小檀)’에서는 명나라 이유방(李流芳)의 제자임을 자처하여 화법에 영향을 받았음을 알 수 있다. 김홍도의 낙관인은 음각과 양각, 그리고 방인(方印, 네모인장)과 원인(圓印, 둥근인장)을 사용하였다. 주로 음각을 많이 사용하였다. <전김홍도추성부도>는 날인된 낙관인 ‘신홍도(臣弘道)’와 ‘사능(士能)’을 통하여 김홍도가 그린 그림임을 확인할 수 있다. 반면에 낙관인과 관지(款識)의 서체가 생소한 그림들은 김홍도의 그림으로 보기 어려운 요건들이 있다. 낙관(落款)의 서체와 인장에 김홍도의 특징이 있기 때문이다. 두인의 내용에는 그의 취향과 성향이 나타나있다. 많이 사용한 두인 중 ‘일권석산방(一卷石山房)’은 그의 자화상, ‘심취호산수(心醉好山水)’는 그의 산수화를 연상하게 한다. 이와 같이 낙관에는 서체와 인장에서 작자의 특징이 잘 나타나 있기 때문에 중요하다. 그림은 유사하게 그릴 수 있으나, 글씨를 같게 하기는 어렵기 때문이다.

김명순 소설 「도라다볼때」, 「외로운사람들」에 나타난 신여성의 의미 연구: 이광수 『재생』, 염상섭 『너희들은 무엇을 어덧느냐』와의 비교를 중심으로

남은혜 서울대학교 규장각한국학연구원 2018 한국문화 Vol.0 No.83

Kim Myung-soon appeared in 1917 and lived as a writer for more than 20 years before releasing her last work in 1939. The year 1924 when the Chosun Ilbo published three of the most important novels in a row, it became the most notable time to publish its first collection, “The Fruit of Life,” in 1925. During this time, Yeom Sang-seop’s novels “What did you get” and Lee Kwang-soo’s “Revival” were published in the Dong-A Ilbo. And it is comparable in many ways to Kim Myung-soon’s Chosun Ilbo serial novels ‘When Looking Back’ and ‘Lonely People.’ All four of these are stories of a new woman who suffers from a love failure and a wrong marriage. At that time, society and literary circles showed more interest in Kim’s activities as a new woman than in literature. In this situation, Kim tells the story of a new woman who may appear to be a writer herself in the novels ‘When Looking Back’ and “The Lonely People.” She was able to portray the tragic story of a young woman who was isolated from the contradictory reality of the time. Kim's novels are similar to Yeom Sang-seop and Lee Kwang-soo’s in character setting and narrative. It is primarily based on the fact that the text is a motif of the romance and marriage between Kim Myung-soon and Park In-duk in common. Park In-duk was one of the leading new women who drew attention like Kim Myung-soon. But even though she started out with a common model and motif, the new women depicted in Yeom Sang-seop, Lee Kwang-soo’s novels and Kim Myung-soon’s novels show different characteristics. Yeom Sang-seop and Lee Kwang-soo’s novels have shaped new women who pursue love and desire for money and come to a tragic end. And these women appear to be attractive but incomprehensible and painful. Unlike them, new women in Kim Myung-soon’s novels do not pursue personal desires for love or money. She want to find someone who can communicate with her. But those who live as pioneering new women suffer from a lonely situation, not even family members and loved ones. Through their tragic end, they are accused of the multi-level contradictions that new women had to live in. Soryeon from ‘When Looking Back’ was born to a father who lived a sexually dissipated life and a mother from a ‘gisaeng’ who committed suicide. Soryeon, who lost her mother's love due to her father's fault, seeks love of her mother, but is impossible in relationships with men. Soonhee from ‘Lonely People’ also falls apart and frustrated from both family and society, unlike Jeongtaek, who promised to live within his and one law. In Yeom Sang-seop and Lee Kwang-soo’s novel, the new woman seeks personal desire and faces death (Lee Kwang-soo’s novel’s Soonyoung) or pregnancy (Yeom Sang-seop’s novel's Maria). New women in Kim Myung-soon’s novel are similar to the tragic ending of suicide. However, the death of Soryeon from “when you look back” has a different meaning in that it pulls out “man’s blood” and puts a knife into her chest to live a new life. Kim Myeong-soon, in particular, is actively meaningful by linking the death of Soryeon with the flood of Pyongyang. Although the characters’ relationships and the process of writing are similar, the writer’s perception of new women was different. Although Kim was alienated from both literary circles and society compared to Lee Kwang-soo and Yeom Sang-seop, this gave her a fundamental understanding of new women’s life. It also needs to be re-evaluated in that it was actively rewritten through novels. The paper looked at the tragic lives of new women in the writings of Yeom Sang-seop, Lee Kwang-soo and Kim Myung-soon, the most important writers of the time. However, compared to the real life of Kim Myung-soon and Park In-duk, the novels are more tragic. New women in Yeom Sang-seop, Lee Kwang-soo and Kim Myung-soon’s novels lead to death and despair in different situations. However, Park left home with her hu...

김일성 가(家)의 피의 숙청사

강석승 ( Kang Seok-seung ) 인천대학교 사회과학연구원 2013 사회과학연구 Vol.4 No.-

Kim Il-Sung's tenure as leader of North Korea has often been described as autocratic, and he established an all-pervasive cult of personality. Despite his opposition to de-Stalinization, Kim never severed his relations with the Soviets. He found the Chinese unreliable allies due to the unstable state of affairs under Mao, leaving the DPRK somewhere in between the two sides. The Cultural Revolution in China prompted Kim to side with the Soviets, the decision reinforced by the policies of Leonid Brezhnev. This infuriated Mao and the anti-Soviet Red Guards. As a result, the PRC immediately denounced Kim's leadership, produced anti-Kim propaganda, and subsequently began reconciliation with the United States Officially, Kim was part of a triumvirate heading the executive branch of the North Korean government along with Premier Choe Yong-rim and parliament chairman Kim Yong-nam (no relations). Each nominally held powers equivalent to a third of a president's powers in most other presidential systems. Kim Jongil was commander of the armed forces, Choe Yong-rim headed the government and Kim Yong-nam handled foreign relations. In practice, however, Kim Jong-il exercised absolute control over the government and the country. Although not required to stand for popular election to his key offices, he was unanimously elected to the Supreme People's Assembly every five years, representing a military constituency, due to his concurrent capacities as KPA Supreme Commander and Chairman of the DPRK NDC. The execution of the uncle of North Korea's Kim Jong Un has sparked fears that the country is on the verge of implosion and that members of the ruling elite is threatening the dictator's power. Jang Song Thaek, 67, who had been considered the second most powerful official in the country was killed immediately after a military trial. North Korea's official news agency said Jang had sought to 'destabilise the country' to take charge through a coup. Execution: Jang Song Thaek, with his hands tied with a rope, is shown being dragged into a military court shortly before his execution for treason yesterday. Once powerful, he was the uncle of leader Kim Jong Un.

김억의 번역론 연구 : 근대문학의 장(場)과 번역자의 과제

김진희(Kim Jin-hee) 한국시학회 2010 한국시학연구 Vol.- No.28

In the beginning of the Korean modern literature since 1910's, Kim Eok played a crucial role as a translator for foreign literature and theory. During the acceptance of foreign literature, Kim realized the importance of translation and he is considered an intellectual who, as opposed to other contemporary translators, performed a bulk of translations from various countries. He was in the lead of balancing content and form, reforming he literary circles of translation in which there was abundance of arbitrary interpretations and content-concentrated translations. However, Kim Eok's translated works have been devalued by reason of erroneous and liberal translation of original works and inapt understanding. Researchers generally examine original and translated texts in tandem, after which they point out problems of the translations and attribute them to the translators' lack of capacity. The study of this paper presupposes that in-depth understanding of translated texts can be carried out only when the theory and practice of translation go in parallel. It argues that the negative evaluation for Kim's translations can be reconsidered through the study of theory. Kim argued for 'creative liberal translation,' and this paper investigates the formation and characteristics of this standpoint. This paper particularly looks into how symbolism, which Kim embraced, influenced Kim's view on translation. The acceptance of symbolism and the theory of translation are discussed in regard to the theory of translation maintained by Bejamin, a German literary critic who lived around the same time, in his book The Task of the Translator. The paper also examines Kim Eok's theory of translation in the sense that the act of translating foreign languages expands and deepens a mother tongue, which provides an opportunity to form and develop the self-identity. Kim's viewpoint on translation, which searches for the nature of poems, found modern poetic language for the Korean poetry, which was possible due to his exploration into language that represents this nature. Translating the western poems in the initial stage of modern literature implies admission and conveyance of heterogeneous culture, beyond simple written text, and creation of new culture. Kim Eok's translated works shows the creativity of cultural translation that is generated at the intersection of internal and external cultures. The literary world after 1920's, via translations, could realize the identity of modern literature by means of dialogue with others, i.e. dialogue between tradition and the West. Furthermore, it could have a foundation in creation of new culture. Along these lines of modern literature, Kim Eok's theory of translation presented ‘creative liberal translation’ and ‘creative translation’ as the task and direction for those who do the translation, including himself. It was an aspect of cultural action that Kim's theory evidently showed through translation.

金壽增의 文藝志向과 家學傳受

이종호(Lee, Jong-ho) 대동한문학회 2009 大東漢文學 Vol.31 No.-

김수증은 위로 광찬에서 번으로 이어지는 수직적 계통맥락과 그를 둘러싼 횡적인 혼인맥락이 교직하는 그물에서 한 점으로 존재한다. 따라서 혈연적 네트워크가 종법사회의 중심에 있던 김수증의 문예취향을 결정해버렸다고 해도 과언이 아니다. 김수증의 문예취향은 조부대인 김상용・상헌 시절에 형성된 문예전통과 문예의식으로부터 영향을 받아 형성된 것이다. 문예전통은 翰墨과 詩書, 즉 서법, 회화 시문 창작을 가문의 교양으로 익히는 것을 말하며 문예의식은 서법과 회화와 시문 창작이 모두 소통 가능한 예술이라는 인식에 바탕하여 속되지 않은 선비가 되기 위해 부단히 추구되어야 한다는 의식이다. 이러한 전통과 의식은 후대 장동김문 구성원 사이에 공유되고 실천되었다. 그 과정에서 김수증은 金石書藝 분야에서 일가를 이루어 谷雲體라는 독특한 팔분서체를 완성했다. 그리고 그것이 후대에 전해져 마침내 노론계의 서체로 굳어졌다. 뿐만 아니라 세밀하고 핍진한 記文문창작을 통해 후기 實景文化에 큰 영향을 끼쳤다. 김수증은 아들 창숙과 손자 오일을 통해 자신의 문예가 전승되기를 바랐으나 모두 허사로 돌아갔다. 그들이 자기보다 먼저 세상을 등졌기 때문이다. 그 결과 김수증의 문예는 조카인 창협과 창흡 에게로 계승되었다. 특히 창흡은 자신의 아들 致謙을 김수증의 후사로 입적시킴으로서 김수증의 의발을 전수받는 결과를 가져왔다. 농연형제들은 1694년 갑술환국 후 부친 김수항이 신원되어 재기의 기회를 맞는다. 그러나 그들은 부친의 遺戒를 들어 출사를 거부하고 강한 은거취향을 드러낸다. 그에 따라 자연 친화의 한 방법으로 산수유람 을 선호하게 된다. 그 가운데서 김창흡은 적극적인挆勝을 통해 山水美를 발견하고 표현하는 紀逰文藝에 몰입했다. Kim Soo-Jeung have a existence as a point in the network which is combined by vertical line and horizontal one surrounding him. So that, we don't think it unfair that the network of blood relations fixed his art intention. Because he was a center place of clan rules society. Kim Soo-jeung's art intention is built by influence from Kim Sang-youg and Kim Sang-heun who made a art tradition and literary idea. Tow Kims are grandfather generation to Kim Soo-jeung. Arttradition means learning of calligraphy, painting and writing as a family culture, and literary idea means such a consciousness as they can have a mutual understanding between the three fields like calligraphy, painting and writing. So they would want ot pursue such a idea constantly so as not to be a vulgar person. Like a tradition and consciousness are hold in common among the future generations of Changdong Kim's family. In the transmission progress, Kim Soo-jeung built an unique Gokwun-style which is a kind of Palboon-style in the calligraphy of epigraph, and then that became a epigraph style of Nolon party to later ages. Besides he hat influence on the late Silkyung culture through writing documentary described in detailed and real. Kim Soo-jeung hoped his owen literal legacy should be continued to his to his son Chang-sook and grandson Dh-il, but all his efforts for the passing were for nothing, Because they died before him. Therefore Kim Soo-jeung's literal legacy is succeeded by his nephew Kim Chang-heup brothers. Especially Chang-heub actually succeeded the main line of his descent by entering his son in a family register as an heir. Nonyeon brothers had a opportunity to come back after regime change in the year of 1694, Kapsul according to recovering his father's original government position. But they refected any entering government service, and showed strong hermit intention. Due to that, they begin to incline to Sansu sightseeing in the proper means for nature friendship. Among them Chang-heub positively sought out the beauty of anture by sightseeing, thus he fell into Kiyou arts which means finding out and representing various Sanso beauties.

1967년 노동당 제4기 15차 전원회의 김정일 연설

정창현(Jung, Chang-Hyun) 역사비평사 2015 역사비평 Vol.- No.112

Kim Jong Il drove the systemization of Juche ideology and establishment of a monolithic ideological and ruling system in the party, military and the state apparatus of North Korea. After being designated as the successor of Kim IL Sung with the first generations’ support, he constructed the current North Korean party-state system through ideologically and theoretically systemizing the first generations’ outcomes and introducing an operation guideline for the party-state-military with the help of the second generation. Thus, it is important to recognize Kim Jong Il as an individual representing the North Korean “second generation” rather than an “individual”. This is because “the first generation of partisans” placed considerable interest in and the second generation backed Kim’s personal growth and power consolidation. In this context, the 15th Plenary Session of the 4th Term Korean Workers’ Party Central Committee in 1967 where Kim Jong Il made his first official speech should be re-examined. The speech was the prelude to the Kim Jong Il’s grasp of power and the signal for the emergence of the second generation as the core of the Party through a shift in generations. At the same time, the Plenary Session was the starting point of implementing a monolithic ideological system by purging the Kapsan Faction that included Park Geum-cheol and Lee Hyo-sun who remained passive during the process of construction. In 1974, seven years after his first speech, Kim Jong Il was officially designated as the successor of Kim Il Sung. The North Korean Suryong system which began to be strengthened organizationally and ideologically with the August Faction Incident in 1956, was well established by the late 1960s. It was perfected in the 1970s with the establishment of Kim Jong Il’s monolithic ruling system based on the Suryong’s monolithic leadership system. After the establishment of the monolithic ruling system, Kim Jong Il became the supreme power, even when Kim Il Sung was still alive. He was not only the de facto real power commanding the party-state-military apparatus from the 1980s, but also the Supreme Leader who has the sole right to interpret Juche ideology. The absence of serious conflict or confusion in the succession process even with the abrupt death of Kim Il Sung in 1994, should be understood in this context. North Korea successfully handled the construction of the succession regime and the death of Suryeong in 1994. This historical experience helped North Korea to establish Kim Jong Un’s succession regime within the relatively short time of 3 years and further facilitated a rapid shift in power without any serious problems after Kim Jong Il’s sudden death in 2011.

論文(논문) : 朝鮮時代(조선시대) 宦官(환관) 金處善(금처선)의 活動(활동)

( Hee Heung Jang ) 대구사학회 2013 대구사학 Vol.113 No.-

Kim Chu-seon was the eunuch from Kin Sejong to Eunsangun in Chosun Dynasty. We can find it difficult to examine a eunuch`s personal activities rather than those of official. In case of the eunuch`s life, there is no any trace in pedigree and no collection of works and anthology. Kim was seemed to be engaged in the royal court as the eunuch during King Sejong. It has been learned that Kim had been released from the banishment before and after the Suyangdaegun`s Kyeyujungran, and soon was exiled. But their connection was not confirmed. Kim came into play as the close to the King Sejo, and was punished by a few mistake in works. But Kim was promoted to the high official in the Department of Eunuch during the King Seongjong. After death of King Seongjong Kim organized the eunuchs to keep the King`s tomb and got the official rank as Jahyundaebu, the senior grade of the second. But after the Gapjasahwa, Yunsangun tyrannized the politics, and the eunuchs like other officials had the loyal remonstrance. Eunuch Kim Sun-son was killed by the remonstrance, and Kim`s family was adopted in the guilty-by-association system. Eunuch Kim Kyu-gyung was killed in cruelat that time. Kim Chu-seon recognised all of these eunuches` poor situations but Kim also pleaded with the Eunsangun from his motive. Kim was also punished and kim`s family was adopted in the involvement system. In recent, there is debate that Kim was restored during King Jungjong but granting Kim a official position was during King Yungjo. As the result, Kim was adopted into the eunuch Kim and could be succeeded to Kim`s family as Eunuch. (Daegu University / janghis@daegu.ac.kr)

1886년 일본망명자 김옥균 유폐의 전말과 그 원인

김성혜(Kim, Sung-hyae) 고려대학교 아세아문제연구소 2015 亞細亞硏究 Vol.58 No.3

갑신정변에 실패한 김옥균 등이 일본으로 망명한 이후, 조선정부는 이들을 역적으로 간주하고 김옥균의 본국 송환을 위해 노력해 나갔다. 이러한 조선정부와 달리, 일본정부는 국사범을 보호해 일본의 인도적 행동을 드러내고 조선과의 협상카드로 김옥균을 이용하고자 했다. 따라서 번번이 일본국내법과 만국공법, 그리고 조일간 범죄인인도조약의 부재를 이유로 조선정부의 김옥균 송환 요구를 거절했다. 그렇지만 일본정부의 김옥균 비호 방침은 오사카사건 관련자들의 김옥균에 대한 회유 모색이 발각되고 조선정부가 장은규와 지운영을 파견해 김옥균을 암살하려 하면서 변화되었다. 이로 인해 김옥균의 일본체류가 일본국내 치안을 불안하게 만들고 외교 분쟁의 빌미를 제공한다는 사실이 표면화 되었기 때문이었다. 그러자 일본정부는 김옥균문제를 해결할 방안을 강구했는데, 공교롭게도 이때 스스로를 지키고자 한 김옥균의 행동이 일본정부를 더욱 자극했다. 일본정부는 1885년까지 망명 국사범의 보호라는 명분과 대조선 정책에서의 활용이라는 실리를 모두 얻고자 김옥균의 일본체류를 묵인했다. 그렇지만 점차 조?청 양국의 반복적인 송환 요구와 일본내 반정부세력과의 연계, 암살자들의 도일 등으로 김옥균을 내치외교의 걸림돌로 판단하게 되었다. 결국 일본정부는 김옥균의 공식적인 신변보호 요청을 계기로 추방을 결정해 오가사라와에 유폐시켰다고 하겠다. The Korean government had constantly promoted the repatriation of political asylum in Japan like Kim Ok-kyun(金玉均) who led a failed coup and fled to Japan. At that time, the Korean government recognized Kim was a threat to the regime and made the feelings of the people disturb. However, the Japanese government opposed the Korean government for they permitted Kim’s residence in Japan. By the way, the Japanese government’s policy had changed because of the discovery of the Osaka plot(大阪事件) with Kim Ok-kyun and an assassin dispatched by the Korean government. The Japanese government had to prevent a coup by the opposition with Kim Ok-kyun or the assassins would kill Kim in Japan. Therefore, the Japanese government had decided on Kim’s deportation from Japan because of the obstacles in diplomacy and sedition. Then Kim had consulted his personal problems with an Englishman belonging to the judiciary of Japan and moved to a hostel of France concession in Yokohama, leaving Tokyo. Kim then sued Ji un-yeong(池運永) in court. In addition, Kim asked for personal protection and asylum in Russia from the Speyer of Russian consul in Japan. However, Kim Ok-kyun’s formal request for personal protection antagonized the Japanese government and made his expulsion one of force. As a result, Kim Ok-kyun was confined to Ogasawara(小笠原) Island.

김균진의 신학과 신학적 공헌

김명용 연세대학교 신과대학 2009 신학논단 Vol.56 No.-

Kyun Jin Kim is one of very important modem theologians in Korea. He was president of Korean society of systematic theology and is now president of Korean society for Karl Barth's theology. He has served more than 30 years as professor of systematic theology at Yonsei university. He has made a big impact on Korean theology. I. Kyun Jin Kim' theological characteristics 1. Kyun Jin Kim's theology is a theology of the kingdom of God. Although soul salvation plays a big role in Kim' theology, the kingdom of God is the core of his theology. He has written his doctrine of systematic theology in the light of the kingdom of God. It is the purpose of his theology to establish the kingdom of God on the earth. 2. Kyun Jin Kim' theology is a messianic theology. According to Kim, it is important to know that Christ was the messiah. Kim denies that the concept messiah is interpreted only spiritually. He can be a political messiah, although he doesn't want to rule the world with coercive power. He is the messiah who saves not only our souls, but also the world and the earth. 3. Kyun Jin Kim's theology is a holistic theology. He is not interested in a biased theology. He loves holistic theological view. According to Kim, Korean Min Jung theology lacks this holistic view, although it shows us very important field to establish the kingdom of God. Ⅱ. Kyun Jin Kim's theological contributions 1. Kyun Jin Kim's first theological contribution to Korean theology is his five books of systematic theology. He accomplished his doctrine of systematic theology. His five books of systematic theology can be valued in Korean like Church Dogmatics of Karl Barth. 2. Kyun Jin Kim's theology is very academic. His theology is a very high level theology which can compete with european theologies. It is important to know that european theologians should learn from his theology. 3. Kyun Jin Kim's third theological contribution is his translation of many books of J. Moltmann. He translated into Korean the crucified God, Trinity and Kingdom of God, the Way of Jesus Christ, Sprit of life, the coming God etc. 4. Kyun Jin Kim's forth theological contribution is his contribution to the theology of life. He develops a very high level theology of life in Korea.

김영하 소설의 죽음 연구

김지혜 동국대학교 한국문학연구소 2014 한국문학연구 Vol.0 No.46

The purpose of the concerned study was to define Author KIM Young-ha's perception about a death, which has been frequently observed in his novels. Since the debut as an author, KIM Young-ha has been trying to discuss existence of a human being while making a use of this particular material, ‘death’, in various ways. However, all those studieswhich had once investigated the ‘death’ have focused only on early works of KIM and in that regard, the concerned study aimed to understand how KIM's perception about death have been changed so far. In 『I Have The Right to Destroy Myself』and 「I am beautiful.」, KIM described a male narrator who tried to sublimate a death in art as taking notes not only on a female character who has decided to commit a suicide but also on the moment she killed herself. KIM's early works which have made the death beautiful could be understood as some evil aestheticism or radical nihilism as how the previous researches have discussed. However, on the other hand, those works could be also understood that they have made this death escape from all those traditional, modern ideas about death, discussing spectacles of the death in some aesthetic way.Through the early works, Author KIM Young-ha was believed to talk about the futility and anxiety of being, fighting against the current systems. Works published in the 2000s would discuss less about aesthetic, erotic deaths but start discussing unfamiliar, unusual ones. In 「Crocodile」, 「High Tension Line」 and others, KIM used how a human body would disappear out of the blue to described possibilities for the body to get separated from a soul and a death which has been unfixed. In addition, 『Black Flower』 and 『I can hear your voice』, KIM described an ascensionof a soul religiously enough to keep a distance from the tragic presencebut to console humans in trouble. In『How a murder remembers』, KIM showed readers how this narrator, a serial killer diagnosed with Alzheimer's, would fight not to lose one's memories. After all, this hero who would want to be either a devil or a superman by murdering others came to lose all one's memories and got trapped in a state of ‘nothing’. In this novel, KIM tried to ask the readers meanings of a death via this material, extinction of memories. Author KIM Young-ha would keep presenting the ‘death’ in his works, trying to run away from those fixed ideas about death. In doing so, KIM is, now, believed to be an author who would reflect on problems of a life and a death while discussing existence of a human being. 본 논문은 김영하 소설에 빈번하게 나타나는 ‘죽음’에 주목하여 그의 죽음 의식을 밝히는 것을 목적으로 한다. 김영하는 등단 초기부터 ‘죽음’ 이라는 소재를 다양하게 활용하여 인간 존재의 문제를 성찰하였다. 그러나 ‘죽음’에 대한 연구는 초기 작품에 한정되어 있으므로 그의 죽음 의식이 어떻게 변화하고 있는지를 고찰할 필요가 있다. 『나는 나를 파괴할 권리가 있다』, 「나는 아름답다」에서는 자살하려는여성인물과 그 순간을 기록함으로써 죽음을 예술로 승화시키려는 남성화자를 그려내고 있다. 죽음을 미학화한 그의 초기 작품은 기존 논의처럼 악마적 탐미주의, 급진적 허무주의로 평가받을 수 있다. 그러나 한편으로는 죽음을 미학적으로 스펙타클화함으로써 전통적이고 근대적인 죽음관에서 탈주하고 있다고 볼 수 있다. 이를 통해서 그는 기존 체제에 저항하고 존재적 허무와 불안에 대해 말하고 있다. 2000년대 이후 작품들에서는 초기의 탐미적이고 에로틱한 죽음의 특징이 약화되고, 낯설고 비일상적인 죽음이 등장하기 시작한다. 「악어」, 「고압선」 등에서는 갑작스럽게 사라지는 육체의 모습을 통해 육체와 영혼의 분리가능성, 그리고 고정되지 않은 죽음을 그려낸다. 또한 『검은꽃』과 『너의 목소리가 들려』에서는 영혼의 승천을 종교적으로 묘사함으로써 비극적인 현실에 거리두기를 하며 고통받는 인간을 위로한다. 『살인자의 기억법』에서는 알츠하이머에 걸린 연쇄 살인범 화자가 자신의 기억과 싸우는 것을 그리고 있다. 치밀한 이성의 힘을 믿으며 살인을 통해 악마 혹은 초인이 되려고 했던 주인공은 기억을 소멸함으로써‘무(無)’의 상태에 갇힌다. 이 소설에서는 이러한 기억의 ‘소멸’을 통해 죽음의 의미를 묻고 있다. 김영하는 작품 속에 끊임없이 ‘죽음’을 등장시키고, 고정된 죽음관을 탈주하는 방식으로 삶과 죽음의 문제, 인간의 존재에 대해 성찰하고 있는 것이다.