오장환 초기시에 나타난 이중성의 폭로와 욕망의 문제

오세인 한국문학이론과비평학회 2010 한국문학이론과 비평 Vol.47 No.-

This paper aims to examine early poems of Oh Jang-hwan from the perspective of disclosure of duplicity and desire from his first published poem 'Mokyokgan' (Public Bath) to first poem book Seongbyok(Castle Walls). The characteristics of Oh's early poems have been defined as criticizing or denying problematic tradition, however, without specifically designating the object of criticism or denial. This paper will specify the object as the duplicity of premodern and modern society and that various layers of desire are at the bottom of that duplicity. Here, the duplicity indicates the deceptive behaviors of Yangban, ruling class of premodern society who cover the desire of individual and group up with Confucian ideology and the strategy of segregation and separation of forced modernization hidden behind the glamourous exterior. Modern and premodern society are identical in that they are deceptive and hypocritical. Oh Jang-hwan's early poems criticize the universal desire of modern and premodern society by disclosing the duplicity. In 'Camera Room' and 'Mokyokgan', Oh describes the survival of premodern ideology which had already lost its value, class distinction, racial discrimination and the matter of desire in modern and premodern society. In 'Seongbyok'(Castle Walls), 'Jeongmoon'(Gate of Filial Piety) and 'Seongssibo'(Genealogical Record), he discloses deceptive behaviors of premodern ruling class, including himself. In 'Oncheonji'(Hot spring) and 'Suboo'(Capital), he reveals the strategy of class distinction and separation of modern society by contrasting the brightness and darkness of modern city. In this way, Oh Jang-hwan expresses his awareness of crisis in modern society. By including himself in the criticism on modern and premodern society, his crisis awareness shows tragic features and his criticism can be justified. This tragic features of Oh Hang-hwan's early poems is one aspect of aesthetic modernity closely related to the reality of Korea in mid 1930s.

‘권취신 옥사’로 본조선후기 유교 이데올로기의 이중성

하여주 부경역사연구소 2023 지역과 역사 Vol.- No.52

Since the founding of the Joseon Dynasty, people have changed the identity, status, and role created in human relations into a Confucian style. The Confucian social construction principle was a patriarchal order centered on paternalism, and the symbolic beings on it were men and heads of households. And Gamo(家母, family mother) who had the status of the head of the household. She was the best woman in the family and the one who ran the house and took care of the family. However, the authority of Gamo(家母, family mother) established by the deepening of Confucian ideas could serve as an excuse to empower the concubine's resistance depending on the situation. As an example, this paper confirmed a case in which a concubine who served as Gamo(家母, family mother) was punished as an invincible crony wife. The conclusion of King Yeongjo, who presided over the investigation of this case, is as follows. First, the concubine illegally stole the authority of the housekeeper. Second, male suspects had no choice but to admit their concubine. As such, Confucian ideology has duplicity. Joseon's rulers cleverly used Gamo(家母, family mother) and filial piety to maintain a solid order of marriage and to distinguish discriminatory gender.

여성소설의 "이중성" 고찰

박종홍 ( Jong Hong Park ) 한국문학언어학회(구 경북어문학회) 2014 어문론총 Vol.60 No.-

There are female writers that are based on love affair, Choi Jeong-hee, Lee Seon-hee and Baek Sin-ae, and in their novels written in the protagonist being the married modern women, the duplicity was focused on and compared among the novels <Personal connections>, <The rouger>, <From the darkness>. In <Personal connections>, ‘I’ had left home thinking of a divorce but was returning home since her lover was persuading her to. The ironical aspect she shows, that she stays loyal to her husband and loves her child in order to continue her love with her boyfriend, is a sign of duplicity in female novels. In <The rouger>, in the last part, she showed the duplicity of alleviating the violence of the rouger through a comic speech. In <From the darkness>, ‘I’ am a divorced woman, and her lover and colleague S was encouraging and advising her to set free from her family and take steps into the society. Despite her lover’s death, she persuades her mother and tries to participate in the social movement again. This shows duplicity through an attitude that embraces opposing values.

<鸞鶴夢> 속 주동인물군의 이중성과 그 의미

이지하 국문학회 2012 국문학연구 Vol.0 No.25

<Nanhakmong(鸞鶴夢)> is a long novel written in Chinese letters by Jeong, Tae-un in late 19th century. It exposes duplicity in many sides such as the figuration of character, the process of contents,author's consciousness etc. For that reason this stady aims to examine the aspect and the meaning of duplicity focused on the protagonist group. Heroines of this novel are figured as a very progressive character more than heroes. However they can not maintain consistency and they change their character to passive way because of author's stand based on filial piety. Heroes are symbolized as a dutiful son and a royal retainer. However they shows incompetent behavior in face of danger. Another main character, Hyungsandosa who gives much help and has an influence on hero's family intervenes in the common world in spite of being an unworldly priest and he insists on confucian ideas in spite of being a Taoist. Above duplicities are caused by following reasons. First, there is discordance between author's purpose emphasizing confucian ideas and the figuration of Character based on realism. Second, author's duplicate desire influences on a view of the world and a political view, so he makes characters who are conflicting between reality and unreality, secularism and unworldliness, an ideology and a fact. Third, this novel exposes lack of harmony caused by technical immature although author tries to make a new style novel by borrowing customs of Korean classical long novels. This duplicity is regarded as a negative element but on the other hand it makes possible understanding the complicated meaning of this novel in the connection of author, period and novel genre. 19세기 후반에 정태운에 의해 창작된 한문소설 <난학몽>은 비슷한 시기에 창작된 여타의 한문장편소설과 마찬가지로 한문학적 소양을 갖춘 작가가 당대에 유행하던 국문소설의 요소들을 차용하며 새로운 글쓰기를 시도한 결과물이다. 그런데 이 작품을 읽다 보면 논리적 일관성이 결여된 듯한 이중성과 자주 마주하게 된다. 이에 이중성을 가장 잘 보여 주면서도 작가의식이나 주제의식과 긴밀하게 연관되리라 생각되는 주동인물군의 형상화에 주목하여 이를 분석하고, 이중성의 이유와 의미를 고찰해 보았다. 우선 인물들이 보이는 이중성의 양상을 살펴보았는데 여성주인공들의 경우 남성보다 더 적극적인 성격으로 그려지는 게 이 작품의 특징임에도 불구하고 그것이 일관성을 지니지 못하고 효 우위의 논리 속에서 변질된다. 남성주인공들의 경우에는 충신, 효자로서 탁월한 능력과 도덕성을 겸비한 인물들로 설정된 것과는 달리 실제 행적에서는 무기력하고 무능력한 모습을 보여 준다. 또 주인공 가문에 막대한 영향력을 행사하며 도움을 주는 형산도사의 경우 탈속한 인물이 끊임없이 세속적 삶에 관여하며, 도선적 위치의 인물로서 당대 지배 이념인 유교적 가치들을 강조하는 이중성을 드러낸다. 이와 같은 이중성은 다음과 같은 이유들에 의해 발생한 것으로 파악된다. 우선 소설을 통한 유교이념의 강조로써 도덕적 교화의 효과를 거두고자 하였던 작가의 의도와 현실 논리에 입각한 사건 전개 및 인물형상화 사이에 불일치가 발생했기 때문이다. 또한 향촌의 몰락한 사족으로서 작가가 지닌 이중적 욕망이 세계관 및 정치관에 투영되어 현실과 비현실, 탈속과 세속, 이념과 실제 사이에서 부유하는 인물들을 그리게 된 것으로 보인다. 마지막으로 소설 기법 면에서 당대 소설 양식을 모방하고 차용하는 가운데 새로운 글쓰기를 시도하였지만 그 과정에서 작가가 의도한 내용과 형식이 조화를 이루지 못하거나 의욕에 비해 완결성이 부족한 기법적 미숙함이 드러나기도 한다. 이러한 부분들이 작품 내적 원리에 준거할 때는 소설적 완성도를 떨어트리는 부정적 측면으로 파악될 수도 있지만, 보다 거시적인 차원에서 바라보면 한 시대의 작가와 소설 사이에 형성된 길항관계를 매우 흥미롭게 포착할 수 있는 단서들을 제공해 주기도 한다. 이 작품이 담고 있는 다양한 이중성과 그 안에 담긴 다각적인 의미들은 근대적 변화의 물결이 소용돌이치던 19세기 후반에 20대의 몰락 사족 작가가 소설이라는 장르를 통해 기존 이념을 수호하고자 하는 복잡한 정황과 깊은 관련을 지니는 것이다.

이중성과 전환기적 특성 (kettőség és átmenetiség): 오스트리아-헝가리 이중제국시대 헝가리 사회·문화의 특성

김지영,임상우 한국세계문화사학회 2011 세계 역사와 문화 연구 Vol.0 No.24

Hungarian culture had been strongly influenced by Austrian culture and started to show the unified and compromised characteristics between Hungary and Austria in the era of Austro-Hungarian Dual Monarchy. Even though Hungarian culture in Dual Monarchy could be regarded as European in the traditional macro perspective, the fin-de-siecle Hungarian mood that was duplicate and transient in tension and stillness, romanticism and passion, nationalism and cosmopolitanism, etc, had been very unique by itself. After 1867 Compromise, europeanism in Hungarian culture as well as Hungarian original culture had been focused with the establishment of Dual Monarchy. Along with its geological importance, centered in the European continent, Budapest had displayed the refined, urban, pan-european patterns in all respects. In this course, not only the duplicity that emerged from the denial and quest of the past but also transiency that appeared as a form of mixed culture could be found. The inconsistent fusion phenomena had even coined the word "contradictory harmony". Hungarian traditional style had been reflected through the western windows of Austria, and could be found in the numerous literary works, architectural buildings, the ways of living, etc. This reflection had to do with the 'Duplicity' and the 'Transiency', and this tendency had captured the Hungarian intellectuals consciously or unconsciously. Hungarian culture during the era of Dual Monarchy could be characterized by the concepts of the 'Duplicity' and the 'Transiency'.

동아시아 모더니즘의 교차점 -이상과 동시대의 일본문학-

쯔보이히데토 ( Tsuboi Hideto ) 국제한국문학문화학회 2008 사이 Vol.5 No.-

본고는 1930년대 국경선을 넘어 활약한 조선의 모더니즘 시인, 이상에 초점을 두고, 동아시아 모더니즘 운동의 가능성과 문제의 일단을 고찰하려는 것이다. 서구 대(對) 아시아라고 하는 수직적 차원과 대치하는 동아시아의 수평적 차원이 성립한다고 하더라도, 처음부터 그것은 제국 시대, 식민지주의 시대의 부(負)의 부산물이다. 그리고, 당시는 거의 무명에 가까웠던 이상이라는 문학자가 우리들에게 남긴, 동아시아의 공간에 걸쳐놓은 방법론적 가교(架橋) 또한 무의식적인 영위의 소산을 넘은 것은 아니었을 것이다. 다만, 일종의 정치적 무의식의 자장(磁場)을 가지고 우리들의 눈앞에 재현되는 것의 의미는 결코 작지 않을 것이다. 이상의 문학은 조선어/일본어라는 이중언어성을 비롯하여, 시/소설이라는 장르의 이중성, 서울/동경이라는 공간적인 이중성과 같이 다양한 이중성을 지님으로써 성립한다. 본고에서는 이러한 이중성에 대하여 키타가와후유히고의 단시(短詩), 혹은 카지이모토지로, 타치하라미찌조 등 동시대의 일본 문학과도 비교·분석하여 글쓰기, 즉 에크리튀르(ecriture)에 대한 그의 과잉의식이 이러한 이중의 세계를 잇는 가교임을 논급하였다. This article examines the modernist poet, Yi Sang, who straddled national boarders for a short time in the 1930s. In doing so, this article spotlights the Modernist movement in East Asia, its possibilities and problems. Even if we admit a world with Western Europe and Asia on opposing poles of a vertical dimension, and the Eastern Asia intersecting that line in another opposition, this can only be seen as a by-product of the imperialist, colonial era. However, was the methodological bridge that Yi Sang, at the time a nearly unknown writer, created across the space of East Asia, nothing more than a creation of Yi`s unconsciousness? However, Yi has presented us with a field of the political unconscious, a truly significant act indeed. Yi`s literature is composed of a number of dualities: a linguistic duplicity of Japanese and Korean; a duplicity of poetic and novel genres; and a duplicity of space, between Seoul and Tokyo. In this study, I compare the duplicity of Yi Sang to Kitagwa Fuyuhiko`s short poetry, and to the work of other contemporary Japanese writers like Kajii Motojiro and Tachihara Michizo. In that analysis, I argue that Yi`s excessive consciousness of ecriture is what creates a bridge between the two worlds.

1930년대 서울 노래의 이중성 : 웃음과 눈물의 이중주 The duet of smile and tear

장유정 서울시립대학교 부설 서울학연구소 2005 서울학연구 Vol.- No.24

The purpose of this article is to look at the view and emotion of people at the time of 1930s through Seoul songs. For this purpose, the situation of Seoul at that period was described as 'duplicity of Seoul' in Chapter 2. The duplicity of Seoul was found from the fact where the traditional and modern image meets each other and there are different cultures divided into Namchon(南村) and Bukchon(北村) by the Cheonggyecheon(淸溪川). It is quite natural that popular song reflects the life and emotion of the people especially when Jongno(鐘路) in Bukchon appeared in the popular songs quite often. In Chapter 3, Seoul songs were divided into two big categories. One includes the songs that contain the smile of Seoul and the other includes the songs that describe the tears of Seoul. It was possible to depict the smile of Seoul because the speaker was looking at Seoul from the point of critical view from a distance. The works that show the smile of Seoul do not really mean the real happiness and pleasure of its smile. It signifies the ridiculous smile with sneer voice. Also, it is noticed that the ridicule using happiness smile gives us both educational instruction and pleasure. Next, in the works describing the tears of Seoul, the speaker actually experiences it and he expresses his emotions that he had gone through from the said experience. In his works, the tears are not wailing but it is tears that stay alone on their own without making a noise. However, these tears do not simply mean loneliness and desolation. They show the passive hope in terms of describing the dark reality, reminiscent of the past and yearning. Therefore, when they come out as a popular song, they do not only limit itself to a lonely cry but also they become a cry with others and the general sensibility is created while crying together. Thus, Seoul songs in 1930s played a duet of smile and tears.

인문학적 상상력과 서사전략 이선희 소설에 나타난 식민지 근대의 이중성 연구

김인경 ( In Kyung Kim ) 한국현대문예비평학회 2011 한국문예비평연구 Vol.- No.36

Lee Sun-hee put a focus on observing life in a more fundamental way, describing internal psychology in details through the daily lives of women and making sensitive responses to the evil practices of modern urbanization. This study examined the ambivalent perceptions of heroines in her novels, whose mainstream was a romantic view. The heroines` romantic views have a sense of orientation to overcome the negative reality and live a true life, which makes women keenly feel the stubbornness of patriarchy and the resulting dual situations due to differences in perceptions between man and woman. Also this study examined in the study was the locality of Gyeongseong as part of explorations into gender consciousness. Locality in modernity focuses on its inherent otherness, minority, difference, and duplicity, which makes relations between gender consciousness and locality closer. In cities where the consumptions and desires of modern capitalism predominate, women are threatened by the real world. Going through modernization fast, the city of Gyeongseong is the place where women trying to serve in society further confirm the dual reality. Lee closely looked into the duplicity of colonial modern days by exploring the inner consciousness of her characters and urban spaces, which reflects her sense of identity as a novelist as well as her own perspectives of reacting to the contradictions of colonial modernization in the 1930s.

마이스터 에크하르트 사상의 이중 개념: ‘버리고 떠나 있음’, ‘무’, ‘지성’에 대한 고찰

박홍기(Park, Hong Ki) 광주가톨릭대학교 신학연구소 2021 神學展望 Vol.- No.213

에크하르트 사상에는 이중적 의미가 담긴 개념들이 있다. 신과 인간의 합일의 길을 규명하고자 한 그의 신비주의 철학의 핵심 개념들 중에 ‘버리고 떠나 있음’(Abgeschiedenheit), ‘무’(Nichts) 그리고 ‘지성’(Intellectus, Vernunft)이 신과 인간에게 공통으로 적용되어 이중적 의미를 띠고 있는 것이다. 이 개념들의 이중성은 에크하르트가 ‘신과 인간의 신비적 합일’(unio mystica)을 설명하기 위한 수단으로 사용하여, 신비적 합일을 이룰 수 있는 그 가능성의 ‘상태’(Zustand)와 그 상태적 측면이 어떤 작용과 활동으로 합일의 사건에 연관되는지 ‘과정’(Prozess)으로서 드러난다. 그러나 이러한 이중성은 신과 인간의 아무런 구분이 없는 온전한 하나 됨의 사건, 곧 ‘영혼의 근저(Seelengrund)에서의 신의 탄생’으로 해체된다. 곧 신과 인간이라는 관점에서 비롯된 상태와 과정 그리고 그 수동성과 능동성이라는 이중적 의미는 신비적 합일의 목적이 성취된 거기(근저)에서 사라지는 것이다. 이는 종말론적 결론이 아니라 영원한 현재에서 생기하는 사건이다. 에크하르트의 신비주의 철학적 개념들을 해석하는 데 어려움을 겪는 이유이기도 한 이러한 ‘이중성’은, 순수성과 절대성 그리고 초월성 등으로 표현할 수 있는 신의 본성으로서의 상태적 측면이 어떤 작용과 활동으로 신비적 합일을 이루는 과정에 상호 연관성으로 나타나는지 보여주고 있는 바, 그 변증법적 통일성을 찾아가는 것이 본고의 목적이다. 신비주의 철학적 개념의 특성에서 비롯된 유비적인 표현이나 한편으로 대립적이며 모순적으로 보이는 언명들이 가리키는 본래의 의미와 그 의미가 지향하는 점에 대해 숙고하다 보면, 에크하르트의 개념들이 가진 이중성에서 벗어나고 떠나게 됨으로써 결국 반성적 작업조차 돌파되어 만나는 장중한 귀결에 이르게 될 것이다. 그것은 신이 아니면 아무것도 아닌 무로서의 피조물인 인간이 온전히 신이 되는 가슴 벅찬 완전성의 실현, 지복직관의 가능성을 에크하르트를 통해 선물로 받게 되는 감격이다. The thoughts of Meister Eckhart who had investigated the unity of God and man has several mystic concepts including double meaning. Those are ‘Detachment’(Abgeschiedenheit), ‘Nothing’(Nichts), and ‘Intellect’ (Intellectus) among the key concepts concerning his mysticism which understood double meaning applied to God and man in common. The duplicity in these concepts has been used as Eckhart’s method in order to explain his fundamental theory of ‘Unio Mystica’. This represents as a ‘process’(Prozess) on mutual work and activity concerning that issue which could be united to the ‘state’(Zustand) of possibility for the unity of two subjects. However, this duplicity has been disintegrated to ‘the birth of God in the Ground of the Soul’ that means the complete union between God and man’s boundless relation. The double meaning of God, the human, the state, the process, the passivity and the activity disappears when he discovered the united point that accomplished the Unio Mystica. This is not an apocalyptic conclusion but an incident that happend in the eternal presence. This duplicity which represents the reason why it has been difficult in interpreting Eckart"s mystical philosophical concepts is the nature of God by his existence such as Purity, Absoulteness, Transcendence. These manifest the results of the state from God’s nature how it unfolded the mutual interconnection on the process of Unio Mystica. This is the main purpose of my research in searching for dialectical unity. Once duplicity could be concerned as the original meaning and the goal of that meaning it will reach the grave conclusion, as it departs from the duality of Eckhart’s concepts, then they could encounter each other beyond reflective work. This realization of completeness leads to the possibility of the beatific vision by Eckhart which means unification with God as a human creature who means nothing without God becoming God.

‘儒敎의 이중성’과 ‘近代의 이중성’

이상익 한국철학사연구회 2007 한국 철학논집 Vol.0 No.21

Duplicities of Confucianism and Modernity / Lee, Sang-ik