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「밀다원 시대」에 나타난 ‘부산’과 ‘밀다원’의 장소감
송명희 한국문학이론과비평학회 2012 한국문학이론과 비평 Vol.54 No.-
이 논문은 김동리의 소설 <밀다원 시대>에 재현된 ‘부산’과 ‘밀다원’의 대립적인 장소감에 대해 분석하였다. <밀다원 시대>는 1951년 1.4후퇴 때 부산으로 피난 온 문인들이 처했던 모습과 실존의식을 보여주는 전후소설이다. 주인공 이중구는 피난처인 부산을 낯선 공간으로 인식하며, 땅끝의식에 사로잡히게 된다. 그러나 밀다원 다방에서는 땅끝의식을 잊어버리고 즐겁게 시간을 보낸다. 밀다원은 부산 속의 작은 서울이라 할 수 있는, 서울에서 온 문화예술인의 아지트였던 것이다. 서울에서 피난 온 문인들에게 부산은 결코 친밀한 장소가 아니라 적대적이고 위협적인 공간이었으며, 그들에게 위안과 친밀감을 주었던 유일한 장소는 밀다원이었다. 이중구는 밀다원에서 서울에서 내려온 문화예술인들과 피난민 처지를 공유하며 진정한 장소감을 갖게 된다. 이-푸 투안과 에드워드 렐프의 개념대로 표현하자면 <밀다원 시대>의 부산이란 ‘공간’에서 주인공이 느끼는 장소감은 소위 땅끝의식이라 표현된 ‘장소상실’이라 규정할 수 있다. 반면 밀다원은 ‘장소’이며, 주인공의 밀다원에 대한 장소감은 즐겁고 흥분되는 감정상태를 유발하는 ‘장소애’라고 규정할 수 있을 것이다. Kim Dong-ri's 「Mildawon Sidae」 is a postwar novel that shows an appearance of writers who fled to Busan at the time of the 1.4 Retreat in 1951 and the consciousness of existence. Lee Jung-gu, the main character of this novel, is seized with the consciousness of the end of the earth, recognizing Busan, a shelter, as an unfamiliar place. In the Mildawon teahouse, however, he completely forgets the consciousness of the end of the earth and has a nice time. Mildawon which can be called small Seoul in Busan was the hideout of cultural artists from Seoul. Busan was never a familiar place but a hostile and threatening space to literary men from Seoul. It was Mildawon that gave comfort and a sense of closeness to them. Lee Jung-gu has gotten a true sense of place by sharing a situation of refugees in Mildawon. If quoted from the notion of Yi-Fu Tuan and Edward Relph, the sense of place that the hero feels in the 'space', called Busan in 「Mildawon Sidae」 can be prescribed as a ‘placelessness’ expressed by the consciousness of the end of the earth. On the other hand, Mildawon is a 'place', and the character's sense of place about Mildawon will be able to be provided as 'topophilia' that causes feelings such as pleasure and excitement.
송명희 한국문학이론과비평학회 2010 한국문학이론과 비평 Vol.47 No.-
Through the supposition that Na Hyeseok's style of painting affected her literary works, this paper first observes what Na Hyeseok's style of paintings is. While studying in Paris, Na hyeseok went from being an impressionist painter to being a fauvist and expressionist painter. Focusing on the fact of this change, impressionistic and expressionistic points reflected her written works were examined. As a result, impressionistic tendencies reflected in the poems [Gwang (光)](Light) and [Nen mul] (A stream) were confirmed, also in the essay [Wonmangsuron pom pam] (A reproachful night in spring), expressionistic tendencies were confirmed. As a painter and a writer at the same time, she formed a relationship between her paintings and literature that transcended the differences in formative and lignuistic arts. I think it formed an intertextuality. In short, it's a very natural thing that the textualities transitted and influenced each other consciously or unconciously. Na hyeseok's style of painting changed from impressionist to expressionist. It's natural that impressionistic elements and expressionistic elements appeared in her literary works. In the future, Na hyeseok's art and literary intertextuality should be further researched. This script in focusing on discovering these possibilities could find their significance.
宋明喜,朴明潤 대한보건협회 1988 대한보건연구 Vol.14 No.1
A survey covering 787 mothers was conducted in Seoul during August and September 1987 and the results are as follows: 1. 79.4% of mothers breastfed their young children during the first month and 31.2% started breastfeeding from the 3rd day after delivery. Higher percentage of mothers who used artificial feeding was found among mothers with high education, higher income, urban natives, and jobs. The main causes of artificial-feeding were lack of breast milk (48.8%) and mother's job (15.0%). 2. 80.4% of mothers began the weaning between 3 and 6 months after delivery. The most difficulties in the weaning practice were (a) the baby did not eat well (41.9%) and (b) diarrhea or other infections (17.3%).
송명희 釜山水産大學校 1983 論文集 Vol.31 No.-
This study tends to compare Yi, Kwang-soo's literary criticism and that of M. Arnold, especially in view of literature (poetry). They agreeded on the fact the literature is the criticism of life, and it has the importance of social usage. They also acclaimed 'arts for life's sake'. They are both humanists and classicists who layed emphasis on morality, university, eternity, and moderation in literature. They are, moreover, regarded as critics who greatly recognized the role of criticism and critics. These similarities suggest that Mr. Yi might have been influenced by M. Arnold in view of literature.
宋明姬 釜山水産大學校 1985 論文集 Vol.35 No.-
This dissertation studies Yi Kwang Soo's nationalism and literary though with special reference to his various articles and literary essays. In order to verify the reality of his nationalism, his conception of nationalism should be probed before anything else. And he enumerated lineage, natinality, culture-language an literature-as the essential elements of nation-building up. There are a few interpretations in his nationalism; first, ethno-natinalism stemming from blood lineage, secondly, humanitarian aspiring toward perfection of national and, lastly, cultural or linguistic nationalism emphasizing cultural requisites. In 1910s he represents ideology of modernization which means that man should be emancipated from autocratic society and that the undeveloped country should be modernized with the aid of pragmatism. As his nationalism rests on individual and cultural problems, it appears chara-cteristically peace-oriented, cultural, moderate, universal and diachoric one. The-refore it failed to develop into the political nationalism which contributes to national independence and rebuilding. He insisted the view of literature that it should be independence of religion, morality and policy and that literature may be used to achieve modernization by making public the ideology of modernization. Namely, He proclaimed the view of literature as the effective vehicle to emancipate the oppressed individual and to accomplish the whole man with knowledge, emotion and will as the individual aim and social modernity.