RISS 학술연구정보서비스

검색
다국어 입력

http://chineseinput.net/에서 pinyin(병음)방식으로 중국어를 변환할 수 있습니다.

변환된 중국어를 복사하여 사용하시면 됩니다.

예시)
  • 中文 을 입력하시려면 zhongwen을 입력하시고 space를누르시면됩니다.
  • 北京 을 입력하시려면 beijing을 입력하시고 space를 누르시면 됩니다.
닫기
    인기검색어 순위 펼치기

    RISS 인기검색어

      검색결과 좁혀 보기

      • 좁혀본 항목

      • 좁혀본 항목 보기순서

        • 원문유무
        • 음성지원유무
          • 원문제공처
          • 등재정보
          • 학술지명
          • 주제분류
          • 발행연도
          • 작성언어
          • 저자

        오늘 본 자료

        • 오늘 본 자료가 없습니다.
        더보기
        • 무료
        • 기관 내 무료
        • 유료
        • KCI등재

          나혜석 문학연구의 현황과 과제

          송명희 ( Myung Hee Song ) 현대문학이론학회 2011 現代文學理論硏究 Vol.0 No.46

          이 논문은 나혜석의 문학연구의 현황을 살펴보고 앞으로의 연구 방향과 과제에 대해서 논의하였다. 나혜석은 현재 남겨진 자료의 관점에서 보면 화가로서보다는 문학가로서의 정체성이 더 확고하다. 나혜석의 문학연구가 동시대의 다른 여성작가보다 더 진전된 이유가 전집이 먼저 발간된 데 있다고 보고, 신뢰할 수 있는 전집이 나오기까지의 과정을 살펴보았다. 또한 <나혜석기념사업회>가 결성되어 심포지엄을 매년 개최함으로써 나혜석 연구의 활성화가 가능했다. 나혜석 연구의 현황을 단행본과 학위논문, 소논문 별로 살펴보았다. 그런데 나혜석만을 단독 연구대상으로 삼은 박사논문은 아직 나오지 않았다. 이는 나혜석 작품의 양적 빈곤과 작가의 문학사적 비중이 낮은 데 이유가 있다. 나혜석에 관한 소논문은 1980년대부터 100여 편이 발표되었는데, 1990년대에 접어들어 활발해지다가 2000년대 이후 양산되었다. 나혜석 문학연구는 우리나라의 페미니즘 비평이 활발해진 시기와 맞물리며 전개되었는데, 연구 결과 나혜석은 근대를 대표하는 페미니즘 문학가로 평가되었다. 나혜석 연구는 글쓰기의 표현방식과 페미니즘이라는 주제의 양 측면으로 이루어졌다. 그리고 나혜석 연구는 소설 「경희」 한 편에 치중하는 양상을 보이는 한편, 외국의 여성작가와 비교하는 논문이 18편이나 나와 있다는 점도 특이하다. 그간 나혜석의 주요 연구자들의 연구 성과를 살펴보았는데, 특히 일문학자들은 국문학자들이 접근하기 어려운 일본문학의 자료들을 통하여 나혜석의 페미니즘 형성에 영향을 미친 서구 및 일본의 영향관계를 밝히는 데 기여하였다. 나혜석은 근대기를 대표하는 여성작가로서 주제적 측면에서 페미니즘이라는 계몽의식에 투철한 작품을 썼고, 그 의식의 첨단성은 오늘날에도 새로움을 느낄 만큼 혁명적이다. 하지만 여성문학사가 아니라 주류 문학사에서도 나혜석이 기술되기 위해서는 페미니즘을 넘어서는 다양한 방법론으로 그의 문학이 재조명되고, 그 문학적 가치를 인정받을 때에 가능할 것이다. This study has a character like a history of research that says the process of study on Na Hyeseok`s works. She keeps identity more as a writer than as a painter from the viewpoint of remaining materials. The reason why the study about her works have made more progress than contemporary other female writers` is that her complete works were released earlier than others. We looked over the process of making two reliable complete works, Lee Sang-kyung`s in 2000 and Seo Jeong-ja`s in 2001. And another reason is, making ``the Foundation for Na Hye-seok``, we could hold ``the symposium for knowing about Na Hyeseok correctly``. We figured out the fruits of the symposium. I looked over books and theses concerning Study on Na Hye-seok, there are 21 books and 40 master`s theses. And she is treated as one of the female writers in early modern ages in around 10 doctor`s theses. Comparing other female writers, she has been shed on in regard to some subjects like eroticism, sexuality, and modernity. However, nobody studied solo, writing a doctor`s thesis, because she has just 6 short stories, 6 poems, and 1 play, respectively, moreover, most of her works are essays related to feminism and art which are not enough for a subject of literature works. In brief, I figured out that it came from quantitative shortage in works and in her low reputation in history of literature. Around 100 article on Na Hye-seok have been published from 1980`s, it was getting popular entering 1990`s, and it has been growing tremendously since 2000. Study on Na Hyeseok`s works began to develop the time when feminist criticism was getting popular, Na Hyeseok became regarded as a representative feminist writer. Studies focusing on the way how to write feminine writing, autobiographical writing, confession literature, and thematic sides such as feminism, modernity, the experience of colonization, images of female intellectuals, images of modern girls, sexuality, eroticism, and Christian observance were released. These studies are dealt within a big framework, feminism. And we can see that studies about Na Hye-seok concentrate on only the novel, 「Kyunghee」, on the other hand, there are already 18 comparative literature theses which are comparing her as a feminist writer with foreign female writers. Meanwhile, there have been principal researchers, Lee Sang-kyung, Seo Jung-ja, Song Myung-hee, Jeong Sun-jin, Choi Hye-sil, Lee Deok-hwa, An Suk-won, Noh Young-hee, and Kim Hwa-young, and so on. Especially, Noh Young-hee and Kim Hwa-young have contributed to showing the effect relations between the West and Japan which affected her formation of feminism with materials of Japanese literature which are hard to approach for scholars of Korean literature. Na Hyeseok, as a representative female writer in modern times, wrote thoroughly enlightening works which have the theme regarding feminism, and the recentness of the enlightenment was very innovative as we can feel newness of it today. But, to be treated not only in the history of female literature but also in the mainstream history of literature, it`s not possible until her works are described in various ways beyond feminism, and the literary value achieves recognition.

        • KCI등재

          캐나다한인소설에 재현된 서발턴의 서사와 거주 공간의 분리

          송명희(Song, Myung-hee) 한국비평문학회 2015 批評文學 Vol.- No.57

          이 글은 전지구화 시대에 캐나다에서 주변화된 존재로 살아가는 캐나다한인 이주자를 서발턴(subaltern)의 관점에서 바라보며, 그들의 삶의 질 추락과 거주 공간의 분리에 대해 캐나다한인소설을 중심으로 고찰하였다. 캐나다한인들은 보다 높은 삶의 질을 추구하기 위해 자발적으로 이민했지만 이민은 오히려 그들의 삶의 질을 떨어뜨렸으며, 계급적 추락을 초래하게 만드는 아이러니한 결과를 나타냈다. 즉 이주 후 캐나다한인들의 사회경제적 위치는 모국에서의 중산층적 지위보다 한층 낮아졌고, 오히려 타자화(otherness)와 주변화(marginalization)가 심하게 일어났다. 캐나다한인소설에는 캐나다한인들이 저임금의 막노동이나 자영업에 종사하는 현실, 백인들의 유색인종 이민자에 대한 차별적 태도, 그리고 거주 공간이 분리된 상황 등 서발턴으로서의 주변화된 삶이 재현되어 있다. 그야말로 캐나다한인소설은 캐나다한인들의 주변화된 삶을 형상화한 서발턴의 서사라고 할 수 있다. 캐나다한인 작가들은 그 자신들이 한국문학과 캐나다문학 그 어느 곳의 중심에도 속하지 못하는 주변적 존재, 즉 서발턴이다. 하지만 그들은 한국에서 높은 교육을 받은 고학력자들로서 이민 이후 캐나다에서 한인문단을 조직하고, 한국어로 그들의 주변화된 삶을 그려내며 자신들의 서발턴의 지위에 꾸준히 저항하여 왔다. 그들이 자신들의 문학을 통하여 정체성을 질문하고, 자신들의 스토리를 구성해 왔다는 것은 의미 있는 일이다. 하지만 그것만으로는 부족하다. 그들은 캐나다 공용어로 작품을 발표함으로써 주류사회를 향해 그들의 목소리(independent voices)를 보다 적극적으로 낼 수 있어야 한다. 그래야만 서발턴으로서의 주변화된 위치를 벗어나는 데 도움이 될 수 있다. This article at hand approaches the Korean Canadian immigrants who are living marginalized lives in Canada from a subaltern perspective, and examines the decline in their quality of life and the segregation of living space as represented in Korean-Canadian novels. The Korean Canadians voluntarily immigrated into Canada to pursue a higher quality of life, yet ironically the consequences were contradictory: a decline in the quality of life and the fall of social status. That is to say, the socio-economic status of early Korean-Canadian immigrants fell far below the middle-class standing that they once had in their homeland, and they were instead faced with severe marginalization. The Korean-Canadian novels represent the unhappy life of the Korean Canadians as subalterns: their reality of working in lowwage physical labor or self-employed jobs, their suffering from the local white community’s discriminatory attitude toward the colored immigrants, and the segregation of living space. The Korean- Canadian novels can truly be called the narratives of the subalterns that give shape to the marginalized lives of the Korean Canadians. The Korean-Canadian writers themselves can be thought of as being marginalized, that is, as subalterns who cannot identify themselves as belonging to either Korea or Canada. Nevertheless, they are people who took their higher education in Korea. Since they immigrated into Canada, they have organized Korean literary circles in Canada, written their marginalized lives in the Korean language, and consistently resisted their subaltern status. It is indeed meaningful that they questioned their identity through their novels and created their own stories. Yet it is far from enough. They should be able to voice their independence more actively into mainstream literature and society by publishing their works in an official language of Canada. Only then can they help themselves get out of their marginalized status as subalterns.

        • KCI등재

          잡지 『삼천리』의 사회주의 페미니즘 담론 연구

          송명희(Song Myung-hee) 한국비평문학회 2010 批評文學 Vol.- No.38

          The purpose of this article is to analyze Marxist feminism discours through the『Samcheolri』 Magazine, which had been published in the 1930s. The 『Samcheolri』 Magazine concentrated on writings related to Marxist feminism for 4 or 5 years around 1930. It's contents were divided into three parts as belows : Firstly, writings demanding necessity of liberation of classes and women's economical independence. Secondly, writings urging removal the 〈Kunuhoe〉, the Organization of Women's Movement. Thirdly, writings that show disputes about romantic theory of Kollontai, the Russian women's activist. Authors of the 『Samcheolri』 Magazine, whose writings are related to Marxist feminism were Jung Chil-sung, Jin Sang-joo, Kim Choo-san, Choi Jung-hee, Ham Dae-hoon, Jun Yoo-duk, Kim Eun-hee, Kim Eok, Yoon Eon-sik and An Hwa-san etc. Especially, Jung Chil-sung, Kim Choo-san and An Hwa-san had published writings twice respectively while Kim Eun-hee had published her writing three times. What had been done so concentrating on the writings related to Marxist feminism in the 『Samcheolri』 was largely due to appearance of the organization of women's movement through atmosphere of the marxism in which sweep over the world after the middle in the 1920s, so Marxist women's activists were produced. However, we have not found any longer Marxist feminism discours in the 『Samcheolri』 since the middle in the 1930s. Because Marxist activity or women's movement couldn't be developed under the oppression of the Japanese colonial era.) Also, most of Marxist women's activists were under arrest or exiled themselves abroad, so writers related to women's movement disappeared. That was another important reason. The 『Samcheolri』, does not only reflects contemporary times, in which Marxist feminism was popular, but shows a lot of interest in women's movement and feminism. While we can't easily conclude this as properties of journalism, we can understand, the 『Samcheolri』 shows us that it has familiarities with women's movement and Marxist feminism.

        • KCI등재

          이광수의 기독교 사상과 종교다원주의

          송명희(Song Myung-Hee) 한국문학회 2007 韓國文學論叢 Vol.46 No.-

          '스콜라' 이용 시 소속기관이 구독 중이 아닌 경우, 오후 4시부터 익일 오전 7시까지 원문보기가 가능합니다.

            This paper analyzes Yi Kwang-soo"s christian thought and religious pluralism by selecting a social criticism, an editorial, and the novel Love as a text. The conclusion from the analysis of this paper is as follows.<BR>  Firstly, Yi Kwang-soo was positive of a role toward the society, called modernization of Christianity, while was strongly critical of exclusive, fundamentalist conservative theology of presbyterian.<BR>  Secondly, Yi interpreted the fundamental idea of Christianity as non-violence and love under the influence of Tolstoy.<BR>  Finally, Yi Kwang-soo became a religious pluralist under the influence of Tolstoy, and intended to realize paradise on earth not a religion pursuing the world to come. Furthermore Love is the very work in which this is embodied in literary way. Seok Soon-ok is a character who practices non-violent, christian love, and this is in a Buddhist view the realization of doctrines of Bodhisattva. The author assumed the religious pluralistic attitude that non-violent, noble love and salvation exists in Buddhism, Roman Catholicism, and any religion as well as in Christianity, and it could be proved also by scientific thought. In addition, through North Korean sanatorium, he re-created utopia which would be realized on earth not heaven in the future life.<BR>  Consequently, Yi Kwang-soo, in Love, showed a figure of the most idealized love through religious pluralistic view of the religion which would comprehend and integrate Christianity, Buddhism, Roman Catholicism, and scientific thought. It is the very practice of non-violent love, mental love of absolute purity, a way of Bodhisattva practicing the self-benefit and the benefit of others, and the realization of utopia on earth.

        • KCI등재

          김명순의 소설과 ‘외로운 사람들’ 모티프 연구

          송명희(Song, Myung-hee) 한국비평문학회 2016 批評文學 Vol.- No.59

          이 논문은 ‘외로운 사람들’ 모티프를 형상화한 김명순의 소설 「돌아다볼 때」, 「외로운 사람들」, 「나는 사랑한다」를 분석하였다. 여기서 말하는 ‘외로운 사람들’ 모티프란 독일의 극작가 하우푸트만(Gerhart Hauptmann)의 희곡 『외로운 사람들』에 형상화된 ‘불행한 결혼으로 야기된 비극적이고 절망적인 가정생활로 인해 고통 받는 인간내면의 심리적 갈등’을 주제로서 다루는 것을 의미한다. 정신적으로 소통하고 대화가 가능한 이성과의 사랑이 구식 결혼제도(조혼)에 의해 차단된 근대는 「돌아다볼 때」, 「외로운 사람들」처럼 기혼남성과 그의 아내, 그리고 기혼남성에게 연애감정을 느끼는 미혼의 신여성 모두를 불행에 빠뜨린다. 작가는 「돌아다볼 때」에서는 신여성을 내적 초점화하여, 「외로운 사람들」에서는 신남성을 내적 초점화하여 불행한 결혼의 문제가 근대의 남녀에게 어떤 내적 고통을 안겨주는가를 핍진하게 그려냈다. 그리고 「나는 사랑한다」에서는 유부녀가 된 신여성의 결단, 즉 자유이혼을 통해 불행한 결혼을 극복하고자 하는 대안을 제시했다. 하지만 유부녀의 이혼 요구는 남편의 방화라는 응징에 의해서 현실적으로 실현되지 못했다. 김명순은 우유부단한 신남성에 의해서는 불행한 결혼의 비극이 결코 극복될 수 없다고 판단하여 여성의 적극적 변화로 나아갔던 것 같다. 하지만 가부장제 사회는 자유이혼을 요구하는 신여성을 결코 용납하지 않았다는 것을 결말을 통해 보여주었다. 근대라는 격변기에 신여성은 자유롭고 진실한 사랑을 구현하기 위해 몸부림치지만 결국은 가부장제 사회의 폭력을 뚫고 나아가지 못했다. 영적 사랑으로의 도피든, 자살과 다름없는 죽음이든, 타오르는 화염 속에서 ‘나는 사랑한다’를 외치든 결국 폭력적 세계의 억압에 굴복할 수밖에 없었던 신여성의 타자화된 모습에 다름 아니다. 근대는 남녀가 한 명의 인격적 주체로서 자유롭게 사랑을 성취할 수 없었던 폭력적인 시대라는 것을 김명순의 ‘외로운 사람들’ 모티프 소설들은 반복해서 보여주었다. 김명순이 이처럼 ‘외로운 사람들’ 모티프를 반복하여 소설화한 것은 그것이 개인을 넘어서는 사회 문제라는 인식을 드러낸 것이다. The paper is that unhappy marriage of Kim Myeong-sun was caused a psychological conflict and misery which were given the motif dealing with ‘Thinking back’, ‘Lonely People’ and ‘I love’ short story. Through analysis of her novels, there is the conflict between ideals and marriage of experienced free love of women in modern. The ‘lonely people’ motif means that unfortunate marriage caused tragic and desperate family life that made the theme of inner psychological conflicts of people from plays, ‘Lonely people’, of playwright Gerhart Hauptmann in Germany. The love with the opposite sex who could communicate mentally was blocked by the obsolete system of marriage and made married man, his wife and the new woman. Troubles of unhappy marriage could give inner pain to a new single woman and a new married man through the internal focalization of new woman from ‘Thinking back’ and of new man from ‘Lonely people’. And the alternative was suggested that the new woman who married should overcome trials through a free divorce in ‘I love’. However, the divorce demanded from married woman couldn"t be realized because of arson from her husband. Maybe, Kim Myeong-sun judges that a new indecisive man couldn"t overcome the tragedy of unhappy marriage, so believes that a woman have to make a decision to change her life pushfully. But patriarchal society was unpardonable to new woman who demanded a free divorce through the conclusion of arson. New woman in modern times that couldn"t ultimately get through the violence of patriarchal society didn"t move forward for realization of true love. Any escape of spiritual love, suicide like death, crying out in a blazing inferno ‘I love’ are not different from the objective others of new woman. In modern times, the new woman couldn"t fulfill the love freely against a backdrop of the violent era revealing ‘lonely people’ motif repeatedly by Kim Myeong-sun. It shows that there are social issues beyond the individuals revealing ‘lonely people’ motif by Kim Myeong-sun. Kim Myeong-sun brings to a focus on the realization of the subjectivity of the new woman from showing the violence and oppression, so far from demonstrating the one sided point of view as Na Hye-seok or Kim Ilyeop.

        • KCI등재후보

          한·중 수교 이후 중국조선족 소설에 나타난 황금만능주의와 국제결혼

          송명희(Song, Myung-hee) 부경대학교 인문사회과학연구소 2013 인문사회과학연구 Vol.14 No.2

          '스콜라' 이용 시 소속기관이 구독 중이 아닌 경우, 오후 4시부터 익일 오전 7시까지 원문보기가 가능합니다.

          중국조선족 소설가 장춘식의 중편소설 「진짜, 가짜; 가짜, 진짜」는 한 • 중 수교초창기 조선족 사회에 불어 닥친 ‘잘사는 나라’이자 ‘기회의 땅’인 한국을 향한 코리안드림의 위력을 위장이혼과 위장결혼을 통한 국제 결혼이주 모티프를 통해 보여주었다. 이 작품은 위장이혼과 위장결혼이라는 비정상적인 방법으로라도 한국에 나가서 돈을 벌어 잘 살아보겠다는 중국조선족의 물신주의, 즉 착종된 가치의식에 대해 중국조선족 내부자의 시각에서 비판과 경고의 메시지를 강하게 표출하고있다. 작가는 개인들의 위장결혼을 통한 국제결혼이라는 물질주의적 욕망을 자본주의로 전환된 중국사회 의 산물로 파악한다. 즉 물신주의를 부추기는 텔레비전이라는 미디어와 자본주의화 된 도시공간이 개인의 욕망을 부추기는 것으로 설정하고 있다. 그리고 추상적으로 제시되었지만 한 • 중 수교 이후 신자유주의에 따른 한 • 중간의 노동시장의 탈국경화 현상과 같은 거시적 차원도 작용하고 있는 것으로 파악하고 있다. 「진짜, 가짜; 가짜, 진짜」는 중국조선족 내부의 개인의 물신주의적 욕망과 이를 둘러싼 자본주의화 된 환경-텔레비전 광고와 도시화-과의 상호작용을 국제결혼 모티프를 통해 비판적으로 보여준 작품이다. 「Real, Fake: Fake, Real」, of Jang Chun-sik, a Korean-Chinese novelist, showed the power of Korean dream in the ethnic Korean society of the early anniversary through an international marriage motif by a fake divorce and marriage. The writer strongly expressed an alert message about Korean-Chinese value, materialism, that is they go to Korea and make money for living good lives even by an abnormal method such as a fake divorce and marriage. The writer showed that the international marriage by a fake marriage was caused as a micro dimension, a personal materialistic desire, and expressed that sociological imagination was made as a macro dimension such as no border of the labor market between Korea and China by nee-liberalism. Moreover, the personal materialistic desire was showed as a product of Chinese society, a capitalist nation. In other words, media that stirs up materialism and city space become capitalism were set to encourage the personal desire. This cool viewpoint of the writer was possible because he was a critic and novelist. This critical view could work on creating novels positively. Then again, this work showed a fantasy of Korean dream in the ethnic Korean society after the Korean-Chinese anniversary through the ending that a fake marriage changed into real. Korea is also considered as 'a well fixed country' and 'a land of opportunity’.

        • KCI등재

          근대소설에 나타난 신여성 모티프

          송명희(Song, Myung-Hee) 부경대학교 인문사회과학연구소 2010 인문사회과학연구 Vol.11 No.2

          '스콜라' 이용 시 소속기관이 구독 중이 아닌 경우, 오후 4시부터 익일 오전 7시까지 원문보기가 가능합니다.

          본고는 근대성과 페미니즘이라는 주제를 규명하기 위해 남녀작가 6명-이광수, 김동인, 나혜석, 김원주, 김명순-의 1910년대에서 1930년대까지의 근대소설에서 신여성 모티프를 찾아보았다. 남성작가들은 신여성을 관념적이거나 부정적인 이미지로 재현했다. 그들이 생각하는 신여성은 신남성의 결혼 및 사랑의 파트너였을 뿐 주체적으로 성적 자유를 추구할 존재는 아니었다. 따라서 신여성들이 근대성을 성의 자유로 왜곡하며 이를 추구했을 때 극도의 혐오감을 표출하며 비난과 조소를 쏟아냈다. 반면 여성작가들의 작품에서 신여성은 긍정적이고 선구적인 이미지로 그려졌다. 여성작가의 작품에서 재현된 신여성은 봉건주의와 가부장주의를 거부하는 존재이며, 인간적 주체성과 낭만적 사랑을 추구하는 존재이다. 그런데 여성적가의 작품에 재현된 신여성은 근대성의 추구에 적극적이지만 그에 대한 반성은 전혀 보이지 않는다. 신여성과 근대성에 대한 반성은 역설적이게도 김동인과 염상섭의 작품에서 찾아볼 수 있다. 하지만 그들의 작품은 남근중심주의(phallocentrism)와 성차별적 시각으로 인해 객관성을 잃은 나머지 근대성에대한 진지한 반성으로 나아가지 못했다. 근대소설에 나타난 신여성은 주체성을 자각하며 끊임없이 주체화를 시도한다. 하지만 이를 현실의 차원에서 온전히 실현하기보다는 관념적 차원에서 추구하거나 좌절하고 실패함으로써 여전히 근대의 타자로서 존재하는 이미지를 보여주었다. A lot of literary works, which were written from 1910 to 1930’s, are chosen as the analysis objects of this article such as Lee Gwangsu’s 『cold heart』(1917), and 『The pioneer』 (1917- 8), Kim Dongin’s [The weak’s sadness] (1919), and [Kim yeonsil’s story] (1939), Yeom Sangseop’s 「Watch night」, an authoress, Na haeseok’s 「Kylmghee」(1918) and 「Hyunsuk」(1936), Kim wonju’s The history of a girl](1920), and [Awakening] (1926), Kim Myungsoon’s [Wnen Looking Back] and [I Love You] etc. There is a lot of difference between male writers and female writers’viewpoint of modem women. Male Writers usually describe modem women by an abstract and negative image, whereas female writers depict them as positive and leading beings. As mentioned above, when we examine the novels of the modem women, they reject the old-fashioned past, do not express doubt about change, and a\most never show a repentant attitude about modernity. Paradoxically, we can see regret about modem women and the nature of the modem age in Kim Dongin’s and Yeom Sangseop’s works. However, their works lose their objectivity due to their perspectives of phallocentric sexual discrimination, which d「amage their sincerity regarding the topic, regret about modernity, which are raised after a long absence. The modem women in the Korean modem novel awake to individuality and try to establish their independence continually. However, instead of completely actualizing their individuality in a real dimension, they are just models in an imaginary world, or become discouraged and fail, so they still show themselves as outsiders in modern tunes.

        • KCI등재

          이상화 시의 장소와 장소상실

          송명희(Song Myung-Hee) 한국시학회 2008 한국시학연구 Vol.- No.23

          In this article I researched Lee Sang-wha's poems, ‘To my Bedroom’, ‘Spring on the Deprived Land’, ‘In Tokyo’, ‘Ode to Mt. Keum-Gang’, centering on space theory of phnomenological geographers, Yi-Fu Tuan and Edward Relph. In ‘To my Bedroom’, the bedroom protects the ego from the hostile world and means the private refuge which can have an escape. But it becomes only abstract unexperienced space because the Madonna, the salvational woman, doesn't come. That is, it can not function as the concrete shelter which Tuan told. In ‘Spring on the Deprived Land’, the perosna presents the charming and happy sense of place through the spring field. But the field was deprived and is now others' land, so the charming feeling in the field turns into placelessness. Though the poem grieves over placelessness on the surface, it awakens the strong resistance to recover the territory, the ownership, and sense of place in the depth. ‘In Tokyo’ sings nostalgia about the hometown and country in Tokyo, the capital of Japan. The nostalgia means a sense of alienation which a Korean colonist feels as an outsider in the capital of an aggressor, Japan. The separation of the place and the sense of place happens as a necessity as long as the writer has the national identity as a Korean. In ‘Ode to Mt. Keum-Gang’, Mt. Keum-Gang is recognized as a complex with various values and historical consciousness beyond the nature with immortality and eternity. The peak the writer feels in the Mt. Keum-Gang is a sense of place and comes from the discovery of the national reality which the identity of nation accords with the identity of place. This can be the topophilia that Tuan said. The writer presents the eternal circulation of the nature and the attitude to gain the immortality beyond the age of death. Like this Lee Sang-Hwa pursued various meanings about the place as the space of experience. The bedroom which is considered as an abstract space, the field which represents the resistance about the recovery of the place through the crisis which even the sens of the place could be deprived because ownership of the place was deprived, Tokyo which represents the sense of national alienation the Korean colonist feels in the capital of aggressor through the separation of the place and the sense of place, Mt. Keum-Gang which expresses the perfect harmony between identity of the place and the sense of place. Though the analysis about the place I researched the inner world of the poet, consciousness about the world, and the meaning of the works. We cannot but notice the importance of the place to understand the poem in that the place is the original root of human existence, the human take root in the place, see the world through it, and relate with the world.

        • KCI우수등재

          상처 치유에 이르는 길

          송명희(Song, Myung-hee) 국어국문학회 2013 국어국문학 Vol.- No.163

          In this study, for analyzing a journey of Shin Kyung-sook"s novella, <Buseoksa>, an external journey was explored through phenomenological spatial theory introduced a phenomenological and experiential view, and an inner journey was approached by a view of therapy. By interpreting spaces showed in the novel such as Seoul, the surroundings of a national road, a cliff, the inside of a car, and an old house, how they are associated with an inner wound or therapy was studied. This work has two journeys: a surfaced journey on the map and an ulterior journey healing a wound of mind. The former journey to Buseoksa came to no good by missing a way on the cliff. However, two people succeeded to heal their wound of mind. In other words, they recovered possibility of regaining lost love and trust inside the car on the cliff. The sense of a place of there was described as perfect unification of the place, the people, and the animal. Namely, the strange space, deep waters, changed into an intimate place perfectly. Seoul became stained with a wound and was a space of loss controlled by the struggle for existence and the survival of the fittest, whereas the inside of the car on the cliff was the place that stirs up the real sense of a place and the inner space called by Gaston Bachelard. Exactly, "a house" was described as an image of quiet and care as opposed to Seoul. Moreover, a man"s old house was a place that gave comfort when the man hurt from human relations, and it was presented as a radical place when a loved one was made. As an expression of Yi-Fu Tuan, Seoul is a hostile "space", and the inside of the car on the cliff and the old house are an intimate "place". Therefore, <Buseoksa> is the work that shows the topic of "healing a wound" through a journey from the hostile "space" to the intimate "place".

        맨 위로 스크롤 이동