김춘수 무의미시의 정체성 재규정

이강하(Lee Gang ha) 부경대학교 인문사회과학연구소 2015 인문사회과학연구 Vol.16 No.4

이 연구는 김춘수 무의미시의 정체성을 재규정하는 것을 목표로 한다. 1970년대 순수·참여 논쟁의 과열 속에서 무의미시론이 발표된 이후 무의미시의 정체성 규정은 한국현대시사에서 논쟁거리였다. 무의미시에 대한 긍정론자들은 부정론자들이 제시한 내용에 있어서 체제 친화적인 역사관과 형식에 있어서 초현실주의의 아류라는 평가를 외면하고 있다. 마찬가지로 부정론자들은 김춘수의 독특한 창작적 경향을 그의 정치적 성향과 초현실주의 이론으로 덮어버리고 있다. 이러한 길항을 해결하기 위해서 전제되어야 할 것은 무의미시에 대한 객관적 정보와 무의미시에 대한 사전적 정의이다. 이 작업의 엄밀함은 문학 텍스트를 둘러싼 여타의 담론을 위한 올바른 출발점을 제공해 줄 것이다. 이 연구는 무의미시의 정체를 재규정하기 위해서 다음과 같은 절차를 수행한다. 첫째, 무의미시 시기 범주의 조정이다. 무의미시론을 비롯한 여러 콘텍스트를 면밀히 분석하여 단계적 절차에서 최종적으로 나타나는 무의미시의 시기를 탐색할 것이다. 둘째, 무의미시의 사전적 정의를 연구하여 김춘수의 무의미시론과의 유사성과 차이를 검토한다. 셋째, 재규정된 시기의 작품과 무의미시의 사전적 정의와의 비교를 통하여 무의미시의 정체를 재규정한다. 물론 이러한 모든 연구는 첫째 무의미시가 시장르에서 형식적 독특성을 갖고 있고, 둘째 이러한 형식적 독특성은 무의미시의 사전적 정의와 일치하며, 셋째 김춘수 시 이력의 특정 시기에만 이 독특성이 출연한다는 것을 전제로 한다. This study aims to redefine the identity of Kim Chun-soo’s nonsense poetry. Since nonsense poetics was announced in the overheated dispute of pure and engagement literature in the 1970s, the definition of the identity of nonsense poetry was a controversial issue in the history of modern Korean poetry. Advocates for nonsense poetry turn away their faces from the evaluation that they are imitators of surrealists in terms of conformist view of history and formality, concerning the contents proposed by negativists presented. Likewise, negativists cover Chun-soo Kim’s unique creative tendency with his political tendency and surrealist theory. What should be premised to solve this contention is objective information about nonsense poetry and the lexical definition of nonsense poetry. The strictness of this job will provide the right starting point for other discourses surrounding literary texts. This study carries out the following procedures in order to redefine the identity of nonsense poetry: First, it is the adjustment of the category of the period of nonsense poetry. It will closely analyze various contexts, including nonsense poetics and explore the period of nonsense poetry that appears finally in the phased procedures. Second, it will look into the lexical definition of nonsense poetry to consider the similarity to and difference from Chun-soo Kim’s nonsense poetics. Third, through a comparison between his works in the redefined period and the lexical definition of nonsense poetry, the identity of nonsense poetry will be redefined. Of course, all these studies premise the following: first, nonsense poetry has formal uniqueness in the genre of poetry; second, this formal uniqueness is consistent with the lexical definition of nonsense poetry; and third, in the history of Chun-soo Kim’s poetry, this uniqueness appears only in a certain period.

사운드스케이프의 관점에서 본 이승훈 시

이강하(Lee, Gang-ha) 원광대학교 인문학연구소 2015 열린정신 인문학연구 Vol.16 No.2

In the history of Korean modernist poetry, the position of Lee Seung-hun’s poetry is unique. This is because his literature has a peculiarity different from other modernist poets that were immersed in self-exploration. In terms of content, he is immersed in a painful space of confinement by the reflection of transparent self-consciousness without external influences, does not devise a way to get out of the immersion and even lift this immersion to a value of poetics. In terms of expression, his poetry consists of only two poetry forms, general prosaic sentence and extreme segmented sentence. Of these, the latter poetry form is a creative poetry form appearing only in his poetry in the Korean contemporary poetry. This study looks into this specificity of Lee Seung-hun’s poetry from the perspective of soundscape and proves its generation and effect. A soundscape consists of keynote, signal and soundmark. Common prose poems are dominated by a keynote of anxiety by self-disunion. This keynote is expressed as white, excess of color on static dimension, while it is expressed as “throw-up,” excess of body on dynamic dimension. When the self would contemplate itself, the position of the subject that is given a transcendental position from the self is divided. Thus, the keynote can be said to be resonance of this division itself. In the segmented poetry form, the keynote moves up to a signal. Contents of expressing consciousness of anxiety, pressing rhythms of extreme segmented sentences, a great number of poetic diction which means the sound and the linear form of poetry premise each other to form a soundscape of scream, comprehensively. The soundmark alluding the idea of ego does not appear in Lee Seung-hun’s poetry. Since there is no soundmark which is the original copy of a varied signal, the keynote elevated to the signal itself replaces the original copy of the soundmark. The soundscape of scream suggests that anxiety is the subject’s cry announcing that it is the essence of existence in an intellectual suspicion that got rid of the world of objects.

일반 논문 : 김춘수 무의미시에서 "사이"의 쓰임

이강하 ( Gang Ha Lee ) 현대문학이론학회 2010 現代文學理論硏究 Vol.0 No.40

만해 한용운의 〈님의沈?〉에 대한 인지시학적 분석

이강하(Lee Gang-ha) 한국현대문학회 2009 한국현대문학연구 Vol.0 No.28

문화와 언어는 상호 반영성의 관계에 있다. 일상언어에서 은유는 무의식적이고 관습적으로 쓰여진다. 그러나 문학언어에서는 의식의 자동성을 문제시하여 대립과 긴장의 언어를 창출한다. 인지의미론의 시학적 적용은 일반언어가 특수화된 사례인 문학언어를 일반언어의 은유체계의 관점에서 조망하여 그것이 문화의 어떤 체계를 도입하고 어떤 체계를 거부하는지를 분석하는 작업이다. ‘나’와 ‘님’이 ‘사랑’의 관계라는 것은 〈님의沈?〉이 명시하고 있는 표면적인 사실이다. 어떤 개념이 은유적 기반이 되어 ‘사랑’이라는 추상적이고 정서적인 개념을 구조화하고 있는가를 인지시학적 관점에서 밝혀내는 것이 이 글의 목적이다. 따라서 인지시학은 ‘사랑’이 무엇을 개념화하고 있는가가 아닌 ‘사랑’이 어떻게, 무엇에 의해서 개념화되었는가를 문제시한다. 지금까지 만해 시에 대한 연구는 최종적으로 ‘님’의 정체를 규명하는 것을 전형으로 여겨 왔다. 이 글에서는 〈님의沈?〉에서의 ‘님’의 정체가 ‘사랑’의 구조도식으로부터 도출되어야 한다는 점을 강조한다. 서론에서는 이 글의 이론적 기반에 대해서 서술한다. 본론 1)에서는 〈님의沈?〉의 작품분석에 있어서 왜 ‘사랑’의 개념이 중심성이 되어야 하는지를 고찰한다. 본론 2)에서는 ‘죽음’의 세 가지 양태와 그것의 은유체계를 분석한다. 본론3)에서는 ‘죽음’이라는 현실적 사건과 대립하는 은유체계를 상정하여 그것들이 어떻게 변증법적 합의에 도달하는가를 밝혀낸다. 님의 죽음은 화자의 사랑의 힘으로 님의 귀환으로 전환된다. 이러한 가치전환을 일으키는 사랑이라는 개념의 기반이 되는 은유체계를 결론에서 명시한다. 인지시학에 의한 〈님의沈?〉의 분석이 그동안 침체기에 빠져있던 만해 시 연구에 새로운 방향성을 제시 할 것으로 기대한다. Culture and language reflect each other. Metaphors are used unconsciously and conventionally in everyday language. By contrast, literary language raises questions against the automatism of consciousness and creates languages of confrontation and tension. Cognitive semantics is applied to poetics in a way that literary language as a result of specialization of daily language is observed from the perspective of metaphorical system in daily language and analyzed in terms of what it adopts and refuses in a culture system. The relationship between ‘I’ and ‘Nim’ is defined by 'love,' which is a superficial fact obviously revealed in Silence of Nim. This study is to identify what concepts form the metaphorical base to construct the abstract and emotional concept ‘love’ from the perspective of cognitive poetics. Cognitive semantics is a process where metaphorical expressions as the final step of the conceptualization from concreteness to abstractness are reversely deduced to restore an unknown poetic language into a known lively language. Accordingly, cognitive poetics focuses on how and by what love is conceptualized, not what love conceptualizes. Typically, studies on Manhai's poems are characterized by the efforts toward final identification of 'Nim'. This study emphasizes that the identity of 'Nim' in [Silence of Nim] should be derived from a structure schema of love. In the introduction, theoretical base of this study is discussed. Main text 1) deals with why the concept of love should be the centrality in analyzing Silence of Nim. Main text 2) analyzes three aspects of ‘death’ and their metaphorical systems. Main text 3) comes up with metaphorical systems confronting the realistic event 'death' and clarifies how they reach a dialectic agreement. The death of Nim is converted to Nim's return thanks to the love of the narrator. The present study concludes by presenting the metaphorical system forming the conceptual base of love causing the value conversion. This cognitive poetic analysis on Silence of Nim is hopefully to lead further study efforts on Manhai's poems, which have been sluggish so far, to a new direction.

재생산의 관점에서 본 이용악의 『오랑캐꽃』 의 현재적 의미

이강하(Lee, Gang-ha) 한국언어문학회 2015 한국언어문학 Vol.95 No.-

From the perspective of identity, Lee Yong-ak’s “Barbarian Flower (Violet, Orangkaekkot)” is a very difficult poem. The term, “Barbarian Flower” itself is a paradoxical combination of brutal image of “Orangkae (Barbarian)” and soft and pure plant image, “Kkot (Flower).” In “Barbarian Flower,” “Orangkae” as a subject of violence and looting, found only in local distinctiveness and “Orangkae” who is an object of sympathy, as a northern minority, are floated contradictorily. This contradictory “Orangkae” is interpreted as an objective correlative of Korean people in an oppressed position during the Japanese colonial era in critical discourse, and on the other hand, it is also interpreted as a colonial subject by Japan’s Naeseon Ilche (Korea and Japan are One) policy. Critical discourse surrounding “Barbarian Flower” where two contradictory subjects of identification are mixed, is not uniform. These aspects of reproduction such as citation, parody, pastiche and plagiarism of “Barbarian Flower” show how it is consumed indirectly. The aspects of its consumption may be the meaning of “Barbarian Flower” accepted at the present site beyond the meaning of institutional criticism for the establishment of the canon. This study aims to investigate and reveal the present meaning of “Barbarian Flower” by examining the aspects of reproduction of Lee Yong-ak’s “Barbarian Flower.” For Lee Yong-ak’s “Barbarian Flower,” the elements identified by its citation poems are divided into ‘1) simple plant image, 2) Sympathy for the minority and the weak, 3) Korean people’s oppressed position under Japanese occupation, and 4. Northern sentiment.’ Non-uniform creative acceptance of the canon is rather than the problem of the citation poems, that of the ambiguity of the meaning of the original text itself. Due to this ambiguity, although the most textbook theme of “Barbarian Flower” is the identification with minority and the weak in the citation poems, its use is not active in folk poetry series. Second, the citation poems misperceive Lee Yong-ak’s Northern locality as Manchuria area, not the border with Far East of Russia. Third, no citation poems that express respect and contempt, the most typical tones of parody are found. Although Lee Yong-ak’s “Barbarian Flower” is a work in the process of canonization, it is a work structured so that the proper reproduction is made impossible. As of the time of writing, creative reproduction of the meaning of “Barbarian Flower” that is intertwined with external context complexly is a dilemma. The meaning of “Barbarian Flower” in the site of reproduction, which should take on this dilemma, comes to be in a condition that cannot but be narrowed.

김춘수의 「부다페스트에서의 소녀의 죽음」 연구

이강하(Lee, Gang Ha) 동악어문학회 2014 동악어문학 Vol.63 No.-

이 논문은 「부다페스트에서의 소녀의 죽음」에 나타난 개작 과정에 나타난 시의식의 전회를 고찰하는 것을 목적으로 한다. 이 시의 개작을 계기로 김춘수의 사회 역사에 시의식은 전회한다. ‘순수 인식의 지향’이라는 김춘수 문학의 일반적인 경향은 이 지점을 통과한 후에 형성된다. 이 시의 원본의 주제는 제국주의적 폭력에 저항하는 제3세계 민중에 대한 연대 의식이다. 이러한 연대 의식은 ‘부다페스트의 소녀’의 상황에 저자의 폭력에 대한 경험을 환유적으로 인접시킴으로써 표출된다. 그러나 저자는 수정본에서 이러한 환유적 경험을 삭제한다. 문면에서 환유적 경험이 삭제됨으로써 수정본에는 은유의 모호성만이 남게 된다. 「부다페스트에서의 소녀의 죽음」이 김춘수 문학에서 비평의 공백으로 남는 이유는 이러한 은유의 불확정적 의미 때문이다. 김춘수의 외상은 식민지 청년에 대한 제국주의의 폭력에 의해서 발생했다. 외상을 초래한 사건이 자아에게 다시 반복될 때, 자아는 그 사건의 의미를 전치시킴으로써 외상을 극복한다. 김춘수는 반복된 외상의 조건에서 극복의 의지를 포기한다. 시의 문면에서 폭력에 희생당하는 제3세계 국가에 대한 환유적 요소의 삭제는 이러한 외상 극복의 실패에 상응한다. 『부다페스트에서의 죽음』 이후 나타나는 그의 시의식은 외상이 발생되는 조건을 피하려는 의도에서 비롯한다. 그의 시 이력에서 이른바 ‘순수 의식의 지향’은 사회 역사적 관심이 전회하는 지점부터 일반적인 경향으로 나타난다. This paper aims to look into the turn of poetic consciousness in The Death of the Girl in Budapest. Taking adaptation of this poem opportunity, Chun-soo Kim came to turn an ‘interest in social history’ in his later poetry. The genreal trend of his literature of ‘the aims of the pure consciousness’ is established unilinearly past this point. The subject of the original copy of this poem is a sense of solidarity among the people in the third world, that resist the imperialistic violence. This sense of solidarity is expressed by adjoining the author"s experience of violence in the situation of ‘the girl in Budapest’ in a metonymic way. However, the author deletes this metonymic experience from his revised book. As the metonymic experience was deleted from the contents, only ambiguity of metaphors remains in the revised book. The Death of the Girl in Budapest remains as a blank of criticism in his literature because of the uncertain significance of this metaphor. Chun-soo Kim"s trauma occurred by violence of the imperialism over young men in its colony. When the event that caused a trauma repeats in oneself, the ego overcomes it by displacing the meaning of the event. Chun-soo Kim gives up his will to overcome in the condition of the repeated trauma. The erasure of the metonymic elements about the third world that is victimized by violence from the contents of poem corresponds to the failure of such an overcoming of trauma. After The Death of the Girl in Budapest, his poetic consciousness is caused by his intent to avoid the condition in which the trauma is generated. In his poetry history, the so-called ‘aims of the pure consciousness’ appear in a general tendency at the point where social historical interest is turned.