현대성이 구현 방식과 양가감정의 수사학 -김수영 시 세계

임동확 ( Dong Hwak Lim ) 한국언어문화학회 2006 한국언어문화 Vol.0 No.31

시는 왜 주변부를 주목하는가

임동확(Lim Dong-Hwak) 한국시학회 2008 한국시학연구 Vol.- No.23

Generally, lyric poems support or protect small and humble things more than brilliant and great things. And this result stem partly from a sense of alienation or loss that he has felt in the process of growth and daily life. Especially it isn't disconnected with fragmented modern society and condition of life that poems of today are based on minor details or solitary experience. However, more fundamental cause to song such things is because of basic self-estrangement or solitude which cannot be solved by logic or reason as a being. Also, fundamental emptiness or deficiency of a person which cannot be filled with ideology or moral principle makes poets themselves peripheral beings. And they raise a question about conditions of human beings themselves inseparable from peripheral beings. That is, the fact that one cannot communicate with one another or the peripheral world surrounding himself, makes poets pursue a certain meeting with some reality sincerely. Commonly identified in most poems, an individual's deep scar or pain, waiting or longing are an effort to overcome such a gap and void. It's the poets that want to have nostalgia of human nature for happy and perfect being as an organized body before having been abstracted by language. That is to say, the poetic peripheral refers to an exceptional event or a surplus phenomenon which cannot be understood or solved by a logic or ideology in the nature, society or history. Also, creation of poems is still uncontrollable and it is one of motions which communicate with the internal of a human being that cannot be substantialized. Something refusing to enter the symbolic world from the outside a center or system, namely, an exception and singularity that poets frequently note are the poetic periphery. Accordingly, the poet's action to regain cosmic rhythm momently and temporarily is not never peripheral. Normally, poetic language which have been regarded as a powerless and worthless thing, is closely linked with the divided gap of universality that have controled and restricted all human beings' action, namely, is connected with a point of exception that the effect of universality has been rejected and has been canceled. Therefore, the peripheral as poets' common interests in all ages, are closely connected with realizing their special position as the peripheral being of universe, and at the same time, it's also connected with 'the moment of decision' when they have to break up with their life style and way of thinking that have dominated them. Poetic catastrophe and shock which suddenly come and destroy ordinary order and rhythm, lead to the realization of individuality and particularity that cannot be captured by any universality, and they make their position to the center. Anyway the will and endeavor to make poets exceptional beings of their period and history are not just escape or helplessness, but they are a motion to stand as a awakened being about themselves and the world around them.

님의 현상학과 역설의 시학

임동확 ( Lim Dong-hwak ) 한국문학이론과 비평학회 2009 한국문학이론과 비평 Vol.42 No.-

Many researchers have studied Manhae’s poems and thoughts. Thanks to them, striking results continue to be accumulated all this while. Especially diverse approaches and various interpretations for understanding his poems' show his works' profundity and width. But like widely known remarks, to substantialize the Nim is impossible. Such attempts will be forced to fail because it is not to lie within the range of a phenomenon or being. Ironically endeavors to grasp or conceptualize the Nim's identity have interrupted the conduct of understanding and comprehension of the Nim. In other words, to describe the Nim definitely which is closely connected to sudden shocks or jumps of linear time, is almost impossible. Specially because Nim comes to destroy anticipation or memory of thinking, or continuity of perception, to reduce any personality is very difficult. Namely the Nim makes an abrupt appearance without one's will. Also the Nim does not follow sequential flow of time. Consequently at that instant ones seizing or contacting with its do not mysteriously exist here. Anything that eternally exists by trace, we could name its the Nim. On the one hand such a Nim purely does not remain personal matters or existential dimension. As a poetic epiphany or theophany Nim's birth couple with East-Asia's circular causality that cause and effect follows one after another. And the Nim is connected to sacred time, which affords basis for nature's endless the circulation than western' linear time, which presupposes finitude of history and life. On the other hand, Manhae is free from indigestive modern poetics' fishing nets, by realizing importance of East-Asianic contradiction and paradox. By facing western modernity world is based on the theory of contradiction and the deductive method that does not endure mutual difference and discrepancy, Manhae also could produce the East-Asianic Nim that is different with the being theology each other.

‘불도오자’와 ‘불기둥’ 사이

임동확(Lim, Dong-hwak) 전남대학교 한국어문학연구소 2015 전남대학교 한국어문학연구소 학술지 어문논총 Vol.- No.28

궁색한 시대, 김수영과 하이데거 - 「모리배」전후를 중심으로 -

임동확 ( Lim Dong-hwak ) 국제어문학회 ( 구 국제어문학연구회 ) 2014 국제어문 Vol.63 No.-

김수영 시인이 남긴 산문이나 일기, 시론과 증언 등에 따르면, 그에게 직간접적으로 영향을 준 작가나 사상가들은 적지 않다. 특히 김수영의 경우 번역을 새로운 지식의 습득과 동시에 생계의 수단으로 삼은 바 있어 당대의 다른 작가들에 비해 상대적으로 외국의 문학이나 사상과의 접촉이 활발한 시인이었다고 할 수 있다. 따라서 폭넓고 다양한 독서행위를 통한 그의 지적 열정과 쉼 없는 번역활동이 자신의 시와 시론에 미친 영향을 따져보는 것은 매우 자연스런 일이며, 그에 대한 성실한 연구물과 더불어 괄목할 만한 단행본들도 나와 있는 형편이다. 그러나 그 연구나 논문들이 막연히 추측돼온 김수영과 하이데거와의 관계를 명확히 밝히는데 한계가 있다. 바로 그것들이 정작 시 텍스트보다는 곁 텍스트에 주루 의존하고 있기 때문이다. 따라서 필자는 이 논문에서 하이데거의 이름을 직접적으로 언급하고 있는 그의 시 「모리배」(1959)를 전후로 주로 김수영의 시 텍스트 상에 나타난 하이데거 사상 또는 예술론이 어떻게 반영되어 있는지 살펴보고자 했다. 그럼으로써 막연히 추측돼온 김수영과 하이데거와의 관계를 명확히 밝히고, 전체적으로 김수영 시세계를 제대로 이해해 보고자 했다. 따라서, 연구자는 이 문제를 일상적 생활방식과 존재의 언어, 죽음에로 존재와 무의 출현, 인간거주의 척도로서 시 짓기와 시인의 사명 등을 주제별로 분류해 접근해 보았다. 그 결과, 김수영의 시 「토끼」가 보여주듯이 하이데거의 영향력이 최소한 1949년도까지 소급됨을 확인할 수 있었다. 그리고 기존에 알려진 바와 달리, 그가 1950년대 중반에서 1960년대 초반까지 주로 하이데거의 철학에 그 뿌리를 두고 많은 시를 창작했다는 것을 확인할 수 있었다. 하지만 그는 어떤 이유로든 4.19 혁명 직후 잠시 하이데거의 철학에 대한 관심을 표명하지 않는다. 그러다가 그가 죽었던 해인 1968년 무렵, 그의 시론詩論 「반시론」과 「시여, 침을 뱉어라」를 통해 하이데거의 이름을 직접적으로 거론하거나 하이데거의 예술론을 창조적으로 해석하고 변용하는 모습을 보여주었다. 또한 그는 그의 시 「미인」(1967), 「먼지」(1968), 「성」(1968) 등에서 하이데거의 예술이론을 반영하고 적용했다. 특히 그의 최후 작품으로 알려진 「풀」의 경우, 그는 하이데거가 말하는 `피지스`의 운동과 변화를 역동적으로 해석하고 성공적으로 승화함으로써 김수영 문학과 하이데거의 예술사상 사이의 지속적인 영향관계에 있다는 것을 확인할 수 있었다. 그렇다면 김수영과 하이데거는 일방적으로 그 영향을 주고받은 관계였는가? 우선 그것은 김수영의 문학이 단지 하이데거로 한정될 수 없는 다양한 지적 자양과 폭넓은 교양을 바탕으로 하고 점에서 그렇게 보는 것은 온당치 못하다. 오히려 그보다는, 서로가 서로를 마주하는 관계였다고 보는 것이 적절하다. 비록 시인으로 김수영과 사유가로서 하이데거 사이 서로 지울 수 없는 다양한 차이에도 불구하고, 서로가 서로에게 열려 있는 창조적대화의 관계였다고 보는 것이 더 정확하리라 여겨진다. According to Poet Kim sooyoung`s prose, diary, poetics, and testimonies, he was influenced by many writers and thinkers. Particularly, because he constantly did translation out a living, relatively he was very active in the contact with foreign literacy and thoughts. Hence it is very natural to discuss for his intellectual passion and acts of translation in poems and literature world` impact. And the results are presented in sincere attitude` research and books. But these of research and theses have its limits to clarify relation about Kim and Heidegger. Because its relies on peripheral para-text rather than original poem-text. Hence in this these I tried to examine how Heidegger` thought and art theory were reflected, pivoting around his poem 「racketeer」 (1959) that had been known as first poem directly referring to Heidegger name. Thereby I intended to clarify what ambiguously had been believed to be between Kim and Heidegger`s relation. Only Because it is unsuitable and meaningless to search through time series study or arrange type. Thus here I tried to approach thematically classifying this thing into `ordinary living way and `being`s word`, `being to death[Sein zum Tode]` and appearance of nothingness,` `writing poem as criterion of human being residence and mission of poet` etc. As a result, I could confirm Heidegger`s influence to be retroactive to his poem 「rabbit」(1949) at least. And contrary to existing informations, I identified that he intensively had composed poems based on the Heidegger`s philosophy from the mid-1950s to early 1960`s. But after 4.19 Revolution he for awhile did not show poetic interest by dint of Heidegger`s philosophy for any reason. Then the year 1968 when he passed away, he also mentioned Heidegger`s name again directly, or simultaneously he interpreted and changed Heidegger`s art theory creatively in his poetics 「anti-poetics」 (1968), 「Poem, spit」(1968). In addition he reflected and applied Heidegger`s art theory to his poem 「beauty」(1967), 「dust」(1968), 「sex」 (1968) etc. Particularly, in his last poem 「grass」, he had understood dynamically and sublimated successfully in relation with Heidegger`s philosophy terminology `Physis`s motion and change. Therefore, it was revealed that between Kim and Heidegger there was lasting influencing relationship. If so, was he influenced by Heidegger unilaterally? It is improper to speak so, because his literary world have diverse intellectual sources and extensive knowledges beyond Heidegger`s influences. Rather than speaking so, It is suitable to say facing relation[das Gegen-einander-uber] mutually. Although poet Kim and philosopher Heidegger had impassable differences, it is exact to see them as an open creative conversation`s relationship.

작가 읽기 김춘수 무의미 시론과 처용과 천사의 변주

임동확 ( Dong Hwak Lim ) 시학과 언어학회 2004 시학과 언어학 Vol.8 No.-