‘집-나무-산’의 공간기호체계 연구

정유화(Jeong Yu-hwa) 우리문학회 2008 우리文學硏究 Vol.0 No.25

정지용의 시 텍스트는 ‘上/下’의 대립적 코드를 변환해 가며 ‘집-나무-산’이라는 수직상의 공간기호체계를 건축하고 있다. 먼저 ‘상/하’의 대립적 코드로 건축된 ‘집’의 기호체계를 보면, 오로지 自我(지상)와 神(천상)의 교섭만을 중심으로 수직 운동을 한다. 그의 집은 그 수직 운동에 의해 집의 내부와 천상의 세계가 소통ㆍ융합하게 된다. 이에 따라 그의 집은 세속적, 육신적인 집에서 정신적, 종교적인 집으로 전환한다. 하지만 ‘집’의 기호체계는 그 특성상 안팎의 운동을 하기는 쉬워도 상하의 운동을 하기는 매우 어렵다. 그는 이러한 한계를 극복하기 위해 ‘집’의 변환코드로써 ‘나무’의 기호체계를 창조하게 된다. ‘나무’의 기호체계는 ‘집’처럼 천상으로만 운동하는 것이 아니라 땅속으로도 동시에 운동하는 수직성을 보여준다. 천상으로의 운동은 神의 성령을 수육하려는 운동이고, 땅속으로의 운동은 원죄의 땅인 ‘검은 흙’을 정화하려는 운동이다. 그리고 이 ‘나무’의 기호체계는 신적인 삶의 원리를 매개해주는 것으로서 육체적 자아를 영혼의 자아로 재생시켜주는 의미작용을 한다. 하지만 문제는 자아와 神이 이미 완전한 합일을 이루고 있기 때문에, 이러한 텍스트를 지속적으로 산출할 필요가 없게 되었다는 사실이다. 이에 따라 그는 ‘나무’의 변환코드로써 ‘산’의 기호체계를 창조하게 된다. 지상과 천상을 매개하는 ‘산’의 기호체계는 ‘나무’의 범주를 벗어나 인간적 삶의 원리와 자연적 삶의 원리를 보여준다. 그래서 ‘산’의 기호체계는 두 층위의 의미작용을 한다. 그중의 하나는 산정을 향한 그의 등정이 다름 아니라 곧 인간적 기표를 해체하고 사물로서의 기표가 된다는 것을 의미한다. 다른 하나는 이와 달리 인간적 가치를 지닌 ‘산장(방)’을 수직상승하게 하여 그 속에서 산정과 천상의 세계를 향유한다는 층위이다. 이러한 구조를 지닌 ‘집-나무-산’의 수직적 공간기호체계를 수평으로 눕힌다면, ‘집-기차-배’의 수평적 공간기호체계와 대응하게 될 것이다. The texts of Jeong's poems switch the codes of 'up' and 'down', and thereby construct a symbolic system of space: 'house-tree-mountain'. The symbolic system of 'house' constructed from these two opposite codes first shows a vertical extension centered on the sole connection between God and the Self. This extension permits the house described by Jeong to connect and unify its interior space and the Heaven. The house is converted accordingly from its physical and secular nature to a spiritual and religious character. However, it is difficult to see that this symbolic system represents an upward-downward extension though susceptible to the inward-outward counterpart. In order to overcome this limitation, Jeong creates another symbolic system of 'tree' instead as a switching code. The symbolic system of 'tree' does not merely indicate an upward extension to the Heaven, as does that of 'house', but also reveals its simultaneous vertical nature of downward extension underneath the Earth. The upward extension is a motion of embodying the spirit of God, and the downward counterpart a motion of purifying the 'black soil' of the Earth of the Sin. The symbolic system of 'tree' also signifies the reproduction of the spiritual Self from the physical as a mediator of the principles of divine life. The problem is however that, because God and the Self have already been unified here, it is not necessary to produce such texts constantly. Accordingly, Jeong devises another symbolic system of 'mountain' as a switching code for that of 'tree'. The symbolic system of 'mountain' mediating between the Earth and the Heaven while freeing itself from the bounds of the category of 'tree' shows the principles of human and natural life. Therefore, this symbolic system has two layers of signification. One of these two layers signifies that Jeong's climb towards the summit of a mountain deconstructs the signifier of being human and becomes a true signifier as being a thing. Unlike this layer, the other signifies that the vertical rise of the mountain hut or cabin bearing a human value alludes to the enjoyment of the Heaven's world and the mountain's summit both in that shelter. The horizontal layout of the vertical symbolic system of 'house-tree-mountain' in this structure enables it to correspond to a horizontal symbolic system of 'house-train-boat'.

집-기차-배의 공간기호체계 연구: 정지용론

정유화 ( Yu Hwa Jeong ) 한민족문화학회 2008 한민족문화연구 Vol.25 No.-

김광균 시의 공간 구조 연구

정유화 ( Yu Hwa Jeong ) 한민족문화학회 2010 한민족문화연구 Vol.35 No.-

This paper explores the poetic code principles represented in Kim Kwang Kyun`s early poems, focusing on Sul-Ya and Wasadeung. Because previous research only analyzed the poetic images and sentiments on the surface, these two poems have been thought that they were produced by two different poetic principles. However, if we analyze its poetic code principle, which is structuralized in texts, these two poems are identical to each other. In this regards, the analysis of poetic code principle will be a useful method for investigating Kim Kwang Kyun`s text as a whole. Kim Kwang Kyun structuralizes his poetic sentiments into spatial codes, which are based on the contrast of top/bottom and interior/exterior. In the case of Sul-Ya, the speaker`s poetic sentiment about `white snow` is structuralized into an opposite code: `excitement (the upper part- above the eaves)` and `sadness (the lower part-yard)` The connecting parts between the top and bottom are `white snow` and the `body` of the speaker who is getting snow. Then the speaker`s body is divided into `interior space (mind)` and `exterior space (white snow)` which is a opposing code. The white snow, which is accumulated at the lower space by the body code, turns into an image that has a paradoxical emotion; a woman`s heartless and sympathetic mind. When the speaker tries to accept these two opposing sentiments, the sadness emerges. Thus, the text produces a falling spatial meaning, which is also cold and heavy. Wasadeung is a text based on the transformation of the poetic code principle of Sul-Ya. The code, `Excitement (above the eaves)` is changed into the code, `become empty (sky)`. Also, the code, `sadness (yard)` is replaced by the code, `become full (city).` In addition, the code `white snow and the body,` which connects the top and the bottom, is transformed by `lamp and body.` The poetic sentiments about `the city` is structuralized in two opposing codes: `become empty (sky)`/ `become full (city) and `interior space/exterior space.` The lamp in the sky throws a negative aspect on the city`s space that is filled with secular images and a positive aspect on celestial sky (lightness). Although the scenery of Wasadeung is different from that of Sul-Ya, the poetic code principle is identical. Likewise, when the speaker tries to integrate `the road of the city` and `the road of the sky,` the sadness is finally generated. Therefore, Kim Kwang Kyun has become a sad existence who is imprisoned in the lower part, the city.

신동엽 시 텍스트의 구조와 코드 변환

정유화 ( Yu Hwa Jeong ) 한민족문화학회 2009 한민족문화연구 Vol.29 No.-

This study probes the architecture and code shifting system in the text of Shin Dongyeop`s poetry. He transforms the `kernel and bark` code into the `heavens vs. dark clouds` code, shifting principles of human life into the principle of life of the universe. Then, by using the `body` code, he creates the text of circular space where the heavens, the earth, and the human being are integrated. Let the bark go away and Asanyeo are representative texts constructed with the `kernel and bark` code. These texts are represented as a circular structure in which mineral metal (ggupdeghi) encloses the kernel. That is the structure where the life of the kernel is confined. But, the kernel code following the principle of circulation of the universe and reviving the history of life periodically, he tires to dismantle and reform all the signifiers of metal following human-centered life principles. Who claims he saw the heavens is a representative text constructed by the `heavens and dark clouds` code. This text contrasts `the kernel`s heavens`, symbolic of immutability, with `the bark`s heavens`, symbolic of variability and fleshhood. Similarly to the previous case, the bark`s heavens (dark clouds) enclose the kernel`s heavens, forming the structure of a circular space. So he tries to reform the earthly human mind surrounded by dark clouds with the celestial code. Transcendant passing over to the ethereal world shown in Twinkling eyes refers to the shift from fleshhood to mentality. Doonggu-namu(a large old shade tree) is a representative text where Samjae - three entities, i.e. the heavens, the earth and the human being are all integrated by using the `doonggu-namu` code, which is a variation of the body code. A large old shade tree absorbs `the kernel code`, `the bark code`, and `the metal code` all, i.e. the earthly world, and then fuses them all into ``the same mess/sap. After that, the tree faces to the heavens, transforming the earthly principles of life into the principles of life of the universe. Accordingly, all the human beings get to follow the principle of circulation of the universe and live co-existential lives. Thus, the newborn history of human beings is created by this circular space.

도시의 지하공간을 구조화하는 시적 코드

정유화(Jeong, Yu-Hwa) 인천대학교 인문학연구소 2017 인문학연구 Vol.27 No.-

본 논문은 지하공간에 대한 최승호의 도시적 경험이 어떤 시적 코드와 구조로 구축되는가를 탐구하는데 그 목적을 두고 있다. 최승호 시인의 도시공간에 대한 지하 경험은 두 가지 층위로 나타난다. 하나는 지하철 공간에 대한 시적 코드화이며, 다른 하나는 지하건물의 공간에 대한 시적 코드화이다. 먼저 지하철 공간에 대한 경험은 식물성과 대립하는 광물성의 코드로 나타난다. 이 코드는 지하정거장의 공간을 죽음으로 만드는 의미작용을 한다. 더욱이 도시의 자본과 결합될 때 이 코드의 힘은 더 강해진다. 또 광물성 코드는 가짜 코드로 변환되어 지하철 공간을 지속적으로 건축해 나간다. 이때 지하철 내부공간은 모조적인 세계로 전환된다. 그 모조의 세계는 광물의 부정성을 은폐하는데 사용된다. 이에 따라 실체 없는 메타 기호의 세계만 부활한다. 다음으로 지하건물에 대한 경험은 양지와 대립되는 음지 코드로 나타난다. 이 코드는 지하방을 음지식물이 사는 습지나 진흙 공간으로 변형시켜버린다. 그렇게 될 수밖에 없는 것은 이 코드가 도시의 문명과 자본을 결합하여 양지(생명) 코드를 차단하고 있기 때문이다. 더 나아가 음지 코드는 타일 코드로 변환되어 자연과 문명이 대립된 지하도 공간을 건축하기도 하고, 또 생명과 죽음이 대립된 지하주차장 공간을 건축하기도 한다. Choi Seung-Ho, a poet, wrote an underground experience regarding urban space displays two layers. The first layer is a poetic encoding regarding the underground (subway) space while another is a poetic encoding about the space of underground buildings. First of all, the experience regarding the underground (subway) shows a mineral code that is in conflict with vegetability??. This code conducts signification that turns the space of an underground station into death. In addition, when in combination with the capital of city, the power of the code becomes more prominent. And mineral code is converted into a false code, showing the underground (subway) space imitating life to conceal the negativity of the mineral. So it is only a semiotic reinstated world without substance. Next, the experience regarding underground buildings is displayed as a form of shade code that is in conflict with the more positive side, even described as a sunny disposition. This code transforms basement rooms into wetlands or grave spaces (does grave here mean dark or actual graves like cemeteries?) where shady plants inhabit. It also intercepts the positive code of life with being combined with the civilization of urban settings. And the shade code is converted into tile code, which is shown in the space of underground passages where nature is in conflict with civilization and underground parking is seen as a tomb of the mineral. It therefore indicates the loss of space for human existence.

『농무』를 구축하는 시적 코드와 언술주체

정유화 ( Yu Hwa Jeong ) 한민족문화학회 2010 한민족문화연구 Vol.33 No.-

This paper is exploring the poetic code and the meaning effect of Shin Kyeong-rim`s Nongmoo focusing on the main agent on discourse. On the discourse level, Nongmoo`s text is constructed with the poetic code `we-farm village` and `I-city`. In short, it is constructed with the code of binarity. The poems which are applicable to the poetic code `we-farm village` are `Winter Night` `Nongmoo`. To put it concretely, `we`, the main agent on discourse of `Winter Night`, is oppressed by `you`, the symbolic other. And it has a feud being divided into the imaginary ego and the symbolic ego. The imaginary ego desires a happy unity where the oppression does not exist through the signifiers like `alcohol`, `B-girls`, `girls`, and `snow`. However, at the same time, `we`, the main agent on discourse, falls into the trap of the symbolic others and harbor an unconscious ambition on the pig and chicken raising business. Through this oppositive conflict, `we` finally gets split losing its own independence. `We`, the main agent on discourse of `Nongmoo`, is also in a conflict between `powdered face(symbolic order)` and `not-powdered face(imaginary order)`. The former is the main agent as `we` that has a real fun in farming, and the latter is `I in we` that denies the real fun in farming and that tries to get out of the country. According to this conflict of two main agents, `we` becomes the main agent of split. The poems which are applicable to the poetic code `I-city` are `a Intercity Bus Station` and `Chosogi`. According to this code, `I`, the main agent on discourse is divided to `I-I` and becomes to the other from both farm village and city. In `a Intercity Bus Station`, imaginary ego, trying to identify its hometown with the home folks, and symbolic ego, trying to be separated from it, are in confrontation with each other. And `I`, the main agent on discourse of `Chosogi`, is split into `I had to be crazy(imaginary ego)` and `I was not crazy(symbolic ego)` being oppressed by extreme poverty. The former shows a desire to leave Seoul, and the latter shows a desire to stay Seoul. By the separated desire, `I` cannot establish its own independence and gets to be flustered.

전쟁체험과 談論 主體의 존재방식 : 詩論과 詩의 관계를 중심으로 -朴寅煥論-

정유화(Jeong Yu-hwa) 우리문학회 2004 우리文學硏究 Vol.0 No.17

The purpose of this paper is to study the method of existence of poetic subject in Park's poetry, focusing on the post-war poetry. As a leader of the modernism, Park develops its poetic theory. Thus, it can be said that his poetic discoursive subject exists within the interrelation of it to the discoursive subject of poetic theory. Thediscoursive subject of poetic theory is divided into the subjectdesire for the realization of people’s spirit and the one for ‘virgin forest of poetry’.<br/> In fact, however, it was the discoursive subject of poetic theory desire for the realization of people’s spirit that has much effect on poetic discoursive subject. Under this circumstance, it was true that the poetic subject desire for ‘virgin forest of poetry’ was repressed by the discoursive subject of poetic theory.<br/> Moreover, while the subject of poetic theory tried to maintain self-identity, facing the other, or war, the poetic subject didn’t realize people’s spirit properly and caused self-disruption.<br/> In the meantime, when the poetic subject accepted the discourse of poetic theory desire for ‘virgin forest of poetry’, deviating from the discourse of poetic theory for the realization of people’s spirit, Prak’s masterpiece such as “A Wooden horse and Lady” was produced.

천명(天命)의 시적(詩的) 텍스트와 거울화의 의미작용(意味作用)-윤동주론(尹東柱論)-

정유화 ( Jeong Yu-hwa ) 한국어문교육연구회 2003 어문연구 Vol.31 No.4

Yoon names poets as sad ‘being bearing Heaven's will.’ According to this naming, writing a poem is to perform the task of ‘Heaven's will.’ In this paper, I regard ‘consciousness of Heaven's will’ as the dominant enunciation for creating a poetic text. Also, I explore how the ‘calling of Heaven's will’ affects the subject of enunciation and how the ‘calling of Heaven's will’ works to reflect ‘self ’. Yoon considers ‘Heaven's will’ as ‘Heaven's Law’ having absolute values. Using the poetic text of the ‘Heaven's will’, he intends to convert the values of the Earth into the values of the Heaven. For this, the subject of the enunciation is in the conflict of identity between ‘self ’ relevant to the Earth and ‘self ’ relevant to the Heaven. Such conflict causes him to escape from Seoul to Tokyo, the city of the enemy. Paradoxically, he produces the poetic text of ‘Heavens will’ which makes him rediscover his identity. To him, the poetic text of ‘Heavens will’ is his existence itself, and is a combination of poetry and life. In conclusion, he intends to achieve his self through poetry.

음식기호의 매개적(媒介的) 기능(機能)과 의미작용(意味作用) : 백석론(白石論)

정유화 ( Jeong Yu-hwa ) 한국어문교육연구회 2007 어문연구 Vol.35 No.2

This essay is aimed to explore how the mediating and signifying of food sign system works in Baeksuk's poetry through memory theory and psycho-analytic method. The food sign is a controlling agent in his poetic texts. At first, it is by imaginary code that he structures foods memorized in his childhood body. As special foods of seasons and holidays, those food signs of the code function as an intermediate between universal rhythm and bodily rhythm. Therefore, the imaginary self is to construct the monism world in which soul, body, and self are unionized into one through the food because the imaginary self seeks pleasure principle. On the contrary, the general foods in reality are structured in a symbolic code. The food signs of the code function as an intermediate of the opposite relations between the symbolic self and the outer world. Interestingly the symbolic self seeks the imaginary world rather than the self-identity in reality in order to get over the dualistic world. The return to the imaginary world is to manifest the poet's attitude toward the anti-civilization, that is, the anti-imperialism. And the foods in travel poetry of landscape are structured in a reality code. According to the code, food has a signifying function as it is connected to human body in a materialistic sense. Accordingly, food sign is an intermediate to link the past to the present and an individual to a history. In addition, it should be stressed that it is able to organically unionize the different consciousness of time and space that community people have as well as their bodies.

별과 황혼의 시적 구조화와 의미작용 -이육사와 윤동주 시를 중심으로

정유화 ( Yu Hwa Jeong ) 현대문학이론학회 2006 현대문학이론연구 Vol.0 No.29