김수영 시에 나타난 우울증의 양상과 치유기제 : 현대성을 기원으로 하는 우울증의 세 차원을 중심으로

김수이(Kim Su-yi) 한국시학회 2010 한국시학연구 Vol.- No.28

Kim Su-young's poem is the first case that figured in earnest the depression which originated from modernity in our poem history. As a text in which the narration and representation of modern depression are recorded, Kim Su-young's poem figures the loss of three dimensions the subject, the object and the other. First, the subject means the one that was deprived of its position by the exchange system of capital and became the object. Kim Su-young expresses the sorrow that the position of the subject is not guaranteed constantly as insider/outsider of an office, a modern social space. Second, the object the endlessly reproduced ghostlike object, that is, products made by the exchange system of modern capital. Kim Su-young, overlooking 'depression' that capital conceal itself through 'liveliness' of products, identifies the discarded and superfluous objects with himself. Third, the modern society intercepts the route enabling cooperation between the subject and the other by ruining lots of 'social ideas'. Kim Su-young finds 'skill of love' that re-discovers the other and the world as the targeted love, sorrowing loss of ideas such as Kim Su-young makes for himself the defense and cure mechanism of depression in the process of reflecting on depressive self. It is the very ‘skill of love’ and ‘glance of an analyst’. If ‘skill of love’ is the skill of 'becoming the subject' that the depressive subject, retreated to one's own inside, re-discovers and re-creates the lost object in the other and the world, 'glance of an analyst' is the skill of 'becoming of the other' continuously renewing oneself, seeing the identity of the depressive self from the viewpoint of a third party. The skill=methodology for coping with the depression created by the depressive subject itself has a significant meaning. This means going forward from passive ethical selection suffering from depression instead of sharing the sin of modern civilization to positive ethical selection curing depression. Kim Su-young, based on modern viewpoint of an analyst reflecting on modernity, pioneered the rare, modern and ethical poetic world in our poetic history.

한국영화미학에 대한 논의

김수남 청주대학교 예술문화연구소 1998 淸藝論叢 Vol.15 No.-

1. Introduction A discussion on Korean film aesthetics has to be made centering on the identity of Korean film. The reason is that to discuss Korean film aesthetics is to find out the difference between Korean film aesthetics and foreign one and, furthermore, to create the originality of Korean film for the differentiation. To discuss the films of a country is to examine the spiritual and cultural value systems which the films have kept throughout the film history of the country. For the past seventy years or so, Korean film had a hard time, which prevented it from establishing its spiritual and cultural value systems. Examining the historical background of Korean film, we can find it was originated from foreign culture which was imported with other genres of modem culture from the West. Unlike other genres such as literature, music, fine arts and the theatre, the cinema was not produced soon after being imported. So, the history of Korean film-making is shorter than that of presentation. In the early days of modernizing our culture, we accepted and transplanted modem culture to ours through the imitation of foreign culture. As for the cinema, the spiritual and cultural transplantation was made only through the appreciation of foreign films. Korean film-making started poorly due to lack of capital, but was in active cooperation with other contiguous genres of culture. For a kino-drama(a screen-and-stage play), the cinema was a supporter of the theater. In the silent picture days, it depended on literature, in that traditional stories of ancient times provided the cinema with its peculiar forms and affluent contents. Many of the works of Nah, Woon-kyu, a pillar of the Korean film circle in the early days, were related to literary works. After that, Korean film accomplished a great development in terms of technology, but the simplicity of dramatic plot led to the poor content. As poorly circumstanced for the perfect accomplishment of the beauty of form, we needed to strengthen the content, but, our realities were not good enough. The audience were indifferent to the beauty of form of a film. They were swayed by its story. As goods, a film was an object of entertainment, and a means to public relations or propaganda. Controlled by capital and the masses, the cinema is inevitably restricted by social circumstances and the level of the masses. In spite of all, however, we have to realize that the cinema is a genre of culture and arts. In short, Korean film has to show the cultural and spiritual identities of Korean people in consideration of all problems related to capital and technology in our realities. For that reason, a discussion on Korean film aesthetics has to start from the questions which films were manufactured and which films will have to be manufactured. 2. The Beginning of Korean Film Aesthetics In the early days, most of the Korean silent pictures were adapted from classical Korean novels or third-rate Japanese novels. Surprisingly, however, film reviews pointed that our classical novels were not fully understood in those days. Then Korean film personalities did not have a good understanding of the manners and customes of the Choson Dynasty Period and the Old Choson Period which they dealt with(a review of Story of Shim-cheong, Maeil Newspaper, Apr. 3, 1925). On the contrary, The Long Regretful Dream, adapted from a Japanese novel, was commented better than poor Korean films(Maeil Newspaper, Mar. 21, 1926). The two works, mentioned above, were made by the same Korean director. Nevertheless, the reviews of them show one with a Korean theme is poorer than the other with a Japanese theme. It is quite meaningful; In the beginning stage of film-making, Korean film personalities neglected our spiritual and cultural identities. Such an attitude is shown in Nah, Woon-kyu's Arirang, the starting point of Korean realistic film. As a whole, Arirang is a noteworthy work, in that it depicts the realities of then Korean rural communities. However, excessive exaggeration and unrealistic description break the dramatic harmony. Another problem is that the love scene is not in a Korean style, so distorts the emotion of Korean people(Choson Daily Newspaper, Oct. 1, 1926). After some years, Nah, Woon-kyu wrote that he had tried to express our people's emotion(Samcheonri, Jul. 1930, "Arirang, Society and I"). But he reversed his previous insistence to confess that he 'mimicked a foreign film' in another writing(Choson Film, "When Making Arirang", Nov. 1936). Finally, Nah, Woon-kyu has made a conclusion of Arirang; He says that he feels ashamed of imitating the form and content of foreign films in order to attract the audience's attention although he wanted to express 'the emotion of Korean people'. On the contrary, Lee, Kyu-hwan's The Ferryboat With No Ferryman, a Korean localistic film, was favorably commented by critics that it showed 'a model of Korean populace'(Dong-ah Daily Newspaper, Sep. 15, 1932). It was also criticized for only having conflicts, not struggles(Maeil Newspaper, Sep. 15, 1932). As examined above, Na, Woon-kyu's and Lee, Kyu-hwan's films were evaluated to show relatively well the spirit of Korean film in those days. During the period of Japanese imperialism, most of Korean films were adapted from classical Korean novels and third-rate Japanese novels. In this circumstance, the two directors attempted to establish a true view of Korean film to represent Korean people's feelings. It was the starting point of Korean film aesthetics. The problem is to deduce a film from a printed material, the secondary one, not to examine closely into its form which includes its content by watching the film itself. Let's take Arirang, which is said to try employing the montage technique first in the Korean film history, as an example. It shows the realism of Korean film puts story higher than image. The reason is that montage is a characteristic of anti-realistic films. Accordingly, we can guess that Lee, Kyu-hwan's The Ferryboat With No Ferryman and Choi, In-kyu's A School Fee, which follow the realism shown by Nah, Woon-kyu's Arirang, were categorized into literary realism where the content attains superiority over the form. The Korean realistic films are divided into two trends. One of them is KAPF film which urges on 'the films as arms' and whose first work was Wandering (1928) by Kim, Yoo-young. However, as losing amateurism and popularism, it had not been mentioned until popular film appeared in the 1980's. Characterized by popular arts, the films cannot discuss the general theory of film aesthetics which targets a small number of specific groups or film mania. 3. The Tradition of Korean Film Since the birth of Korean film, Korean film aesthetics has been based on realism. As mentioned above, the realism of Korean film pursued the realism of literature, rather than being influenced by foreign realistic films. Above all, Korean film followed critical realism which was discussed actively in literature. So, the spirit of realism in Korean film was controlled by a critical point of view that deals with Korean people's deplorable life and the disadvantaged classes during the period of Japanese imperialism. This point is quite different from the current of foreign film at the same period. German expressionistic film, which depicts the realities from a subjective view-point getting out of naturalism or realism, French experimental film, which emphasizes the visualization of a film giving priority to form over content, and Soviet montage film, which emphasizes content but put more importance on form, developed foreign film while struggling for mastery in film aesthetics. Influenced by critical realism, we established the tradition of Korean realistic film from Nah, Woon-kyu's Arirang through Lee, Kyu-hwan's The Ferryboat With No Ferryman and KAPF-style tendency film in the 1930's, Choi, In-kyu's A School Fee in the 1940's and Han, Hyong-mo's Free Madam in the 1950's to Yoo, Hyon-mok's A Aimless Bullet in the 1960's. Such a critical attitude of Korean film has been consistently urged and continued up to the 1990's getting through the 1970's and the 1980's. The tradition of Korean film is critical realism led by Nah, Woon-kyu―Lee, Kyu-hwan―Choi, In-kyu before the Liberation and Yoo, Hyon-mok―Lee, Man-hee―Lee, Jang-ho, Ha, Kil-jong, Kim, Ho-seon―Bae, Chang-ho―Park, Kwang-soo, Chang, Seon-woo after the Liberation. New directors in the 1990's are participating in this line. Kim, Ki-young's expressionistic realism and Kim, Soo-yong's modem-style realism were not recognized properly. Although Yoo, Hyon-mok made noteworthy expressionistic or modem-style films, and Kim, Ki-young and Kim, Soo-yong also made noteworthy critical realistic films, Korean film critical circles neglected them. Here, we need to change our prejudice of regarding critical realism as the only spirit of Korean film and the only attitude for Korean film-making. It is urgent to change our thought to re-establish the tradition of Korean film. First, we have to re-evaluate various works by the leading directors in the 1960's. We have to find that the various identities of the times were represented by such films getting out of critical realism as Shin, Sang-ok's historical drama, The Guest and My Mother(1961), A Red Muffler(1964), and A Thirteen-Year-Old Boy(1974), Hong, Seong-ki's A Star In My Mind(1958), and When Youth Goes Into the Night(1964), Yoo, Hyon-mok's A Spring Dream(1965), The Visitors Coming By the Last Car(1967) and A Door(1977), Kim, Ki-young's A Housemaid(1960) and Hyonhaetan Knows Everything(1961), Kim, Soo-yong's A Dried Corvina Fish (1963), A Fog(1967) and A Night Trip(1977), and Lee, Man-hee's Dial 112 (1962), The Marine Corps That Did not Return(1963) and A Return Trip(1967). We will be able to find out the tradition of Korean film when we investigate with a new critical way of thinking how Korean film perceived and accepted modem images and changes in tradition and modem everyday life, and represented Korean people's feelings for various materials. Now, I suggest that we should re-establish the lineage of Korean film classified into Kim, Soo-yong's modem realism, Yoo, Hyon-mok's critical realism and Kim, Ki-young's expressionistic realism. Such a systemization will be effective in establishing the various branches and trends of Korean film, and understanding its spiritual and cultural identities. It is also useful to get rid of all confusions to systemize Korean film aesthetics. 4. A Study on Korean Film Aesthetics The cinema keeps a closer relationship with the masses than any other arts dealing with the human problems. In any society where men live, there always exist conflicts and oppositions. Realism is preferred in order to settle them. Therefore, it is inevitable that realistic films are loved as social conflicts come up to the surface. The opposed situation is possible, too. The conflict shown in Nah, Woon-kyu's Arirang is a story of long times ago. Also, the obstacle which Yoo, Hyon-mok's A Aimless Bullet and Lee, Man-hee's Seven Women Captives could not overcome have been removed. The new age of the 1990's, when Chang, Seon-woo's Send Me To You gains public favor and Im, Sang-soo's Girls' Night Out becomes the talk of all, is closing. With the 21st century coming soon, Korean film aesthetics is confused and exposed to the random invasion of foreign culture. Deplorably, Korean film is poisoned seriously by foreign culture and does nothing but managing to retain its life in film-making itself. It may be meaningless to examine Korean film aesthetics in this circumstance, but we need to grope for the rebirth of Korean film aesthetics by finding again out our spiritual and cultural identities in preparation for film culture of the 21st century. Wagner's theory of arts is still true; The form of total arts does not change, however its style does. The problem of Korean film aesthetics is that changes in the style of films have been influenced by the acceptance of foreign culture, rather than the development of the intrinsic legacy in our tradition. The tradition of Korean culture must be found in mask dance which dealt with common people's joys and sorrows of life, not in aristocratic culture. 'Taedongkut', which was regularly performed with the consciousness of a community, was both a ritual for a good harvest and the peace of a village, and the lower classes' resistance against the ruling classes. Its content was the resistance to the realities and expression was in satiric symbolism. However, the modernization of culture drove out the essence of our traditional drama and developed the dramatic form with only story borrowed. In Nah, Woon-kyu's Arirang, the consciousness of resistance is our tradition and the montage technique is a symbolic satire. After Arirang, the base of Korean film aesthetics is generalized into realism which the content conforms to the form. In traditional Korean arts, however, the content is inconsistent with the form. It is influenced by Confucianism, and caused from the modesty and submissiveness of Korean people. Although getting the feel of their deplorable realities with skin desperately and directly, they are satisfied with expressing them in an indirect way. Therefore, it is most suitable for Korean people's emotion that the realistic content is represented in an expressionistic style. But, our reality is the direct opposition. Accepting modern culture, our consciousness started to be westernized. As a result, we pursued the amusing quality, rather than the essential goal of our traditional drama. Moreover, the materialistic function of camera naturally led us to prefer to realistic expression and the critical circles followed blindly the western theories of realistic film to square content and form. At this very point, Korean film aesthetics began to go astray. In case of the films, which cannot accept the consciousness of a community directly unlike performing arts, however, long take, a realistic technique of camera, may be considered. Long take is a way to lead the audience to watch a film actively and the active attitude for film appreciation can enhance the consciousness of a community. So far, I have examined the origins of the Koreans' spiritual and cultural identities, and pointed out the essential problems of Korean film aesthetics. The tradition of Korean film aesthetics, which started from Nah, Woon-kyu's Arirang, led to literary realism, which put superiority on the critical realistic content urged by KAPF film, resisting the conflicts of the times. In the meanwhile, in Yoo, Hyon-mok's A Aimless Bullet, filmic realism putting superiority on the form was introduced from neo-realism. Critical realism continued by Lee, Man-hee, Lee, Jang-ho, Ha, Kil-jong, Kim, Ho-seon, Bae, Chang-ho, Park, Kwang-soo, Chin, Yoo-young, Yeo, Kyun-dong and Kim, Hong-joon has been widened to Kim, Soo-yong's modern realism and Kim, Ki-young's expressionistic realism by Park, Cheol-soo, Chung, Ji-young, Chang, Kil-soo, Chang, Seon-woo, Kwak, Ji-kyun, Shin, Seung-soo, Lee, Myong-se, Park, Jong-won, Kim, Yoo-jin, Kang, Woo-seok and Hong, Sang-soo. In this turmoil, Yim, Kwon-taek has been the mainstay which firmly supports the Korean films. Besides, there are such important films which show Korean images to represent the emotion of Korean people as Bae, Yong-kyun's Why has Bodhi-Dharma Left for the East?, Paek, Il-seong's In a Handful of Time and Lee, Kwang-mo's Spring in My Hometown. We also must not overlook Lee, Jang-ho's The Man with Three Coffins which quite clearly reveals one aspect of our identity through the ideological conflicts in the continuously flowing stream of the traditional spirit. 5. Conclusion Getting through the 1990's, the ideology has clearly changed. The Cold War has closed a long time ago and the ideological conflict between the South Korea and the North Korea is getting soften more and more. Also, the problem of filmic expression conflicting keenly with ideology seeks for changes intrinsic formal aesthetics, getting out of the content-superior age when a film was evaluated only with subject matters and themes. Such a change has to start from the accumulation of the inherent spirit and philosophy in our tradition. The problem is that changes are made by imported culture rather than the legacy intrinsic to our tradition. Reflecting the biased inclination of Korean film to critical realism, I would like to come to the front other streams of Korean film. The language, action, color, fashion and design, which have to keep our emotion, have already been westernized. As the policy for film promotion is bent on making films, our cultural spirit is controlled by capital to become like a losing child of unknown nationality. For this circumstance, we do not know where we can find out Korean spirit and culture however strongly we may try to emphasize them in the films. I strongly insist that it should be problematic to discuss on Korean film aesthetics only with the content and form of the present Korean films. It is desirable to examine ourselves in the past films, which are less contaminated by foreign culture, to re-find to discuss on our film aesthetics. Until that time, we cannot grope for an alternative measure to establish the identity of Korean film aesthetics.

‘해방’의 전통과 복원 - 김학철을 중심으로

김민수 ( Kim¸ Min-su ) 한국문학언어학회 2021 어문론총 Vol.89 No.-

이 글은 조선의용군 출신 작가 김학철(金學鐵, 1916~2001)의 서지를 보완하기 위하여 작성된 것이다. 일차적으로는 김학철이 독립운동가에서 작가로 변모했던 해방 직후의 불완전한 서지를 갈무리하고자 하였다. 월북 이전의 작품목록을 정리하는 과정을 통해 당시의 정치지형을 검토할 수 있게 되었다. 더 나아가 김학철이 조선의용군을 형상화한 작품이 ‘해금’을 전후한 시기에 어떠한 방식으로 복원된 것인지 살피고자 하였다. 1980년대 민주화의 열기와 맞물려 ‘해방전후사(解放前後史)’는 출판문화계의 지대한 화두로 자리했다. 특히 중국에서 출판된 김학철의 전기문학 『항전별곡』(1983)과 『격정시대』(1986) 등이 일본을 경유하는 방식으로 한국에서 해적판으로 출판된 정황을 추적하고자 하였다. 이때 그의 소설은 민족해방운동에 관한 ‘사료’로 취급된 바 있을 정도이다. 이처럼 규율화된 폭력(Gewalt)을 무릅쓰고 우리에게 돌아온 조선의용군 서사는 ‘잔존(Survivance)’의 가치를 논의하기에 충분한 것이라 할 수가 있다. ‘해방’과 ‘해금’ 사이의 공차를 저울질하는 작업을 통하여 반세기에 걸쳐 금압의 역사로 자리했던 ‘해방공간’의 의미를 재구할 수 있을 것이라 기대한다. This article attempts to fill out the bibliography of Kim Hak-cheol (1916-2001), author and member of the Korean Volunteer Army. First, I organize incomplete bibliographic information from the period following the Liberation, when Kim shifted from independence movement activist to author. In organizing Kim’s list of works prior to his defection to North Korea, I also investigate the political geography of the period. I then examine how Kim’s depiction of the Korean Volunteer Army was restored around the time of the ‘lifting of the ban.’ In step with the fervor of democratization in the 1980s, ‘history at the time of liberation’ became an immensely important topic in the publishing world. In particular, I trace the circumstances under which Kim’s biographical works Hangjeonbyeolgok (1983) and Gyukjeongsidae (1986), originally published in China, were published in pirate editions by way of Japan. At this time, Kim’s novels were treated mostly as historical resources on the national liberation movement. Overcoming disciplinary violence (gewalt) to return to South Korean readers, this Korean Volunteer Army narrative offers an important chance to discuss the value of ‘survivance.’ By measuring the difference that appears between the ‘liberation’ and the ‘lifting of the ban,’ it is possible to begin reconstructing the meaning of the ‘Liberation Period,’ which occupied the position of suppressed history for half a century.

어린 아동을 둔 취업모의 양육부담감 경험에 대한 현상학적 연구

김나현 ( Na Hyun Kim ),이은주 ( Eun Joo Lee ),곽수영 ( Su Young Kwak ),박미라 ( Mee Ra Park ) 여성건강간호학회 2013 여성건강간호학회지 Vol.19 No.3

본 연구는 취업모가 경험하는 양육부담감의 본질을 탐색하기 위해 시도된 현상학적 연구로 양육부담감의 7가지 주제모음을 도출하였으며, 이를 중심으로 논의해 보고자 한다. 첫 번째 주제모음은 ‘끊임없이 갈등하는 삶’으로, 참여자들은 일과 양육을 병행하며 힘겨운 시간을 보내지만 아무도 그들의 고충을 이해하고 지지해주는 사람이 없어 힘들어 하였다. 성공중심의 사회속에서 자녀를 잘 기르기 위한 궁극적 목표를 가지면서도 자기계발에 대한 부담과 아이들에게 충분한 시간을 할애하지 못하는 양육 현실 간의 상충되는 상황으로 인하여(Yang, 2011) 갈등하였다. 이러한 결과는 취업모가 가정에서 ‘엄마’로서의 책임을 다해야 하고, 직장 내에서도 여성으로서 특별한 배려의 대상이 되지 않기 위해 노력하기 때문에 두 역할사이에서 힘들어 한다는 Kim, Kim과 Lee (2011)의 연구결과를 뒷받침해 주었다. 이러한 고민과 갈등은 양육 스트레스를 더욱 가중시켜 자녀를 둔 젊은 취업 여성들뿐만 아니라 미혼여성들에게도 자녀 출산을 고민하게 하는 요인으로 이어지고 있으므로(Kim et al.,), 출산을 장려하고 양육부담감을 감소시키기 위한 실질적이고 효과적인 일, 가정 양립 지원책이 마련되어야할 것이다. 두 번째 주제모음은 ‘죄책감’으로, 참여자들은 전업주부처럼 온종일 아이를 잘 보살펴주지 못하여 미안해하고 죄책감을 느꼈다. 이는 특히 우리나라 여성들은 전통적으로 자녀를 위한 희생정신과 책임감이 강하여 돌봄이 부족하거나 양육이 충분하지 못할 경우 죄책감을 많이 느끼기 때문으로(Sung & Park, 2011), Yang과 Shin (2011)의 연구에서도 유사한 결과를 보고한 바 있다. 미안함과 죄책감 때문에 참여자들은 의도적인 스킨십으로 사랑을 각인시키고, 자녀가 원하는 물건을 갖게 함으로써 부족한 엄마 역할을 만회하고자 하였다. 그러나 일하는 어머니와 집에 있는 어머니 간 영유아 자녀의 발달위험 정도에 차이가 없다는 연구결과(Korea Institute of Child Care and Education, 2011)에서도 알 수 있듯이 어머니의 취업이 아이 발달에 부정적인 영향을 미치는 것은 아니기때문에 취업모들은 자녀에게 갖는 과도한 죄책감에서 벗어나 현명하고 일관적인 양육태도를 취하도록 노력해야 할 것이다. 또한 참여자들은 아이에게 미안해하면서도 일, 가사, 육아를 동시에 감당해야 하는 과중한 부담과 피로로 인해 쉽게 짜증을 내는 것으로 드러났는데, 이것은 직장에서의 스트레스와 피로가 가시기도 전 또 다른 노동을 시작해야 하는 이중의 긴장 속에서 육체적, 정신적 소진을 경험하기 때문일 것이다. 스스로 감정조절에 실패한 취업모는 미안한 마음과 죄의식을 느끼고 이를 만회하고자 최대한 행복한 모습을 보여주고 질적으로 더욱 집중해야 한다는 부담을 더 가지게 된다(Kim & Chang, 2008). 이러한 현상은 육체적 피로뿐만 아니라 해결 되지 않은 스트레스로 인해 모아관계에 부정적 영향을 미치게 되고, 자녀의 성장에도 나쁜 영향을 줄 수 있으므로(Yoon, Hwang, & Cho, 2009) 적절한 휴식과 스트레스 해결을 위한 시간을 가져야 할 필요가 있다. 세 번째 주제모음은 ‘아이교육에 관한 정보와 시간부족으로 불안함’으로, 참여자들은 자신은 일을 하고 있어서 절대시간이 부족함에도 자녀교육에 임하는 자신의 처지를 전업주부와 끊임없이 비교하면서 조급하고 불안해(Mishina, Takayama, Aizawa, Tsuchida, & Sugama, 2012; Yang & Shin, 2011) 하였다. 특히 우리나라는 자녀교육열이 매우 높고 자녀의 성공 여부에 따라 능력있는 어머니로 평가되기 때문에 취업모에게 자녀교육은 이중적 부담으로 작용하고 있다(Lee, 2007). 게다가 참여자들은 늦은 퇴근 시간과 피로함으로 자녀의 학습 조력자로서의 역할을 제대로 하지 못함으로 인해 현재 자녀의 학업뿐만 아니라 앞으로의 장래까지도 염려하였다. 이와 같은 현상은 자녀양육에서 교육이 큰 비중을 차지하는 우리나라의 사회적 분위기 때문에 주어진 여건 속에서 나름대로 최선을 다하지만 교육 문제에서만큼은 늘 부족하다고 느끼며, 이로 인해 받는 양육 스트레스도 매우 큰 것으로 보인다. 네 번째 주제모음은 ‘부족한 엄마로 낙인찍힘’으로, 참여자들은 고된 삶을 누구에게든 편하게 털어놓고 위로 받고 싶었지만 오히려 전업주부보다 육아에 더 엄격한 기준이 적용되었고, 부족한 엄마라는 낙인이 늘 따라다녔다. Yang과 Shin (2011)의 연구에서도 취업모는 ‘가정을 포기한 여자’라는 인식과 여성의 역할을 가족 중심에 두는 사회적 분위기 속에서 힘들어 하였다. 하지만 실제 취업모와 비취업모를 비교하였을 때 가정에서의 안전사고나 입원 경험 등에 차이가 없으며 양육태도 측면에서도 더 긍정적인 것으로 보고되었다(Bang, 2004). 즉 육아의 책임을 여성에게 떠넘기는 우리 사회의 불공평한 편견과 오해 속에서도 취업모는 최대한 아이에게 소홀 하지 않기 위해 부단하게 노력하고 있다고 볼 수 있을 것이다. 다섯 번째 주제모음은 ‘소원해진 가족관계’로, 육아에 대한 가치관의 차이나 비협조는 가족 간 갈등을 초래하였으며, 이로 인해 가족관계가 소원해지고 사이가 멀어졌다. 본 연구에서 참여자의 양육방식과 차이를 보이는 대리양육자는 대부분 할머니였으며, 대리양육자와의 육아갈등은 Kim과 Seo (2007)의 연구에서도 보고된 바 있다. 한편, 취업여성의 경우 배우자와의 불평등한 역할분담과 자녀교육방식에 불만을 갖는 경우가 많으며, 이는 심리적 부담을 가중시키게 되는데(Lee, 2008) 본 연구에서도 참여자들의 양육부담감은 남편의 무관심이나 비협조적인 태도로 인해 더욱 가중되는 것으로 나타났다. 예전과 달리 남성들이 여성의 취업을 지지하고 가사를 분담하는 등 도움을 주고 있지만 여전히 역할분담이 공평하게 이루어지지 못하고 있는 것으로(Yang & Shin, 2011) 보인다. 외국의 경우 법적으로 자녀 양육의 책임을 부모에게 공동으로 부여하고 있기 때문에(Kim & Seo, 2004) 양육을 인식하는 무게 정도가 우리와 다른 것으로 알려져 있다. 따라서 우리나라에서도 자녀양육의 책임을 개인이나 가족내의 문제로 남겨두기보다는 좀 더 제도적인 차원에서 접근한다면 취업모가 경험하는 역할 부담을 덜어줄 수 있을 것이다. 여섯 번째 주제모음은 ‘지쳐가는 삶’으로, 평상시에는 물론 특히, 급한 일이 생겼을 때 도움 받을 곳이 없어 어떠하든 혼자서 해결해야 하는 상황에 매우 힘들어 하였다. 이럴 때마다 취업모는 더욱 극심한 갈등을 겪음과 동시에 심신이 지쳐가는 경험을 반복하는 것으로 나타났다. Kim 등(2011)도 부부가 함께 일하기 때문에 육아를 분담해야 한다고 생각하지만 막상 긴급한 상황이 발생하면 ‘자연스럽게’ 여성의 책임으로 여기게 된다고 하였다. 이는 남편이 육아에 협력하기는 하지만 도와주는 정도의 수준으로, 여전히 우리 사회에서 남편의 가치관과 태도는 전통적인 성역할에 머물러 있는 것으로(Yang & Shin, 2011) 해석할 수 있다. 마지막 주제모음은 ‘하루하루 버텨나감’으로, 참여자들은 지금은 힘들지만 아이가 자라면 엄마의 부재를 이해하고, 자랑스러워 할 것이라 생각하였다. 즉, 현재 자신이 양육에 매진 하지 못하는 상황을 애써 긍정적으로 합리화하면서 버텨나가기 위해 노력하였다. 실제로 사춘기 딸의 경우 엄마의 사회적 성공을 긍정적으로 받아들여 성공한 엄마를 자신의 역할 모델로 삼고 있어(Jeong, 2005) 취업모의 이러한 합리화는 현재의 양육부담감을 이겨나가는 긍정적인 방어기제로 보인다. 주목할 점은 취업모의 삶이 힘겹고 지쳐가지만 본 연구참여자들은 전업주부로 돌아가기를 원하지는 않았다. 그 이유는 전업 주부로서 감당해야 할 양육과 가사일이 두렵기도 하지만(Kim et al., 2011) 사회로부터의 단절과 고립을 원하지 않으며 (Kim & Seo, 2012) 일을 하면서 얻는 성취감도 큰 것으로 설명할 수 있을 것이다. 이상의 연구결과에서 취업모들은 육아와 일 사이에서 갈등함, 육아에 대한 죄의식, 충분한 사랑과 보살핌을 주지 못한 미안함, 남편의 방관자적 태도에 불만을 가짐, 슈퍼우먼을 바라는 주변의 요구, 신체적 피로로 인한 잘못된 양육태도, 아이 교육을 걱정함, 전업주부와 교류가 없고 소외됨, 아이들이 자라면 엄마를 자랑스러워 할 것이라 생각함 등은 취업모의 양육 경험에 관한 선행연구(Kim et al., 2011; Kim & Chang, 2008; Yang & Shin, 2011)의 결과와 유사하게 도출되었다. 그러나 가족 관계가 소원해짐, 지쳐가는 삶, 하루하루 버텨나감 등의 새로운 주제모음이 도출되었다. 즉, 양육방식에 있어서의 가족간 의견 차이로 가족관계 마저 소원해진 채로 힘든 나날을 보내고 있었으며, 이러한 갈등과 부담감으로 삶은 지쳐가지만 자녀들의 미래와 자녀들이 자신의 노고를 알아줄 것이라는 희망으로 힘겨운 시간을 보내고 있음을 알 수 있었다. 취업모의 이러한 부정적인 양육경험은 둘째, 혹은 셋째 아이의 출산을 포기하게 만들어 저출산의 문제를 더욱 가중시키는 것으로 짐작된다. 따라서 어린 아동을 둔 취업모의 양육부담감을 줄이기 위하여 양육부담감에 대한 이해를 토대로 저출산의 문제를 해결하는 실질적이면서도 다차원적인 접근이 이루어져야 할 것이다. 더불어 취업모에 대한 편견과 고정관념을 깨뜨리고 그들의 미안한 마음을 위로해야 하며, 취업모 역시 잘못된 모성애적 믿음에서 비롯된 죄의식에서 벗어나도록 노력해야 할 것이다. Purpose: The purpose of this study was to describe the essential structure of the lived experience of working mothers` parenting burden in Korea. Methods: Eight working mothers with young children were interviewed. The Colaizzi analysis of phenomenological research was applied. Results: Seven theme clusters were extracted: a life with constant conflict, sense of guilt, feeling anxious because of lack of information about education for their children, social stigma as a deficient mother, family relationship becoming distant, a life being exhausted, day to day struggle. Conclusion: These results provide an opportunity to have a better understanding of the experiences of working mothers related to parenting their young children. It would also serve as a medium for the formulation of appropriate nursing intervention relevant to burdens of parenthood.

북한의 대내외 정세평가 : 2011년 신년공동사설 분석

김연수(KIM Yeon-su)(金蓮洙) 신아시아연구소 2011 신아세아 Vol.18 No.4

지난해 김정은 승계체제 공식 등장 이후 북한은 체제안정을 유지하면서 김정은 승계체제 안착을 위한 대내외 여건조성에 주력해 왔다. 올해 북한정세에서 김정은 승계체제의 안착국면이 두드러지게 나타났다. 자원공급 한계로 경제 활력 회복에는 적잖은 한계를 보이고 있고 체제 구심력 회복도 쉽지 않으나, 김정은 승계체제의 정치적 안정성은 북한군 수뇌부 지지를 중심으로 증대되고 있다. 북한은 그 승계체제에 대한 중국의 확고한 전략적 지원과 러시아의 전략적 협력태도를 이끌어냈다. 대미관계에서도 고위급회담 개최를 통해서 관계개선에 대한 원칙적 합의에 이르렀다. 북한은 대남 멸적의식을 강조하며 비대칭전력 증강과 대남 군사훈련에 적극적 행태를 보이면서도 대남관계에서 일정한 성과를 거두고 있다. 간헐적 대남 강경태도 시현이 있었으나 대화공세를 이어 오며 남북 비핵화회담 개최 및 남한의 소위 '5. 24' 대북 제재 조치의 부분적 완화태도를 이끌어냈다. 앞으로도 김정일 사망에도 불구하고 김정은 승계체제 안정화 차원의 이러한 올해 북한의 대내외 정책기조가 지속될 것이다. '강성국가' 원년 즈음 각종 정치행사 등 후계체제 정통성 고취행태와 김정은 승계체제 중심 권력 엘리트변화 양상의 심화가 예상된다. 북한은 주민들의 실생활 개선을 위한 경공업부문의 생산 정상화에 집중하고, 사상교양 강화 등으로 체제 원심력 확산을 제어하고자 할 것이다. 북핵문제의 협상국면과 평화협정 프로세스 유도로 외부의 대북경제지원과 대미관계 정상화의 계기를 만들어나가고자 할 것이다. 대중 동맹 결속 강화로 경제협력, 인적교류, 군사협력 등의 확대 노력도 전개할 것이다. 대남 관계에서는 대남 적대성에 기초한 군사적 대응능력을 강화하는 한편 평화공세로 남북고위급회담 개최를 유인하여 김정은 승계체제의 안정화에 유리한 남북관계의 안정성을 확보하고자 할 것이다. 향후 북한의 대내외 정책구사의 초점이 김정은 승계체제의 안정화에 맞춰지면서 주체와 선군노선의 계승성을 주장하는 김정은 승계체제는 중·장기 진로의 불확실성에도 불구하고 단기적으로 보면 유사(類似)수령유일지도체제의 성격을 띠면서 안정된 국면으로 진입할 가능성이 높다. North Korea has been engrossed in creating a friendly environment for stabilization of the Kim Jong-eun's new regime since he had been designated as its 3rd hereditary successor in Pyongyang in last September 2010. The eminent features of North Korean hereditary succession politics of this year is that the Kim's hereditary succession regime has been stabilized very rapidly owing to improvement of internal and external environment for its survival in 2011. The core leader group of North Korean People's Army openly took a pledge to dedicate their loyalty to new leader Kim Jong-eun through the several main national festivities. Additionally, Pyongyang attained Beijing's firmly strategic acceptance and assistance to the new North Korean regime and Russia's strategic support to the Kim's hereditary succession regime. Pyongyang reached mutual consent for the sake of improvement of the relations between two countries through the resumed high-level governmental talks between washington and Pyongyang. As for inter-Korean relations, North Korea succeeded in softening Seoul's antagonistic attitude against Pyongyang by means of its continuous demand for reopening governmental talks between two Koreas. Notwithstanding Kim Jong-il's death, these kinds of environmental changes contributed to maintain the new North Korean regime's stability. Meanwhile, North Korea's internal and external policy is also going to be concentrated on stabilizing the new Kim's regime in the near future. That's why North Korea's policy attitude in the near term will be similar to Pyongyang's that of this year. In this context, we can all agree that there is a high possibility that the new Kim's regime is going to make an approach to the higher stage of its stabilization.

김유진 감독의 충무로영화관 논의

김수남 ( Su Nam Kim ) 한양대학교 현대영화연구소 2013 현대영화연구 Vol.9 No.2

Dir. Kim, Yujin has maked various genre film. This thesis try to study on the view of Kim, Yujin`s film works in the Chungmuro film world. His film world has pursued the value of Korean film which tried to show His works to watch ordinary life and represented the popular entertainments. The real life of Kim, Yujin`s film`s makes his audience to feel the outside world of ordinary life. By his filmography his main filn are belong to realism works except <Singijeon>. His film works are divided Three part by making film period such as the first period, the middle period and the last or the new beginning period. In the first period his film images are shoot by longtake and theatrical blocking better than shot frame because of his theatical directing experience. as the result he directs his film to show the extremism ensemble image represented. His debut`s film, <Song for hero>was very enought to demonstrate a new director appeared. In the middle period his important film are <Danji geudaega yeojaraneun iyumaneuro>, <yaksok>. Those films are noticed dir. KIm`s thought for Korean Chungmuro film. His film making style is continued to the last period. <Wild Card>, <Singijeon> shows dir. Kim`s style and his creative technique by try to make new film image. We can find his responsibility for Korean film audience and Chungmuro film. Dir. Kim, Yujin`s film idea and directing style is arranged by three parts. The first, he pursued for making entertainment and social issue. The second, his social film shows very simple and turly points. The third, he has instinct will to represent the identy of Korean film. By above mention it is very difficult to determind Dir. Kim, Yujin`s film world. Anyway his instinct idea which has made various film genre creates his dream world to make ordinary peoples`s peace and happiness life. In this point Dir. Kim, Yujin is always important director of Chungmuro film.

조선영화 여배우론

김수남 청주대학교 학술연구소 2007 淸大學術論集 Vol.9 No.-

It is hard to definite when film actress appeared in Chosun film. But it is big topic to performance on the stage or film in 1920's. At the time woman was active as a actress very difficult because of Confucian moral to limite woman's social activity. Eventhough a Woman is to be actress, her life of actress was very short. In the theatre and film world of Chosun it is known that the first actress is Kim, Sojin and the first film actress is Lee, Weolhwa who is main cast of 〈Swear under moon〉(월하의 맹세) in 1920's. But the other first film actress is Ma, Hojeong who is main cast of 〈Life's Foe〉(인생의 구). In 1920's the audience are very interested in film star. In the result the first actor's school was founded in 1925 on Jan. This school had produced many important actor and actress in Chosun film. I can check and arranged over 50 actress in the document of Korean film history. In this thesis I introduced the most important actress to divided four part - the first period of 1920's, after 〈Arirang〉, after appeared sound film and, the period of pro japanese film. There are Ma - hojeong, Lee- Wolhwa, Lee - Caejeon, Kim - Uyeon, Kim - Sojin in the first period of 1920's chosun film and Shin - Illsun, Kim - Jeongsuk, Bok - Hyesuk, Kim - Yeonsil, Jeon - Ok, Kim - Soyeong, Yu - Shinbang, Kim - Seonyeong, Mun - Yeoibong after 〈Arirang〉 and Hyeon - Bangran, No - Jaeshin, Hyeon - Sunyeong, Seok - Kumseong, Kim - Shinjae, Han - Eunjin, Yu - Kyeoisun after sound film and Yun - jeonran in the period of pro japanese fim. And the last of study I discuss a style about actress follow each character.

<개문인시폐문인(開門人是閉門人)> 유형 설화에서 문과 환생의 의미

김민수 ( Kim Min-su ) 온지학회 2023 溫知論叢 Vol.- No.76

본 논문은 <개문인시폐문인>유형 설화에 대한 새로운 해석을 시도하였다. 그간 다양한 설화에 등장하는 환생 모티프는 현실에서 불가능한 것들을 가능하게 하는 서사적 당위성을 확보하기 위한 장치로 활용되어 왔다. 그러나 <개문인시폐문인>유형 설화는 그간 본격적으로 분석되지 않았으며 환생의 의미가 기존과 다르다는 점에서 연구대상으로 가치가 있다. 본 논문에서는 해당 유형 설화에 주인공으로 왕수인이 반복적으로 등장한다는 사실에 집중하여 그 이유를 규명하고자 했다. 이를 위해 당시 왕수인이라는 인물이 불교에 관대한 경향을 가진 인물로서 갖는 위상을 확인하고 불교에 우호적이라는 속성이 어떻게 환생 모티프가 사용된 설화에 주인공으로 정착하는 이유가 되었는지를 설명했다. 이후 <개문인시폐문인>유형 설화의 의미 분석을 위해 구조주의적 분석 방식인 순차구조와 대립구조를 중첩하여 적용했다. 순차구조 분석을 통해 서사의 진행 과정이 형성하는 의미와 그 과정에서 ‘문’이라는 화소가 갖는 중요성을 파악했다. 그리고 이를 통해 고립에서 확장을 거쳐 통합에 이르는 왕수인의 상태 변화를 확인했다. 문을 기점으로 자연스럽게 형성된 대립구조를 통해서는 문을 중심으로 나뉜 방 안과 밖의 의미가 개인의 심리적 공간 내/외부를 의미한다는 사실을 밝혀냈다. 또 왕수인의 상태가 환생을 매개로 죽음과 삶을 연결하고 있다는 구조를 파악했다. 밝혀진 구조를 중심으로 문을 닫고 들어선 왕수인과 밖에서 열 수 없던 문이 원님에 의해 열리는 것이 의미하는 바 역시 분석했다. 결과적으로 <개문인시폐문인>유형 설화는 문제해결 과정에서 발생하는 심리학적 자기성장과 문제해결에서 주체의 해결의지가 갖는 중요성을 의미화하고 있다. 이를 통해 <개문인시폐문인>유형이 어떤 의미를 갖는지 새로운 해석을 제시할 수 있게 되었으며, 그 의미가 현대인들에게 존재 변화를 위한 고민의 가치와 지향점에 대해 시사하는 바를 확인할 수 있었다. This study attempts a new interpretation of the < Gaemuninsipyemunin >-type folktales. So far, the reincarnation motif that appears in many tales has been used as a device to secure narrative rightfulness that makes something impossible possible in reality. However, < Gaemuninsipyemunin >-type folktales have not been analyzed in earnest up until now, and they are valuable as a research subject in that the meaning of reincarnation is different from the previous one. In addition, focusing on the fact that Wang Su-in appears repeatedly as the main character in the type folktales, this study attempts to find out the reason. This researcher has figured the status of Wang Su-in as a person with a tendency to be generous about Buddhism within the social context then and explained how the attribute of being favorable to Buddhism was the reason for settling him as the main character in the folktales employing the reincarnation motif. Through that, this study has analyzed how Wang Su-in settled as the main character in the tales and was accepted by the class enjoying them. Next, to analyze the meaning of < Gaemuninsipyemunin >-type folktales, the sequential structure and confrontational structure which are the methods of structuralist analysis are applied in combination. Through sequential structure analysis, this study has figured the meaning that the narrative progress forms and the importance of the theme called ‘Mun (the door)’. Through that, the change in Wang Su-in’s state from isolation to extension and to integration has been observed. Through the confrontational structure naturally formed with the door, the fact that the meaning of the inside and outside of the room separated by the door refers to the meaning of the inside and outside psychological space of an individual has been revealed. Also, the structure that Wang Su-in’s state connects death and life with the mediation of reincarnation has been identified. Based on the structure revealed, this author has analyzed the meaning of Wang Su-in entering the room closing the door and the door opened by Wonnim although it had not been able to be opened outside. < Gaemuninsipyemunin >-type folktales signify psychological self-growth that occurs in the process of solving problems and the importance of the subject’s willingness to solve problems. This study is significant in that it has presented a new interpretation about the meaning of < Gaemuninsipyemunin >-type folktales loved by various classes through oral and written transmissions and figured what they imply for contemporaries about the value and direction of concerns for change in existence.

Solar urticaria in Korean patients

( Sung Min Kim ),( Young Ah Cho ),( Ji Su Lee ),( Ji Youn Hong ),( Jin Hee Kim ),( Joo Ran Hong ),( Hye In Cheon ),( Yang Won Lee ),( Yong Beom Choe ),( Kyu Joong Ahn ) 대한피부과학회 2020 대한피부과학회 학술발표대회집 Vol.72 No.1

Background: Solar urticaria (SU) is an uncommon type of photodermatoses characterized by erythematous wheal with pruritus after sunlight exposure, which shows a female predominance. Only a few studies to analyze the clinical features of SU were reported in Asia. Objectives: We aimed to analyze the clinical and photobiological characteristics of SU in Korea. Methods: We retrospectively investigated the medical records of patients with SU who visited the department of dermatology, Konkuk university medical center from January 2005 to January 2020. Results: Of a total of 44 patients, 36 (81.8%) were male and 8 (18.2%) were female. The mean age at onset was 17.6 years (range, 5-47) and the mean threshold time was 19.7 minutes. Among 32 patients who underwent phototesting, the action spectrum most commonly implicated was ultraviolet (UV) A only in 12 (37.5%), and then visible light (415nm) only was responsible for SU in 8 (25.0%). Three patients (9.4%) were induced by both UVA and visible light (415nm). Even 4 patients (12.5%) were triggered by only natural sunlight. Serum immunoglobulin E levels were measured in 33 patients, and 17 (51.5%) showed values higher than normal. The treatment most widely used were oral antihistamine (43.2%), followed by phototherapy (13.6%). Conclusion: SU is a rare photodermatosis in Korea, which shows a male preponderance. In this study, UVA and visible light (415nm) were predominant action spectrum of SU.

정상면역을 가진 성인에서 발생한 식도 방선균증

김현수 ( Hyun Soo Kim ),천종운 ( Jong Woon Cheon ),김민수 ( Min Su Kim ),정창길 ( Chang Kil Jung ),김경록 ( Kyung Rok Kim ),최재원 ( Jae Won Choi ),강동우 ( Dong Woo Kang ),김선영 ( Sun Young Kim ) 대한소화기학회 2013 대한소화기학회지 Vol.61 No.2

Hyun Soo Kim, Jong Woon Cheon, Min Su Kim, Chang Kil Jung, Kyung Rok Kim, Jae Won Choi, Dong Woo Kang and Sun Young Kim1 Departments of Internal Medicine and Pathology1, DongKang Medical Center, Ulsan, Korea Actinomycosis is a chronic suppurative disease and caused by Actinomycosis species, principally Actinomyces israelii, which are part of the normal inhabitant on the mucous membrane of the oropharynx, gastrointestinal tract, and urogenital tract. It usually affects cervicofacial, thoracic and abdominal tissue. Cervicofacial type has the highest percentage of occurrence with 50%. Actinomycosis frequently occurs following dental extraction, jaw surgery, chronic infection or poor oral hygiene. It may also be considered as an opportunistic infection in immunocompromised patients such as malignancy, human immunodeficiency virus infection, diabetes mellitus, steroid usage or alcoholism. But, actinomycosis rarely occurs in adults with normal immunity and rare in the esophagus. We report an unusual case of esophageal actinomycosis which was developed in a patient with normal immunity and improved by therapy with intravenous penicillin G followed oral amoxicillin, and we also reviewed the associated literature.