너트의 블랙홀_강희안 / 포지션

강희안 시와세계 2022 시와세계 Vol.- No.77

『너트의 블랙홀』

강희안 상상인 2022 상상인 Vol.- No.3

한국 현대시의 원형상징과 현실 대응의 무의식-신석정․박용래․위선환의 시를 중심으로-

강희안 한국언어문학회 2013 한국언어문학 Vol.87 No.-

This paper was to explain the reality consciousness of the archetypal symbol ‘water’, ‘sky’, and ‘bird’ and the structural order related with it. To reveal reality-oriented consciousness related with the symbols in contemporary poems coincides with examining in what kind of perceptual way the symbols poets have chosen are reveled. Especially, the prototype of Korean contemporary poems is revealed as characteristics commonly perceived depending on the directions of moving upward and downward and the place of objects. This is because the prototype borrowed in comtemporary poems is the conscious mechanism of self-unconsciousness trying to cope with the reality. ‘Water’, the source of imagination in Korean poems acts as inner dynamic of poets which strokes the dark reality with bright and smooth attributes. It is the point where reflective perception is made in an attitude of self-disruption related with tragic reality in the ‘imagination of flow’. In contrast, ‘static imagination’ exists as an unconscious reality trying to sink deeply away from earthly existence. Like this, ‘water’ functions as the story mechanism inspires the energy into the detached self from reality. In contrast, ‘sky’ is the prototype of an ideal world where the poetic self stares at the world in impoverished reality. The poetic self perceiving the lack and absence oppressed by the reality considers the life of sky as his or her inner source. Sky is an ideal world of the poetic self regressed from the earthly limit and the place which embodies the dream world of fairy and the fulfillment of wishes. This imagination of ‘sky’ shows the inner order of power trying to reach the life of Korean contemporary poems and the prototype of revival. Further, it was ‘bird’ which is revealed as the hope for freedom of Korean contemporary poets. The image of ‘bird’ in lyric poetry appears as the symbol of freedom which moves from ‘sky’ and ‘earth’. And the life excluding the something artificial is the world pursued by the contemporary lyric poets. Therfore, ‘bird’ destroys the confronting structure of the stubborn ideal world and reveals the reality of ‘sky’. Studies as above, the prototype of Korean contemporary poems is the product of intellectual consciousness rivaling the poor reality which realizes the metaphysical aesthetics. The consciousness of the Korean contemporary poets putting all the symbolic mechanisms have the depth and the width which covers the surface and the depth at the same time in the revealing the power into the new life and the new world, not the escape or the regression from the reality. The prototype they have chosen underlies the expression of the individual emotions but this is because it is possible revelation of the outer response of the self-unconsciousness trying to confront the reality of human things.

고사인물화 유형 문자도의 현황과 의의

강희안 인하대학교 한국학연구소 2023 한국학연구 Vol.- No.68

Hyojae Munjado(word picture), which was popular in the Joseon era, is a creative content that visually completes the social ideology advocated by the headword chinese character(표제 한자) by combining letters and figures. In Munjado, narrative figure painting type Munjado(고사인물화 유형 문자도) even though there are only six kinds of existing works, but it still plays an important role in the study of Munjado. Organize all the current situation of existing narrative figure painting type Munjado, in what ways it is significant, I presented concrete examples from the following three aspects. First of all, there are many the picture titles(화제) that are not found in other types of Munjado, and they play a role in quantitatively increasing the materials. This gives researchers the advantage of being able to see Munjado with more material. The second is to complement the thematic expression of the headword chinese character. This helps to keep Munjado's subject matter simple and unconventional, eliciting rich meaning, and lets us know what Munjado desiner's creative intentions are. Thirdly, it is a shorthand for understanding other Munjados. At present, the narrative figure painting type Munjado may be the key to unlocking the meaning of other Munjados in the situation where both the picture titles of Munjado and the picture titles have not been clarified. Looking at these points, the narrative figure painting type Munjado does not seem light at all, but rather, it is the first contrast to be studied in Munjado. 조선 시대에 유행한 효제 문자도는 표제 한자가 표방하는 사회 이념을 문자와 형상을 결합하여 시각적으로 완성한 독창적인 콘텐츠이다. 문자도 가운데 고사인물화 유형 문자도는 현존하는 작품이 비록 여섯 종에 불과하나 문자도 연구에서 상당히 중요한 역할을 하므로 충분히 주의할 필요가 있다는 측면에서, 현존하는 고사인물화 유형 문자도의 현황을 모두 정리하고, 어떠한 점에서 의의가 있는지에 대해 다음과 같이 세 가지 측면에서 구체적인 예를 들어 제시하였다. 첫째는 다른 유형의 문자도에 없는 화제가 많아 자료를 양적으로 증가하는 역할을 한다. 이로 인해 연구자는 더 많은 자료를 통해 문자도를 볼 수 있게 하는 장점을 지니게 된다. 둘째는 표제 한자의 주제 표현을 보완하는 역할을 한다. 이는 문자도의 주제를 단순하고 단일하지 않게 만들어 풍부한 함의를 끌어내는 데 도움을 주며, 문자도 설계자들의 창작 의도가 무엇인지 알게 해준다. 셋째는 다른 문자도를 독해하는 데 단서가 된다. 현재 문자도의 형상과 화제가 모두 해석되지 않는 상황에서 고사인물화 유형은 다른 문자도의 의미를 풀이하는 열쇠가 되기도 한다. 이러한 점들을 보면 문자도 연구에서 고사인물화 유형은 결코 가벼이 여길 수 없으며, 오히려 가장 먼저 연구할 대상이라는 사실이 확인된다.

고슴도치 사랑법

강희안 고요아침 2022 열린시학 Vol.27 No.1

냉장고 자서전

강희안 천년의시작 2023 (계간)시작 Vol.22 No.4

석정 초기시의 상징과 공간의 현상학

강희안,이선준 순천대학교 남도문화연구소 2017 南道文化硏究 Vol.0 No.33

The early poems of Seok-Jung, where the agony of self-consciousness is realized, reveal poetic symbolism in the dimension of not being mired in reality. Thus, the focus of this paper was placed on the spatial phenomena of a spatial phenomenon and had a view of the order of the unified consciousness enshrined in the poetry of Seok-Jung. The space of the ‘sky’ primarily borrowed from the initial poems of Seok-Jung is the dominant factor that penetrates the early stages of the Seok-Jung Pavilion. This is an observation network with the identity of sensitization, and the expectation of distant places is the expectation of distant places, such as expectation, attachment, and vague yearning. Another symbolic symbol of Seok-Jung’s poem, ‘Sea of Joseon,’ is a place to embrace all inclusive poetry, while the self of Seok-Jung is the object of the poem. The self-impregnated ocean is a world of motherly energy that gives energy to the ego in the Seok-Jung’s poetry as the archetype of freedom and Utopia. It is also a place where the self-configuration of Seok-Jung has been restored to the past, as it has suffered from conflicts in the past. The symbols that flow through the early stages of Seok-Jung’s poetry are ‘sky’ and ‘sea’ If the former acts as a tragic factor in a tragic sense of self, the latter acts as an omniscient reminder to enhance the vitality to the fullest. The mechanism of this symbol is expressed as a contrasting ego of the ego that separates the ego from the reality, or seeks to establish a passageway related to reality. So while the ‘sky’ is a psychological place to endure the tragic reality of the tragic reality of the universe, the sea is a real place where the self in the Seok-Jung’s poetry is realized as a subject trying to recognize through the identification with the real world. 석정의 초기시는 식민지 현실에 관한 고뇌가 자아의식으로 구현된 시적 상징을 동원 한다. 따라서 본고에서는 공간 현상학적 관점으로써 석정의 시에 내재하는 통일된 의식 의 질서를 조감해 보고자 했다. 석정이 주로 차용하는 ‘하늘’의 공간은 석정의 원거리 의식을 단적으로 드러내 주는 요소인 동시에 ‘먼 나라’는 현실과 관련된 통로라기보다는 석정 시의 자아가 닿을 수 없는 소망 충족의 공간이다. 따라서 ‘하늘’은 현실과는 립적인 위치에서 동화적 세계로 하강한 석정 시의 자아가 꿈꾸는 무의식의 세계이며, 비극적 현실에서 견디기 위한 척 의 공간인 셈이다. 석정의 또 하나 상징 축인 ‘바다’는 일체를 포용하는 공간인 동시에 석정 시의 자아가 동화되려는 모성의 세계이다. 따라서 바다의 부드럽고 잔잔한 흐름의 상상력으로써 자유 를 획득해 가는 과정으로 드러난다. 다시 말해서 ‘바다’는 비현실의 세계라기보다는 행동 의 주체로써 현실을 인식하려는 석정 시의 자아가 꿈꾸는 원형의 공간인 것이다. 이상과 같이 석정의 초기시를 관류하는 상징은 ‘하늘’과 ‘바다’이다. 전자가 이상적 세계의 원형으로서 비극적 현실을 견디기 위해 퇴행한 자아가 안주한 심리적 공간이라 면, 후자는 모성의 원형으로서 현실 세계와의 동일시를 통해 행동의 주체로써 현실을 인식하려는 석정 시의 자아 속에서 현실화된 공간인 것이다.

달팽이 b를 찾다 외 1편

강희안 천년의시작 2008 (계간)시작 Vol.7 No.2

상처의 구멍

강희안 상상인 2024 상상인 Vol.- No.7

귀뚜라미는 외 2편

강희안 문학과경계사 2004 문학과경계 Vol.4 No.3