한국 근대 초기 낭만주의 시의 산문화 경향과 시적 이미지

이성혁(Lee, Seong-hyuk) 한국시학회 2016 한국시학연구 Vol.- No.48

시의 근대성은 시적인 것과 산문적인 것이라는 두 극(極) 사이에서 방황해간 궤적으로 나타난다. 한국 근대시는 낭만주의를 통해 정립되기 시작했다. 한국 근대 초기 낭만주의 시인들은 현실로부터 자율적인 시적 공간을 마련하여 시적인 것을 확보하고자 했다. 하지만 삶을 옥죄는 현실에 대한 감정의 토로로 나아가거나 은유적으로라도 산문적 현실을 담아내야 했기 때문에 산문화에의 지향으로 이끌리게 되었다. 그래서 한국 근대 낭만주의 시에는 시적인 것과 타율적인 산문성이 모순적으로 공존한다. 낭만주의가 연 근대시는, 독일 초기 낭만주의에서 볼 수 있듯이, 세계를 낭만화하자는 기획 아래서 시의 산문화가 이루어지면서 형성되어갔다. 나아가 시의 산문화는 산문을 이미지의 논리에 용해시키고 이미지의 리듬을 확보하면서 포에지를 획득해 나갔다. 이러한 근대 자유시의 성립 과정은 한국 근대초기 낭만주의 시인들 역시 보여주었는데, 그들은 시적인 것과 산문성의 긴장을 해결하기 위하여 시에 유입된 산문성을 시적 이미지의 창출과 구성을 통해 승화하고자 했다. 1910년대 『학지광』에 실린 몇몇 시들은, 정형률에서 탈피하면서 산문과는 다른 자유시의 독자적인 미적 가치를 마련하려는 시인들의 노력을 보여주었다. 그들은 서정적 주체의 내면 공간을 형성시키는 방식으로 시적인 것을 만들어내고자 했다. 하지만 시의 공간에 산문적인 것이 침투하면서 시인들은 시적인 것을 확보하는 데에 어려움을 겪게 된다. 김억은 ‘밤’의 상징적 이미지를 구축하여 이러한 어려움을 해결하려고 했다. 주요한은 「불놀이」에서 ‘밤’의 상징적 이미지를 이어받으면서 ‘불꽃’의 이미지를 통해 산문을 산문시로 승화하는 데 성공했다. 김억과 주요한은 ‘밤의 낭만주의’를 통해 한국 근대시를 출범시켰다. 1920년대의 1920년대의 많은 시들이, 낭만적인 감정의 분출을 통해 산문에 리듬을 만들어냄으로써 시적인 것을 획득하는 「불놀이」의 길을 따라갔다. 이상화와 김소월은 산문이 개입되는 낭만주의의 두 양상을 잘 보여준다. 이들은 시에 시적인 것을 유지하면서 산문을 들여오는 방안으로 ‘대지’의 상징에 기댔다. 이들은 ‘대지의 시학’을 통해 한국의 산문적 현실을 시에 담아내면서, 이를 낭만적으로 승화시켰다. 이상화 시에서 대지의 이미지는 성적인 의미를 품으면서 열정적이고 발랄한 리듬을 산출했다. 김소월은 대지의 이미지를 통해 상실을 노래했으며, 나아가 일상의 노동을 시화하면서 산문적 경향에 이끌렸다. 이상화와 김소월은 밤의 낭만주의에서 낮의 낭만주의로의 이행을 보여주면서 한국 낭만주의의 두 전형을 정립했다고 평가할 수 있다. The poetry modernity has appeared in the trace of wandering between poetic extreme and prosaic extreme. Korean modern poetry established through the Romanticism. Korean Romantic poet of early modern age tried to secure the poetic making autonomous poetic space from reality. However Korean modern poetry inclined to the prosaic tendency because of exposing the feelings of choking reality or having to express the prosaic reality metaphorically. Therefore Korean Romantic modern poem had coexistence of both the poetic and the heteronomous prosaic. Like early Romanticism of Germany we could have seen, modern poem which Romanticism opened has been formed making poem prosaic under the plan of romanticizing the world. Furthermore, to make the poem prosaic has been acquiring the ‘poesie’ not only melting the prose in image logic but also securing the image rhythm. Korean Romantic poet of early modern age also showed the formation process of modern free verse. They tried to sublimate the prosaic of poem through creating and organizing the poetic image in order to relax the tension between the poetic and the prosaic. Several poems which was published in the 『Hak Ji Kwang』 of 1910s showed the effort of poet who has created the independent aesthetic value of free verse differently from prose getting out of fixed rhythm. They tried to make the poetic forming the inward space of lyrical subject. However poets had hard time securing the poetic while the prosaic passing through in the poem space. Kim Yeok tried to solve such a difficulty by means of cultivating the symbolic image of ‘night’. Ju Yo-Han succeeded in sublimating the prose into prose poem through the image of flame, while he inherited the symbolic image of ‘night’ from the 「Fireworks」. Kim Yeok and Ju Yo-Han inaugurated Korean modern poetry through the ‘Romanticism of night’. A lot of poetry of 1920s followed the way of 「Fireworks」 acquiring the poetic by means of making the rhythm in the prose through the eruption of romantic emotion. Lee Sang-Wha and Kim So-Wol showed the aspect of Romanticism intervening the prose very well. They leaned on the symbol of the ‘Earth’ as a way of adopting the prose maintaining the poetic in the poetry. They not only melted the prosaic reality of Korea into the poetry through the ‘Poetics of Earth’ but also sublimated it romantically. The earth image of Lee Sang-Wha’s poem not only had the sexual meaning but also produced the passionate and vivacious rhythm. Kim So-Wol recited the loss through the earth image. In addition, he was attracted by the prosaic tendency poeticizing everyday labor. It could be evaluated that Lee Sang-Wha and Kim So-Wol established two models of Korean Romanticism, while showing the transition from Romanticism of night to Romanticism of day.

실재계의 시학 - 이승훈의 시와 시론 -

이성혁 ( Lee Seong-hyuk ) 국제어문학회 2016 국제어문 Vol.0 No.68

초기 이승훈의 시 쓰기는 일상의 사회생활로부터 시의 세계를 따로 구성한다는 면에서 유미주의적인 성격을 갖고 있었다. 이 성격은 모더니즘과도 공유하는 것이었다. 나아가 시인은 진술 행위 주체와 진술 대상의 주체를 분리하는 과정에서 자아가 허상임을 깨닫고는 제도로서의 서정시를 부정했다. 이러한 시 쓰기는 시라는 장르를 파괴하려고 한다는 점에서 유미주의와는 다른 길로 들어서는 것이지만, 한편으로 제도화된 일상에 대한 거부라는 측면에서는 여전히 유미주의와 맞닿아 있었다. 하지만 있음과 없음의 경계선을 지우는 선의 사상과 만나면서, 그는 아방가르드의 정치적 방향보다는 유희적 방향으로 나아갔다. 이 과정에서 그는 일상을 그대로 시에 옮기면서 일상에서 순간적으로 나타나는 `공(空)-실재`를 포착하는 작업을 해나갔다. 일상에서 실재의 흔적을 발견하는 작업은 일상에서 미를 발견하는 작업이기도 했다. 그래서 이승훈의 후기 시에서는 미와 일상의 거리가 좁혀지고 일상의 심미화가 이루어지는 포스트모더니즘적인 특성이 나타난다. 하지만 이승훈 시인은 여기서 멈추지 않는다. 자아의 해체, 시와 일상 사이의 경계 해체, 대상의 해체와 꿈과 현실 사이의 경계를 해체하는 그의 최근 작업은 아예 상징체계에서 벗어난 상태에서의 시 쓰기, 즉 광기의 시 쓰기-이승훈 자신이 `영도의 시 쓰기`라고 칭한-로 나아가고 있다. 이는 그가 다시 과격한 아방가르드적인 시 쓰기로 방향을 전환했음을 의미한다. The early poems of Lee Seunghun are significant in that they separate the world of poetry from everyday life, which is also performed by modernist poetry. Furthermore, the poet realizes that the self is empty while the writing subject and the writing object are separate entities and rejects lyrical poetry as an institution. This writing of poetry is both different from and similar to aestheticism because on the one hand, it tries to destroy the genre of poetry itself, and on the other, it rejects the institutionalized flow of everyday life. However, Lee follows a direction of pleasure, not politics, by encountering Zen, which erases the boundary between being and non-being. In this process, he portrays his daily life in his poetry and captures “the real” that suddenly appears in everyday life. Since this can also be seen as discovering the beauty of daily life, the distance between Lee`s poems and daily life is narrowed down and his poems achieve the aestheticization of daily life. In this respect, his poetry is postmodernist. However, the poet does not stop there. In his poetry, he deconstructs the self and an object, blurring the line between poetry and everyday life, as well as between dreams and reality. His recent works describe poetry that is completely out of the symbolical; he calls it “writing degree zero.” In this manner, Lee Seunghun embraced radical writing, or avant-garde poetry writing.

액막형성을 고려한 분무-벽 상호작용에 대한 모델

이성혁,유홍선,Lee, Seong-Hyuk,Ryou, Hong-Sun 대한기계학회 2000 大韓機械學會論文集B Vol.24 No.7

The main purpose of this article is to propose and assess a new spray impingement model considering film formation, which is capable of describing the droplet distribution and film flows in direct injection diesel engines. The spray-wall interaction model includes several mathematical formulae, newly made by the energy conservation law and some experimental results. The model consists of three representative regimes, rebound, deposition and splash. In addition, the film flow is described in the present model by solving the continuity and momentum equations for film flows using the integral method. To assess the new spray impingement model, the calculated results using the new model are compared with several experimental data for the normally impinging diesel sprays. The film model is also validated through comparing film radius and thickness against experimental data. The results show that the new model is generally in better agreement with experimental data and acceptable for prediction of the film radius and thickness.

김훈의 역사소설에 나타난 파시즘 문제에 대한 고찰

이성혁 ( Lee Seong Hyuk ) 한민족문화학회 2014 한민족문화연구 Vol.46 No.-

When the public were sinking into the symbolic world removed a concrete life such as the nation, god and race, fascism had appeared. Antiintellectualism is the one of the most important feature of fascism. It is difficult to eliminate this anti-intellectualism through the rationalism and enlightenment. Only the common intellectualism not only which is not limited by the rationalism but also which is produced by the touch desire were able to suppress the death desire of the public sinking into the black hole imaginarily. Therefore the literature and arts have the important meaning to struggle against the fascism. However the literature and arts sometimes could lead the people into the fascism. The arts could encourage the fascism increase in case the arts made the reality aesthetic like Italian Futurism. Kim Hun’s historical novel which had gained big popularity also tendedto make the life aesthetic. Kim Hun obtained the use of history in order to display the meaninglessness of history. According to Kim Hun`s thought, not only the true life exists beyond the history but also the solitary extinction is the natural fate of human and nation. However Kim Hun did not develop the death aesthetics. Kim Hun`s aesthetics is that of farness. His aesthetics is the dizziness which the solitary life had to live in spite of extinction fate brought. In his historical novel, concrete and various life was restored to the nature of naked life in the boundary line between life and death. The concrete and various life became far and aesthetic through this way at the same time. On the one hand Kim Hun`s historical novel showed the nihilism worldview, but on the other, it showed the life which overcome the nihilism. That restoration had been accomplished while making the life naturalget out of historyafter excluding the history and world. Furthermore the human culture of his historical novel came out the something meaningless comparing with natural life. This feature was possible to realign itself with the anti-intellectualism of fascism. His historical novel not only induced the critical intellectualism to incapacitate but also promoted the disarmament against fascism through naturalization of history. His historical novel drilled the black hole being possible to go to fascism through aestheticization of life in reality. On the other hand, Hwang Seok-Young`s 『Guest』 had described the incredible violence increase of fascism inexorably. Hwang Seok-Young had revealed the agony of fascism violence through the speech of victims in the cruel Sincheon massacre plainly. His description had no farness or aura but made the reader feel a fear and shudder. Hwang Seok-Young not onlyaccused the assailant of unconscious desire and justified logic but also revealed the fascism violence through showing the direct pain of victims nakedly.

인지자본주의의 정동정치와 시의 정치적 위상

이성혁(Lee, Seong-Hyuk) 한국외국어대학교 외국문학연구소 2018 외국문학연구 Vol.- No.71

조정환에 따르면 인지자본주의는 상업자본주의, 산업자본주의에 이어 나타난 제3기의 자본주의로서, “인지노동의 착취를 주요한 특징으로 삼는 자본주의”이다. 인지는 일상생활 속에서 항상적으로 구성되기 때문에, 인지능력의 착취란 삶의 착취에 다름 아니다. 인지자본주의 권력 장치는 불안정한 삶을 양산하거나 불안의 정동을 직접적으로 생산하는 방식으로 보편화하고, 불안을 우울증 및 무기력증과 결합시킨다. 인지자본주의의 지배 권력에게는 대중의 정동의 흐름을 어떻게 관리하고 통제하여 불안과 무기력, 슬픔과 미움 쪽으로 조작하느냐가 통치의 관건이다. 반면 어떻게 대중의 무기력과 슬픔의 정동을 사랑의 연대를 통한 기쁨의 정동으로 이행하게 하느냐가 피지배계급의 저항정치의 관건이다. 그리하여 대중의 집단적 정동은 ‘정동정치’의 장이 되며, 문학예술, 특히 시의 정동을 이행시키는 능력은 예전보다 더욱 중요한 미학적•정치적 의미를 갖게 된다. 시는 일상생활의 잠재적 장 속에 정치적인 것을 관통시키면서, 강도 높은 정동을 촉발하고 우리의 행동 능력을 확장시킨다. 백무산의 시집 폐허를 인양하다는 인지자본주의의 ‘정동정치’ 시대에 대응하는 시의 정치적 능력과 위상을 잘 보여준다. 백무산에 따르면, 폐허가 되고 있는 주체성을 절박하게 인식할 때에야 현 시대의 인간이 대지의 인간으로 나아갈 수 있는 가능성이 생긴다. 또한 그는 폐허를 이루 는 주변부 존재들의 틈 사이에서 무엇인가가 생성할 수 있음을 보여준다. 그런데 이러한 제시는 논리적 설득이 아니라 이미지와 상징을 통해 이루어짐으로써, 우리의 정동을 촉발하고 능동적인 방향으로 이행시킨다. The collection of poems Salvaging the ruins which Musan Baek published recently gives an instance of Korean poetry which resists the ‘politics of affect’ in this period of cognitive capitalism. According to Musan Baek’s remark, only when we realize our desperately ruinous independence will it be for contemporary humans to advance towards earth-humans. In this way, poetry not only penetrates some sort of politics in the potential field of daily life but also brings about an intense affect and expands our ability to act. How the ruling power of cognitive capitalism not only manages but also controls and manipulates the flow of public affect is a key point of its reign. Meanwhile, how the subjugated class transfers public lethargy and the affect of sorrow to an affect of delight by means of the solidarity of love a key point of resistance-politics.

LCD 제작용 급속 열처리 시스템내의 광학 및 열전달 특성

이성혁(Seong Hyuk Lee),김형준(Hyung June Kim),신동훈(Donghoon Shin),이준식(Joon Sik Lee),최영기(Young Ki Choi),박승호(Seungho Park) 대한기계학회 2004 대한기계학회 춘추학술대회 Vol.2004 No.4

This article investigates the heat transfer characteristics in a RTA system for LCD manufacturing and suggests a way to evaluate the quality of a poly-Si film from the thin film optics analysis. The transient and one-dimensional conductive/radiative heat transfer equation considering wave interference effect is solved to predict surface temperatures of thin films. In dealing with radiative heat transfer, a one-dimensional two-flux method is used and the ray tracing method is also utilized to account for the wave interference effects. It is assumed that each interface is assumed diffusive but the spectral radiative properties are included. It is found that the selective heating region exists for various wavelengths and consequently may contribute to heat the poly-Si film. Using the formalism of the characteristic transmission matrix, the lumped structure reflectance, transmittance, and absorptance are calculated and they are compared with experimental data of the poly-Si film during the SPC process via the FE-RTA (Field-Enhanced RTA) technology.

펨토초급 극초단 펄스 레이저에 의해 가열된 실리콘 내의 열전달 특성에 관한 수치해석

이성혁(Seong Hyuk Lee),이준식(Joon Sik Lee),박승호(Seungho Park),최영기(Young Ki Choi) 대한기계학회 2002 대한기계학회 춘추학술대회 Vol.2002 No.5

The present article deals with the numerical investigation on micro-scale heat transfer phenomena in a<br/> silicon microstructure irradiated by picosecond-to-femtosecond ultra-short laser pulses. Carrier-lattice nonequilibrium<br/> phenomena are simulated with a self-consistent numerical model based on Boltzmann transport<br/> theory to obtain the temporal evolution of the lattice temperature, the carrier number density and its<br/> temperature. Especially, an equilibration time, after which carrier and lattice are in equilibrium, is newly<br/> introduced to quantify the time duration of non-equilibrium state. Significant increase in carrier temperature is<br/> observed for a few picosecond pulse laser, while the lattice temperature rise is relatively small with decreasing<br/> laser pulse width. It is also found that the laser fluence significantly affects the N 3 decaying rate of Auger<br/> recombination, the carrier temperature exhibits two peaks as a function of time due to Auger heating as well<br/> as direct laser heating of the carriers, and finally both laser fluence and pulse width play an important role in<br/> controlling the duration time of non-equilibrium between carrier and lattice.

디젤분무에 대한 액체미립화모델들의 영향

이성혁(Seong Hyuk Lee),유홍석(Hong Sun Ryou),홍기배(Ki Bae Hong) 한국자동차공학회 2000 한국 자동차공학회논문집 Vol.8 No.6

극초단 펄스 레이저에 의한 절연체의 광학 손상 해석

이성혁(Seong Hyuk Lee),강관구(Kwan Gu Kang),이준식(Joon Sik Lee),최영기(Young Ki Choi),박승호(Seungho Park),유홍선(Hong Sun Ryou) 대한기계학회 2004 대한기계학회 춘추학술대회 Vol.2004 No.11

The present article reports extensive numerical results on the non-local characteristics of ultra-short pulsed laser-induced breakdowns of fused silica (SiO2) by using the multivariate Fokker-Planck equation. The nonlocal type of multivariate Fokker-Planck equation is modeled on the basis of the Boltzmann transport formalism to describe the ultra-short pulsed laser-induced damage phenomena in the energy-position space, together with avalanche ionization, three-body recombination, and multiphoton ionization. Effects of electron avalanche, recombination, and multiphoton ionization on the electronic transport are examined. From the results, it is observed that the recombination becomes prominent and contributes to reduce substantially the rate of increase in electron number density when the electron density exceeds a certain threshold. With very intense laser irradiation, a strong absorption of laser energy takes place and an initially transparent solid is converted to a metallic state, well known as laser-induced breakdown. It is also found that full ionization is provided at intensities above threshold, all further laser energy is deposited within a thin skin depth.

레프(LEF)의 일상생활 혁명론 연구: 삶의 코뮨주의적 재구축과 세계감각의 시적 혁명

이성혁 ( Seong Hyuk Lee ) 한국미학예술학회 2015 미학예술학연구 Vol.45 No.-

As the epitome of historical avant-garde, the Russian avant-garde was art movement which had pushed its avant-garde nature and political nature through fiercely. The revolution of existing society overset had given the Russian avant-gardists who wanted to change their life the good chance of realizing their project. The Russian avant-garde had worked most actively in the early 1920s. At that time, more political left-wing avant-garde, i.e. Futurist and left-wing proletcult, not only united but also published the journal 『LEF(Left Front of the Art)』 . Productivist of LEF tried to advance the transference of futural communism through the revolution of everyday life. Arvatov insisted that labour process should be more creative and more artistic by the amalgamation between constructive experiment and proletarian labour. As for him, productive art meant that art did not submit to dull labour but penetrate into labour process-production. This is the art which organized proletarian living creatively relating to proletarian life directly. Chuzhak insisted that artist should create the worthful things like laborer made the valuable things. As for him, it meant that productive art was the utilitarian art which could function directly as a model of labour and life. Tret’iakov insisted that ‘Homo Futurus’ who was a communism human being of constructing creative world should be formed through the creation of new world sense. According to him, Futurism Art had the task which not only reformed the everyday life fixed by the order of things but also produced the creative reality of transferring to communism. In order to do that, artist had to deliver the poetic power of constructing new reality to the life directly through political fulfillment. Russian avant-garde thought that the future which common people, i.e. everybody, could live an artistic life was available through their art work.