오규원 시의 심미적 유토피아 의식 연구

김경복 ( Kim Kyung-bok ) 동아대학교 석당학술원 2017 석당논총 Vol.0 No.68

Oh Kyuwon`s poetry is not consistent with the traditional poetic structure, but it is relevant to the negative phenomena during the poet`s time, which functioned as oppressive factors within the social discourse. His poems aim to criticize the reality materialized and solidified through language and to discuss the function of revolution, thereby advocating the need for assessment according to the utopian ideology. This is because the utopian vision which pursues an ideal social model through transcendence and denial of the sociohistorical reality of the time are common, particularly in Oh Kyuwon`s point of view. From such a viewpoint, his poetry is firstly characterized by the ironical features of resistance against repressive reality. For example, his early works - “Undoubtable Case” and “Terrifying Case” - present profound ideas of social denial of and resistance against the Yusin dictatorship of the time. These poems criticize how reality limits liberty and democracy through the use of ontological metaphors and abstraction, as well as demonstrating aesthetic resistance that casts away the prevailing order and its notions. This can be seen as a good example of how the utopian vision is characterized by criticism and subversion. Poems from the middle of his career exhibit parodic elements of denial against fetishized reality and the actualization of such denial, which also condemns the fetishist society that had grown like a twin alongside the military dictatorship. The poet practices the utopian vision through parodic denouncements of metropolitan ideas paralyzed by the cunning capitalistic consumer system and its vicious influence, as evident in such works as “The Poets - to Kim Jong-Sam,” “Franz Kafka,” and “Geranium, 1988, Myth.” On the other hand, he pursues of vision of freedom through fantasia in works such as “Language of Fairy Tales” and “Treasure Island - Fantasy Notes 1.” This can be understood as an actualization of utopianism, an ideal social model that would transcend the reality restricted by contradictions and limitations. Fantasies are equipped with utopian vision by functioning as transcendental images, and Oh Kyuwon utilizes a strategy that employs such fantasies to break the rigid system and notions of reality. In his later works, the poet portrays a vision of ecological utopianism through the projection of raw images. A “raw image” refers to the phenomenal prior to being conceptualized, a pristine image of nature that is metonymically depicted. As exemplified in works such as “The Respiration of Lawn” and “Butterfly”, which emphasize the restoration of the ecological configuration, raw image poetry ignores the law of perspective - an anthropocentric point of view begotten from human eyes - and instead portrays an object as the subject, thus directly connecting itself to ecological thinking that is free from the anthropocentric worldview. The projection of raw image can be defined as aesthetic utopia because it is the projection of ecological beauty through the metonymic writing of poetry; in other words, it is an ideal world achieved through the primal formative property of nature. In view of the above observations, Oh Kyuwon`s poetry can be said to have performed aesthetic resistance through linguistic experimentation as well as the subversive depiction and resistance against the repressive society governed by the military dictatorship, in addition to aspiring for a free and beautiful ideal world of the time through the projection of fantasy and ecological nature, thereby actualizing the utopian vision.

요구원 후기시의 탈원근법적 주체와 시각의 형이상학

오연경(Oh, Youn-kyung) 한국시학회 2013 한국시학연구 Vol.- No.36

The Kyuwon Oh’s later poems, so called a ‘raw image poetry’ are based on a new alternative visual regime as a challenge to the anthropocentric perspective regime. The post-anthropocentricism of Kyuwon Oh’s poems proceeds from a denial of signifying or naming subject and such a subject-centered language. So the raw image poetry cannot but make into question not only a notion sticked to a language but also a notion sticked to a view. In this question, the main issue is a perspective hypothesis which establish a basis of subjectivity and rationality in anthropocentricism. Thus the raw image suggested by Kyuwon Oh is not a phenomenon of things in the raw, but an alternative hypothesis, that is a language of post-perspective vision against the conventionalized hypothesis sticked to things, This paper examines in reference to the post-perspective vision, the methodology of the raw image poetry which aims to make a language in contact to phenomenon of things by an innovation of perception. Therefore this paper would demonstrate that the keys to methodology of the raw image poetry are the post-perspective vision by analyzing in detail three points of writing poetry, ⑴ to make an another visual notion by eliminating a perspective depth, ⑵ to rearrange a routine visibility by reversing the principles of forms and backgrounds, ⑶ to create a metaphysical vision by realizing a frame-internal subject. It brings us a new ability of vision to see the things which are assigned to the invisible. The new ability of vision provides a ‘metaphysics of vision’ which visualizes a metaphysical longing for infinities of the world. The metaphysics of vision is considered as a kind of artistic utopia to overcome a problematic modernity in the society of fetishism. The raw image poetics of Kyuwon Oh can be appreciated in terms of a denial of perspective regime which establish a basis of subjectivity and rationality and a creation of metaphysical vision as counterplans for the perspective regime.

오규원 시의 사물 제시 방법 연구

장동석(Jang Dong-Seok) 한국현대문학회 2011 한국현대문학연구 Vol.0 No.35

오규원의 시는 사물중심적이다. 사물은 자율적으로 행위하며 이를 통해 사물의 의미는 극대화된다. 이때 사물은 전적으로 존재하는 것이며, 이를 제시하는 시를 날이미지 시라고 오규원은 말한다. 날이미지의 사물을 제시하기 위해 시인은 환유적 언어 체계를 지향한다. 환유적 언어체계로 제시되는 사물의 행위는 인과율을 넘어선다. 사물의 행위는 어떤 것의 원인이나 결과 이상의 개별성을 가진다. 그리고 대등적으로 연쇄 반복되는 패턴을 형성한다는 점에서 감응적이다. 감응 관계를 통해 환기되는 사물들 전체의 보편적 속성은 시적 자아가 이해할 수 있는 범주 이상이다. 감응과 함께 제유적 방식은 오규원 시가 사물의 의미를 최대화하는 사물 제시방법이다. 오규원 시에 제시된 사물은 개별적이면서 동시에 사물들의 보편적 속성을 수렴한다. 사물들의 개별적 속성과 사물들의 보편적 속성은 상호적 관계를 가진다. 이는 시적 자아의 목소리를 비운 중심이 오규원 시에 기능하기 때문이다. 오규원 시의 사물들은 독립적이지만, 파편적인 상태로 머무르지 않는다. 각 사물들을 접속시키는 역할을 하는 중심이 오규원 시에 내재하기 때문이다. 그런데 이때의 중심은 시적 자아의 목소리가 제어된 상태의 '빈 중심'이다. 이를 통해 오규원 시의 사물들은 서로를 수렴하며 혼융된다. 그러므로 오규원 시의 사물들은 각각의 개별성을 분명히 유지하면서도, 사물들 전체를 수렴하는 특징을 가진다. 이러한 사물들은 하나이면서 전체라는 점에서 제유적이다. 감응관계와 제유적 방식으로 제시되는 오규원 시의 사물은 시적 자아의 주관적 관념을 넘어서 사물의 실제를 나타낸다. 이를 통해 사물의 의미를 최대화한다. 이는 시적 자아의 목적의식으로부터 자유로워졌을 때 발견되는 사물의 아름다움을 제시하려는 미적 태도를 바탕으로 한다. Kyuwon Oh 's poem is "object-centered". In his poem, meaning of object is maximized because object act autonomically. According to Oh, the poem which represents completely existent object is "raw image poem". Kyuwon Oh aims at metonymical language system for representing raw object. An act of these object transcends the principle of causality and the process of something's cause and effect. The individual act of object is to enumerate and repeat. And the relation of these object is similar to "resonance". At this time, these object's "universality" is beyond the poetic self. "Synecdoche" in Oh's poem is method of representing object for maximizing object's meaning as a resonance. Represented object in his poem has characteristics of "individuality" and "universality". In addition, individuality and universality are interrelated. Because the voice of narrator in Oh's poem is empty. And these object is entity rather than fragment. Because the pivot which combines object each other is inherent in his poem. But be warned, the pivot is not a filled with narrator's voice, but a restricted voice. Through this pivot, the objects in Oh's poem are mixed and converge each other. Also each objects keep their individuality and converge the whole at the same time. Hence, these objects are "synecdoche". "Universality" of each objects is called to absence beyond figures. The object represented by resonance and synecdoche in Kyuwon Oh 's poem represents reality of object which is beyond the poetic self's subjective idea. And it allows meaning of object to maximize. It has a thread of connections between the method of representing object in contemporary imagism poetry of Korea which attachs importance to image rather than idea, and the aesthetic attitude in classic poetry which is represented by de-perspective seeing.

『규원사화』의 행간에 드러난 선도사상(仙道思想)과 철학의 근본과제로서의 신⋅자유⋅불멸

윤병렬 중앙대학교 중앙철학연구소 2023 철학탐구 Vol.72 No.-

우리가 예사로 여기는 고사서(古史書)인 『규원사화』에서 한국의 상고사뿐만 아니라, 초기의 농경문화, 유교와 불교에 앞서는 시원적인 선도사상을 엿볼 수 있다. 그 뿐만 아니라 “홍익인간 재세이화”의 구체적 실현을 비롯해 도가(道家)사상과도 유사한 무위자연(無爲自然)과 무위이치(無爲而治) 및 덕치, 능동적인 문명창조, 기철학, 음양학, 신시(神市)와 같은 이상국가의 실현문제 등에 관한 정신적 유산을 엿볼 수 있다. 이러한 여러 측면을 고려할 때 규원사화 가 우리 학계에서 평가절하 되어온 것임을 직시할 수 있다. 본 소고(小考)는 우선 『규원사화』의 행간에 들어있는 선도사상에 관해 성찰하고, 이어서 규원사화 에 언급된 신‧자유‧불멸의 문제를 “형이상학의 근본과제”로 삼은 철학사를 통해 이 주제가 철학의 긴요하고 근본적인 문제임을 성찰한다. 물론 필자는 규원사화 의 신‧자유‧불멸의 테마를 칸트의 것과 비교하려는 것이 아니라(규모면에서 또한 체계의 측면에서 북애가 다룬 상고의 시대에 이런 철학은 빈약할 따름이다), 이 테마가 “형이상학의 근본과제”일 뿐만 아니라 인간의 근본과제임을 드러내고자 할 따름이다. In Gyuwon Sahwa, an ancient history book that we consider to be ordinary, we can get a glimpse of not only Korea’s prehistoric history, but also early agricultural culture, the original Seon-do thought(仙道思想) preceding Confucianism and Buddhism. In addition to this, it is possible to get a glimpse of the spiritual heritage related to the realization of ideal state such as the concrete realization of Hongik human and Je-se-eh-wha(在世理化) re-enactment, the mu-wei of nature(無爲自然), mu-wei-eh-chi(無爲而治) and virtue, active creation of civilization, philosophy, Yin-Yang, and Shinshi, which are similar to Taoist thought. Considering these various aspects, it can be seen that Gyuwonsahwa has been underestimated in our academic world. This study first examines the Seon-do thought(仙道思想) contained in the lines of Kyuwon Sahwa, and then emphasizes that this theme is a critical and fundamental problem of philosophy through Kant’s philosophy, which takes the theme of God, freedom, and immortality mentioned in Kyuwon Sahwa as the fundamental task of metaphysics and approaches it extensively and systematically. Of course, I do not want to compare the theme of God, freedom, and immortality in Gyuwon Sahwa with Kant’s, but I want to reveal that this theme is not only the fundamental task of metaphysics but also the fundamental task of human beings.

한국 창세신화(創世神話)의 특징에 관한 연구

박용진 ( Yong Jin Park ) 국제뇌교육종합대학원 국학연구원 2015 선도문화 Vol.18 No.-

“Chogamje” and “Changsega” which belong to orally transmitted creation myth, are all examples of shaman songs, which suggest similarities between Chinese mythology and Taoism. This is because Korean shamanistic beliefs, having descended for ages, had been influenced by the Chinese culture. Nevertheless, both “Chogamje” and “Changsega” are all based on Korean indigenous traditional mythical context in terms of basic framework of shaman songs. Furthermore, it can be said that the myth of “Mago-halmi” represents Korea`s creation myth which has been passed down in various parts of Korea. Though the myth, “Mago-halmi” suggests that it was influenced by China, values which were handed down by private persons, according to the change of the times, are also reflected. By comparison with “Chogamje” and “Changsega” which were somewhat refined, “Mago-halmi” may be a more genuine oral folk tale as well as Korean characteristic creation myth including the folks` simple world view and value. Though creation myth including “Kyuwon-Sahwa”, “Hwandan-Gogi” and “Budoji” have been passed down in the form of manuscript, with their original copies having lost, they initially were in accordance with literature style. And most of these literatures show a lot of confidence of indigenous thought and culture, with criticizing toadyism to China. This is because most descendents who transmitted the myth of literature were intellectual and knowledgeable with rather strong national identity and self-esteem. In that sense, the creation myths in the literature have creative contents that was not affected by China in comparison with orally transmitted creation myth. Even the creation myths in literatures were based on different historical records in describing on the beginnings of the world, the question to the world for mythical imagination was reconstituted, philosophically by authors with a view of history.

김수영 시 「전화이야기」의 기법과 그 수용 양상

한명희(Han Myeong-hee) 한국시학회 2004 한국시학연구 Vol.- No.11

‘Telephone Story’ by Kim Sooyoung has brought changes in modes of lyric poems by introducing features of a communication medium, “telephone” into poetic utterance. In the first two stanzas of ‘Telephone Story’, superficial statements consist of a monologue of the caller, the speaker of this poem. Readers, however, can guess the voice of the answerer, the hearer of the poem. It’s because the utterances of the caller them-selves started off by being influenced by the answerer. In the third stanza, which is the utterances of the speaker after finishing the talk on the phone, there exists another hearer. This hearer comes to be in the situation where he or she overhears the telephone conversation between the caller and the answerer in the stanza one and two. The new technique shown in Kim’s ‘Telephone Story’ has been suc-ceeded and improved by other later poets. ‘Telephone’ by Lee Seunghoon, ‘Public Telephone’ by Oh kyuwon, ‘Buan-gun, Byunsan-myon Mapo-ri Ha-som’ by Kim Hyesoon, ‘Floating Metonymy Two’ by Kim Seunghee, etc. utilize a technique able to conjecture not only utterances of the speaker but those of the hearer by using “telephone.” The poems of Lee Seunghoon and Oh Kyoonwon especially give an impression that they are intentionally revealing their acceptance of Kim Sooyoung’s poem. ‘Ah! What do I Mean by This?’ by Hwang Jiwoo, ‘Going out with Mr. Miller’ by Lee Seungha, ‘Poetry that We Write Together’ by Kim Hyesoon or so are not using “telephone” as a medium. But these poems are thought to accept Kim Sooyoung’s ‘Telephone Strory’ in that the speaker and the hearer are taking reciprocal action and only utterances of speaker come into view on the surfaces of each poem.

최근 북한의 고대사 연구 동향- 『김일성종합대학학보』(2001~2021)를 통해 본 변화와 특징 -

이일규 연세대학교 국학연구원 2023 동방학지 Vol.202 No.-

I briefly examined recent trends in the North Korean historical academia through the Journal of Kim Il-sung University. The journal is now offering the latest papers since 2014 as PDFs at Kim Il-sung University's website. As its format has changed significantly since 2019, the amount of discussion papers has doubled and the presentation of historical materials or the indication of sources have become more faithful than before. I reviewed the papers in the journal from 2001 to 2021 quantitatively. In the past, the revolutionary history field accounted for more than 60% of the total, but recently, the general history field accounts for a majority. In addition, among the general history fields, the proportion of papers related to ancient history and archaeology is increasing. Researches in the ancient history and archaeology fields does not deviate significantly from the perspective that North Korean academia has maintained. However, it is noteworthy that reviewing "Kyuwon Sahwa(揆園史話)" in the study on the history of Gojoseon continues and the logic and perspective of "Taedong River Culture" maintains. 김일성종합대학에서 간행하는 학술지인 『김일성종합대학학보』를 검토하여 20여 년 사이 북한 역사학계에 나타나고 있는 모습을 간략히 살폈다. 『김대학보』는 김일성대 홈페이지를 통해 2014년 이후의 최신 논문을 PDF로 제공하고 있다. 또 2019년부터는 학술지의 형식이 크게 바뀌면서 논고의 분량도 두 배가량 늘면서, 이전보다 사료 제시나 출처 표시가 충실해지는 양상이 보인다. 2001년부터 2021년까지의 수록 논고를 계량적으로 검토하였다. 종래 ‘혁명력사’ 분야가 과반에서 6할 이상을 점했는데, 최근에는 일반 역사 분야가 과반을 차지한다. 그리고 일반 역사 분야 중에서는 고대사·고고학 관련 논고의 비중이 높아지고 있다. 고대·고고 분야 연구에서는 기존 북한 학계가 견지해 온 시각에서 크게 벗어나지 않는다. 다만 고조선사 연구에서 『규원사화』의 검토 작업이 계속 이루어지고 있는 점이나, 고구려사에서 중국사서의 고구려 관계 기사를 검토하는 글이 대거 게재되고 있다는 점이 주목된다. 또한 ‘대동강문화’라는 용어를 직접 사용하는 경우는 찾기 어렵지만, 최근까지도 그 논리와 관점 자체는 면면히 유지되고 있음을 확인하였다.

여성의 상태와 나혜석의 글쓰기 - "경계"와 "아브젝트" 체험의 표현-

조미숙 ( Mi Sook Jo ) 한국현대문예비평학회 2013 한국문예비평연구 Vol.- No.42

우리나라 여성들은 어릴 때부터 부덕을 종용받으며 자랐다. 그렇기 때문에 신여성들이 공부하기 위해서는 견고한 사회의 벽에 부딪쳐야 했다. 우리 근대 초기, 여성들에게 있어 글쓰기는 치열한 저항의 의미였다. 나혜석은 최초의 신여성 그룹, 최초의 여성화가, 최초의 현대소설 작가였다. 나혜석 소설은 공통적으로 여성 문제에 집중하면서도 10년단위로 급격하게 변화하는 양상이다. 나혜석 소설세계 변천의 과정은 결혼과 이혼이라는 여성으로서의 상태 변화와 깊은 관련이 있고 사회와의 관계와도 관련이 있다. 나혜석은 결혼제도에 들어가지 않고자 반항을 했다. 그 반항은 1910년대 작품들 처럼 경희 로 나타나기도 했고 회생한 손녀에게 처럼 타협의 제스처를 보이기도 했다. 결혼 전 내면 시점을 채택하여 내면에서부터 일어나는 현실 변화 의지를 쓰던 나혜석은 결혼 후 다른 성향의 글을 쓴다. 1920년대 작품들의 주인공은 신여성이 아니며 소재 역시 계몽이라거나미래에 대한 전망과 거리가 멀다. 인물의 고생담에 그친다. 1930년대로가면 나혜석의 소설은 다시 한 번 변화를 보인다. 1910년대의 논리와 1920년대 현실 모두를 잃고 있다고 여겨지는 글들을 쓴다. 1910년대의 작품들은 지식인 신여성의 걸어야 할 길에 대한 나혜석의 주장이라고 본다면 1920년대 공부하지 못한 전통 구식 여성들의 아픈 이야기는 그에 대한 반으로 읽힌다. 그렇다면 1930년대 나혜석 소설의 방향은 둘사이의 변증법적 지양, 곧 지식인 여성들에 의한 현실 삶의 개선 같은것이 그려졌어야 하리라고 보인다. 하지만 그러지 못했다. 나혜석 소설세계 변천의 또 다른 원인인 사회의 아브젝시옹 현상 때문이다. 1930년대 나혜석은 정확한 주제의식이나 목적의식 없이 초점 잃은 글들을 쓰고 있다. 그것은 그녀가 겪은 극심한 정신적 충격 때문으로 파악된다. 여성의 상태 변화를 온몸으로 겪으면서 저항하던 나혜석은 사회적 아브젝트가 되었고 이런 상황에서 받은 커다란 정신적 충격을 작품에 반영시켰던 것이다. Korean women must trained from an early age to receive . In order to study the early modern to the New Woman had to endure many attacks. Therefore, to New Woman Writing a means of resistance was fierce. Na Hyesuk, the first group of the New Woman, the first female painter, was the first modern novel writer. In particular, Na Hyesuk was excluded of the community. Changes in the Na Hyesuk reflected her changing status to the work exactly. Her novels are her own mental representation. Na Hyesuk`s novels are related deeply the change of her state as a woman, marriage and divorce in other words is virgin, headquarters, divorced. Na Hyesuk`s writing can be seen as follows-writings from her maiden to her marriage are the ‘inner perimeter writing``, writings after her divorce are ‘borderline writing`` Na Hyesuk do not want marriage was rebellious. The rebellion in the 1910s, was like the work "Kyung-Hee" and also appeared a gesture of compromise like in "to Resurrected Granddaughter" . Na Hyesuk wrote transforming will the inner reality in fiction before marriage. But after she married writing patterns vary greatly. The heroines of the 1920s works, Kyuwon and Wonhan, are not New Women, The theme of her novels are not enlightened people and outlook on the future. The theme of her novels are only one person`s suffering story. Na Hyesuk seems to change once again in the 1930s novel, In 1910s and 1920s novel, Na Hyesuk seemed to be as a logical and real tendency, but her works in the 1930s-Hyunsook and The Mother and the daughter-are lost that tendency. In the 1910s works, writer was to argue for the Intellectuals New Woman to do then. This can be considered as a ‘These’ of the dialectic. The misery story of traditional old-fashioned women appeared as the ‘Antithesis’. Then the direction of the Na Hyesuk`s novel in 1930s had to describe the sublation between the two, for example the improved method the reality of life by women intellectuals-‘Synthese’. But she did not do so. She only wrote the articles, the exact subject matter with a sense of purpose and lost focus. It was because of the society that made Na Hyesuk can not be a normal writing. It was because of Korea`s closed society what drove out the genius woman, that is abjection. She suffered as resistance to change of state the female body then becomes the social abject. Na Hyesuk genius of the age of the result, would be shaken mentally in that society. And it would have been reflected in her works.

오규원 후기 시의 생태적 특성 연구 - 브뤼노 라투르의 이론을 바탕으로 -

김재민(Jae Min Kim) 삼육대학교 신학연구소 2023 신학과 학문 Vol.39 No.-

본고는 오규원의 후기 시를 라투르의 이론을 바탕으로 읽어내면서 개별자들로 존재하는 행위자들이 연결망을 이루는 방식에 집중하고 있다. 오규원의 시에서 각각의 시어들은 모두 행위자로서의 역할을 수행한다. 예컨대 「양철 지붕과 봄비」 에서는 양철 지붕의 노후화와 쇠퇴를 보여준다. 양철 지붕과 상호작용하면서 양철 지붕의 부식을 촉진하는 존재는 바로 ‘퍼질러진 새똥’과 ‘뭉개진 새똥’이다. 봄비는 양철 지붕과 상호작용하면서 양철 지붕의 표면을 씻어내고, 녹을 벗겨낸다. 새똥이 양철 지붕에 부식을 촉진하는 변화를 가져온 행위자라고 한다면, 봄비는 이 부식을 다시 지연시키는 변화를 가져온 행위자라고 할 수 있다. 이처럼 양철 지붕의 노후화와 쇠퇴, 새똥의 존재, 봄비의 다양성은 모두 행위자들의 상호작용에 의해 발생한다. 생물막은 경험 가능한 사실상의 지구로서 사실상 인류는 지구의 표피 정도라 할 수 있는 아주 얇은 막에서 다른 생명체들과 함께 살아가고 있다. 라투르는 임계영역을 생물막과 거의 같은 것처럼 서술하고 있기도 하다. 이 두 용어는 모두 인간이 발 딛고 이해할 수 있는 지구가 매우 부분적이라는 사실을 내포하고 있다. 「물과 길 1」에 이은 「물과 길 2」 연작 역시 물과 나무, 새가 서로 연결되어 만들어내는 생명과 변화의 의미를 탐구한 시로 해석할 수 있다. 오규원의 「물과 길 2」가 특별한 이유는 자연에 존재하는 행위자들의 연결이 자연의 섭리처럼 주어진 것이 아니라 행위자들 간의 생존을 위한 투쟁의 결과임을 보여주기 때문이다. 이러한 투쟁을 거쳐 행위자들은 연결망을 형성하고 오랜 세월에 걸쳐 그들 스스로 만들어 낸 얇고 소중한 생존 공간인 생물막 안에서 삶을 영위하게 된다. This paper focuses on how individual actors form connection networks by reading Oh’s late poetry through the lens of Latour’s theory. In Oh’s poems, each of the poets plays the role of an actor. For example, “Tin Roof and Spring Rain” shows the aging and decline of a tin roof. The “scattered” and “crushed” bird droppings interact with the tin roof and promote its corrosion. As spring rain interacts with the tin roof, it washes away its surface and strips away the rust. If bird droppings are agents that bring about changes in the tin roof that accelerate corrosion, the spring rains are agents that bring about changes that delay this corrosion. Thus, the aging and decay of the tin roof, the presence of bird droppings, and the diversity of spring rains are all caused by the interaction of these actors. The biofilm is an experiential de facto Earth, where we live alongside other organisms in a very thin membrane, approximately the size of the Earth’s epidermis. Latour describes the critical zone as almost a biofilm. Both terms imply that there is only a small part of the Earth that humans can walk on and understand. Water and Road 1” and Water and Road 2” can also be interpreted as poems exploring the meaning of life and the change created by the interconnectedness of water, trees, and birds. What makes Oh's “Water and Road 2” so special is that it shows that the connections between actors in nature are not a given (such as the laws of nature), but the result of a struggle for survival between actors. Through this struggle, they form a network of connections and live in a biofilm, a thin and precious survival space created over the years.

조선후기~대한제국시 울릉도,독도 개척과 전라도인의 활동

김기주 ( Ki Ju Kim ) 대구사학회 2012 대구사학 Vol.109 No.-