‘재생’의 욕망과 그 정치성

강계숙(Kang, Gye-Sook) 고려대학교 한국학연구소 2017 한국학연구 Vol.62 No.-

본고는 해방기 신진시인인 유진오의 시 세계를 시집 『창』을 중심으로 고찰하는 데 목적이 있다. 이를 위해 유진오의 시를 해방기의 역사적 특징이 문학적으로 자기반영된 예로, 시민적 주체의 정립 양상이 징후적으로 구현된 텍스트로 보았다. 이러한 텍스트적 특질을 입증하기 위해 해방의 의의를 근대혁명에 상응하는 개인의 ‘시민적 해방’에 두고, 시민의 탄생이라는 정치적 격변이 활성화한 문학적 상상력이 유진오 시의 경우 새로운 자기서사의 구축으로 나타나고 있음을 분석하였다. 이러한 분석을 통해 본고는 새로운 주체로서 자신의 시민-됨을 자각하고 이를 시작(詩作)의 출발로 삼은 것이 ‘재생’을 둘러싼 역설적 상상과 식별 불가능한 존재로서의 자기인식을 유발하고, 이것이 세대적으로 아버지-권위가 부재하는 세계에서 ‘기원 없는 아들’인 자신을 신화적 주권자로 정립하려는 정치적 욕망에 따른 것임을 밝혔다. 하지만 이러한 욕망이 주체의 근본적 결핍을 해소하지는 못하며, 이로 인해 상징적 동일시의 대상이 새로 요구된다. 이와 관련하여 ‘눈’의 모티브가 반복․변주되고 있음을 주목하였고, 이것이 어떻게 혁명의 주체를 예견하는 상징이 되는지를 고찰하였다. 어머니로 표상되는 모성적 과거의 세계가 도덕 감정의 심화를 야기하고 시의 감상성을 심화시키지만, 시인 스스로 이를 극복의 대상으로 인식함으로써 “감상적 소년”의 세계에서 탈피할 것을 깨닫는 것은 이러한 자기서사의 최종 종착지라 할 수 있다. 주목할 것은 이러한 세대적 욕망과 주체화의 요구가 유진오의 경우 역사인식의 심화로 이어진다는 사실이다. 과거의 슬픔과 현재의 비참에서 기쁨의 미래를 예감하는 그의 인식은 유추적 사유에 따른 시적 비전에 가깝다는 점에서 혁명적 계급사관과 구별된다. This study aims to review You Jin-O" poems contained in 『the window』(1948), which was published in the liberation period. For this purpose, I looked at his poems as text that represented the establishment of a civil subject. To prove these text characteristics, I considered the meaning of the liberation as civil liberties and analyzed that the poetic imagination that implicitly embodies the birth of a citizen is creating a new self-narrative in You" poems. Through this analysis, I explained that recognizing himself as a new subject has resulted in a paradoxical imagination of regeneration, and this self-awareness is based on the political desire to establish himself as a mythical ruler in a world where the father"s authority is absent. However, this desire does not satisfy the fundamental lack of his own. This makes him equal with the burning eyes. This eyes to contrast with the mother"s eyes symbolize the subject of revolution in his poems. Maternal past, meanwhile, symbolized his mother deepens his inner conflict. However, he realizes that he must overcome it and disengage himself from the sentimental boy"s mind. To realize this is the end of his self-narrative. What is noteworthy is that this process of self-activization leads to deepening You"s history awareness.

김종삼의 후기 시 다시읽기 ―죄의식의 정동과 심리적 구조를 중심으로―

강계숙 ( Gye Sook Kang ) 한양대학교 동아시아문화연구소 2013 동아시아 문화연구 Vol.55 No.-

The sense of guilty in Kim Jong-Sam`s later poetry is closely connected with reestablishing the subject. This paper aims to consider the historical meanings of self-representation in Kim`s poetry by analyzing generational unconscious and family romance within its. For example, Kim`s poetic subject identifies himself ``a blind father`` as a symbol of incompetent father. ``A blind father`` is the only self-image as a existent father in Kim`s poetry. But ironically, he wants none of it. He cannot help contradicting himself. Owing to this self-contradiction, the foreclosure of the Name-of-the-Father is caused and structured throughout Kim`s poetry. For this lack of the Name-of-the-Father, the suppletions that is a substitute or a stand-in for what is missing at the level of symbolic is attempted. A world without adult men, the imaginary identification with maternal Jesus, and a fantasy of artist-community are some various forms of symbolic suppletion. But as time passes, the sense of guilty is much more stronger, and need for self-punishment and death drive are dominant over all the others in his poetry. This paper explains that the complex psychology of him originates from the unconscious desires of becoming-father. His feeling of guilt is a unconscious sign that he desires to become ``a new father``. But the desire of becoming-father is thoroughly suppressed in Kim`s. To become ``a new father`` may be to a primal father, neither a existent incompetent father nor a symbolic father, called the Name-of-the-Father. But a primal father is also a obscene father, according to Freud. For this reason, Kim`s poetic subject relinquishs his desire, but rather it deepens his sense of guilty. But, by reason of nursing this desire, the superego sentences the ego to a severe punishment, and the ego must die to expiate his own crime. This is why Kim`s feeling of guilt turns is gradually converted into death drive. In later poetry, Kim`s subject is identified with a man who wants his own death. To him, living a life is jouissance, a kind of deal in which pleasure and pain are presented as single packet. It means that the pleasure cannot be obtained without paying the price of suffering. In later poetry, Kim fails to become the subject of desire and his subjectivization is concluded in the subject of jouissance.

시인`의 위상을 둘러싼 해방기 담론의 정치적 함의

강계숙 ( Kang Gye-sook ) 민족문학사학회·민족문학사연구소 2017 민족문학사연구 Vol.64 No.-

The study aims to explore the new status of the poet and the formation of identity schemes in the liberation period, focusing on themes of combining poetry and politics. This question is valid because the so-called liberation period is a revolutionary turning point that Koreans have been reborn as citizens. These changes have greatly influenced the poet`s perception of self. As the configuration of a poet`s new identity plays a role in determining the direction of literary recognition, this paper aims to explore the political nature of these new change of poet`s identity. For this purpose, this paper is subject to critique sentences of Lee Tae-Joon, Kim Ki-Rim, Jung Ji-Yong, and Yoo Jin-O in the liberation period and examines the avant-garde consciousness shown in their writings. Lee Tae-Joon defined the status of the author as the fundamental producer of culture that participates in establishing nation-state by taking charge of Korean language. His linguistic nationalism to participate in politics by joining into language was strongly supported by contemporary poets. Kim Ki-Rim focused on changing the identity of Korean people who changed their identity from the public to citizens by building a new republic. He emphasized that the poet was the most enthusiastic citizen. If a citizen is a subject of politics, the poet who holds the spirit of freedom is defined as the person who will actively practice the role of these citizens. Yoo Jin-O considered being a true poet as a genuine democrat and as a poet of the people. Becoming the people that he wanted implied the intention of dividing the boundaries of the political community. Jung Ji-Yong also acknowledged that a poet was a cultural avant-garde and a voluntary entity leading up to history. He thought that having a critical civic consciousness was a necessary requirement of combining poetry and politics. But what he ultimately aimed towards is the aesthetic revolution of Korean poetry. He believed that if the poet was faithful to his role, deepening of the political consciousness would sharpen his artistic sense and sensibility. He understood the artistic sense and political sense as dialectic relationships.

비평에 대한 김현의 메타적 인식 : ‘신비평 논쟁’의 수용과 영향을 중심으로

강계숙 ( Kang¸ Gye-sook ) 국제비교한국학회 2021 비교한국학 Comparative Korean Studies Vol.29 No.2

The purpose of this study is to examine the impact of the ‘Debate of New Criticism’ in France in the mid-1960s on Kim Hyun’s critics. He was interested in the process and content of this debate, and wrote several articles explaining it. The Revolution of Modern Criticism (1979) translated by him is a book about this debate. The main theme of the ‘New Criticism debate’ were objectivity and subjectivity of criticism, new directions in literary research, changes in perception of the relationship between writer and work, structural understanding of literary works, and the role of critics. These key themes had a significant impact on the formation of Kim Hyun’s meta awareness of literature criticism. Essential to the understanding of literature, these subjects were reviewed in accordance with his relativistic epistemology, and through this deliberation he organized his critical theory. By looking at the ‘Debate of New Criticism’, he realized that absolute objectivity does not exist, and that literary criticism is not a product of scientific proof, but a reconstruction of the discourse of the other person in accordance with the language symbol system given to him. Kim Hyun’s interest in and acceptance of theories of Bachelard, Barthes, and Geneva School was to provide himself with the impetus to renew his criticism. And he continued his efforts to look inside and outside at the trends of literary criticism of the time, agonizing over his role as a critic. He used an intrinsic analysis that revealed the structure and form of the work as his methodology of criticism. Through this methodology, he tried to correct people’s misunderstanding of literature and overcome the limitations of Korean literary criticism at the time. This efforts illustrate his hope that his criticism would become a meaningful statement in his own society and times. He thought true criticism was bound to be ideological criticism. Criticizing a deceptive dominant ideology is a good indication that criticism as a “theoretical practice” was the ultimate goal to reach.

1950년대 모더니즘 시에 나타난 과학기술의 표상

강계숙(Kang, Gye-Sook) 한국시학회 2014 한국시학연구 Vol.- No.41

The combination of poetry and science was a very important thesis in 1950’s Korean modern poetry. Modernist poets in 1950’s believed that it was a main task of Korean modern poetry to have science characteristic. So, they more radically pursued their aesthetic ideals of the combination of poetry and science than Kim-kirim in 1930’s. This poetic tendency resulted from their strong opposition to traditional poetry of the same age. They thought that traditional poetry to express oriental nature was old-fashioned, and that it was an effective way of innovation of modern poetry to write developed mechanisms and represent contemporary scientific civilization. Meanwhile, they named themselves a ‘citizen’, which meant a cosmopolitan following international development course. It was regarded a fundamental condition to have science characteristic for establishing cosmopolitan identity. They considered the urgent retention of internationality as a historical precedence, and believed that establishing cosmopolitan identity and securing internationality depended on ‘becoming science’ in themselves. To them, the essence of modernity was the achievement of science. This ideas of 1950’s modernists were created by their senses of cosmopolitan identity and viewpoints of regarding with the best science. This thoughts about the modernization of Korean poetics were reflected in the representations of scientific technology in 1950’s modern poetry. For example, the ‘earth’ represented a wide residence of cosmopolitans, and a ‘international train’ symbolized their self-image in many poems. Comparing with an sad local train expressing their hidden femininity, a loudly international train embodied the ideal masculinity to desire to possess. But the fact that many advanced products of science and technology were not theirs could not help causing double alienation from their ideals because modernists in 1950’s did not even have partial symbols, namely ‘jet plane’, ‘aircraft’, ‘helicopter’ and so on. Due to this, the poetic representations of scientific technology were often likened to various ‘tearful natures’. This sorrow was necessarily caused by double alienation from high technology and by a failure of establishing strong masculine identity.

해방기 ‘전위’의 초상-『전위시인집』의 특징을 중심으로-

강계숙 ( Kang Gye-sook ) 인하대학교 한국학연구소 2017 한국학연구 Vol.0 No.45

This paper explores poetic characteristics of Avant-garde Anthology(1946) published in the Liberation period. We can find out various figures of Avant-garde poets in the Liberation period by this anthology. Most of them were the students soldiers in the 1940’s. After independence, the student soldier was reborn as pure man and warrior for the people and became a symbolic framwork of nation/anti-nation in social and cultural context. The meaning of avant-garde was based on this student soldier’s image and fresh image of the promising young man. The young avant-garde was identified with a aggressive leader for building a new nation. Avant-garde poets, however, came to awaken into the imperialistic desire of the US through the political events such as Students soldiers’ Alliance, namely killed students soldiers by Korean police. Avant-garde poets felt strong sorrow and anger over the miserable deaths of their coworkers. Their sorrow and anger were performative emotions. Their writing poetry as mourning work of students soldiers had been in process of balanced self-renewal. This performativity, namely expressing deep sorrow helped to unify the people feeling the same way. Their anger about Korean reality in the Liberation period was very political feeling. In general, Anger has been recognized to be a gesture to express a desire to realize justice and a moral will of humans. The expression of Avant-garde poets’ anger was the very active behavoir that showed political and moral existentiallity of the same generation according to their moral or practical reasons. So, it was performative to reciting their own poems revealing this emotional feature. By this performativity, a new community was formed in the recitation site. This community was the community of poor people who fought against a repressive authoritarian regime. ‘We, people’ was a imaginary community that Avant-garde poems had been dreaming during the Liberation period.

김현 시 비평에 나타난 상호텍스트적 읽기의 특징-1960~70년대 비평을 중심으로-

강계숙 ( Kang Gye-sook ) 인하대학교 한국학연구소 2021 한국학연구 Vol.- No.63

Intertextuality-based reading is one of the prominent characteristics from Kim Hyun's early criticism. Connecting different texts and interpreting their significance is another way to make his criticism sound logic. He prefers active reading that constitutes intertextuality from the reader's point of view rather than examining the dialogicality between works that are revealed on the outside. His reading, which actively considers intertextuality when analyzing text, is inextricably related to the theme of 'meeting' that has continued since his early criticism. The purpose of this study is to examine these characteristics that appear in Kim Hyun's criticism, focusing on poetry criticism in the 1960s and 1970s, and to examine the patterns of his reading that change according to the deepening of criticism. Kim Hyun's early criticism, which dominated the formalist perspective, focused on the comparative literature analysis of Western and Korean poems, paying attention to the similarity of form. However, as of 1968, attention began to be paid to the relationship between literature and society, literature and history, his intertextuality-based reading also moved toward exploring the tradition and specificity of Korean literature. An example of the former reading is the theme criticism that analyzed the image of “flower,” one of the main motifs of Korean poetry, by comparing it with the image of “sea” of Western poetry. An example of the latter is < a study of madness >(1970), which analyzed the shape of the 'torn self' that appears in literary people during a acculturation period. The comparative analysis of poems by Lim Chun and Francois Villon, which can be cited as an example of “cultural and historical madness,” is a critical practice to carry out “archaeology of literature.” Kim Hyun evaluates the poems of those who expressed their self-image as “cursed poets” as pioneering works, and evaluates the their emotions expressed in their poems as a historical precedent for “féminisme” in romantic poems. This intertextuality-based reading, which finds an example of “cultural and historical madness” in medieval literature, intends to empirically rediscover the origin of Korean literature as modern literature by confirming the historical genealogy of Korean literature, and aims to prove that the acculturation between Korean literature and Western literature is not vertical but horizontal. Since then, the intertextuality of “cultural and historical madness” is interpreted as forming the spiritual genealogy of “nomad” by Choi Chi-won, Oh Se-jae, Kim Si-seup, and Kim Lip in Korean literature history.

김종삼 시의 재고찰 : 이중언어 세대의 ‘세계시민주의’와의 상관성을 중심으로

강계숙 ( Kang Gye-sook ) 인하대학교 한국학연구소 2013 한국학연구 Vol.0 No.30

This paper aims to review Kim, Jong-Sam's poetry in the historical dimension of the age. For it, I attempt to explain that Kim's literature is based on the cosmopolitan self-consciousness of bilingual generation called ‘Post Generation’ in Korea literature. Their consciousness is closely related to the discussions on cosmopolitanism in the 1950's, but there are some differences between each other as well. Kim's poetry embodies the self-image as ‘a cosmopolitan’, commonly shared by same generation, and some marked characteristics of its own is shaped by another differentiation against his generation's consciousness of the times. First, Kim's cosmopolitanism includes sense of ethics for others, while 1950's cosmopolitanism concentrating its attention on identifying postwar Korea with modern Western civilization has overlooked it. For example, His several poems juxtapose ‘Auschwitz’ and ‘6ㆍ25’, and there are many likeness between the two in their themes and forms. Kim expresses this world as perennial and widen Auschwitz. From his point of view, this world is a expanded concentration camp and mankind living in this world are shut up within concentration camp. Second, due to his view of the world, the emotion of the camp survivor is dominant over all the others in his poetry. To put it concretely, it is the shame of the survivor, that is to say survivor's guilt. The camp survivor believes that he is living in the place of someone who died. Kim shares this sense of guilt. Because of this shame and guilt, he cannot end his mourning work about wrongful victims and pitiable deaths. On account of endless mourning, Kim's sorrow gradually grows into melancholy. Self-accusation, self-punishment, and the drive of death are another symptoms of melancholy. The survivor's guilt of him exhorts us to take responsibility for the unjust deads. Third, Kim's shame of being a human being is the metaphysical guilt which begins to emerge, where theodicy is over after Auschwitz. In this respect, Kim's poetry involving ‘ethics of the Other’ required by cosmopolitanism as ideology represents another evolution of the history of Korea poetry.

근대성 창출의 또 다른 길 -초기 잡문을 통해 본 루쉰의 근대적 사유-

강계숙 ( Gye Sook Kang ) 조선대학교 인문학연구원 2013 인문학연구 Vol.0 No.46

This paper aims to review Lu Xun`` the early proses. The proses written in his studying in Japan contain his own thoughts on modernity. Commonly Lu Xun``s psychological structure is called ‘contradiction structure’. Lu Xun``s contradiction structure functions the intrinsic methodology for understanding historical realities. I pay attention to this structure, which takes the form of layered interplay between tradition and anti-tradition. Lu Xun stresses the practice of ‘liren(立人)’ to develop one``s personality and mind. This is in effect equivalent to development of self-identity as modern subject. A supreme example of ‘liren(立人)’ is a ‘superman’, that is to say a ‘warrior of the mental world’, who has stern attitude and high moral standards. In this respect, Lu Xun`` superman closely resembles a saint of Confucianism. By interconnecting its traditional ideal of saint, thesuperman who defies existing convention and exercise his free will exemplifies a role model of modern subject repeatedly emphasized by Lu Xun. Meanwhile, Lu Xun regards biased motions as the nature of history. This viewpoint on history is very different from traditional Chinese thoughts understanding the nature of things on the basis of the golden mean(中庸). But modern civilization is not able to stand upright unless biased motions of history are overcome. Lu Xun seems to think that the desirable direction of historical development is to achieve a balance and harmony between material civilization and moral culture. This thought is formed from re- appropriation of the golden mean. Lu Xun``s reappropriation of the golden mean, however, is dissimilar to conventional Sinocentrism, for the former underlines historical variability and relativity as opposed to the latter. Defying national tradition and his mother culture and recreating and re- constructing them, Lu Xun takes a view of western modernity``s faults and limits. Lu Xun``s ideas that eschews Sinocentrism is worth remembering as the very historical example of giving us insight about the proposal of ‘Eastern modernity’, namely decolonial modernity that sharply criticizes western imperialism and rejects a blind imitation of western civilization.

몽타주 시학의 비교 분석 -T. S. 엘리엇과 황지우의 시를 중심으로

강계숙 ( Gye Sook Kang ) 국제비교한국학회 2015 비교한국학 Comparative Korean Studies Vol.23 No.2

This study attempts to consider T. S. Eliot`s aesthetics of montage by closer reading The Waste Land and to compare it with Hwang Ji-woo`s poetic characteristics, that is to say a poetic representation of ‘causal complexity of society’. For this, the concept and principle of montage is thoroughly examined above all, and then the way of montage of The Waste Land and Hwang’s poetry is compared and analysed. It allows this study to reveal the literary evolution of Hwang’s poetry. The montage of The Waste Land reflects the fragment human condition of the ruined modern civilization and induces the interaction between the holy past and the secular present in accordance of “the new whole”. In spite of the fragmentary form, The Waste Land represents a metaphorical totalities with well-known mythological archetypes. The montage of Hwang’s poetry expresses a ‘dialectical standstill’, inspiring a real encounter with the other and bringing up the constellation to remove the division of ‘inside’ and ‘outside’, namely ‘this’ and ‘that’. His poetry embodies a metonymic totalities of otherness and various things, not controlled by one rule. Despite the formal similarity, this difference between Eliot’s and Hwang’s poetry is made by their world views and their thought about the past.