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곽예 한중인문학회 2023 한중인문학연구 Vol.81 No.-
Fire, as an indispensable fundamental element in the advancement of human civilization, exerts a profound influence on human production and daily life. Moreover, it serves as a significant symbol that stimulates the creative imagination of literary authors. Within Lee Chang-dong's literary works, fire emerges as the recurrent imagery, offering crucial insights into the underlying themes. Notably, his collection of short stories, Possession, comprising works such as Fire and Dust, Sacrifice, Possession, and Trophy, places considerable emphasis on the imagery of fire. Consequently, Lee skillfully crafts diverse manifestations of fire on the external dimension while imbuing the internal dimension of this imagery with intricate meanings. To begin with, the external representations of fire imagery in Lee's short stories can be broadly categorized into two distinct forms: fire as a destructive force and fire as a ritualistic element. The former can be further subdivided into the fire of annihilation and the fire of self-immolation, while the latter encompasses the fire of sacrifice and the fire of cremation. Building upon this framework, this paper undertakes an analysis of the inherent meanings of fire imagery from the theoretical perspective of Bachelard. Through this analysis, it becomes evident that in Fire and Dust, the imagery of fire symbolizes struggle and resistance, stemming from the Prometheus complex. In Possession and Sacrifice, the fire imagery serves to console the souls of the departed and inspire the living, thereby reflecting characteristics associated with the Empedocles complex. Furthermore, the fire imagery in Trophy encapsulates the essence of human desire, aligning with the Novalis complex.
곽예 단국대학교 정책과학연구소 2008 정책과학연구 Vol.18 No.2
After the Cold War, both the global and regional balance of power and competition pattern had occurred in a new round of asymmetry change. The strength and depth are showing a trend of sustained development. This situation further strengthens the Korean peninsula`s change extent. North Korea and The Republic of Korea`s tactical offensive and defensive frequencies increase. The United States and Japan`s strategic inputs and political interference further exacerbate the Korean Peninsula`s asymmetric situation. Since the historic North Korea-South Korea summit in 2000 as an opportunity, the Korean Peninsula situation has significantly turned towards a higher speed development peace and reconciliation. But there are still a lot of variables that constraint this process. Internal factors are the root causes of material changes. Clarifying the intrinsic parameters of the Korean peninsula`s situation change can help to find out the way forward as soon as possible to create of a permanent peace mechanism on the Korean Peninsula.
다산 정약용의 만년기 차운시에 반영된송시 수용 양상 연구
곽예 연민학회 2024 연민학지 Vol.42 No.-
조선 후기 문인 다산(茶山) 정약용(丁若鏞)은 만년에 이르러 송시에 대한 특별한 관심을 보이며 “점차로 당시를 물리치고 송시를 배우노라[漸閣唐詩學宋詩]”라는 한시 창작 의지를 드러냈다. 정약용은 만년에 소식(蘇軾), 육유(陸遊), 범성대(范成大), 양만리(楊萬里) 등 송대 시인의 시에 차운하여 총 13제(題) 76수(首)의 차운시를 지었으나 이에 관한 학계의 연구는 많지 않다. 따라서 본고에서는 이 13제, 76수의 차운시에 주목하여, 창작 소재, 감정 기조, 미학 풍격 차원에서 정약용 만년기의 송시 수용 양상을 고찰했다. 정약용은 만년에 ‘전원의 잡담[田園雜話]’, 즉 전원생활의 사소한 일상을 시의 소재로 선택하여 일상과 밀착된 일면이 강한 송시에 대한 차용 흔적을 보여주었다. 또한, 노경에 접어들면서 비애를 지양(止揚)하는 달관(達觀)한 감정 기조를 구현하여 송시에 대한 감정적 공감을 보여주었다. 아울러 정약용은 송시의 평담(平淡) 미학을 심미적 지향처로 삼아 송시에 대한 소재적 차용과 감정적 공감을 ‘평담(平淡)’이라는 미학 풍격에 융합시켰다. In the twilight of his life, the esteemed poet Jeong Yak-yong of the late Joseon Dynasty displayed a notable inclination towards Song poetry, signifying a discernible departure from his previous affinity for Tang poetry. With meticulous enthusiasm, Jeong Yak-yong immersed himself in writing poems according to the rhyme sequences used by notable Song Dynasty poets, including Su Shi, Lu You, Fan Chengda, and Yang Wanli. This exploration led to 13 sets of rhyme-borrowing poems, totaling 76 individual works, showcasing his profound understanding and acceptance of Song poetry in poetic subject matter, emotional tonality, and aesthetic style. Concerning lyrical subject matter, Jeong Yak-yong predominantly focused on the mundane aspects of daily life, unequivocally reflecting his embrace of vivid depictions of everyday life prevalent within traditional Song poetry. Furthermore, regarding emotional tonality, the poet imbued these poems with an optimistic and broad-minded sentiment, presenting his deep resonance with the Song Dynasty poets’ philosophy of elevating and transcending the sorrows inherent in human existence. Moreover, Jeong Yak-yong pursued a plain style of poetry, revealing his appreciation for the plain aestheticism championed by the distinguished poets of the Song Dynasty.