김수영 시의 언술과 구조화 원리 연구

오형엽(Oh, Hyung-Yup) 한국시학회 2015 한국시학연구 Vol.- No.43

이 글은 김수영의 시에 나타나는 ‘반복’과 ‘변주’의 언술 구조에 초점을 맞추고 미적 효과와 기능을 세밀히 분석하여 구조화 원리를 규명하고자 한다. 이를 위해 이 글은 김수영 시의 언술 구조를 크게 부분적 표현의 영역에서 형성되는 ‘반복’과 부분적 표현을 연 구성으로 연결하는 영역에서 형성되는 ‘변주’라는 두 유형으로 나눈 후, 다시 ‘반복’을 ‘단어의 회기’, ‘구 · 절의 회기’, ‘문장의 회기’ 등으로 세분하고, ‘변주’의 ‘복합 유형’을 ‘병렬-대비적 대구’, ‘연쇄-점층적 대구’, ‘왕복-점층적 대구’ 등으로 세분하여 미적 효과와 기능 및 구조화 원리를 구체적으로 분석한다. 김수영의 시에는 부분적 표현의 차원에서 형성되는 ‘반복’의 경우로서 ‘단어의 회기’, ‘구 · 절의 회기’, ‘문장의 회기’ 등이 빈번히 등장한다. 먼저 ‘단어의 회기’는 「나비의 무덤」 등에서 찾을 수 있는데, 이 시는 “나비”, “지분”, “나”, “나이”, “고독”, “소리”, “너” 등의 명사를 중심으로 단어의 회기가 주로 나타난다. ‘구?절의 회기’는 「조국에 돌아오신 상병포로 동지들에게」 등에서 찾을 수 있는데, 이 시의 6연 6~8행은 “꽃같은 ~을 ~고”라는 구의 회기가 주로 나타난다. ‘문장의 회기’는 「긍지의 날」 등에서 찾을 수 있는데, 이 시는 “긍지의 날인가 보다”, “~도 내가 만드는 것” 등의 문장의 회기가 “피로”, “설움”, “아름다움”, “긍지” 등의 단어의 회기와 함께 주로 나타난다. 김수영의 시에는 연 구성의 차원에서 형성되는 ‘변주’의 ‘복합 유형’으로서 ‘병렬-대비적 대구’, ‘연쇄-점층적 대구’, ‘왕복-점층적 대구’ 등이 등장한다. 먼저 ‘병렬-대비적 대구’는 「파밭 가에서」 등에서 찾을 수 있는데, 이 시는 ‘병렬적 대구’의 구조화 원리인 ‘등가성의 병존’에 ‘대비적 대구’가 개입되어 ‘등가성의 상충’이라는 구조화 원리를 형성한다. ‘연쇄-점층적 대구’는 「봄밤」 등에서 찾을 수 있는데, 이 시는 ‘연쇄적 대구’의 구조화 원리인 ‘인접성의 접속’에 ‘점층적 대구’가 개입되어 ‘인접성의 강화라는 구조화 원리를 형성한다. ‘왕복-점층적 대구’는 「눈」 등에서 찾을 수 있는데, 이 시는 ‘왕복적 대구’의 구조화 원리인 ‘등가성의 중첩’에 ‘점층적 대구’가 개입되어 ‘등가성의 중첩과 상승’이라는 구조화 원리를 형성한다. This writing wishes to analyze discourse and structural principle in Kim Soo-Young’s poetry focusing on it’s function and role. This writing divide discourse structure of Kim Soo-Young’s poetry ‘repetition’ and ‘variation’ greatly, and classify ‘repetition’ as ‘recurrence of word’, ‘recurrence of phrase?clause’, ‘recurrence of sentence’, and classify ‘variation’ as ‘parallel-contrast antithesis’, ‘chain-gradation antithesis’, ‘round trip-gradation antithesis’. The basicest rhythm structure of Kim Soo-Young’s poetry is ‘repetition’. ‘Repetition’ means that equal word?phrase?clause?sentence are repeated. ‘Repetition’ is used to same concept with ‘recurrence’ here. ‘Recurrence of word’, ‘recurrence of phrase?clause’, ‘recurrence of sentence’ appears frequently in Kim Soo-Young’s poetry. In Kim Soo-Young’s poetry we can find ‘recurrence of word’ on “The Tomb of a Butterfly”. In Kim Soo-Young’s poetry we can find ‘recurrence of phrase?clause’ on “The Prisoner Comrade Come Back to His Country”. In Kim Soo-Young’s poetry we can find ‘recurrence of sentence’ on “Pride of the Day”. The most representative discourse structure of ‘variation’ is ‘antithesis’ in Kim Soo-Young’s poetry. ‘Antithesis’ is used to similar concept with ‘parallelism’, method that repeats equal surface structure by each unit but is inserted new component in the structure. ‘Parallel-contrast antithesis’, ‘chain-gradation antithesis’, ‘round trip-gradation antithesis’ appears frequently in Kim Soo-Young’s poetry. In Kim Soo-Young’s poetry we can find ‘parallel-contrast antithesis’ on “On the Side of Onion Patch”. In Kim Soo-Young’s poetry we can find ‘chain-gradation antithesis’ on “A Spring Night”. In Kim Soo-Young’s poetry and we can find ‘round trip-gradation antithesis’ on “Snow”.

발터 벤야민의 언어철학 고찰 : 미메시스 개념을 중심으로

오형엽(Hyung-yup, Oh) 어문연구학회 2009 어문연구 Vol.61 No.-

This writing investigated Bengamin's Language-Philosophy through main concepts of 'Adam's language' 'magic' 'translation' 'purity language' 'similarity' including 'mimesis' concept after examining historic unfolding of 'theory of mimesis' on the whole. 'Mimesis' have often defined as Greece original word of imitation or representation. 'Theory of imitation' have been spreaded by three divisions of Plato order's imitation theory, Aristotle order's imitation theory, typical imitation of literary model generally in history of West Europe criticism. 'Theory of imitation' and 'theory of expression' have formed two of the best of literary theory. When realism confirmed in 19th century develops realism in 20th century, 'theory of imitation' is spreaded to concept called 'reflection'. Realism theory that present by K. Marx · V. I. Lenin · G. Lukacs presents 'type' and 'reflection' as concrete creative writing method. Mimesis concept is embossed to central area in epistemology as well as esthetics by Th. W. Adorno since G. Lukacs. Walter Benjamin examines closely special quality of language theologically in About General Language and Human's Language(1916), presents concept of 'magic' 'name language' 'Adam's language'. Benjamin insists not language means of transmission but it is medium, that is, essence, and connects this with 'directness' and 'magic'. 'Directness' and 'magic' of language result from in special quality of 'Name language' that human designates things. Benjamin's basic language historical view is historical view of depravity that instinctive purity of 'purity language' 'name language' is spoiled. Benjamin presents concept of 'translation' 'purity language' in About General Language and Human's Language(1916). 'Mutually translation possibility' premises that objectivity of translation was warranted on God inside. Language of thins can enter through only translation into language of realization and name. Benjamin wished to examine closely problem of 'translation possibility' again as terminology 'close relation' 'purity language' in Translator's Task(1923). 'close relation' can not be defined through identify of origin. Task of translation is work which express that original work indicate by insufficient language and not copy of original work. Benjamin examines closely about 'similarity' 'mimesis capability' in Theory of Similarity(1933). He investigates 'mimesis capability' in view of ontogeny and phylogeny. 'Play' of children shows textbook of mimesis capability in view of ontogeny, and 'astrology' becomes good example in view of phylogeny. Natural objects maintain a kind of magic correspondence relation corresponding with human's mimesis capability, special quality of this is 'nonsensual similarity'. Imitation attitude starts at onomatopoeia in language creation, and the special quality appears well in 'graphology', So, character and language becomes a library of nonsensual similarity, nonsensual correspondence relations. Benjamin Insert emblem 'to read that is not written' in About Mimesis Capability(1933), condensing humans of beginning of the world reading conduct that been described in Theory of Similarity(1933). Benjamin Present human's mimesis capability regards to remnants of past great coercion. Word called 'Coercion' is connection of seedling with 'suppression' is Freud's psychanalysis terminology. While Benjamin is emphasizing magic of beginning of the world that nonsensual similarity, or mimesis capabili쇼 has, and this magic is exerting force in modern symbolic language in Theory of Similarity (1933), he present mimesis capability shows to divide it's magic of modern symbolic language in some degree bearing as recognize that is past remnants in About Mimesis Capability (1933).

김환태 비평 연구

오형엽 ( Oh Hyung-yup ) 한국언어문화학회(구 한양어문학회) 2012 한국언어문화 Vol.0 No.49

The purpose of this writing is saying about special quality that is hidden by examining closely Kim, Whan-Tae`s literary criticism. This writing wishes to examine concretely four article that is critic`s adoption process, writer`s creation process, critic`s creation process, organic model for this. First, viewpoint of critic`s adoption process is criticism view focusing on work adoption process of reader or critic, and correspond to text theory and utility theory by critical pattern. Kim, Whan-Tae defines literary criticism as "effort of human mind to look at target as it is actually to acquire artistic sense and sensuous effect of literary work". This definition shows text theory and utility theory were combined delicately by critical pattern. To assert consecutively position that support the literary purity and individuality about literary essence problem is point and basis proposition of Kim, Whan-Tae`s literary criticism. Kim, Whan-Tae declares that is an oneself impressionist, and define criticism as "the reconfiguration experience who unifies and synthesizes most effectively according to hint direction and emotion and impression attaching by work". Also, he regards that appreciation can achieve way that acquire objectivity and universality "by thorough in subjectivity". Second, viewpoint of writer`s creation process is criticism pipe focusing on writer`s process of work production, and correspond to expression theory by critical type. The viewpoint of Kim, Whan-Tae`s literary criticism is involved strictly with romantic literature view that correspond to literature view of intellectualism, and it show viewpoint which serious consideration of emotion than intelligence, representation than technology, and serious consideration of life and personality with human without separating poetry and poet. According to Kim, Whan-Tae, "the art is inner representation that appear in necessary request of inside of self", that is "concreteness of emotion". He states above little more this express this as "integrity of language that transmit experience". This position show sense of balance that serious consideration of emotion·personality·life·experience former language expression at the same time serious consideration of its verbalism experience, Kim, Whan-Tae refers to this dimension "perfect agreement of consciousness and form". Third, viewpoint of critic`s creation process is criticism view focusing on critic`s process of criticism production, and correspond to expression theory by critical type. Kim, Whan-Tae connects dimension of critical text theory with dimension of critical utility theory, this dimension of critical utility theory goes forward to general reader in addition to critic. This show that he is thinking about critic`s role considering comprehensively work creation process and work adoption process that is spreaded in order of `writer-work-critic-general reader`. The viewpoint of text theory and utility theory in Kim, Whan-Tae`s literary criticism wears form of creative criticism theory being spreaded in viewpoint of critic`s expression theory. Kim, Whan-Tae emphasizes literature critic`s role as creative artist by emphasizing critic`s self-expression and suffering of creation. Fourth, Kim, Whan-Tae`s literary criticism synthesizes presenting organic model continuously in process of development that state viewpoint of text theory, viewpoint of utility theory, viewpoint of expression theory. Organic model is caused for reason that figure out art by organic body that being is. Kim, Whan-Tae presents organic model that regard nature of life as emotion as criticize literature of naturalism and psychologism at the same time. He presents life, totality, emotion, imagination action as core concept of organic model from here. Because Kim, Whan-Tae is based on this organic model, he understands art as organic body that get bound up contents and form together. He divides "thought and actuality as matter" and thought and actuality of work furthermore, and when it is "fused in writer`s imagination and emotion", the latter forms for the first time, and he insists that thought and actuality of work equivalent to contents naturally hereby in conjunction with form "flow outward as a perfection organic body".

이태준 수필의 주제와 표현 특성 고찰

오형엽(Oh, Hyung-yup) 한국비평문학회 2017 批評文學 Vol.- No.66

이 글은 이태준의 수필을 제재 및 주제별로 분류하여 자연에 대한 사색, 일상에 대한 사색, 기행의 경험과 사유, 고완미(古翫美)와 동방의 정취, 소설 혹은 문학적 사유 등으로 대별하고, 주요 작품을 중심으로 그 내용과 표현상의 특성을 고찰한다. 자연의 대상을 제재로 사색을 표현한 이태준의 수필은 대체로 자연물들을 관찰하거나 경험하면서 그 아름다움, 크고 오래됨, 정화와 성스러움, 고절과 소박함, 생명력 등을 예찬하면서 작가 자신의 삶과 내면을 성찰하여 고요한 여백의 깊이 속으로 가라앉힌다. 일상의 삶과 사물을 제재로 사색을 표현한 이태준의 수필은 대체로 일상의 사소한 생활 속에서 오래 살고 싶은 소망, 죽음에 대한 태도, 외로움 및 무서움과의 대면, 이성간 우정에 대한 생각, 장인정신의 지향, 낚시에 대한 생각, 세태 비판, 자기반성 등을 소박하고 진솔하게 표현하면서 작가 자신의 삶의 일면을 관조하고 사색하는 내면적 기품을 보여준다. 기행의 경험과 사유를 표현한 이태준의 수필은 대체로 타지를 여행하거나 방문하면서 경험한 바를 사실에 입각하여 서술하거나 자신의 사유나 감정을 솔직하게 서술함으로써, 당대 사회적 현실에 대한 사유나 작가의 내면 의식을 직접적으로 엿볼 수 있는 기회를 제공한다. 고완품이나 동양적 완상품을 제재로 상고주의와 동방의 정취를 표현한 이태준의 수필은 대체로 옛사람들이 남긴 오래된 물건들에 대해 연모, 존경, 예찬, 숭상 등의 상심(嘗心)을 가지고 도일(度日), 무위, 허욕, 소장 등의 태도와 구별되는 덕윤(德潤)에 대한 현대적 재해석의 태도를 보여준다. 이러한 사실은 이태준의 상고주의가 단순한 과거 지향의 전통주의와는 구별되면서 현대성과의 길항이라는 특성을 내포한다는 점을 확인시킨다. 이태준의 상고주의는 한편으로 죽음과 고독이라는 인간의 실존적 심연의 차원과 맞닿아 있고, 다른 한편으로 현대성의 차원과 길항하는 특성도 가지고 있다. 소설 혹은 문학적 사유를 표현한 이태준의 수필은 대체로 좋은 소설 작품의 기준, 고전소설 및 신소설과 구별되는 현대소설의 특성과 자질, 현대소설 작법 및 자신의 창작 경험, 현대소설의 음미 방법, 고평하는 소설가 및 시인에 대한 인식과 평가 등을 직설적인 어법으로 표현한다. 이러한 수필들을 통해 우리는 작품의 미학적 완성도와 작가의 장인정신을 중시하는 동시에 동양적 예술세계 및 선비정신을 숭상하는 이태준의 소설관 혹은 문학관의 내밀한 면면들을 쉽고 친근하게 살펴볼 수 있다. This article classifies Lee Tae Joon"s essays into themes and expression characteristics into five categories: speculation about nature, speculation about daily life, experience and reason of travel, reason for antiques, reason for novel or literary. An essay that expresses speculation about nature reflects on the artist"s own life and inner side while admiring the beauty of natural objects, big and old, cleansing and sanctity, suffering and simplicity, vitality. An essay that expresses speculation about daily life is based on a desire to live for a long time, an attitude toward death, a confrontation with loneliness and fear, an idea about friendship between two sexes, a craftsmanship orientation, thinking about fishing. An essay that expresses experiences and reasons of travel describes the travel experience or frankly describes one"s own feelings and feelings. An essay that expresses reason for antiques shows the attitudes of modern reinterpretation of antiques and the thoughts of wisdom, respect, praise, reverence for old objects. An essay that expresses reason for novel or literary are based on the criteria of good novels, characteristics and qualities of modern novels, contemporary novels and their own creative experiences, methods of enjoyment of modern novels, and evaluations of novelists and poets.

조지훈 시의 청각적 이미지와 시의식

오형엽 ( Hyung Yup Oh ) 한국언어문화학회 2009 한국언어문화 Vol.0 No.40

This writing investigated correlating `aural image` and `poetic conciousness` in Cho Ji-Hoon`s poetry. We analyzed"Wanhwasam(〈완화삼〉)"deeply for this, and divided Cho Ji-Hoon`s poetry by `sound of nature(inanimate object/animal)` order, `sound of musical instrument` order, `silence` order. And we investigated and analyzes aural image and poetic conciousness in each order. In Cho Ji-Hoon`s poetry, `sound of inanimate object` order shows flicker of existence, that is, practical suffering and sorrow momentary, and `cry of animal` order shows that purifies practical discord spiritually and rises to the ultimate infinite world with it`s limit. In Cho Ji-Hoon`s poetry, `sound of musical instrument` order is similar with `cry of animal` order from point that show will that purifies practical troubles and sublimates and rises to the world of ultimate life. `Sound of musical instrument sound` is in sympathy mutually with `cry of an animal` in most Cho Ji-Hoon`s poetry. In Cho Ji-Hoon`s poetry, `silence` order is involved with `quiet` of `traveler` and `eternity`, and form harmony with universal infinity ultimately. `silence` and `laugh` of `ministry` hints the world of ultimate life, this world keeps foundation in original and infinite conciousness of time that transcend modernistic consciousness of time that provide cause in wandering of `traveler`. Also, this writing could extract important some image orders in Cho Ji-Hoon`s poetry. First, it is image of purity nature, or ideal value that is represented as `blue mountain` `faraway mountain`. Second, it is the ultimate essence of life, or universal infinite world that is represented as `universe that is annihilated naturally` `infinity`. Third, it is image of joy and summit which is manifest substance of life, or image of association that enter to the ultimate essence of life or universal infinite world that is represented as `petal` `star` `candlelight`. Fourth, it is image of time background that enter to the ultimate infinite world and existent condition of poetic-self that is represented as `night`.

정신분석적 시학과 수사학 - 은유와 환유를 중심으로

오형엽 ( Hyung Yup Oh ) 민족어문학회 2006 어문논집 Vol.- No.53

멜랑콜리의 문학비평적 가능성 : 정신분석 비평의 관점에서

오형엽(Oh Hyung-yup) 한국비평문학회 2010 批評文學 Vol.- No.38

This writing wished to investigate critical viewpoint of Melancholie theoretically and examine literary-critical possibility through Melancholie analysis. This writing wished to seek critical possibility about Melancholie by weighing Freud's reason and it succession viewpoint of Melancholie with importance point at issue as the central figure laying stress on ?i?ek, Kristeva that reinterpret Melancholie criticizing. Freud divides Trauer and Melancholie, and examines closely the common and difference. Act as important cause that this does to derive degradation if 'losing target and oneself' mechanism is central element of Melancholie. Act as cause that mechanism of this 'identification' does to derive 'coexistence'. Revenge about two faces love target of masochism that shows phenomenally contains. Freud's psychanalysis searching examination about Melancholie can be condensed as 'forfeit of love target-degradationidentification of target and self-coexistence of love and hate-revenge through masochism'. ?i?ek makes clear Melancholie newly by method that accept viewpoint of Freud and Lacan. Explain difference of ?i?ek through relation between cause with target mechanism of love and desire. ?i?ek tries new analysis about ultimate assertion of Melancholie, Melancholie analyzes a kind of 'deceit'. This assertion adopts form of delusive spectacle that subject grieves overly excessively about the target before have scoured target. This Z' iz'ek's analysis shows characteristic of ideological criticism that he consecutively pursues realistically. Kristeva makes clear Melancholie's reason by examining common experience called target loss and correction of meaning relations reveal. Kristeva explains 'Chose' playing a variation Freud's 'death instinct' and Lacan's 'meeting with the real'. Method that bring near in place of such failure of Chose is 'poetic form' as 'sublimation'.

허영자 시의 상징체계 연구

오형엽(Oh Hyung-yup) 한국비평문학회 2023 批評文學 Vol.- No.90

이 글은 허영자의 시 세계에 일관된 구조적 연속성 속에 내적 논리로서 순차적 질서를 발견할 수 있다는 관점을 토대로, 허영자 시가 보여주는 구조적 연속성 및 변모의 특질을 핵심적인 상징체계를 중심으로 고찰한다. 이를 위해 이 글은 시적 주체의 존재 양태인 ‘몸’과 그 ‘피’의 이율배반성인 ‘불’과 ‘물(얼음)’의 이미지가 외부적 촉매 형식인 ‘바람’, ‘비’, ‘햇볕’ 등의 이미지와 결부되면서 ‘봄’ 과 ‘가을’ 및 ‘밤’의 시간 형식 속에서 어떻게 변주되며 형상화되는지 살펴본다. 그리고 그 연장선에서 생명 혹은 미물에 대한 애정, 비극적 현실이나 이웃에 대한 연민, 물질적 현대문명에 대한 비판 등의 주제와 관련 기법으로 나아가는 모습을 살펴본다. 허영자의 시는 생명의 본질 및 그것이 실현하는 사랑에 대한 존재론적 탐구로 점철되어 있다. 허영자의 생명과 사랑에 대한 존재론적 탐구는 주체의 존재 형식이 외부적 촉매 형식과 만나 시간의 형식 속에서 다양한 시적 형상화의 변주를 거듭함으로써 인간, 생명, 존재, 우주 등으로 확장되는 단순하지만 심오한 상징체계를 형성한다. 허영자의 시적 형식으로서 주체의 존재 형식은 ‘인간’을 비롯하여 ‘나무’, ‘물고기’ 등으로 나타나는데, 그 근본적 양태는 ‘몸’으로 나타나고 핵심적 속성은 ‘피’의 모티프로 등장한다. 이때 ‘피’는 이율배반성을 가지는데, ‘불’과 ‘물(얼음)’이라는 모순 대립의 이미지가 상충하면서 모종의 관계를 형성하기 때문이다. 그리고 외부적 촉매 형식은 ‘바람’, ‘비’, ‘햇볕’ 등의 이미지가 등장하는데, 이들 중 ‘바람’과 ‘비’가 대표적인 경우라고 할 수 있다. 다음으로 시간의 형식은 주로 ‘계절’ 및 ‘밤’의 시간대가 등장한다. 특히 ‘봄’과 ‘가을’이 큰 비중을 차지하는데, 이 두 계절은 주체의 존재 양상인 ‘몸’이 가지는 ‘피’의 이율배반성으로서 ‘불’과 ‘물(얼음)’의 모순이 상충하면서 모종의 관계를 맺는 양상과 긴밀히 결부되는 동시에, 외부적 촉매 형식인 ‘바람’, ‘비’, ‘햇볕’ 등의 이미지와도 일정한 연관성을 가지는 것으로 보인다. 다시 말해, 허영자 시에서 ‘봄의 사랑’이 주로 ‘바람’의 촉매 작용에 의해 ‘피’가 내포하는 ‘불’과 ‘얼음’의 모순 대립이 상충하면서 결합하는 양상을 보여준다면, ‘가을의 사랑’은 주로 ‘비’의 촉매 작용에 의해 ‘피’가 내포하는 ‘불’과 ‘물’이라는 모순 대립의 양극이 ‘불’의 방향이나 ‘물’의 방향으로 분기되는 양상을 보여준다. 허영자 시의 ‘가을의 사랑’이 포함하는 사유의 성숙과 욕망의 정화, 생명에 대한 연민과 감싸안음 등의 특성은 그 연장선에서 생명 혹은 미물에 대한 애정, 비극적 현실이나 이웃에 대한 연민, 물질적 현대문명에 대한 비판 등으로 전개되는 모습을 보여준다. 전체적인 시적 전개 과정을 볼 때, ‘봄의 사랑’과 ‘가을의 사랑’이 대체로 초기 시에서 후기 시에 이르기까지 지속된 허영자 시의 일관된 구조적 연속성에 해당한다면, ‘가을의 사랑’의 연장선에 있는 시들은 대체로 후기 시에 나타나는 변모 양상이라고 볼 수 있다. 이러한 사실은 ‘봄의 사랑’과 ‘가을의 사랑’이 형성하는 표면상의 구조적 연속성의 심층부에 순차적 질서가 내적 논리로서 개입하고 있음을 알려준다. This article examines the characteristics of structural continuity and transformation shown in Heo Young-jas poetry, focusing on core symbolic systems, based on the perspective that sequential order can be found as internal logic in the consistent structural continuity of Heo Young-jas poetic world. For this purpose, this article examines the images of fire and water (ice), which are the antinomies of body and its blood, which are the modes of existence of the poetic subject, and wind, rain, We looked at how it is transformed and shaped in the time formats of spring, autumn, and night while being associated with images such as sunshine. And as an extension of that, we look at the progression to topics and related techniques such as affection for life or small things, tragic reality or compassion for neighbors, and criticism of materialistic modern civilization. Heo Yeong-jas poetry is filled with ontological exploration of the essence of life and the love it realizes. Heo Yeong-jas ontological exploration of life and love is a simple but profound symbol that expands to include humans, life, existence, and the universe by repeating variations of various poetic figurations in the form of time when the subjects form of existence meets an external catalyst form. Form a system. In Heo Yeong-jas poetic form, the form of the subjects existence appears as human, tree, and fish, and its fundamental form appears as body and its core attribute appears as the motif of blood. At this time, ‘blood’ has an antinomy, because the contradictory images of ‘fire’ and ‘water (ice)’ conflict and form a kind of relationship. And the external catalyst forms include images such as ‘wind’, ‘rain’, and ‘sunshine’, of which ‘wind’ and ‘rain’ can be said to be representative examples. Next, the format of time mainly appears in the time zones of ‘season’ and ‘night’. In particular, spring and autumn occupy a large proportion, and these two seasons are the antinomy of blood in the body, which is the mode of existence of the subject, and the contradiction between fire and water (ice) clashes. It is closely linked to the aspect of forming some kind of relationship, and at the same time, it appears to have a certain connection with images of external catalysts such as wind, rain, and sunshine. In other words, if spring love in Heo Yeong-jas poetry shows the conflicting and combining of the contradictory oppositions of fire and ice contained in blood mainly through the catalytic action of wind, then autumn love Love mainly shows the polarity of the contradictory opposition of fire and water contained in blood branching into the direction of fire or water due to the catalytic action of rain. The characteristics of Autumn Love in Heo Yeong-jas poetry, such as maturity of thought, purification of desire, and compassion and embrace of life, are, as an extension, affection for life or small things, compassion for tragic reality or neighbors, and material modernity. It shows how it develops into a criticism of civilization. Looking at the overall poetic development process, if Spring Love and Autumn Love generally correspond to the consistent structural continuity of Heo Yeong-jas poetry that continued from early to late poetry, then Autumn Love is an extension of Autumn Love. The poems can generally be seen as an aspect of transformation that appears in later poetry. This fact shows that sequential order intervenes as an internal logic in the depth of the superficial structural continuity formed by ‘Spring Love’ and ‘Autumn Love’.

가라타니 고진 비평의 비판적 검토

오형엽 ( Hyung Yup Oh ) 한민족어문학회 2009 韓民族語文學 Vol.55 No.-

분열분석 비평의 수사학적 탐구

오형엽(Oh Hyung-Yup) 국어국문학회 2009 국어국문학 Vol.- No.151

This writing tries to attain critical theorization, investigating ‘schizoanalysis’ on the viewpoint of ‘synthetic rhetoric’ to establish its footing that can progress literature study and criticism deeply. For this, we try to propose the standard of literature criticism by investigating schizoanalysis laying stress on Gilles Deleuze?Fe'lis Guattari's theory on viewpoint of rhetoric. This writing is progressed laying stress on language philosophy, special quality of art, special quality of literary language, minority literature, schizoanalytic criticism. Gilles Deleuze?Fe'lis Guattari sees base unit of speech act as ‘enuniciation’, and enuniciation's base unit as ‘imperative’. They understands correlating sign with ‘assemblage’, introduce concept of ‘remainder’ that have called ‘frequency’ and ‘resonance’ for this. Gilles Deleuze?Fe'lis Guattari call ‘mechanical assemblage’ and ‘collective assemblage of enuniciation’ that these are detected within literary field ‘content’ and ‘expression’. They regards that problem of language is involved internally with politic problem, and system of signifiance and subjectivation are decided ‘system of signs’. Gilles Deleuze?Fe'lis Guattari explains special quality of ‘plateau’ regarding ‘rhizome’. They sees special quality of art that create ‘affects' and ‘percepts’, and sees special quality of signs ‘intensive’. Gilles Deleuze seeks plan that philosophy solves problems that was absorbed with ‘affects’ and ‘percepts’ through ‘Proust's semiogy’ and ‘Kafka's expression theory’. They wishes to think language in side of ‘peculiarity’ ‘continuous variation’. ‘Collective assemblage of enuniciation’ wears form of ‘free-indirect narration’. ‘Vision’ and ‘audition’ compose suitable picture and music in writing like effect of color and sound that forms external surface of language. The minority litreature is one of the language deterritorialization. It progresses through collective assemblage of enuniciation something to use minority of language, and functions by political behavior pattern. They think a subject of language or literary as ‘impersonal self’. Gilles Deleuze?Fe'lis Guattari handles interpretation by form of ‘symptomology’ or semiogy. When symptom discoverer or writer designates achieve activity that is semiotics. Gilles Deleuze refers to about ‘line of flight’ under proposition that literature seeks possibility of new life. Line of flight is line of creation and experiment of life. ‘Hallucination’ counts as symptoms of schizophrenia that schizoanalysis makes by main object. Gilles Deleuze?Fe'lis Guattari explain hallucination regarding ‘simulacre’. Immanent unfolding of hallucination is expressed in play of grammatical modifications. This is a hint that schizoanalysis is gone by grammatical reductions of expressed language also.