버려진 자의 질문과 타자의 응답 방식

우미영 ( Mi Young Woo ) 한국언어문화학회 2016 한국언어문화 Vol.0 No.59

Vivid and sincere exposure of the life of the times is evaluated as one of features in the fictions by Park Min-gyu in spite of the unrealistic and fantastic elements. It is difficult to accurately identify the reality effect of the fantasy in his fictions through the independent review on the fantastic elements themselves. Thus, this paper investigated what the fantasy in his fictions tried to suggest and what his factions aimed to suggest in consideration of the situations in 2000s by analyzing the non-fantastic works as well as the works directly exposing the fantastic elements. On the assumption that the styles of the fictions by Park Min-gyu was related to the change of life in 2000s, it was examined how to differentiate his fictions from existing fictions in the theme ‘extinction of streets and disappearance of problematic individuals’. According to the analysis, the basis of the fantasy in the fictions by Park Min-gyu was related to the exposure of capitalism which had no shortcomings. If fantasy in the existing contemporary fictions could be brought from the shortcomings behind the reality, fantasy in the fictions by Park Min-gyu was based on the other world out of the capitalistic society as the integral whole. It is the difference between existing fictions and the fictions by Park Min-gyu. Some fictions by Park Min-gyu were about ‘the disused’ as the main characters. The disused in his fictions were those expelled from the social order. In the capitalistic society which was unified and fully exposed as the exchangeable value, the border between a center and a perimeter became obscure or disappeared. Consequently, it was difficult to identify the existence of those who expressed their critical thinking on a center as standing in the perimeter. Those who stand in such a border in the fictions by Park Min-gyu are those who were expelled from a society. This paper examined how such cognition style was developed to the new cognition as keeping the distance from the integral capitalism times in the aspects of ‘questions by the disused’ and ‘parallax’. ‘The disused’ in the fictions by Park Min-gyu requests the new otherness. The other in his fictions is not the return of the depressed which was hidden inside a main agent but those who have no common rules with a main agent as the existence out of the main agent. The attitude of the disused is innovative on the aspect that the disused renovates individual identities and recognition on the difference between a main agent and the other, without making a main agent the other or vise versa. The disused is ethical because they don’t humble or take pity on their existence but advance toward the deliberation on their existence itself. In accordance with the fictions by Park Min-gyu, the critical distance could be maintained only when being expelled from the situations in 2000s wholly dominated by the capital value. His fictions demonstrated the dilemma of our times that only the disused could be truly ethical.

현대소설과 가족의 탈근대 : 윤성희ᆞ김애란ᆞ강영숙의 소설을 중심으로 Based on the Novels by Yoon Sung-hee, Kim Ae-ran, and Gang Yeong-sook

우미영 ( Mi Young Woo ) 한국현대문예비평학회 2006 한국문예비평연구 Vol.- No.21

東度의 욕망과 東京이라는 장소(Topos)

우미영(Woo Mi-young) 한국학중앙연구원 2007 한국학 Vol.30 No.4

근대 초기 소설에 나타난 질병의 의미

우미영(Mi Young Woo) 한국현대소설학회 2004 현대소설연구 Vol.- No.24

근대 여행의 의미 변이와 식민지/제국의 자기 구성 논리

우미영(Mi Young Woo) 연세대학교 국학연구원 2006 동방학지 Vol.133 No.-

복수(複數)의 상상력과 역사적 여성

우미영(Woo Mi Young) 도서출판여이연 2005 여성이론 Vol.- No.12

장루보유자의 불편함

오은희(Oh Eun Hee),홍성정(Hong Sung Jung),모문희(Mo Moon Hee),우미영(Woo Mi Young),김선주(Kim Sun Ju),정복례(Chung Bok Yae) 대한종양간호학회 2011 Asian Oncology Nursing Vol.11 No.1

Purpose: The purpose of this study was to explore and describe the distress of the patients with ostomy. Methods: A descriptive research design was adopted for data collection and analysis. Six patients with ostomy participated in the study. The consent from the participants was obtained for ethical protection. Data were collected from July 31, 2009 to January 10, 2010 using in-depth interview technique. Krippendorff’s content analysis method was utilized for data analysis. Results: Eight categories and 26 themes were extracted from the data which illustrated the lived distress of the patients with ostomy. The categories were “do not have any freedom to eat whatever I wish to eat”, “uncontrolled defecation”, “have to live through tough situation”, “keep stoma in suspense”, “disgusting ostomy”, “can not live with comfort”, “easily take a pessimistic view”, and “see how the wind blows in daily family life”. Conclusion: Ostomates were affected by the distress of having an ostomy in their physical, psychological, social and spiritual life. Individualized and continued nursing education program has to be developed in hospital and community settings in order to improve the quality of life of the ostomates.

최인훈 <구운몽>의 제목과 형식

이승수 ( Lee¸ Seung Su ),민선홍 ( Min¸ Seon Hong ),우미영 ( Woo¸ Mi Young ) 한국언어문화학회 2021 한국언어문화 Vol.- No.75

이 글은 최인훈의 <구운몽>(1962)을 김만중 <구운몽>(1690 즈음)에 대조시켜 서로에게 비치는 모습에서 문학사상의 연속성과 동질성 / 단절성과 개별성을 살피고, 이를 토대로 최인훈 <구운몽>의 형식 특성을 규명한 것이다. 논의는 세 단계로 진행하였다. 첫째, 제목의 의미를 고찰하였다. ‘구운몽’은 그 자체로 한국문학 역사상 하나의 사건이자 현상이며, 향후 다른 사건으로 확장될 가능성을 지닌다. 최인훈의 ‘구운몽’은 현실과 미분리된 여러 환몽으로 나타나고, 영화라는 현대 문명으로 확장되었으며, 5·16군사정변으로 인한 사회적 악몽이라는 의미까지를 담고 있다. 둘째, 구조는 기호이자 의미라는 전제 아래 그 여러 특징을 살펴보았다. 최인훈 <구운몽>의 구조는 ① 사건 전개와 인물 관계에 있어 인과성과 유기성이 결여된 부정합의 이음매를 지니고 있으며, ② 이는 현실과 환몽 사이의 경계 표지 없는 흐름으로 나타나는 특징을 지닌다. 그러한 가운데 전체를 일관하는 흐름을 만들어주는 요소가 있는데, 그것은 여러 여성 인물에 보이는 ‘왼 뺨의 검은 점’과 ‘처절한 바람 소리’이다. 셋째, 삽입 시문의 양상과 기능을 검토하였다. 최인훈 <구운몽>에 활용된 시문들은 김만중 <구운몽>의 그것과 달리, ① 갈등과 대결의 구도를 만들거나 불편한 현실을 드러나게 하고, ② 서사의 맥락을 일탈하여 강한 목소리로 자기 존재를 팽창시키고 있으며, ③ 시시비비를 가리려는 논변의 경향을 지닌다. 최인훈은 외적인 인과성과 유기성이 없는 부정합의 구성으로 모순과 불일치로 가득한 당대 현실을 드러내었다. 최인훈의 <구운몽>은 형식이 곧 주제이다. 외형은 환상이지만, 온몸으로 당대 현실을 증언하고 있다는 점에서 리얼리즘을 초월한 리얼리즘이라 할 수 있다. This study analyzed the continuity and homogeneity / discontinuity and individuality of literary history observed from the comparison between Guunmong by Choi In-hun(1962) and that by Kim Man-jung(estimated to be written in 1690). On the basis of the analysis results, we identified the features of form of Choi In-hun’s Guunmong. First, We examined the meaning of the title. Guunmong itself is an event and a phenomenon in the history of Korean literature and has the potential to be expanded to other events in the future. Choi In-hun’s Guunmong describes diverse kinds of fantasy dreams which are not separated from the reality and was expanded to the modern civilization, that is, the movie. Furthermore, it contains the meaning of ‘social nightmare’ caused by the military coup on May 16, 1961. Second, We investigated several features of the structure of Guunmong on the assumption that the structure is the signifier as well as the signified. The structure of Choi In-hun’s Guunmong ① has the incongruent connection lack of causality and systematicity in the deployment of events and relationship among characters. ② This feature is expressed by the borderless flow between the reality and the fantasy dream. In such a structure, there are the elements that maintain the consistent flow in the whole structure. They are ‘a black dot on a left cheek’ of several female characters and ‘sound of desperate wind.’ Third, we analyzed the patterns and functions of poetry and prose inserted in Choi In-hun’s Guunmong. Unlike Kim Man-jung’s Guunmong, poetry and prose in Choi In-hun’s Guunmong ① create the structure of conflict and confrontation or expose uncomfortable reality, ② expand themselves with strong voice out of the narrative context, and ③ show the feature of argument to decide on right and wrong. Choi In-hun exposed the reality of his times filled with contradiction and discord by incongruent structure without external causality and systematicity. In Choi In-hun’s Guunmong, the form is the theme. While the external form is fantasy, this work is the realism beyond the realism on the fact that it desperately testifies the reality of the times.

여성의 광기와 무의식의 욕망 : 백신애론 A Study on Baek, Shin-Ae

우미영 한국여성문학학회 2000 여성문학연구 Vol.4 No.-

광인은 동서고금의 문학 작품에서 쉽게 발견할 수 있다. 이것은 주변 또는 타자의 입장에서 중심과 주체 및 그를 아우르는 전체를 비추어주는 거울의 역할을 한다. 우리는 주변을 통해서는 중심을 인식할 수 있고, 둘의 관계를 조명하여 주변성도 온전하게 해명할 수 있다. 나아가서 너무도 당연하고 자연스러운 것처럼 보이는 세계의 이면에 가려진 모순과 부조리의 구조를 해체하여, 건강한 구조 짜기를 시도할 수도 있다. 여성 문학에 나타난 여성의 광기도 이러한 차원에서 접근할 필요가 있다. 여성 문학에 나타난 광기는 남성 중심의 가부장적 질서에서 거세된 여성들의 주체적 반응이다. 이 글에서는 여성 광기의 전형을 보여주는 백신애의 소설들을 통해 여성의 광기를 둘러싼 의미망을 분석해보았다. 백신애 소설을 통해 볼 때 여성의 광기는 여성의 주체 형성과 자기 이해 방식을 해설학 수 있는 토대를 제공한다. 그녀의 소설에서는 가부장제의 논리에 의해 타자화된 여성성뿐만 아니라, 예술과 사랑을 통한 창조적 주체로서의 여성성의 면모도 드러난다. 후자는 근대적 개인 주체의 의식에 힘입은 것이며, 그녀 소설에 나타난 여성 광기의 바탕에는 후자에 대한 강렬한 욕망이 자리하고 있음을 알 수 있었다. 이것은 근대 여성 주체의 내면을 더욱 입체적으로 접근할 수 있는 실마리를 제공해 준다. 이러한 논의를 토대로 타자, 여성 및 광기와의 함수 관계, 나아가 타자와 광인 및 문학과의 본질적인 관계를 해명해나갈 수 있을 것이다. It is easy to find mad men in literary works across the ages and the countries of the world. They serve as a mirror which reflects the center, the subject and the whole in the light of the side or the other. We are a??e to recognize the center from the side and properly make clear 'sideness' by its relation. Deconstructing the structure of contradiction and unreasonableness, we can try to construct the proper structure. There is a need to approach the madness of women in this way. The literature about the madness of women is a subjective product of women who are castrated in the patriarchy. The purpose of this thesis is to analyze the significations surrounding the madness of women written by Baek, Shin-Ae. According to her novels, the madness of women is the base that explain female personalities and self-configurations. We can find the feminity as a creative subject by art and love, as well as the logic of patriarchy. The former is caused by the consciousness of the individual subject of the modern times. The intense desire about it takes its place in the basis of women's madness in her works. We can find a clue to access dynamically the interior of the female subject of the modern times. By this, we may be able to make clear the relations of women to the other as well as the literature to madness.