「春琴抄」における美意識研究 : 日本回帰と強者としての美の再現

吉美顕(Gil Mi Hyun) 동북아시아문화학회 2007 동북아 문화연구 Vol.1 No.13

I tried Japanese recurrence while Tanizaki molded a woman called the koto in Syukinsyo (Chuo Koron 1933,12) in spring, and drawing feminine beauty as "the strong man". Therefore, Japanese recurrence in Tanizaki was performed mainly on Syukinsyo by this report how and did a guess, in addition, how the beauty as "the strong man" was reproduced. Tanizaki who came influence of West literature adds the Nipponian beauty, the shadow beauty and a thing of the Kansai wind to Syukinsyo and removes an element of the West and demands Japan recurrence, but it is thought that I was not able to completely wipe it out. It is because an element of the West is seen in Syukinsyo because sadism by the frame of the play of the playing house, world and Sasuke of the masochism admire a koto like "God" in spring. The sensual world is embodied with Sasuke in spring by becoming the both kotos blindness and reaches the world of "the Buddnists" paradise". Furthermore, the koto is sewed as a strong man eternally in spring by two homage and masochism of Sasuke. That Tanizaki tried Japanese recurrence is considered to have been to add the world of the special "shadow beauty" and "white" to aesthetic element which the thing which is the West-like lacks namely Japan. In other words I added a Nipponian thing to the thing which was the West-like, and the Japanese recurrence of Tanizaki was what it depended, and could individualize a thing of the West as the reverse irradiation effectively.

일본의 [まとめ]-アップスタイル에 나타난 Zen-style연구 -미용기능경기대회 작품중심으로 -

장경옥 ( Jang Kyung Ok ) 한국미용학회 2010 한국미용학회지 Vol.16 No.4

An up-style creates artistic and unique beauty out of various hairstyles. The purpose of this research is to establish basic data for an up-style and to suggest a new direction for the various design of up-style, which has advanced in accordance with Korea`s unique culture and beauty. To specify the research method, entries to the university department of [まとめ]-アップスタイルbeauty skills competition held in Yokohama from 2006 to 2008 were analyzed and classified according to the principles of design. As a result, most entries of the competition had a texture with natural flow of hair and expressed simple and elegant sense with the focus on natural beauty and simple texture. In addition, Japanese unique culture, Zen-styled were used in most of the entries, minimizing decoration for simple and restricted style, and expressing the beauty of space itself. In conclusion, the entries demonstrated the diversity and extendedness of Japanese atmosphere and beauty.

일본차 표상과 "주체적 상상력" -『남방록』, 『차의 책』, 『차와 미』를 중심으로-

이경희 ( Kyung Hee Lee ) 한양대학교 동아시아문화연구소(구 한양대학교 한국학연구소) 2014 동아시아 문화연구 Vol.57 No.-

본 논문의 목적은 에도시대 이후의 일본차론을 검토하면서, 차의 미학의 근간을 ``주체적 상 상력``으로 보고 그 이론적 근거와 문화적 전개를 조명하는데 있다. 필자가 주목하는 일본차론은 『남방록(南方錄)』(1690년경), 오카쿠라 덴신[岡倉天心]의 『차의 책(The Book of Tea)』(1906년), 야나기 무네요시[柳宗悅]의 『차와 미(茶と美)』(1955년) 이다. 『남방록』은 일본 최고의 다성 센노리큐의 와비차 표상에 있어 빼놓을 수 없는 차의 고전이다. 『차의 책』과 『차와 미』는, 일본의 다회의 미학이 근대 이후 타자와 만나는 과정에서 어떻게 일본(정신)문화론으로 확장ㆍ전개되어 갔는가를 보여준다. 『남방록』이 표상하는 리큐의 와비차의 정신은 불완전한 대상의 잠재적인 미를 극대화시키는 동시에, 완전한 대상에 대해서는 의도적인 훼손(변형)도 마다 않는 레디컬한 면을 함께 지닌다. 이처럼 대상을 향해 작용하는 이중의 ``주체적 상상력``은 주인(창조자)과 손님(감상자) 간의 등가교환을 전제로 완성되는 다회의 미학이다. 덴신은 『차의 책』을 통해 이러한 다회의 미학을 일본문화의 근간으로 격상시킬 뿐 아니라, 동서의 상호 이해를 가능케 할 보편적 문화이론으로까지 확장시켰다. 주인(창조자)과 손님(감상자)이 공유하는 다회의 ``주체적 상상력``이야말로 동서가 서로의 현상적 현실을 뛰어 넘을 수 있는 ``생의 방법``이라는 것이다. 따라서 이 작은 차론은 서양에게 일본의 ``생의 방법``을 공유하라고 하는 웅변이라 할 수 있다. 한편, 야나기의 『차와 미』에 오면 제작자는 창조자와 분리되고 창조자는 감상자와 동일시된다. 그리고 제작자와 창조자(=감상자)는 각각 조선의 사기장(민중)과 일본의 다인으로 대변되고 있다. 이 같은 분리는 그것이 제작자의 다완을 미의식이라는 부자유함에서 지켜낸다는 논리에 의거하고 있다. 다만 그것은 야나기 자신이 이상적인 제작자로 평가한 조선 사기장(민중)의 창조력을 부인하고, 아울러 일본(다인)의 민족적 심미안을 강조하는 것과 맞닿게 된다. The purpose of this paper is to discuss the theoretical grounds of subjective imagination that embodies the root and trunk of esthetics of tea by reserching the books which discuss Japanese tea since the Edo era. The writer aims to clarify the theories of Japanese tea by researching the next books: Nanboroku around 1690, Tenshin(1863~1913)` The Book of Tea 1906, and Yanagi Muneyoshi(1889~1961)` Tea and Beauty 1955. Nanboroku is the classical literature which cannot be excepted for in representing Sen no Rikyu` spirit of ``abicha`` Both The Book of Tea and Tea and Beauty are the books of Japanese Tea which informs them that esthetics of the common tea ceremony, i.e. subjective imagination, implies how to expand and develop as spiritual culture of Japan during tea-meeting others since the modern era. Rikyu` spirit of ``abicha`` represented by Nanboroku, maximizes the potential beauty of an incomplete object while simultaneously connotes a radical aspect that does not mind intentional damage or transformation of a complete object. Such a two-way subjective imagination is the aesthetics of tea ceremony completed by the base of the equivalent exchange between the host and the guest Tenshin not only completes upgrading these aesthetics of the tea ceremony in The Book of Tea but also expands to the the root and trunk of Japanese culture. That is, the subjective magination of the tea ceremony, which the host(creator) and the host(appreciator) share, is the ``rt of Life``with which the East and the West can overcome the phenomenal reality of each other. Henceforth, The Book of Tea is a kind of eloquence through which Tenshin persuades the West to understand such an ``rt of Life``of Japan. On the other hand, in Yanagi Muneyoshi` Tea and Beauty, the maker (Korean potters) is separated from the creator(tea-makers of Japan). Such separation relies on the reason of keeping the natural beauty of tea bowls created by the maker from inconvenience of consciousness, it also confirms the fact that Yanagi Muneyoshi does not admit creativity of Korean potters he himself appraised as ideal makers. while simultaneously expands to highlight nationalistic aesthetic sense of beauty.

아쿠타가와 류노스케(芥川龍之介) 「하나(雛)」론 -메이지(明治) 문명개화기로 이어지는 일본의 미적 전통-

최정아 ( Choi Jeong Ah ) 한국일본어교육학회 2017 日本語敎育 Vol.0 No.79

In `Hina`, Otsutu and Eikichi are given identity as the successor of Japanese traditional beauty. However Eikich suppresses and denies his identity and follows the teachings of modern western pragmatism, living a poor life seeking power and wealth. In the end he is mentally bankrupt. Otsuru, on the other hand, follows her own identity regardless of pragmatism. So she inherits the aesthetic tradition of Japan and lives as an aesthetic subject that creates new beauty of modern Japan. Through this Akutagawa criticizes modern pragmatism which negates the value of Japanese aesthetic tradition and drives Japanese to selfish competition, ruining Japanese life. And Akutagawa claims to live as an aesthetic subject that creates Japanese modern beauty with the Japanese aesthetic sensibility as a life that realizes true value and happiness.

석재 서병오의 예술관

이중희(Lee Junghee) 한국근현대미술사학회 2017 한국근현대미술사학 Vol.33 No.-

Seo Byeong-o (1862-1936), a nationalist artist, was the pioneer of art world in Daegu area. He was a leading figure who left clear footprints in Korea’s art history from a historical view point. However, as the age in which he lived was an inflection point of historical transition that ranged from the late Joseon dynasty period to the Japanese colonial period, he was neglected without being noticed by any of art historians on Joseon dynasty art and modern art. From early on, his high level of artistry gained much attention through his works that were widely scattered in Yeongnam area. So, the present author intends to dissect the true characteristics of his perspective on art or artistry, recognizing the need for accurate arthistorical diagnosis. Having basically Joseon"s literati consciousness, Seo Byeong-o was a dignified nationalist who was deeply aware that the beauty of Joseon’s traditional ink-and-wash painting art was superior to Japan’s unique beauty that was representative of the concept of "art"; he tried to preserve literati brush-ink-paper culture with pride against the flooding of Japan’s unique beauty. During the 1922 Joseon Art Exhibition, which implied the full-fledged expansion of Japanese culture, he organized Gyonam Poetry, Calligraphy and Painting Study Society and took the lead in protecting traditional Three Treasures "Poetry, Calligraphy and Painting." In his actual works, he added the beauty of ink-and-wash painting to his naturalistic musical tastes, and incorporated the artistry of Three Treasures "Poetry, Calligraphy and Painting" into a high artistic soul called "musical rhyme beauty."

에도시대 미인풍속화 속 여성의 머리형태에 대하여

이미림(Ryee, MiLim) 중앙대학교 일본연구소 2020 日本 硏究 Vol.0 No.52

It is undeniable that for women, the head is worth burning up all of their own vitality, regardless of age, region, class, occupation and age. The Edo period is the time when In the history of Japanese women, Japan, Japan, has bloomed most beautifully. Not only that, but it is also a special time when various measures were sought to make their black hair more beautiful. Prostitute was part of the role of creating the beauty of the Japanese hair until the middle and late years with an unbound sense of the times. And it was Yakusha, or the actor, who was in charge of the other part. When the beauty of a young boy became popular due to the popularity of the play(Wakasyukabuki-若衆歌舞伎), it was Wakasyu(若衆髷) that upgraded the beauty of her Ironically, the places of the two Big Bad Places in the Edo period, and a theater became the birthplace of popular culture. The people who succeeded this development were none other than the merchant class in Edo period , which was helped by the economic recovery(Chonin-町人). In this study, more than 300 types of hair styles were created in the Edo period, and as of now, Japanese hair, which is actively used in traditional arts or non-day-to-day fields.

소리를 잃은 여성과 방문하는 성(性) - 가와바타 야스나리 『잠자는 미녀』의 재검토 -

이명희 한국일본어문학회 2020 日本語文學 Vol.85 No.-

This paper aims to overcome the unique and formal aesthetic evaluation of Kawabata Literature after winning the Nobel Prize for Literature. Therefore, I would like to pay attention to the late works of the late 『The Sleeping Beauty』(1960) and add new criticism. View the structure of the work of Sleeping Beauty from the perspective of a sleeping woman, And Examine the process and meaning of how elderly men relate to sleeping women as objects of desire. By doing so, we intend to approach the essence of Kawabata Literature and contribute to re-evaluation.Specifically, the invisible things, such as “Snow Country Story,” are reviewed in conjunction with 『Sleeping Beauty』. Also both works focus on the structure of the visiting men and the waiting women, which are common structures.

일본 여성만화 수용에 나타난 ‘미녀’ 이데올로기 형성과정 고찰

김일림(Il-lim, Kim) 중앙대학교 문화콘텐츠기술연구원 2013 다문화콘텐츠연구 Vol.0 No.14

스즈키 유미코의 『미녀는 괴로워!』는 1980년대 일본 버블 경제기의 정서를 대변하는 로맨틱 코미디 만화다. 여성의 외모를 둘러싼 사회 구조적인 차별을 그린 이 만화는 한국어 번역판을 거쳐 영화로 리메이크되면서 한국 사회에 외모와 성형수술에 대한 신드롬을 일으켰다. 이 논문은 원소스멀티유즈의 성공적인 사례로 손꼽히는 『미녀는 괴로워!』가 한국에 수용되는 과정에서 외모 지상주의가 한층 공고해지는 현상에 주목하고, 이를 ‘미녀’ 이데올로기의 형성으로 파악한다. 즉 콘텐츠의 순환이라는 관점에서 일본어판 만화와 한국어판 만화, 김용화 감독의 영화를 분석하고 이 과정에서 번역어가 ‘미녀’ 이데올로기 형성에 미친 영향이 무엇인지 밝혀내고자 한다. 나아가 영화 <미녀는 괴로워>가 구축한 ‘미녀’ 이데올로기가 단순히 여성에 대한 차별기제에 그치지 않고, 한국의 독점 자본주의 시스템에서 강화된 관념 체계임을 명확히 한다. 이 논문의 특징은 ‘미녀’ 이데올로기를 ‘미녀’라는 말을 중심으로 구축된 일련의 관념체계로 보고, 콘텐츠의 순환 구조 속에서 ‘미녀’ 이데올로기가 형성되는 과정을 분석하는 점에 있다. Yumiko SUZUKIs comic book 『Kannas Big Success!』 is a romantic comedy which features the atmosphere in the era of Japans bubble economy in eighties. 『Kannas Big Success!』 has been translated into the Korean edition and also made into a film that was one of the huge success as one-source multi-use. The intention of this study is to analyze how the ideology of “a beauty” has been built in Korean edition and Korean film comparing with the original comics by demonstrating that the Korean edition formed an ideology peculiar to Korea in a new and different context from the original version through the translation, and the Korean film created its own context, too, based on it. In this article, the ideology of “a beauty” refers to a collection of ideas that play a role in solidifying the beauty bias in social interaction subconsciously. This paper points out that the film has maximized the ideology in the capitalism, which serves as not only one of the mechanisms of discrimination against women, but also the unjust framework strengthened in South Koreas unique “chaebol” system.

일본 여성의 색조화장에 반영된 미의식 연구

박보영(Park Bo-Young) 한국인체미용예술학회 2005 한국인체미용예술학회지 Vol.6 No.3

  This research is for the consideration of japanese women"s make-up form and the beauty consciousness reflected by that. The trend of a make-up is not to originate on its on and extinct its own course but to take shape because of a combination of many factors. Among this combinate background, this research is limited to the beauty consciousness which seemed to be the most related to the make-up. The purpose of this research is to formalized and analysis beauty consciousness which is reflected by the formation of a make up culture in the coarse of the origination, maintenance, change and extinction of japanese women"s make up form.<BR>  There are the skin make-up, cheek make-up, eyebrow make-up, lip make-up and, es pecially black teeth make-up form which can not be found other countries in japanese women"s make-up.<BR>  We can see the preference of special color, the effect of around country, the beauty of deformation as the beauty consciousness reflected by japanese make-up form. Representatively, preference of white, red and black are the category of the beauty consciousness in color. Preference of white is reflected by skin make-up, preference of red is reflected by cheek and lip and preference of black is reflected by eyebrow make-up and lip make up.<BR>  Mimicking the make-up form of the Tang is the representative example of the reflecting the aesthetic consciousness of around country. And yet the mimicking like that has a characteristic; when the state power of Tang is great, the mimicking get more popular, and when the state power of Tang is weak, the original japanese make up form became more popular. We can see clearly the beauty of deformation which means totally different from origin face as a characteristic of the japanese make up trend.<BR>  Beauty of deformation, deformed from origin one, can be seen in dying white teeth to black(chi-huk), removing the eyebrows, drawing eyebrow on another place, making lips up black. Japanese women"s make up culture is specialized by the preference of special color, the effect of around country, the beauty of deformation.

기원과 이식 -근대초극론에 대한 대항으로의 ‘이식’ 개념을 중심으로-

김학중 ( Kim Hak Joong ) 한국언어문화학회(구 한양어문학회) 2020 한국언어문화 Vol.0 No.73

본고는 임화의 <신문학사>에 나타난 ‘이식’에 대한 임화의 사유를 은유적 사고를 중심으로 살펴보려는 시도이다. 은유적 사고를 통해 임화의 ‘이식’ 개념을 살펴보면 기존에 ‘이식’ 개념을 바라보던 지평과는 다른 차원에서 ‘이식’을 조망할 수 있게 된다. 무엇보다 임화의 ‘이식’이 일본의 <근대초극론>에 대한 대항으로 역사의 가능성을 문학사를 통해서나마 지켜내려 했던 시도였음을 알 수 있다. 임화는 우리 근대문학사에서 누구보다 다양한 영역에서 활약했다. 그는 시인이자 비평가이자 문학사가이며 영화배우였다. 동시에 그러한 지평들에 제한되는 것이 아니라 그 지평들을 가로지르고자 하는 상상력을 지닌 사람이었다. 그 상상력은 혁명이었다. 혁명에 대한 상상력은 임화가 역사를 이해하는 방식이었다. 일제에 의한 카프 해산, 폐병으로 인한 건강 악화 등 악재 속에서도 임화는 ≪현해탄≫ (1938)을 펴냈고 학예사를 통해 비평적 작업을 수행했다. 특히 일제가 만주사변을 일으키고 태평양전쟁으로 전쟁을 확대해 나가던 시기에도 <신문학사>에 대한 작업을 수행하며 역사의 가능성을 사유하려고 하였다. 역설적으로 <신문학사>는 ‘이식’이란 개념을 기반으로 문학사 방법론을 산출하려 시도하는데 이런 이유로 일제의 파시즘의 사상적 영향권에 있는 것으로 이해될 여지를 남겼다. 하지만 임화는 ‘이식’을 통해서 일제의 파시즘이 은폐하고자 하는 지점을 오히려 밝히면서 일본이 내세운 ‘대동아공영’나 ‘오족협화’ 같은 제국주의 영광의 슬로건들에 맞섰다. 물론 임화의 ‘이식’ 개념은 외관상 일제의 담론에 반하는 것으로 보이지 않았기 때문에 이 작업은 은밀성을 지닌다. 이 은밀함에 기반하여 임화는 ‘이식’의 은유적 사고를 전진시킨다. 그 결과 그가 문학사를 겨냥하여 전개한 논의는 <근대초극론>에 대한 대항으로서 작동할 지점을 확보하게 된다. <근대초극론>은 태평양전쟁을 전후로 일본에서 논의된 것으로 일본의 군국주의에 이론적 기틀을 마련해준 사상이다. 이 논의의 주체는 일본의 군대, 교토 학파 및 일본 낭만파 등으로 다양했다. 철학과 문학은 물론이고 정치 및 군대에도 영향을 미쳤고 당대 일본의 젊은 지식인들에게도 큰 각광을 받았다. 이들의 논의에 따르면 근대는 이미 쇠퇴의 기미를 보이고 있다. 자본주의는 대공황과 같은 문제에 대응하지 못하고 러시아 혁명을 추동한 마르크스주의도 문제를 보이고 있다. 소련은 인터네셔널의 가치를 지키지 못한다. 왜냐하면 이제 소련을 중심으로 마르크스주의 운동을 재편하려 하기 때문이다. 더구나 마르크스주의에 대한 반발로 서구는 나치즘과 파시즘으로 기울어 가는 모양세다. 이런 점들을 비판하며 일본의 지식인들은 다가올 세계전쟁, 즉 동양과 서양의 전쟁에 대비하기 위해 근대를 초극할 필요성을 논한다. 그들의 결론은 일본의 천황을 중심으로 하여 서구적 근대를 넘어선 새로운 토대를 만들어야 한다는 논의이다. 여기서 천황은 고오야마 이와오에 의하면 일본은 세계사의 주도적 역할을 떠맡게 되는데, 그 역할을 수행하는 주체가 천황이라 주장한다. 야스다의 일본 낭만파는 일본의 미, 즉 비어있음의 아름다움이란 일본적 아이러니를 드러내는 자리가 천황의 자리라고 말한다. <근대초극론>은 결국 천황이란 텅 빈 기표를 대타자의 지평에 놓는 것을 통해 헤겔이 말한 ‘역사의 종말’을 수행한 것이었다. 서구의 근대가 지닌 한계를 넘어서려는 긍정적 시도는 결국 역사의 가능성을 은폐하고 천황이라는 ‘통치의 주관적 명령’을 국가라는 차원으로 대신하여 표명해줄 텅 빈 기표에 <세계사>를 맡겨 버리려고 했던 것이다. 이것이 <근대초극론>이 추구한 기원화이다. 텅 빈 기표인 천황이 근대 이전의 일본의 미적 토대였으며 근대를 넘어설 초극의 기원이라고 그들은 믿었던 것이다. 이와는 반대로 임화는 역사의 가능성을 문학사를 경유해 우리 앞에 도래시키려고 했다. 그 지평에 놓인 것이 <신문학사> 작업인 것이다. 임화의 <신문학사>는 일반적으로 고전문학과 근대문학으로 문학사를 구분하는 것 대신 구문학사와 신문학사로 나눈다. 기존의 문학사 기술의 일반적 구분법과는 다른 ‘단절’을 기입하는 작업은 ‘이식’에 의해 이뤄진다. 여기서 임화는 ‘이식’과 ‘번역’ 그리고 ‘수입’ 등을 엄격하게 구분하여 쓰고 있다. ‘번역’과 ‘수입’은 자기화가 수반되지 않는다. 반대로 ‘이식’은 우리가 자기화와 관련될 때 사용한다. 임화는 이를 통해 신문학의 특성을 밝히려고 했다. 임화는 ‘이식’을 통해 신문학이 성립되었다고 말한다. 여기서 임화는 ‘이식’을 통해 자기화되면서 자기화되지 않는 잔여까지를 모두 ‘이식’의 개념 안으로 통합하려 하였다. ‘이식’은 바로 이 자리에 주체의 신체를 환기한다. 신체야말로 외부적인 타자와 주체의 자기화가 지속적으로 마주하고 길항하며 자기를 성장시키는 장소이기 때문이다. 임화는 이를 ‘이식’ 개념을 통해 은유적으로 드러내고 있다. 무엇보다 자기화의 주체인 신체는 외부라는 사태 전체를 ‘이식’하지 못한다. 모든 ‘이식’은 부분적이다. 때문에 주체의 생사를 결정할 수 있을 정도로 강력한 외부의 타자라할지라도 외부성 그 자체를 ‘이식’할 수는 없다. 다시 말해 외부성을 환기하는 ‘이식’은 역설적으로 주체의 자리를 비추는 역할을 한다는 것이다. 이는 <근대초극론>이 텅 빈 기표인 대타자인 천황으로 역사의 주체를 대체하려고 했던 시도와는 상반된다. 이것은 문학사를 추동하는 주체의 차원을 환기한다. 주체의 차원을 보존하는 ‘이식’의 개념은 또한 외부성으로 인해 파편화된 역사의 차원을 현재화한다. 이러한 역사는 역사적 사건들 속에서 나타나는 수많은 요소가 서로 길항하며 단절되었다가 나타나는 것이다. 역사적 기술의 현재화의 가능성은 이러한 단절의 연속을 통해 열린다. 문학사는 바로 이러한 역사의 특성을 잇는 특수한 역사이다. <신문학사>에서 ‘이식’이 여는 차원의 특성은 바로 여기에 있다. 그렇기 때문에 문학사는 포착불가능하며 결코 우리의 손안에 주어지지 않는 통제 불가능한 가능성을 내포한 것으로 주어지는 것이다. 임화는 특히 ≪신문학사의 방법론≫에서 이 가능성의 지평을 <전통> 항목에 기입해 두었다. 여기서 임화가 ‘이식’을 통해 환기하는 지평은 물론 파편화이다. 역사는 역사를 일관된 형식에 대항하여 전통을 파괴하면서 동시에 파편화된 전통을 현재화한다. 문학은 이 파편화의 힘으로 역사를 끌어안는다. 임화가 연 이러한 역사성은 역사를 텅 빈 미의 기표로 대체하려는 어떠한 시도도 불가능하게 한다. 어떠한 기원화의 시도도 여기에서 자리를 잡지 못한다. 이것이 임화가 ‘이식’의 은유적 사고를 통해 추동 해낸 작업이다. 임화의 ‘이식’은 그 개념이 지닌 기표적 특성이 환기하는 것과 달리 역사의 가능성을 탐침하고자 시도한 작업이었다. 그것은 역사의 가능성은 물론이고 임화가 늘 고심했던 혁명적 가능성을 예비할 수 있는 차원을 열어낼 토대였다. 혁명은 결국 역사가 지닌 힘, 즉 파편화의 가능성에서 발생하기 때문이다. 임화의 <신문학사>는 일본의 파시즘과 <근대초극론>이 역사의 가능성을 은폐하고 자기화하려던 것에 은밀한 대항을 하였다. 근대초극의 시도를 파편화하는 ‘이식’의 도입으로 파시즘이 은폐하려던 역사의 차원을 우리 앞에 나타나게 한 작업이 <신문학사>였던 것이다. This is an attempt to focus on metaphorical thinking as to why Lim Hwa’s ‘transplantation’ appears in Lim Hwa’s < New Literary History >. If you look at Lim Hwa’s concept of ‘transplantation’ through metaphorical thinking, you will be able to view ‘transplantation’ on a different level from the horizon that previously looked at the concept of ‘transplantation.’ Above all, it can be seen that Lim Hwa’s ‘transplantation’ was an attempt to protect the possibility of history through literary history in response to Japan’s < theory of overcoming the modern >. Lim Hwa has played in more diverse fields than anyone else in the history of modern literature. He was a poet, critic, literary historian, and movie star. At the same time, he was not limited to such horizons, but had the imagination to cross them. The imagination was a revolution. The imagination of the revolution was the way Lim Hwa understood history. Despite unfavorable factors such as the dissolution of the Japanese cape and poor health caused by lung disease, Lim Hwa published a book titled Hyeonhatan (1938) and carried out critical work through a curator. In particular, during the period when the Japanese colonists caused Manchuria and expanded the war into the Pacific War, they worked on < New Literary History > and tried to reason with the possibility of history. Ironically, < New Literary History > attempts to derive the methodology of literary history based on the concept of ‘transplantation,’ which left room for it to be understood as being within the ideological influence of Japanese fascism. Lim Hwa, however, rather revealed where the Japanese fascism wanted to cover up through the transplantation, and confronted Japan’s imperialistic slogans such as ‘the Greater East Asia Co-prosperity’ and ‘harmony of five races.’ Of course, the ‘transplantation’ concept of Lim Hwa did not seem to go against the Japanese discourse on the surface, so the work is covert. Based on this secrecy, Lim Hwa advances the metaphorical thinking of ‘transplantation.’ As a result, his discussions aimed at literary history have secured a point to act as a counter to the < theory of overcoming the modern >. The < theory of overcoming the modern > was discussed in Japan before and after the Pacific War, which provided a theoretical foundation for Japan’s militarism. The subjects of this discussion varied from the Japanese army to the Kyoto and the Romanticists of Japan. It influenced not only philosophy and literature, but also politics and the military, and received great attention from young Japanese intellectuals of the time. According to their discussions, modern times are already showing signs of decline. Capitalism has failed to respond to problems like the Great Depression and Marxism, which has driven the Russian revolution, is also showing problems. The Soviet Union does not preserve the values of the International. Because now they’re trying to reorganize the Marxist movement around the Soviet Union. Moreover, the West seems to be leaning toward Nazism and fascism due to resistance to Marxism. Criticizing these points, Japanese intellectuals discuss the need to overcome the modern to prepare for the upcoming global war, namely the Eastern and Western wars. Their conclusion is that we should create a new foundation that goes beyond the Western modern era, centering on the Japanese emperor. Here, Emperor Oyama Iwao says that Japan takes on a leading role in world history, which he claims is the emperor. Yasuda’s Japanese romanticists say that the beauty of Japan’s beauty, or emptiness, is the place where Japanese irony is revealed. The < theory of overcoming the modern > is eventually followed by Hegel’s ‘end of history’ by placing the empty signifier of the emperor on the horizon of the pinch hitter. The positive attempt to go beyond the limitations of Western modernity was to eventually cover up the possibility of history and leave < world history > to an empty signifier that would represent the emperor’s “subjective order of rule” on behalf of the state. This is the origin of the < theory of overcoming the modern >. They believed that the emperor, an empty sign, was the foundation of Japan’s pre-modern beauty and the origin of overcoming beyond modern times. On the contrary, Lim Hwa tried to bring the possibility of history to our fore via the history of literature. It is the work of the < New Literary History > that is at its horizon. Lim Hwa’s < New Literary History > is generally divided into the History of Old Literature and the History of New Literature instead of the Classical Literature and Modern Literature. The work of filling out the ‘cut-off,’ which is different from the general classification of existing literary history techniques, is done by ‘transplantation.’ Here, Lim Hwa uses a strict distinction between ‘transplantation,’ ‘translation,’ and ‘import.’ Translation and import do not involve magnetization. Conversely, ‘transplantation’ is used when we are concerned with magnetization. Lim Hwa says that journalism was established through ‘transplantation.’ Here, Lim Hwa tried to integrate all the remaining magnetized and unmagnetized through ‘transplantation’ into the concept of ‘transplantation.’ The ‘transplantation’ is where the body of the subject is evoked. This is because the body is a place where the magnetization of external batters and subjects constantly faces, navigates, and grows itself. Lim Hwa reveals it metaphorically through the concept of ‘transplantation.’ Above all, the body, which is the main body of magnetization, cannot ‘transplant’ the whole situation of the outside world. All ‘transplantations’ are partial. Therefore, even an outside hitter who is powerful enough to determine the life or death of a subject cannot ‘transplant’ the externality itself. In other words, ‘transplantation,’ which evokes externality, paradoxically serves to illuminate the subject’s place. This is in contrast to the attempt by the < theory of overcoming the modern > to replace the subject of history with an empty signifier, the Great Emperor. It evokes the dimension of the subject that drives literary history. The concept of ‘transplantation’ preserving the dimension of the subject also currentizes the dimension of history fragmented by externality. This history is where numerous elements that appear in historical events are cut off from each other. The possibility of the currentization of historical technology releases through this series of disconnection. Literary history is a special history that connects these characteristics of history. Here is the characteristic of the dimension that transplantation releases in the < New Literary History >. That is why the history of literature is given as having an uncontrollable possibility that is unobtainable and never in our hands. In particular, Lim Hwa recorded the horizon of this possibility in the < traditional > in the book ‘the methodology of the history of the new literature.’ Here, it is a fragmentation as well as the horizon that Lim Hwa evokes through a ‘transplantation.’ History destroys history against a consistent form and at the same time currentize fragmented traditions. Literature embraces history by the power of this fragmentation. This historicity of Lim Hwa makes any attempt to replace history with empty signifiers of beauty impossible. No attempt of origin can be established here. This is the work driven by Lim Hwa through metaphorical thinking of the ‘transplantation.’ Lim Hwa’s ‘transplantation’ was an attempt to explore the possibilities of history, unlike the signifying characteristics of the concept evoked. It was the foundation to open up not only the possibility of history but also the possibility of revolution that Lim Hwa has always struggled with. Because revolutions eventually arise from the power of history, the possibility of fragmentation. Lim Hwa’s < New Literary History > secretly opposed Japan’s fascism and the < theory of overcoming the modern > to cover up and magnetize the possibilities of history. With the introduction of a ‘transplantation’ that fragmented the attempt at the overcoming the modern, it was the < New Literary History > that brought the historical dimension that fascism tried to cover up before us.