감정과 상황으로서의 사랑 ― H. 슈미츠의 ‘사랑의 현상학’과 그 인간학적 의미에 대한 고찰(1) ―

하선규 ( Ha Sun-kyu ) 전남대학교 호남학연구원 2018 감성연구 Vol.0 No.17

사랑에 대한 철학적 성찰은 오늘날 어떤 상황에 있을까? 크게 볼 때 우리는 욕망이나 충동에 대해서는 비교적 예민한 감수성과 전문적인 지식을 갖고 있다. 하지만 두 사람 사이의 사랑에 대해서는 여전히 어떤 모호한 ‘신비주의’와 ‘비합리주의’에 의지하고 있다고 할수 있다. 이러한 문제의식에서 본고는 독일의 현대철학자 헤르만 슈미츠(H. Schmitz, 1928~ )가 두 사람 사이의 성적인 파트너 사랑에 대해 현상학적으로 성찰한 내용을 고찰 해본다. 메를로-퐁티에 버금가는 독창적인 신체현상학자로 평가되는 슈미츠는 저서 『사랑』(1999/ 2007)에서 두 사람 사이의 사랑에 대해 의미심장한 철학적 분석을 시도한다. 이 저작이 도달한 이론적 성취는, 만약 오늘날 철학적 사유가 사랑의 신비주의에 머물지 않고 보다 더 정치한 이론으로 나아가고자 한다면, 찬찬히 숙고해야 할 가치가 있다. 본고에서 필자는 우선 슈미츠의 현상학적 이론의 비판적 동기와 근본적인 사상적 지향점을 살펴본다. 이어 슈미츠의 중요한 이론적 성취를 ‘감정으로서의 사랑’과 ‘상황으로서의 사랑’으로 나누어 분석해 볼 것이다. ‘감정’과 ‘상황’의 존재론적 성격에 대한 새로운 현상학적 해명을 바탕으로 슈미츠는 사랑의 감정과 그 대상이 지닌 복합적인 성격, 감정과 상황의 상이한 존재론적 층위, 이로부터 비롯되는 사랑의 근본적인 딜레마에 설득력 있는 이론을 전개한다. 결어에서는 슈미츠의 사랑의 현상학의 한계와 남겨진 연구 과제들을 언급해 본다. What is the philosophical reflection on love today? To a large extent, we have relatively sufficient sensitivity and professional knowledge of desire or impulse. But the love between the two is still dependent on an obscure ‘mysticism’ and ‘irrationalism’. In this sense of critical consciousness, I consider phenomenological reflections on sexual love between two people of Hermann Schmitz, a German philosopher of modern philosophy. Schmitz attempts a meaningful philosophical analysis of the love between the two in his book The Love of 1999 from the viewpoint of his own phenomenology of body. The theoretical accomplishment that this work reaches is worth thinking over, if the philosophical thought today is to go beyond a mysticism of love and to move toward a more profound theory of love. In this article, I first examine Schmitz' critical motivation and fundamental ideological intention of his own phenomenological theory. In the second part of this article, I will analyze Schmitz' significant theoretical achievements that accurately elucidate “love as emotion” and “love as a situation.” Based on the new phenomenological explanation of the ontological nature of ‘emotion’ and ‘situation’. Schmitz develops a convincing theory of complexity of emotional quality and object of partner love. the fundamental dilemma of love stemming from the different ontological strata of emotion and situation. At the end of the article, I briefly mention Schmitz' ideological importance of the phenomenology of love and some remaining research issues.

‘혁명’의 실천과 실천적 ‘연애’ - 중국 연안(延安)시기 ‘연애’담론을 중심으로 -

김윤수 ( Yunsu Kim ) 성신여자대학교 인문과학연구소 2018 인문과학연구 Vol.38 No.-

‘Love’, among various feminist theories deployed during the ‘May Fourth Movement’ period, naturally won immense responses as it made many women to realize the evils of patriarchal and feudal cultures, which were the issues that concerned them. The word ‘love’ was introduced by the West and referred to a ‘close relationship between two persons who are in love with each other’. Love was perceived as an exclusive property of modern women who became familiar with the Western culture through learning. Women’s experiences that are considered private such as ‘Love’ and ‘Family’ had been also discussed as topics in public sphere in the Yenan Era. ‘Love’ in the Yenan Era referred to practice of revolution rather than romantic love in modern sense and ‘Free Love’ of enlightening nature. The perception of love and the method of expression regarding ‘Love’ and marriage became the reason and patterns of behavior of ideological nature. The discourse on love during this period emphasized on the responsibilities toward the society beyond the individualistic nature and created a new method that combined private and public spheres of modern age. Like the male-centered theory which regarded women’s ‘Love’ as sexual laxity during the ‘May Fourth Movement’, women’s love was considered as a pursuit of individuality which does not return to revolution, thereby suppressing the suffering during the Yenan Era and degenerating into the subject of lascivious curiosity. Moreover, the suppression of women continued during the wartime due to the strategy that limited femininity to the scope of ‘family’ and was concealed even further due to the justification claimed by revolution and resistance to Japan.

사랑, 사랑의 신학 그리고 한국인의 정 -몰트만의 사랑의 하나님 이해를 중심으로

김정두 ( Jung Doo Kim ) 한국조직신학회 2014 한국조직신학논총 Vol.40 No.-

Based on the perspective and method of a theology of love, this article seeks a constructive notion of love and a new direction of Christian theology and practice for justice and peace in the contemporary context of the crisis of the world. Theology is a dis- cipline whose purpose is to disclose and share the love of God. A theology of love as love seeking understanding is that which be- gins with the experience and practice of love rather than a concept and abstraction. Based on the idea that love precedes and brings knowledge, the epistemology of love is suggested as grounds for the theology of love. This essay interprets and presents Moltmann’s theology as a theology of love for the contemporary world. His theology is cha- racterized by a theology of hope. However, one can find he deve- lops his own theology of love. For him, love is a trinitarian peri- choretic fellowship; God’s self-communication of the good; the odyssey or stream of the cosmic Shekinah within or through each self in the world; and kenosis as self-limitation. One of the most distinctive theses in his notion of love is that God suffers with the world. Moltmann argues and highlights that God is the compas- sionate God. For human beings, the response to and participation in God’s love is required. In his understanding of love, the dicho- tomy or binarity of agape and eros in the Western traditional dis- courses is deconstructed and overcome. Moltmann understands subjects from the perspective of intersubjectivity instead of the separated subjects that modern philosophy has assumed. In this way, Moltmann unfolds a new understanding of love. One can find that the Korean concept of jeong has deep and great resonance with Moltmann’s notion of love. Jeong is a unique Korean concept of love. It entails the dimensions of agape, eros, and other forms of love. It is a familial, sticky relationality which is formulated among interdependent and interpenetrating subjects who are open to the other beyond the separation and boundary bet- ween subject and object, affection and hate, or the oppressor and the oppressed. Jeong is deepened through go-eun jeong and mi-eun jeong while existing together in a certain time and place and sha- ring joy and suffering. It is an embodied, incarnated, and kenotic love. In this love of jeong, one can discern the potentiality of a Korean theology of love.

중국 고대의 ‘사랑’ 개념과 사랑시의 주제 ― 先秦에서 唐代까지의 사랑시를 중심으로

金俊淵 ( Kim Joonyoun ) 중국어문연구회 2022 中國語文論叢 Vol.- No.111

This paper attempted to analyze love poetry in China and investigate the concept of love in ancient China, the main themes of love poetry, and the typicality and emotions of love poetry by period. For this, a representative poems were selected and a topic modeling study was conducted by analyzing the TF-IDF index. Topic modeling is a statistical model for identifying the subject of a particular text. TF-IDF is a method of approaching the subject of poetry by analyzing the frequency of poetic words. Since there are no separate documents collected only from ancient Chinese love poems, this paper selected 164 love poems several documents by period and made separate documents for TF index analysis. The documents for IDF index analysis were made into 942 poems contained in three documents containing about 300 poems by period. For these poems, I secured a list of the top 50 TF-IDF indices for topic modeling. In ancient China, love is a concept closely related to the social system of marriage. Therefore, it is difficult to explain with modern love theory that values only the emotional aspect. As the theme of ancient Chinese love poems shifted from Pre-Chin(先秦) to Tang(唐) Dynasty, the theme of ‘breakup’ was strengthened rather than ‘passionate love’. Overall, ‘思’ which means ‘missing’, was found to represent the characteristic aspect of ancient Chinese love poetry. Sub-topics of love poetry include ‘Breakup’ and ‘Worry’. This is not because the concept of love has changed, but rather because the perception that love poetry should also be the result of intellectual actions has become stronger. The typicality of love poetry of each period was explored by dividing 164 love poems by period and examining the TF-IDF index. Pre-Chin’s love poems are characterized by many works that sing pure love, and female speakers are the mainstream. Although women appear as the main characters in the love poems of Han-Wei and Six Dynasties, it is evaluated that indirectness or figurativeity has increased in that most of the poets were men. The breakup quickly emerged as a major theme and the description became more delicate. In love poetry of the time, the ingredient of resentment was strengthened, and the theme of betrayal was often mentioned. It is also noteworthy that ‘tears’ was frequently used. Among the top 50 words in the TF-IDF index, those that do not overlap with each period were analyzed to see how the expression representing the emotions of love poetry changed. As a result, the role of ‘heartache(傷)’ in the Pre-Chin, ‘worry(憂)’ in the Han-Wei and Six Dynasties, and ‘resentment(恨)’ in Tang dynasty stood out. Pre-Chin’s love poems often expressed heartbreaking emotions that he/she could not be with his/her beloved. The love poems of Han-Wei and Six Dynasties dealt with the worries of the wife or husband who were engaged in staying alone due to separation or bereavement. The love poems of the Tang dynasty have been embodied several times in which they resent and lament the situation in which love is difficult to achieve amicably.

청년기 이성교제에 관한 내러티브탐구

이우금 평택대학교 피어선기념성경연구원 2012 피어선 신학 논단 Vol.1 No.1

This research was conducted based on love stories of young adults in a narrative inquiry. The subjects of inquiry are what young adults experience through love, what the love in young adults means to their life, and how different Christian’s love and non-Christian’s love are. The research shows that experience of love and the meaning make a significant difference depending on whether they have religion or not. The similarity and difference derived from the inquiry are as in the following. The first similarity between Christian young adults and non-Christians is that love changes. The second similarity is that love stories are being shaped by their own world views. The subjects(participants) in this inquiry had different love stories; Christian had their own love stories based on Christian world view; Non-Christian based on non-Christian world view. Third, the love is influenced by their original families. Fourth, the common feeling through love is happiness. The subjects(participants) described their feeling while they love the other; the feeling they expressed in common is happiness. The difference of love between Christian young adults and non-Christian young adults are as in the following. First, the source of love is different. The starting point of love is different between Christian and non-Christian. Second, two different groups have different priority of romance and commitment in the composition of love. Third, the meaning of commitment is interpreted in different ways between Christian and non-Christian. Fourth, non-Christian young adults and Christian young adults have different priority for their future stories in story profile. This inquiry tries to provide opportunities of reinterpreting individual love stories to consolidate relational identity with God. It was meaningful in the aspect of counseling to inquire what young adults experience through love and through which how the experience influence their life because young adults’ existential matter can be practically approached. 본 연구는 내러티브 연구방법을 사용하여 청년들의 사랑이야기를 심층연구를 하였다. 청년들은 사랑을 통하여 무엇을 경험하고, 청년기의 사랑이 청년기의 삶에 주는 의미는 무엇이며, 그 경험과 그 의미가 기독청년과 비기독청년의사랑에서는 어떻게 다르게 나타나는가를 연구문제로 설정하였다. 연구결과 청년들의 사랑의 경험과 의미는 신앙의 유무에 따라 확연히 다르게 나타났다. 연구의결과로 도출되어진 공통점과 차이점은 다음과 같다. 기독청년과 비기독청년의 사랑이야기에서 도출된 공통점은 첫째, 사랑은변한다는 것이다. 둘째, 자신이 가지고 있는 세계관대로 사랑이야기를 만들어 나간다는 것이다. 본 연구에 참여한 청년들은 기독교인은 기독교인의 세계관으로, 비기독교인은 비기독교인의 세계관으로 다른 사랑이야기를 가지고 있었다. 셋째, 사랑은 원가족 경험에 의해 영향을 받는다는 것이다. 넷째, 사랑을 통하여 공통적으로 느끼는 감정은 행복이었다. 참여자들은 사랑을 하면서 느끼는 감정을여러 가지로 표현했는데 공통적으로 나온 감정은 행복이었다. 비기독청년과 기독청년의 사랑이야기에서 도출된 차이점은 다음과 같다. 첫째, 비기독교인과 기독교인은 사랑의 근원이 다르다는 것이다. 사랑의시작점이 기독교인과 비기독교인은 다르게 나타났다. 둘째, 비기독교청년과 기독청년의 사랑의 구성에 있어 낭만과 헌신의 우선순위의 다르다는 것이다. 셋째, 비기독교인과 기독교인의 헌신의 의미가 다르다는 것이다. 넷째, 비기독청년과기독청년의 이야기 프로파일은 미래이야기에 대한 우선순위가 다르다는 것이다. 본 연구는 개인적인 사랑이야기의 지평을 하나님과의 관계적 정체성의 이야기로 확장시켜 주는 지평의 융합이라는 재해석과정에 이르는 계기를 제공하고자 하였다. 청년들이 사랑을 통하여 어떤 경험을 하며, 그 경험은 삶에 어떤 의미를 부여 하는지를 연구하는 것은 청년들의 실존 문제를 실재적으로 접근할 수 있어서 상담학적으로도 큰 의미가 있었다.

『님의 침묵』에 나타난 기독교적 상징과 성서적 구조

이경희(Lee Kyoung-Hee) 한국시학회 2006 한국시학연구 Vol.- No.16

『Love Silence』(님의 침묵) has multi-vocal implicatures more than another poetical works. This thesis investigates Biblical structure on Manhae Han Yong-won's 『Love Silence』 as one of multi-vocal interpretations. And then it intends to compare contents and structures of 『Love Silence』with Song of Songs which is one chapter of Christian Bible. Manhae didn't only dip into the works of Buddhism, but also various and wide thought, and he was also interested in Occidental philosophy and Occidental religions. It reveals on all sides of his works. He mentioned, "everything, which is the most magnificent philosophies in all ages and countries, can be explanatory notes of Buddhist scriptures." So Manhae extensively discussed Occidental philosophy and Buddhism in 『Joseon Buddhist Theism』, and he treated Christianity in 『Religions of Modern America』, 『Buddhist Meditation and Life』etc. Established researchers have made comparative studies of Han Yong-won with Devendranath Tagore and Walter Whitman. We have to pay attention to Christian influence which penetrates these poets' spirits to transcend the East and the West. There are a lot of Christian Symbols in 『Love Silence』: "a lost lamb", "heaven", "the palace of heaven", "hell", "love in heaven", "a watchman and a lamp", "the imperial crown", "devil", "wine", "confession", "baptism by a holy angel" etc. This thesis examines poems which reveal Christian Symbols, and especially investigates 「The Glorification」 with imagines of heaven. He expressed the glorification for ‘Love’(님), the confession for 'Love's nature, and his desire to 'Love' as a prayer in 「The Glorification」. 『Love Silence』is composed of 88 poems and constructs one story through each poems. It brings up the image of Song of Songs which accomplishes a poem sequence of strong love. There is another similarity in which 'Love' can be interpreted variously between 『Love Silence』 and Song of Songs; 'Love' can be a subject of love, god, and a nation. It is a sensual expression of love. Also it has an identical context in the end. It conclude by giving readers advance notice of a fateful encounter with Love, even if Love isn't there. This thesis doesn't deny that Han Yong-won's works are under the influence of Buddhism, but intends to enlarge range of understanding about his poems through looking into Christian effect as the internalized others.

조선시대 애정소설에 나타난 사랑과 성

김지영(Kim Jee young) 한국고전여성문학회 2005 한국고전여성문학연구 Vol.0 No.10

이 논문은 조선시대 애정소설의 문학적 관습을 분석함으로써 당시의 애정관과 애정소설의 문화적 기능에 대해 추론하고 있다. '사랑'이라는 것은 시대와 장소에 따라 발견되는 방식과 절차가 다르고 그 안에 담긴 연인들의 이상과 좌절 역시 독특한 특징을 가질 만큼 문화적이고 역사적인 속성을 가지고 있다. 조선시대의 애정소설은 애정전기류에서 파생되어 전기적이면서 환상적인 요소를 보여주고 있지만, 점차 현실의 문제를 반영하며 남녀들의 사랑이 성장하기 어려웠던 조건을 보여주기에 이른다. 이 논문에서는 사랑에 대한 당대의 감각적, 문화적 맥락을 복원하고 비유적 표현과 애정시라는 담화 양식의 활용 방식을 살펴봄으로써 조선시대 애정소설에서 발견되는 고급한 문학으로서의 관습적 빗장을 풀고 조선시대 애정 이야기의 특징을 좀더 쉽게 풀어내보고자 했다. 조선시대 애정소설에서 남녀의 첫 만남부터 성애가 이루어지기까지 걸리는 시간, 만남의 장소, 연애과정과 시련, 이루어지지 않은 사랑의 비극적인 결과 등, 사랑의 세부 장면들을 자세히 들여다보면, 우리는 거기에서 일정한 사랑의 시나리오를 읽을 수 있다. 거리에서 만난 한 여인에게 반하여 한 달간 여인의 방밖에서 밤을 지새우는 서생, 양가집 담을 넘어 들어가 깊은 규방에 감춰져 있는 처녀를 멋들어진 시 한 수로 유혹하는 남성, 귀신이 되어서도 배필을 만나 운우지락을 이룰 것을 부처님께 탄원하는 여귀, 이웃집 선비에게 연정을 품다가 못 참고 한밤중에 그의 처소에 뛰어든 처녀 등의 생동하는 인물들, 이들이 주고받는 시속에 나오는 인물들과 관련된 고사가 압축하고 있는 장면들, 남녀의 감정을 표현하는 데 자주 사용된 사물이나 배경들, 애인들이 마음속에 품고 있는 이상적인 커플과 그들의 사랑이 규정되는 방식과 인용 상황들, 애정소설에서 사라진 혹은 억압되어 감추어진 관습과 그 의미 등이 이 논문에서 분석하고자 한 구체적인 대상이다. 여기서 우리는 사랑에 얽힌 당대의 여러 관습들을 추론해 볼 수 있다. 여기에는 실제적인 관습도 있겠지만 문학적인 관습이라 해야 할 것들이 더 많다. 조선시대 애정소설은 남녀의 사랑이나 성역할을 다르게 규정함으로써 일정한 패턴의 사랑 이야기를 만들고 있는 것이다. 하지만 특수한 사랑이야기에는 사랑에 대한 당대의 관습이 반영되어 있기 마련이다. 첫눈에 사랑에 빠진 남녀가 현실의 제약 조건들을 극복해가는 과정은 남녀 모두에게 결코 쉽지 않은 과정이었다. 애정소설에 동원된 여러 가지 고사와 비유적 표현들은 그러한 그들의 고민과 원망을 담은 채 낭만적 사랑의 관습을 이어가고 있다. 하지만 그 위에서도 현실과 문학의 상관관계를 살펴볼 수 있다. 남녀의 사랑에 초점을 맞추기 위해 '후사 잇기'라는 서사적 패턴을 과감히 생략하고 성애에 대해 이야기할 자리를 마련할 수 있었지만 사랑의 육체적 측면보다는 정신적 측면을 먼저 강조함으로써 사랑을 고상한 것으로 표현했다. 그 이유는 당대의 독서 관습에서 찾아볼 수 있다. 교훈적인 독법을 강조하는 조선시대 유교적 관습은 애정소설의 독법 역시 일정 정도 제한하고 있었다. 흔히 애정소설은 '음란'한 것으로 치부되면서도 교훈적인 효과를 거둘 수도 있다고 생각되었는데, 이러한 이중적인 독서 태도는 애정소설을 교훈적으로 읽는 독특한 방식을 마련하게 된다. 애정 소설에 흔히 표현된 '기이'라든가 '허망함', '망연자실' 등의 감상은 애정소설에 표현된 사랑이 현실에서는 이루기 어려운 것임을 깨달을 수밖에 없었던 당대의 독서 관습이 작품 속에 그대로 반영됨을 보여주고 있다. 말하자면 조선시대 애정소설은 사랑의 실패로 인한 허망함과 인생의 씁쓸함을 느끼게 해주는 특수한 '감정교육'의 역할을 했다고 생각해볼 수 있는 것이다. 이것은 일종의 상징적 차원에서 제안한 것이지만 애정소설이 씌어지고 읽혀졌던 나름의 특수한 문학적 맥락을 추정해 보는 노력의 일환이 될 수 있을 것이다. The purpose of this study is to elucidate the cultural function and literary convention of romance in Chosŭn. There were many pieces of romance which were written by men literati; they were of noble extraction and highly educated, but most of them couldn't have a chance to go into politics. Those romances were in general considered that they were influenced by their writers' class and desire. The theme of love that is pointed up in romances is, however, not able to be appropriated only by men or women, and I think that the given interpretations are resulted from somewhat a male-oriented perspective. Romances of Chosŭn offer diverse sources for past ways of loving and enable us to see lovers in years past and to shape the ways of love in their time. The way of representation for love and sexuality in a romance is fraught with several kinds of interferences of main discourse at those days. In this sense, love and sexuality of romances should be interpreted in the appropriate historical contexts and signified to retrieve the relationship and sexual politics between men and women. Although when those romances were at first written by men literati, they might be high quality literature. In fact, however, they were actually marginal texts in the Confucius tradition and incorporated with other novels in many narrative aspects. Those romances had been influenced and generated by Liu-chao(六朝)'s Zhi-guai(志怪) and Tang(唐)'s Chuan-qi(傳奇), which were characterized by weird and uncanny things, but they were getting close to reality, and in turn rendered the social world and historical context of the relationship. Love and sexuality represented in romances, however, isn't equivalent to the reality and we should be careful to the literary convention of romance developed in correlation with reality. In most of romances, we can see the discrimination, of the character of women's love from men's love. Love of women is a romantic love; when the spring comes and the autumn ripens, heroine of romance laments her own lot and indulges in reverie. Her love comes from the incorporation of reality and fantasy. Love of men, on the contrary, is a passionate love; hero of romance is fascinated by attraction and beauty of women, and steals into her abode to make a sexual relationship with her. However, love of men is more obscure than women's because romance is rendered not by the view of women but by the perspective of men. Love in romance, as a rule, can be said a romantic love in the sense that it makes compromise with the society in the problem of system of wedding. The resources of passionate love are concealed by metaphors accompanying clichés consisted of historical and canonical events. While this means that romances of Chosŭn have structural weaknesses and fragilities, instead, we can find through them some of the desire, the anxiety and ideal couples which people of Chosŭn had cherished. Following this axis, love stories have their own typical love scenario from beginning to end of love. When we speculate on the modes of love in romances, we can find which is received and which is rejected in romances. It is wedding and chastity of women that they receive, but it is the obligation of descending that they reject. In a patriarchal and Confucian society, love and sexuality are separate from each other, wedding and sexuality are directly combined. In this cultural background, it is difficult to find any erotic view in the relation of men and women. Romances of Chosŭn, therefore, obliterate the cliché of 'descending' that is the introductory part in other different kinds of novels and, are able to make enough room to narrate love and sexuality. However, it is not easy to grasp the way of representing the relationship between love and sexuality in Chosŭn romances. Romances represent love and sexuality as lofty one by poem of love and in tradition of instructive reading since negative evaluat

A Political Value of Love in Shakespeare's Antony and Cleopatra, against the Regime og Brothers

장선영 한국중세근세영문학회 2008 고전·르네상스 영문학 Vol.17 No.1

Shakespeare's Antony and Cleopatra shows how love could give an alternative value against the regime of brothers in Shakespeare's Antony and Cleopatra. This trial to find a new political value in love accompanies a critical perspective on the serious harm the western civilization has brought out. In the play, the regime of brothers consisted of the Roman triumvirate, Caesar, Antony, and Lepidus, though representing the ideal of Roman empire, is closely associated with imperialism, nationalism, and racism. Freud, in his Group Psychology and the Analysis of the Ego, defining the group as the constitution of group members under the ideal or transcendental leader, points out that this group lies in conflict with love. Freud also states that group includes in it the cruel hostility against others, whereas love shows a creative power that could cross the national and racial boundaries. As love is closely related with women group alienates women first. Therefore, thinking of women in the political realm means embracing not only the first others, woman but also other political sense of others, national and racial strangers. This hostile relationship between the regime of brothers and love can be each compared to the masculine and the feminine side in Lacan's sexuation. If the regime of brothers is related with the masculine subjectivity that assumes a certain exception, love is connected to the feminine subjectivity, its inconsistency or not-wholeness, which does not include an exception. In Antony and Cleopatra, Cleopatra consistently shows the feminine side's not-all subjectivity through her masquerade. Antony undergoes a subjective transformation which is affected by his love with Cleopatra, from the external division between his love and duty, to the internal division that indicates a shame about his being, his split subjectivity. In psychoanalysis, love, founded on a non-imaginary, non-natural, and non-human theory of sexual difference, is to mark a sexual impossibility, not the sexual fantasy of harmony. Antony and Cleopatra's not-all subjectivities and their love confirm this love that exceeds the sexual fantasy. This love provides a new political value against Caesar's imperial conquest.

계급과 로맨스 - 1970년대 대중 서사에 나타난 로맨스의 계층적 이질성 고찰 -

김지영 우리말글학회 2024 우리말 글 Vol.100 No.-

이 글은 1970년대 낭만적 사랑의 지배 이념이 구체적 삶의 현장과 맞물릴 때 사회적 계급․계층에 따라 어떻게 다르게 전유되고 재현되었는지를 세 편의 대중서사 작품들을 대상으로 살펴보았다. 「영자의 전성시대」와 <어제 내린 비>( 내 마음의 풍차 ), 도시의 사냥꾼 은 각각 하층계급, 청년계층, 중상계급의 서로 다른 연애관과 사랑의 정치경제학을 보여준다. 하층민의 사랑을 다룬 「영자의 전성시대」에서, 물질적 결핍에 시달리는 노동계급 주인공은 매매춘 여성 영자에 대한 순수한 애정을 지배적 사랑의 이념과 절충하지 못함으로써 폭력적인 불통의 관계를 이어나간다. ‘나’의 애정은 성찰보다 충동에 기반하지만, 그럼에도 불구하고 영자에게 기울이는 헌신과 희생은 ‘나’가 누구보다도 신성하고 순수한 사랑을 실천하는 인물임을 보여준다. 무상의 헌신을 쏟아붓는 ‘나’의 순수한 애정은 그러나 지배적 사랑의 이념이 투사하는 관계의 시나리오를 탈피하지 못하고 자학과 폭력에 빠져든다. 이는 환경과 이념 사이에서 주체적 협상을 이루지 못한 채, 고정된 이념에 매여 있었던 하층계급의 로맨스 정치경제학의 비극을 확인해 준다. <어제 내린 비>는 70년대 청년문화를 구성했던 청년 세대의 낭만적 감수성을 비극적 사랑의 형태로 그려낸 작품이다. 한 여자를 사랑한 형제의 대립적 공존을 통해, 작품은 단독자적 자아로서 훼손된 세계와 맞섰던 청년세대의 분투하는 심리를 그려냈다. 영욱의 순수하고 이상주의적인 사랑과 영후의 육체적인 사랑의 대립은 투명한 이상과 쾌락주의적 소비문화라는 청년세대의 양면성을 사랑의 관계로 투영해 냈다. 작품의 비극적 종결은 완전한 순수도 완전한 쾌락도 허락하지 않는 세계에 속절없이 부딪히고 좌절하는 청년세대의 감성을 허무주의적 로맨스의 형상으로 그려냈다. 불능과 슬픔, 그럼에도 불구하고 존재하는 아련한 동경과 우울로 점철된 독특한 사랑의 정서는, 현실을 이길 수는 없지만 그에 굴복하지도 않으려 했던 청년 세대의 낭만적 욕망이 만들어낸 정치경제학의 산물이자, 생산하지 않는 자들의 소비문화가 구성한 쾌락에 대한 불안감의 결과였다. 도시의 사냥꾼 은 중상류 계급을 횡단하는 사랑의 감각 속에 움트는 변화의 조짐을 초점화했다. 기혼녀의 사랑을 서사화한 이 작품은 결혼을 화려한 도시와의 거래로 표상하고, 혼외의 사랑에서 도시에 짓눌린 순수한 야성의 자유를 찾는다. 배우자들의 부도덕성을 배후로 벌어지는 이 혼외의 사랑은 기독교적 가르침의 목소리와 인물의 순도 높은 성찰성을 바탕으로 진행되며, 이를 통해 세속의 조건과 통념을 넘어 순수하게 자아의 욕망을 마주하는 선택의 문제로 사랑을 재인식하는 데로 나아간다. 사랑의 지속성과 안정성을 포기한 채 순도 높은 강렬도를 선택하는 새로운 유형의 거래를 실천하는 매우 이성적인 광기를 통해, 작품은 공리주의적 관점에 제한된 기성의 인식틀을 넘어 주체를 자기실현의 자율성으로 이끌어갈 수 있는 새로운 사랑의 인지적 가능성을 개방한다. 순수함의 순간성을 인정하며, 소모되고 탕진되는 감정을 통해 자기를 실현하고자 하는 새로운 사고의 등장은 현실적 이해와 낭만적 이상의 긴장 속에서도 차이와 개별성에 방점을 두며 더 많은 쾌락을 추구하고자 했던 중상계급의 로맨스 정치경제학의 결과였다. 「Youngja’s Heyday」, <It Rained Yesterday>( Windmill in My Heart ), and Hunter in the City showed the different views on love and the political economics of love among the lower class, youth class, and upper middle class, respectively. 「Youngja’s Heyday」 dealt with the love of a prostitute as an occupation that symbolized the contradictions of modern times that pursued asceticism in the field of production and hedonism in the field of consumption. The lower-class protagonist, suffering from material deprivation, was unable to compromise his pure affection for prostitute Yeong-ja with the dominant ideology of love. The pure affection of ‘I’, who poured out gratuitous devotion to Youngja, could not escape the relationship scenario projected by the dominant ideology of love. So he fell into masochistic love, violently abusing his partner and himself.. <It Rained Yesterday> depicted the romantic sensibilities of the 1970s’ youth generation in the form of tragic love. The conflict between Young-wook’s idealistic love and Young-hu’s physical love projected the youth class’s duality and internal conflict of transparent ideals and hedonistic consumer culture into a love relationship. The work’s tragic and nihilistic love revealed anxiety about the pleasures created by the consumer culture of the generation that did not devote to produce social value. This could be said to be the result of the political economics of romance, which sought to preserve purity by escaping from reality. The Hunter in the City focused on the signs of change burgeoning in the sense of love that crossed the middle/upper classes. This work, which narrated the love of a married woman, represented marriage as a deal with the modern city, and seek the freedom of pure wildness oppressed by the city in extramarital love. Through this, this work re-perceived love as a matter of choice that went beyond prevailed conditions and notions and purely confronted one’s own desires. Through a very rational madness that practiced a new type of transaction that chose pure intensity while giving up the continuity and stability of love, the work went beyond the established cognitive framework limited to a utilitarian perspective and leaded the subject to the autonomy of self-realization.

이선관 시의 사랑 현상학

한정호 ( Jeong Ho Han ) 현대문학이론학회 2014 現代文學理論硏究 Vol.0 No.57

이선관(1942-2005)은 마산의 지역사회에서는 상징성을 갖는 문학인이다. 그는 육체적 장애를 딛고 시인의 길로 나아갔고, 학인(鶴人)이라는 아호마냥 고고하게 살면서 참다운 문학활동을 펼쳤다. 그는 날카로운 시선으로 당면한 사회현실에 끊임없이 저항하면서, 우리의 문학마당에 크고 넓은 사랑을 실천하고자 했다. 이 글에서는 이선관의 삶과 시세계를 총체적으로 짚어보고자 했다. 이를 위해 글쓴이는 그의 삶과 문학 활동에 초점을 맞춰 시작 태도와 시관, 시세계의 특성에 대해 살펴보았다. 특히 글쓴이는 그의 시정신을 인간사랑, 자연사랑, 나라사랑, 지역사랑이라는 현상학적 측면에 초점을 두고 따져보았다. 우선, 글쓴이는 지금껏 잘못 알려졌거나 가려져 있었던 출생, 개명(改名), 가족관계, 등단에 관한 사항들에 대해 소개하고 재조명해 보았다. 아울러 그는 작품 속에서 자신의 시작 태도 내지는 시관을 드러냄으로써, 시인으로서 갖추어야 할 자세와 책무에 대해 남달리 고민하고 노력했음을 확인할 수 있었다. 다음으로, 글쓴이는 그의 시가 일관되게 보여준 사랑 현상은 사람·자연·나라·지역에 대한 사랑으로 나누어 살펴보았다. 이를테면 인간사랑과 장애 극복의 시정신을 보여주었고, 자연사랑과 오염 고발의 시세계를 구축하였다. 또한 그는 나라사랑과 통일 염원의 시정신을 일관되게 형상화했으며, 지역사랑과 문학 실천의 시정신을 한결같이 보여주었다. Lee Seon-gwan(1942-2005) was literature man, the symbolism of having the writers community in Masan. He took a physical disability and the poet``s path. He participated in faithful literature activities, with aloof living like the pen name of name of crane man. He is a keen eye constantly on the social reality faced by resistance, while he want to practice the large and spacious love in yard of our literature. In this article, I am willing to see his life and poetry as a whole. To this end, I looked to characteristics of poetry world, attitudes and reflection making of poem, focusing on his life and literary activity. In particular, I have seen to try to reason, focusing on the phenomenological aspect of the love in total, like human love, nature love, country love and region love. First of all, regarding the pace of life and literature of Lee Seon-gwan, It is well organized for its part in this community. However, the writer introduced and revived renaming that the wrong was ever born, known or even veiled, family relationships, including matters related to introduce about the career. In addition, he got his start in the attitude or work by exposing attitudes and reflection making of poem as the poet as worried about attitude and commitment. Next, he is ostensibly reveals the resistance and criticism about the reality by attitudes and reflection making of poem but his love towards the inner world was able to see that is filled with. This showed that the phenomenon of people who are consistently loved the poetry and the love for nature and country and region was divided into. For example, he showed poetry spirit of human love and the spirit of failover with poem related to his identity. he made poetry world of natural love and pollution accusations to give awareness for the ecological environment. Also, he had symbolized the poetry spirit of consistently, loves all of us, the desire for the reunification of the country in the proposition what should do and showed a spirit of constant practice literature and love for area of Masan. He published the 13 volumes of poetry. while the literary activities for Thirty-five years. And, of course, he have not been contained at collection of poems rather than the prose works, there is no separate them. In that respect, collection of poems fall out and together collection of poems and snatching collection of poems, essay or column publishing in several media houses, prose literary works of Lee Seon-gwan, and further, Lee Seon-gwan``s literature complete works the entire range of literature works and I expect to publish them in a hurry.