프로이트와 데리다의 애도이론 —“나는 애도한다 따라서 나는 존재한다.”

왕은철 한국영어영문학회 2012 영어 영문학 Vol.58 No.4

This study compares and contrasts Freud’s “work of mourning” which mostly appears in his memorable essay “Mourning and Melancholia” and Derrida’s theory of mourning which appears in various works such as MEMOIRES for Paul de Man, The Work of Mourning, and others. Freud maintains that the mourner begins to sever emotional ties to the lost object through a labor of memory and eventually completes the work of mourning. It is a “testing of reality” that motivates the mourner to begin to relinquish emotional attachment to the lost object. Derrida, however, challenges Freudian work of mourning by saying that true mourning lies in “respecting the Otherness of the Other.” Derrida suggests that Freud’’s “normal work of mourning” is “unjust betrayal” of the lost object because it “kills” and “devours” the other and thereby makes it part of the self. So he proposes that work of mourning has “to fail in order to succeed”: “success fails”“ and “failure succeeds.”There is an enormous, even epistemological, chasm between Freud who states that mourning, “however painful it may be, comes to a spontaneous end” and Derrida who states that mourning “is interminable. Inconsolable. Irreconcilable” and “I mourn Therefore I am.” The former is the voice of “testing of reality” and common sense whereas the latter is that of utopian ethical vision. Yet neither seems to get the upper hand and they are kind of forced to maintain an ongoing dialogue with each other, for true mourning seems to lie somewhere in between.

김소월 시의 애도 주체와 유령의 존재론

이광호 ( Lee Kwang-ho ) 한국문학언어학회(구 경북어문학회) 2016 어문론총 Vol.69 No.-

이 논문은 김소월의 시에서의 ``애도 주체``와 ``유령``의 문제를 다루고자 한다. 김소월 시 텍스트에 드러나는 수행적 주체의 한 양상을 ``애도 주체``로 명명하고, 그 애도의 과정에서 드러나는 ``유령``의 문제를 제기하고자 한다. 김소월의 시는 상실의 시간을 잠재성의 시간으로 만드는 방식으로 애도의 시간을 재구성한다. 애도의 주체는 사라진 대상에 대한 호명과 기억의 현재화를 통해 그 애도를 지속하고자 한다. 사라진 대상을 둘러싼 기억이 되돌아오는 과정에서 등장하는 것은 유령적인 존재들이다. 소리와 냄새, 그리고 몽환적인 3인칭과 여성적인 존재로 출몰하는 유령적인 존재들은, 애도의 불가능성을 애도의 지속성으로 전환하는 이미지들이다. 유령은 소유도 동일화도 불가능한 비실재적인 가시성이고 ``존재자 없는 존재``라고 할 수 있다. 김소월의 시는 잃어버린 대상이 익명적인 존재로 재출현하는 방식으로서의 ``애도의 제의``라고 할 수 있다. 이런 시들은 부재와 현존 사이의 실체화할 수 없는 유령의 경험이 갖는 미학적이고 윤리적인 의미를 드러내준다. 김소월 시에서 애도는 타자의 기억에 충실하면서 타자를 폭력적으로 동일화하지 않는 방식이다. 유령의 형식으로 되돌아오는 미지와 익명의 타자를 ``환대``하는 애도라고 할 수 있다. 김소월이 한국시의 서정의 형식을 구성하는데 기여한 것을 생각한다면, 이런 분석은 한국현대시의 서정적 형식 안에 내재된 애도 주체로서의 시적 주체의 성격을 이해하게 해준다. 한국 서정시의 기본적인 형식이 상실된 대상에 대한 그리움과, 대상의 부재를 언어화하는 방식의 문제였다면, 애도의 형식은 한국 서정시의 미적 모더니티를 구성하는 문제적인 국면이었다고 할 수 있다. This thesis intended to deal with the ``mourning Subject`` and the image of ``specter`` appearing in Kim Sol-Wol`s poems. And it intended to call a patter of performing subject being revealed in Kim So-Wol`s poem texts as the ``mourning Subject``, and the to raise the question of ``Specter`` being revealed in the mourning process. Kim So-Wol`s poems recompose the mourning time as the way transforming the lost time into the creative potential time. The mourning subject intended to keep the mourning through calling a name to the lost object and making the memory present. It were the specter beings that appeared during the process calling out the memory around the lost object. The specter beings were the images conversing the impossibility of love and mourning into the continuality of mourning. Kim Sol-Wol`s poems can be expressed into the ``proposal of mourning`` as a way that the lost object reappeared as an anonymous being. Such poems reveal aesthetic and ethical meanings being contained in the experience of specter who can`t be embodied between the absence and the present existence. That is the way faithfully reminding the other`s memory but not violently synchronizing the other. The way can be said as the mourning ``welcoming`` the unknown other returning in the form of specter. Thinking Kim So-Wol`s contributory position in composing the format of lyricism of Korean poems, this analysis allows to understand the characteristic of poetic subject as the mourning subject being inherent in the format of Korean modern poem`s lyricism.

루쉰의 애도문 연구

박자영 한국중국현대문학학회 2016 中國現代文學 Vol.0 No.76

This paper investigates on how Lu Xun treats mourning issue, reading writing on mourning among Lu Xun’s Zawen. Lu Xun recalls the dead of the youth, comrade and friend, writing their lives and deaths. Why and when does Lu Xun remember the deads? What message dose he recall and deliver? How does he mourn their death? What kind of signification and perspective does Lu Xun convey through writings on mourning. Recently mourning issue becomes one of the most important subject which is discussed prominently in academic circles. From Freud to Derrida and Butler, including Zizek and Agamben scholars in academic sphere diversely and keenly deploy discussion on mourning. Freud ‘discovers’ the mourning as a important issue regarding construction of self, whereas Derrida ‘relocates’ the mourning issue as lives and moral level, connecting to the other. Meanwhile Butler revisits it as the common(community) issue, extending it to the social and political problem. This kind of theoretical reinterpretation reveals the mourning issue is not only individual and psychological level but also the problematic with relation to moral and political level. Based on these theoretical development, this paper analyses representative writing on the morning among Zawen written by Lu Xun, that is “commemorating Liu Hezhen”, “Fan Ainong”, “Commemoration for the forgetting”, “Recall to Wei Suyuan’s memories”, and “Momories of Liu Bannong”. This paper clarifies Lu Xun informs the power of mourning writing written by melancholic and sorrowful subject. As for Lu Xun writing on the mourning is not indulged in passive sorrow but the practice which is opposed to the national and public commemoration(紀念) and discovers the way of alternative commemoration(記念). Lu Xun understates himself and makes the other, that is the deads, alive in overall text through new kind of commemorating writing. In this regards, mourning writing written by Lu Xun is not only writing for the other but also writing by the other, since the other speaks and acts in overall text. Mourning writing by Lu Xun shows the route of criticizing and subverting the existent order and logic with a method of memory and recording. It is new scene that sorrow and melancholy with a rage moves forward writing on mourning and makes the dead other alive in text.

“욥이 재 가운데 앉아서”(욥 2:8)의 욥의 애도의식

류사라 한국복음주의구약신학회 2022 구약논집 Vol.24 No.-

This study views the book of Job as a text with a single unity and observes “Job sat in the ashes” in Job 2:8 from the point of view of a mourning ritual. The purpose of this observation is to reveal what Job’s mourning was ultimately about, to whom it was directed, and what results the mourning ceremony could expect. for these questions, I explored the ashes that Job used for his mourning and the ways they were used, and classified the symbolic actions of mourning rituals in the Old Testament in relation to ashes. Subsequently, the spatial specificity of the act of sitting on the ashes of Job as a mourning ritual, the symbolism of the action, and the importance of meaning were discussed. To this end, I searched for examples in which ashes, the keyword of this scene, is used in connection with mourning in the Old Testament, and looked at how the styles of using ashes appear in the texts. After proving that ashes are an important material for mourning, I searched for examples of mourning rituals in the Old Testament and compared and observed Jonah 3:6 and Job 2:8 where the action of 'sitting in the ashes' appeared. Also, I paid attention to the possibility that the ashes where Job sat (sat among the ashes) could be a space of Job's mourning. In addition, the possibility that the shape of the ash was ash heap solidified by rain, wind, and sunlight was discussed. The ash heap was located in a place isolated from the community and was like a garbage heap or a dump heap for incinerating emissions discarded by the community. Through this, it was proved that mourning in Job 2:8 can be seen as a ritual that carries out a special symbol and meaning. This study revealed that his mourning ritual was performed at a short distance where the community could observe and functioned to publicize his life of illness, disaster, and hardship. Lastly, I tried to examine the theological implications of Job's mourning ritual. In order to achieve this process of this study, in chapter 1, after examining the method in which ashes are used as materials for mourning, distinguished from dust and earth, In chapter 2, the texts of mourning in the Old Testament were classified, and when mourning was performed as a ritual, the elements and specificities of the composition and process that could be specified were discussed. In chapter 3, it was suggested that Job's mourning could be interpreted as a mourning ritual because of the existence of the elements of consciousness (performer, spectator, entry and exit into consciousness, time and space, and unique performance). In chapter 4, the place of alienation, sorrow, shame, and pain revealed in Job's mourning ritual ultimately announces the beginning of Job's mourning due to God's absence, and as a place to request God's presence, finally, mourning ends due to God's presence. It was recognized as a paradox that is converted to. In this way, this study is expected to contribute to overcoming the ambiguity as a mourning ritual not related to death and to clarify the grounds for reading and interpreting Job 2:8 as a mourning ritual that begins with God's absence and ends with God's presence.

정처 없는 애도, 끝나지 않은 전쟁: 1968년 베트남 “후에 학살”을 중심으로

심주형 ( Juhyung Shim ) 한국문화인류학회 2017 韓國文化人類學 Vol.50 No.2

본 연구는 베트남전 종전 후 40여 년이 지난 오늘날에도 가장 첨예한 논쟁의 장이 되고 있는 “1968년 설 총진공과 봉기”와 그 기간 중 베트남의 중부도시 후에에서 벌어진 “학살”을 둘러싼 기억의 경합, 그리고 전쟁 중 발생한 민간인 희생자들 대한 애도의 문제화 과정을 문 화기술지적 연구를 통해 이해하고자 하는 시도이다. “후에 학살”은 사건 자체의 사실성을 두고 공식사와 비공식사, 그리고 베트남 당-국가와 상당수 베트남 해외 교포가 첨예하게 대립하고 있는 민감한 정치적 문제이다. 후에 학살에 관한 기억 및 애도의 정치 문제를 구성하고 있는 관련 자료의 비판적 해석 그리고 베트남 현지조사를 통해 애도의 정치가 지닌 현재적 한계상황과 가능성을 논하고자 하였다. 오랜 전쟁에서의 승리를 통해 건설된 베트남사회주의공화국에서는 당과 국가가 민족사 서술, 무엇보다 전쟁사 서술에 독점적인 지위를 차지하고 있다. 베트남의 공식역사기술 내에 “1968년 후에 학살”은 사건사적으로 철저히 배제된 서사이다. 그러나 전쟁기간 동안 남 베트남 정부는 후에 학살을 공산세력의 대표적 만행으로 선전하였고, 오늘날에도 후에 학살 과 관련된 문제는 전쟁을 통해 건설된 베트남사회주의공화국의 정당성에 대한 뿌리 깊은 민족주의적 회의를 낳고 있다. 또한, 후에 학살과 관련된 논쟁들은 냉전적 분단체제 하에서 나 뉘어 전쟁을 경험한 이들의 화해 불가능한 전쟁기억의 표상이자, 수많은 희생자들에 대한 애도의 배제와 반목이 벌어지는 또 다른 전쟁의 지속으로 펼쳐지고 있다. 기존의 베트남 전쟁관련 연구들은 1968년 후에에서 벌어진 폭력에 대해서 전사서술의 관점에서 접근하거나 `베트남전 승전서사`의 대표적 사건으로 물신화하는 것 외에는 특별한 관심을 기울이지 않았다. 이러한 경향은, 상당수 베트남전쟁 관련 연구들이 베트남인들 사이에 벌어진 내전의 구체적 양상과 상호적 피해를 상대적으로 간과하고, “정당한 전쟁”이라는 신화를 통해 전쟁사를 서술하는 데 치우쳤기 때문이다. 전쟁과 폭력의 정당성에 집중하는 담론적 경합은 희생자에 대한 애도의 권리마저도 정당성의 문제로 만들고, 애도의 “장치 (dispositif)”들을 둘러싼 새로운 전쟁을 촉발하였다. 이러한 관점에서, 이글은 먼저 오늘날 베트남의 전쟁기억 기억경관의 단층들을 살펴보고, 1968년 무신년 설날 후에에서 벌어진 “사건”의 역사기술과 기억의 정치를 두고 벌어지는 경합의 양상을 드러내 보이고자 하였다. 다음으로 40년이 지난 후에도, “1968년 후에”에서 벌어진 사건의 기억을 두고 해외 교포들과 베트남 당-국가가 서로 다른 기억술을 통해 맞서는 과정을 통해 정처 없는 애도와 기념의 문제를 살펴보고자 하였다. 마지막으로, 오늘날 후 에에서 “1968년 무신년 설”과 관련된 두 개의 상이한 기억서사가 지닌 의미를 해석해 보고 자 시도하였다. 전쟁의 원인 혹은 승전과 패전의 결과에만 주목하거나, 외부자적 관점을 바탕으로 한 전 쟁에 관한 이해는 전쟁을 일면화시키고 무수한 죽음들과 그 죽음에 대한 애도의 정치를 이 해할 가능성을 가로막는다. 다시 말해 내부자적 시선으로 전쟁을 다시 바라보고, 삶과 죽음 의 관계를 조명하며, 전쟁을 겪은 삶과 사회의 결들을 추적해 갈 때 비로소 전쟁의 유산들을 다면적으로 검토할 수 있는 시야가 확보될 수 있다. “1968년 후에 학살”과 같은 문제도 사건 사적 진실의 문제로만 접근하기보다는 전쟁 중 발생한 대규모 민간인 피해에 대한 현재적 상황에서의 해석의 문제이자, 공통의 애도 가능성에 관한 문제로 바라볼 필요가 있다. 또한 끊임없이 변주되는 `승전(勝戰)과 패전(敗戰)`의 권위적 전쟁사 서술에서 내부자적 관점에서 의 비판을 통해 “희생, 상실, 슬픔, 그리고 애도”의 문제를 복권하는 것이 필요하다. 오늘날 베트남에서 “후에 학살”에 대한 애도는 “정처 없이(uprooted)” 여전히 배회하고 있는 서사들과 관계하고 있다. 또한 애도와 추모의 대상을 정치적 이데올로기로 구분하려는 `냉전의 유산`이 여전히 국내외 베트남인들의 사고와 삶을 아우르고 있는 상황이다. 언젠가 베트남인들이 전쟁으로 깊이 패인 삶의 상처들을 치유하기 위해, “애도를 위한 머리띠”를 함께 동여맬 수 있게 될지는 모른다. 그러나 분명한 것은 정당한 전쟁에 관한 신화 혹은 승전과 패전의 이분법은 전쟁으로 고통 받고 영속화된 상실의 슬픔과 민족적 우울을 치유할 수 없다는 것이다. “1968년 후에학살”의 기억과 애도에 관한 연구는 “냉전의 유산”을 구체적으로 해체하고, 전쟁에 대한 민족주의적이며 이데올로기적인 물신화에 대한 비판적 관점의 지평을 확장하며, 나아가 화해와 치유의 가능성을 애도의 정치를 통해 모색해 보는 것으로서 그 의미가 있다고 할 수 있다. This study attempts to trace ethnographically the contested realm of memory and the problematization of mourning for the civilian war victims of so-called “Hue Massacre” during the “1968 Tet Offensive” in Vietnam. Although the Vietnam War ended more than 40 years ago, the Hue Massacre has been a crucial political matter for discovering the truth of the war`s history, which polarizes the narratives of the official and unofficial historiography as well as the memories of the Vietnamese Party-State and overseas Vietnamese communities. Through the critical interpretation of mnemonic references and by conducting anthropological fieldwork in Vietnam, in this article I will illuminate the deadlocks and potentialities of the politics of mourning on the Hue Massacre. Established through the series of war, the Party-State of the Socialist Republic of Vietnam (SRV) reserves its exclusive political authority over the Vietnamese national historiography and war historiography. In the official historiography of Vietnam, the 1968 Hue Massacre is completely eliminated. The former South Vietnamese government, however, clamorously propagandized the massacre as a vivid example of the communist`s unpardonable atrocities during the Vietnam War. Until today, the matter of the Hue Massacre continues to spawn deep-rooted nationalist sentiment and doubts about the legitimacy of SRV. In addition, the debates related to the massacre serve as a symbol of the impossible reconciliation of the war in memory, and a continuation of mourning which confronts the collective war victims. The previous studies on the Vietnam War did not pay much attention directly to the events in Hue, 1968, either taking on the perspectives of the military war historiography, or else fetishizing the events as the most important steppingstones for the ultimate triumph of Vietnamese communism. This tendency was derived from the interest in casting the history of the war as the myth of the “just war;” furthermore, it is based upon the scholars` ignorance of the detailed aspects and mutual destructions of “civil war.” The contested discourses around the rightfulness of war and violence put the rights of mourning for the victims into question, and bring about another conflict regarding the authority over the “dispositif” of mourning. In this regard, in this article I first illuminate the dislocation of the memory-scape of the contemporary memory of the Vietnam War. Second, I unravel the contested aspects of historiography and politics of memory on the events of the Tet Mau Than in Hue, 1968. Third, I tackle the matter of uprooted mourning and commemoration through the different mnemonics of the events in Hue, 1968, contrasting those of the overseas Vietnamese with those of the Party-State of SRV; Lastly, I interpret the implications of two different narratives of memory on the Tet Mau Than in contemporary Hue. To understand the politics of mourning for numerous war victims, it is necessary to keep a distance from the banality of questions on the origin or the result of the war, and the single-sided perspective of outsiders. In other words, for the enhancement of understanding multifaceted aspects of the legacies of the war, it is necessary to recover the views of insiders of the war, rethink the relationship between the dead and the survivors, and to trace the complicated texture of lives and society which underwent war. For the Hue Massacre in 1968, it should be treated as a matter of the interpretation of the large-scale civilian casualties at present and as a matter of the possibilities of common mourning. In addition, the narratives of the Vietnam War should incorporate the emotions of sacrifice, loss, sadness and mourning. In contemporary Vietnam, the mourning of the Hue Massacre is intermingled with uprooted narratives of the war. The legacies of the Cold War era still actively affect the way of thinking and living, as a result of ideological and political appropriations. It could be possible that Vietnamese may wear the mourning headband in the near future. However, it is at least clear for now that the myth of the just war, and the dichotomy of winning and losing cannot alleviate the sufferings, sadness and melancholy of war. The study on the Hue Massacre in 1968, decomposes the legacies of the Cold War in a detailed manner, to extend the horizon of critical views on the nationalist and ideological fetishism of war, and moreover contemplates the potentialities of mourning as a way of reconciliation and healing. This work was supported by the National Research Foundation of Korea Grant funded by the Korean Government (NRF-362-2008-1-B00018).

문화적 애도와 민족공동체 : 탈독재기 ‘애도문화론’을 위한 시론

곽한주 ( Kwak Han-ju ) 인하대학교 한국학연구소 2013 한국학연구 Vol.0 No.31

상실을 슬퍼하는 행위인 애도는 탈인습적인 윤리적 성찰의 요구를 촉발한다. 특히 대중이 문화적 재현을 통해 역사적 상실을 애도하는 ‘문화적 애도’는 사회공동체의 정체성을 재점검하는 특권적 계기를 제공함으로써 사회ㆍ정치적 차원에서도 중대한 의미를 지닌다. 1980년대 말 이후 탈독재기는 우리의 역사적 상실에 대한 문화적 애도가 분출한 시기였다. ‘정치의 시대’로부터 ‘문화의 시대’로 역사적인 전환을 겪은 한국사회에서 ‘애도문화’라고 부를 수 있는 독특한 문화적 흐름이 부상했다. 과거 민중의 고통과 희생을 ‘애도할 만한 상실’로 그리는 영화와 다큐멘터리, 드라마 등이 다수 나왔고 이들 중에는 대중의 폭발적 호응을 받은 작품도 적지 않았다. 애도문화는 탈독재기에 출현했다는 시기적 특정성과 분단시대 독재권력에 의해 억압됐던 민중들의 고난과 상실을 구슬프게 재현한다는 재현 주제 및 방식의 특성을 지닌다. 이 같은 특징은 애도문화를 탈독재라는 한국의 사회ㆍ역사적 맥락 속에서 파악할 필요성을 제기한다. 군사독재체제가 강력했던 1970년대부터 1980년대 말까지 지배세력이 반대하는 공적 애도는 허용되지 않았다. 당시 독재정권의 지배 이데올로기인 반공과 경제성장에 부합하지 않는 민중들의 고난과 희생은 축소, 왜곡, 부인되기 일쑤였고 이런 상실에 대한 문화적 재현조차 억압되었다. 이런 연유로 탈독재기에 부상한 애도문화는 상당 부분 민중적 상실에 대한 ‘뒤늦은 애도’의 성격을 지닌다. 대중문화 영역에서 뒤늦은 문화적 애도는 과거의 민중적 상실에 사회적 인정을 부여하고 새로운 방식으로 민족을 상상하는 계기를 제공했다. 공식적 민족 서사에서 배제되었던 민중적 상실은 문화적 재현을 통해 현재에 되살아나 ‘우리 공동체’의 기억으로 기입되었다. 그럼으로써 지배 이데올로기에 근거한 공식적 정체성은 점차 침식될 수밖에 없었다. 대신 탈독재기의 우리는 애도문화를 통해 민중적 상실에 합당한 의미를 부여함으로써 독재 시기 분열됐던 우리 민족공동체를 이제 분열을 해소한, 더 나아진 통합적 민족공동체로 상상할 수 있게 되었다. 이 시기 대중문화에서 민족적 서사가 강력하게 부상했던 근거의 하나다. Mourning, a behavior that one grieves over loss such as the death of the beloved, usually demands an unconventional ethical reflection and re-orientation. Cultural mourning, which mourns historical losses through cultural representations, thus imparts social, political significance by providing a privileged opportunity to reexamine a social community's identity. After the demise of the Chun Doo Hwan military regime in 1987, cultural mourning has emerged forcibly in the Korean cultural landscape. Mega-hit movies such as Sopyonje(1993) and TaeGukGi: Brotherhood Of War(2004), and popular television shows such as The Song of the Mother(1989) and Morae Sigye(1995) are good examples of it. In the post-dictatorship Korea, cultural mourning has consequently fostered a peculiar culture, which can be termed as the culture of mourning. The culture of mourning has represented minjung's losses under the authoritarian regime as mournable and has ever since grown into a strong polar of Korean popular culture. Its characteristics, that is temporal specificity and common subject matter, enable us to theorise this cultural strand in conjunction to Korea-specific contexts. Under the military dictatorship spanned from 1960s to 1980s, public mourning was hardly allowed against the ruling ideologies, spearheaded by anticommunism and the tenet emphasizing economic growth. Common people's sufferings and sacrifices could not be mourned when the ruling power would not allow to do. In this reason the culture of mourning that has emerged since the late-1980s can be seen as a belated mourning of the repressed minjung's losses. Belated cultural mourning in the post-dictatorship Korea has not only conferred social recognition to the hitherto unmourned losses but also enabled Koreans to imagine their nation in a new way. For minjung's losses thereby have been inscribed into the nation's memory with full legitimacy. Previously the nation was seen internally divided between the authoritarian state-power and the people. The repeated successes of cultural mourning eventually eroded the officially sanctioned national identity. Instead Koreans, by virtue of the culture of mourning, could have a renewed, better national identity grounded on a novel imagining of a better nation.

유교 상례와 상중의 개인행위 규제

안호용 ( Ho Yong An ) 한국사회사학회 2006 사회와 역사 Vol.0 No.72

This article has considered the ritual regulation that Confucian ceremonies of mourning imposed to attendants and the social regulation of laws and legislations on mourner’s daily life during the rites of mourning and burial. I didn’t intend to look into history of a system or religious meanings of the ritual, but actually focused on personal experiences in carrying out obligations of mourning rituals and recognized the meaning of Confucian transformation of Chosun society in individual level. In ceremonies of mourning, kinsmen of the dead have participated in rituals and they had different duties in mourning ritual according to the five Mourning Grades. Duties on Mourning Grades went beyond duty on ritual and then socially set up relationship of kinsmen and established the relative gravity of penalties. Son of the dead played two roles on both a ritual position of ‘chief mourner’ (喪主) and a social position of ‘person in mourning’ (喪人) during mourning and funeral rites period. They wore a heaviest mourning garment and were regulated ritually on food, dwelling place, ect. as chief mourners and were imposed restrictions on most of everyday affairs as persons in mourning. In process of ritual, early strong ritual regulation was relieved gradually, but the influence on daily life persisted during full 26 months. While people was carrying out the Confucian-style burial and mourning ceremonies instead of Buddhist-style cremation and rites, they could accept and internalize the Confucian world view and norms. This process would be strengthened by negative sanctions imposed to violations. Consequently, diffusion of Confucian ritual (Chia-li) and establishment of Neo-Confucianism after mid-Chosun is seen as the process of internalization of Neo-Confucian norms through participating in mourning ritual and through practicing mourning norms in a long term. Also repetitive accomplishment of Confucian mourning ritual helps patrilineal kin to shape strong relationship and Confucian lineal principle to work in the field.

고유한 신체의 경험을 통한 애도 공간 특성 연구 -메를로 퐁티의 현상학을 중심으로-

원예진 ( Won Yejin ),김지은 ( Kim Jieun ),김개천 ( Kim Kiachun ) 한국공간디자인학회 2020 한국공간디자인학회논문집 Vol.15 No.8

(Background and Purpose) If memorial service means 'to commemorate death', mourning refers to the whole process from 'to mourn death and overcome sorrow'. The feeling of mourning is the experience of the body through the body's perception. Based on Merleau Ponty's phenomenology, we combine the unique physical experience with Derrida's mourning theory to study the characteristics of the 'mourning space' in which the survivors fully mourn and overcome sorrows, thereby expanding the meaning of life. Therefore, it aims to reveal the possibility of an experiential mourning space that overcomes sadness by feeling and confronting a lost object beyond the existing memorial space to remember and recall. (Method) This study first examines how the peculiar characteristics of the body were applied to paintings and spaces in art theory through the concepts of 'mutual physicality', 'spatiotemporality' and 'flesh' based on Merleau Ponty's phenomenology. .Afterwards, the considerations were combined with Jacques Derrida's mourning theory to derive the characteristics of the ‘mourning body’ and the ‘element of the mourning space’ for the lost other, and then used this as a frame for case analysis. From 2000 onwards, the existing memorial space was focused and applied to cases such as the Holocaust Museum, the Steilneset Museum, the 9.11 Memorial Park, and the Oklahoma Memorial Park, and the possibility of the mourning space was analyzed. (Results) As a result of the analysis, the memorial spaces presented in the case were able to participate in the spectator's participation, that is, 'the relationship between the lost other and the spectator, traces of the past experienced in the present, and discovery of the invisible meaning through the visible'. A fundamental 'death' by composing the derived 'objects of mourning', light and color showing the expression (atmosphere) of death for mourning, and structural natural objects or artifacts of death that cause mourning in various ways within the space. Was visualized in space. Through this, we found the possibility of a mourning space that can elicit a feeling of mourning to the viewers. (Conclusions) 'Death' is the fundamental cause of loss and is confirmed as the future that will inevitably come to finite beings. Therefore, we must look at life starting with facing the coming death. By presenting 'who is the object of mourning, through what is possible, and how to experience' as a criterion for physical experience, not simply mourning, a space where viewers can truly mourn the other who died. Through this, I hope that the meaning of death will be connected to the possibility that the meaning of death goes beyond the negative and expands to the meaning of life.

상실과 애도 그리고 돌봄에 대한 이해

김동영(Dong-Young Kim) 연세대학교 신과대학(연합신학대학원) 2015 신학논단 Vol.79 No.-

The purpose of this article is to understand loss, mourning, and caring from a perspective of pastoral theology. While overcoming the linear description of loss and mourning, this study is also to explore the comprehensive process of loss and mourning, and to present an effective method of pastoral care in order to promote the healing of loss and mourning. As if going up the spiral steps, the process of mourning involves the dynamic and complicated dimensions which includes the interactive changes of emotion, and thought, and behavior. As such, pastoral caregiver helps the mourner to (re)form the relational self, while both listening empathically the voice of mourner and paying attention to the painful situation. Pastoral caregiver needs to share the sense of loss and grief, and needs to guide the mourner to establish the new and alternate relationship. Pastoral caregiver is able to use the following method of pastoral care in order to enhance the healing of mourning: 1) to express freely the sense of deep grief in a safe place, 2) to confront with the reality of loss, 3) to accept positively the mourner himself/herself, 4) to relate with other people in the community, 5) to reflect on the life and death in the religious/spiritual dimension, 6) to reorganize the sense of loss and to proceed with new life. In the healing process of mourning, ‘the ability to mourn deeply’ denotes ‘the ability to relate wholly.’ As such, pastoral caregiver leads the mourner to recover the relationships of mourner-mourner himself/herself, mourner-others(e.g., church community members or local community members), and mourner-the divine/God. From a perspective of pastoral theology, Christians enable to accept positively human finitude (which includes loss and death) in the providence of God’s creation. ‘We are able to mourn together’ means ‘we are able to love one another’ through the compassionate love of God. Especially, we enable to see God who suffers with us in the context of loss and grief, to share our own pain and suffering, and to make together a new hope in the presence of God. The purpose of this article is to understand loss, mourning, and caring from a perspective of pastoral theology. While overcoming the linear description of loss and mourning, this study is also to explore the comprehensive process of loss and mourning, and to present an effective method of pastoral care in order to promote the healing of loss and mourning. As if going up the spiral steps, the process of mourning involves the dynamic and complicated dimensions which includes the interactive changes of emotion, and thought, and behavior. As such, pastoral caregiver helps the mourner to (re)form the relational self, while both listening empathically the voice of mourner and paying attention to the painful situation. Pastoral caregiver needs to share the sense of loss and grief, and needs to guide the mourner to establish the new and alternate relationship. Pastoral caregiver is able to use the following method of pastoral care in order to enhance the healing of mourning: 1) to express freely the sense of deep grief in a safe place, 2) to confront with the reality of loss, 3) to accept positively the mourner himself/herself, 4) to relate with other people in the community, 5) to reflect on the life and death in the religious/spiritual dimension, 6) to reorganize the sense of loss and to proceed with new life. In the healing process of mourning, ‘the ability to mourn deeply’ denotes ‘the ability to relate wholly.’ As such, pastoral caregiver leads the mourner to recover the relationships of mourner-mourner himself/herself, mourner-others(e.g., church community members or local community members), and mourner-the divine/God. From a perspective of pastoral theology, Christians enable to accept positively human finitude (which includes loss and death) in the providence of God’s creation. ‘We are able to mourn together’ means ‘we are able to love one another’ through the compassionate love of God. Especially, we enable to see God who suffers with us in the context of loss and grief, to share our own pain and suffering, and to make together a new hope in the presence of God.

문학교육의 학제적 접근 : 애도의 서사 윤리와 문학치료

김성진 ( Sung Jin Kim ) 한국문학교육학회 2012 문학교육학 Vol.37 No.-

Literary therapy should pay attention to the ethics of mourning not to be biased to the prescription. This article reviewed Shin Gyeong-suk`s early short stories such as ``Remote Room``(「외딴 방」), ``On the Far and Endless Road``(「멀리, 끝없는 길 위」) and ``The Potato Eaters``(「감자 먹는 사람들」) to suggest the ethics of mourning. According Freud, mourning is the process to acknowledge that the object does not exist anymore and return to the reality. On the other hand, patients suffering from melancholia identify the object lost and self, losing self-esteem. Freud considered mourning as ``Killing the object twice.`` However, mourning in literary works is normal and the dichotomy that mourning is normal but melancholia is abnormal should not be made. The dilemma of mourning that it should be forgotten but cannot be done is a characteristic of aesthetical mourning in literary works. Three short stories of Shin Gyeong-suk show various aspects of mourning from the evasion of mourning to over-mourning. The writer paid special attention to the work which constantly expressed her doubt if she could deliver the truth of her dead friend in full. Especially, in ``On the Far and Endless Road`` she hesitated overcoming the sorrow completely and refused the assimilation of the other person to her own memory. It is because it will suppress ``Ganzanderheit`` of the other person. The writer considered it as a characteristic of ``Ethical Mourning.``