1960~1970년대 이상론(李箱論)의 향방

고지혜 구보학회 2019 구보학보 Vol.0 No.22

It was in the mid-1950s when writer Yi Sang and his literary works drew academic attention. With the publication of the complete collection by Yi Sang in 1956, the studies on him began to increase markedly, similar to a phenomenon, and the ‘Yi Sang Theory(李箱論)’ increasingly expanded and intensified in the 1960s and 70s. In the history of the Korean modern literature, since the 1950s and 60s was the period when understanding of literary concept and literary practice was being defined in a new way, the Yi Sang Theory, which rediscovers the literary works by Yi Sang on a systematic level, was directly related to the task of making a spot for Yi Sang in the history of Korean modern literature focused on unstructured South Korea. This study examined how the Yi Sang Theory, published in the 1960s and 70s, was progressed. Most of all, this study explored overall outline of critical discourses and discontinuous spots of literary world from the 1960s and 70s after researching the theoretical resources of the theory. As a result, it has been identified that the Yi Sang Theory from the 1960s encompassed a powerful aspiration toward universalism and cosmopolitanism based on the methodology of New Criticism and that the theory from the 1970s escaped from pursuing abstract modernity and raised objections toward reality consciousness and historical consciousness by Yi Sang who was an intellect and writer during the Japanese colonial era. The 1970s Yi Sang Theory fixed Yi Sang in modernism after the ‘modernism vs. realism’ structure was reorganized in the late 1970s. This resulted from the fact that literary works by Yi Sang had no other choice but to be in discord with the people - the main subject of the 1970s and 80s - and the People’s Literature Theory, which is a dominant discourse. 작가 이상(李箱)과 이상(李箱)의 문학이 학문적 관심의 대상이 되기 시작한 것은 1950년대 중반 무렵이었다. 1956년 『이상 전집』이 출간되면서 이상(李箱)에 관한 연구는 하나의 ‘현상’이라 불릴 정도로 두드러지게 증가하기 시작했고, 1960~ 1970년대에 이르러 이상론(李箱論)은 점점 확대되고 심화되었다. 한국현대문학사에서 1950~1960년대란 해방과 분단을 겪으며 문학의 개념 및 문학적 실천에 관한 이해가 새롭게 구성되던 시기였다. 따라서 이 시기 이상(李箱)의 문학을 제도적 차원에서 발견/발굴하는 이상(李箱)론은 아직 구조화되지 않은 남한 중심의 한국현대문학사에 이상(李箱)의 위치를 점하는 작업과 직결되었다. 이에 본 논문은 1960~1970년대에 제출된 이상(李箱)론이 어떠한 궤적을 그리며 진행되었는지 살펴보고, 이 시기 전개된 이상(李箱)론의 이론적 자원들을 탐문하면서 1960~1970년대 비평 담론의 지형과 문학사의 (불)연속 지점들을 탐색했다. 그 결과 1960년대의 이상(李箱)론은 뉴크리티시즘의 방법론을 바탕으로 보편주의와 세계주의를 향한 강한 열망을 내포하고 있었고, 1970년대 이상(李箱)론은 비로소 추상적인 현대성의 추구에서 벗어나 ‘식민지 지식인-작가’였던 이상(李箱)의 현실인식과 역사의식을 문제 삼기 시작했다. 이러한 1970년대 이상(李箱)론은 이 시기 본격화되는 한국문학사 서술 작업과 관련하여 이상(李箱) 문학에 민족문학의 레테르를 붙이기 위한 고투의 작업이기도 했다. 결국 1970년대 말 ‘모더니즘 대 리얼리즘’의 구도가 재구축되면서 이상(李箱)은 모더니즘 속에 박제된다. 이는 이상(李箱)의 문학이 70~80년대적 주체인 ‘민중’ 혹은 당시 지배 담론인 민중문학론과는 태생적으로 불화할 수밖에 없음에 기인한 것이다.

李箱의 미발표 창작노트의 텍스트 확정 문제와 일본 문학 수용 양상 - 「與田準一」과 「月原橙一郞」의 출처에 관하여

송민호 한국비교문학회 2009 比較文學 Vol.0 No.49

Up to now, known as Yi-sang's own poems, "Yoda Junichi(與田準一)" and "Tsukihara Toichiro(月原橙一郞)" are, in fact, not his poems but the poems written by japanese poet, Yoda Junichi(與田準一) and Tsukihara Toichiro(月原橙一郞) themselves. Yi-sang excerpted and transcribed that poems to his creation note, reading them in the "collected poems of 1930" published in Tokyo, 1930. Because Yi-sang's unpublished creation note were just discovered in 1987, researchers couldn't find whether none of poems created by him were. This study focuses on investigating into the relationship between Yi-sang and japanese literature at that time, confirming the poems in Yi-sang's unpublished creation notes empirically. Yi-sang was responsive of the state of japanese literature circle well reading a lot of poems written in Japan in those days through the library of Chosen the government-general. His genius works in Korean literature is not just made in a back room, but results from being influenced keeping pace with the modernity of Japan literature and world. This fact gives us a vivid and wide prospect to interpret Yi-sang's abstruse text covered with Yi-sang's deified image. Up to now, known as Yi-sang's own poems, "Yoda Junichi(與田準一)" and "Tsukihara Toichiro(月原橙一郞)" are, in fact, not his poems but the poems written by japanese poet, Yoda Junichi(與田準一) and Tsukihara Toichiro(月原橙一郞) themselves. Yi-sang excerpted and transcribed that poems to his creation note, reading them in the "collected poems of 1930" published in Tokyo, 1930. Because Yi-sang's unpublished creation note were just discovered in 1987, researchers couldn't find whether none of poems created by him were. This study focuses on investigating into the relationship between Yi-sang and japanese literature at that time, confirming the poems in Yi-sang's unpublished creation notes empirically. Yi-sang was responsive of the state of japanese literature circle well reading a lot of poems written in Japan in those days through the library of Chosen the government-general. His genius works in Korean literature is not just made in a back room, but results from being influenced keeping pace with the modernity of Japan literature and world. This fact gives us a vivid and wide prospect to interpret Yi-sang's abstruse text covered with Yi-sang's deified image.

이상의 모더니즘과 프랑스의 모더니즘

주현진 ( Hyoun Jin Ju ) 충남대학교 인문과학연구소 2011 인문학연구 Vol.38 No.1

Cette etude examine le modernisme chez Yi Sang: on reconnait en ce poete un precurseur moderniste dans la litterature moderne coreenne dans la mesure ou cette derniere trouve un miroir capital dans le modernisme de la litterature francaise, Le modernisme, c`est une sorte de prise de parti pour la modernite, de choix actif de celle-ci. Il est bien connu que la litterature moderne francaise dans ses premiers stades, a notamment son symbolisme, a fort influence la literature coreenne. En particulier, sur beaucoup de poetes coreens entre les annees 1920 et 1930, y compris Yi Sang, est passee l`ombre de Baudelaire, qui fut introduit en Coree a partir des annees 1910. Meme si On ne peut trouver de traces explicites des auteurs symbolistes francais chez Yi Sang, il ne parait pas impossible de percevoir leur influence dans certaines de ses oeuvres. Au demeurant, des chercheurs coreens ont deja essaye de rapprocher Yi Sang de Baudelaire ou de poetes symbolistes francais. C`est ainsi que les premieres oeuvres de Yi Sang, ecrites entre 1931 a 1932, ont une sorte de parfum <<a la francaise>>, et que sa bibliotheque comprend des auteurs tantot symbolistes tantot naturalistes, ou divers novateurs de la modemite: Baudelaire, Rimbaud, Apollinaire, Maupassant, Hugo, Gide, Cocteau, etc.. Il parait evident que tout cela a lieu darts l`atmosphere des traductions du francais en coreen qui sont realisees a l`epoque. Cependant, ce que Yi Sang a recu de cette atmosphere ne se reduit pas aux gouts de la modernite occidentale. Car Yi Sang etait desormais porteur de quelque chose de nouveau au-dela des influences. On peut deceler chez lui des aspects propres a la modernite qu`on ne saurait guere trouver chez d`autres auteurs coreens de son epoque. C`est que Yi Sang est comme le fut Baudelaire, un individu-auteur qui se separe de l`esprit collectif. On dirait qu`il est le premier observateur qui apercoit et experimente la modemite, non pas un simple recepteur ou amateur de la civilisation occidentale. C`est ainsi que notre etude cherche a rapprocher les aspects modernes les plus significatifs chez Yi Sang de ceux que presentent les premiers auteurs modernes en France. La modernite presente en particulier deux caracteristiques capitales dans l`espace litteraire: l`individualisation du poete et le relict des sciences et techniques modernes. En premier lieu, le modernisme commence dans la litterature francaise ainsi que chez Yi Sang par de multiples desirs <<singuliers>> de faire secession a l`egard des conventions collectives: esthetique traditionnelle, forme litteraire, moralite commune. En rompant tout ce gui etait conevtions partagees, le poete moderne (re)nait de lui-meme comme un etre individuel avec son monde particulier. Chaque poete moderne cherche a creer un rythme conforme a son ame (<<toute ame>>, dit Mallarme, est <<un n(ce) ud de rythmes>>): il devient un nouveau Createur, il produit ses propres formes pour des contenus nouveaux, voire inouis. En consequence, le statut de poete change ; d`auteur dont le langage devait s`efforcer de repondre a des attentes preexistantes, il devient ce createur ou ce novateur qui, en matiere de forme-rythme-langage, ne pourra que deconcerter, ou meme blesser, toutes les attentes. Et cependant, il lui faudra, par un effort d`un style nouveau, tenter de rassembler le public plus puissamment que jamais. D`ou a pu naitre, dans certains cas, une forme de religiosite esthetique. C`est la ce qui peut se rencontrer chez Yi Sang comme chez plusieurs poetes modernes francais. En second lieu, le modernisme artistique se developpe a une epoque ou les sciences et les techniques connaissent un developpement sans precedent dans l`histoire, Il n`est donc pas etonnant que, dans la litterature moderne, les sciences, et notamment la medecine moderne, ou leurs images, viennent jouer un role important. Comme on le voit par exemple dans Mademoiselle Bistouri de Baudelaire ainsi que dans plusieurs poemes de Yi Sang, les sciences ne sont pas seulement en position de materiau a elaborer, elles travaillent et deplacent la vision poetique nouvelle. La modemite de cette derniere peut se manifester dans une atttitude d`observation de maniere quasi objective, lucide et mordante, comme si on dissequait le monde, la ou naguere affluaient des emotions floues; ainsi n`est-il pas evident de suivre le fil de ce qui serait emotions des personnages ou du narrateur chezYiSang. La modernite dans la poesie francaise se manifeste pleinement, pour la premiere fois, chez Baudelaire; elle se deploie ensuite chez ceux (Mallarme, Rimbaud, Laforgue, etc.) qui, en lui succedant, cherchent des nouveautes sans se soumettre aux coutumes. Le modernisme dans la litterature francaise aura par la offert des modeles ou des incitations pour le modernisme de Yi Sang.

패시브하우스 오버히팅 분석 방법론

허연숙 한국건축친환경설비학회 2021 건축환경설비 Vol.15 No.2

李箱의 「烏瞰圖」 해석의 재고

심상욱(Sim Sang-uk) 韓國批評文學會 2009 批評文學 Vol.- No.33

This paper is to reconsider the interpretation of Yi Sang’s “Ogamdo”(烏瞰圖) in 1934 as 烏 being a crow. I think O(烏) is a mythical bird, as the messenger bird, Samjogo’(三足烏) in the Korean myth about traveling from the sun to the earth. Although previous researchers have expressed 烏 in 「烏瞰圖」 as a crow, what Yi Sang described in “Ogamdo” relates to the map of painting for looking down on the earth from the sky. In the 1930s, Yi Sang probably lived in severe violence and under tight Japaness rule and policy. During this period, he potentially thought the Korean myth had disappeared from Korean history into a Japanese myth caused by Japan’s colonial policy. Yi Sang became the last member of Guinhoi(九人會) and acted in various roles late in life. Through Guinhoe, he came to know a large amount of Western literary thoughts from abroad and created a variety of works, especially “Ogamdo”according to Joyce’s mythical narrative. In interpreting Ogamdo, a lot of studies have produced two problems: First, researchers do not take into account the confusion of the interpretation of “Ogamdo,” thinking 烏 to be a crow. Second, each poem of Ogamdo was published separately from the first to the last poem(15th). Therefore, researchers have interpreted them separately, not as a complete poem. I believe this is the major problem, As Kim, Ki-rim called Yi Sang “Jupiter,” Kim, Yun-sik asked for researchers “Why did Kim, Ki-rim call him “Jupiter”? This question is very important to know since both Kim, Ki-rim and Yi sang were Korean modernists in the 1930s. As we think of Yi Sang, we must consider Kim, Ki-rim’s “The Weather Chart”(氣象圖) written in 1935. As researchers have observed, this work, as an abortive imitor of Eliot, is a consequent failure in its making. However, Kim, Ki-rim was a pioneer for importing Western modernism in Korean Literature. This addition to Korean Literature affected Yi Sang as described in the urban life of “Ogamdo.” Jo Yong-man, a member of Guinhoe with Yi Sang, called the 1930s “the Age of Yi Sang.” Accordingly, we can understand the meaning of O(烏) in “Ogamdo” as not being a crow, but simply a Korean myth, Samjogo. And it also is truly necessary to interpret Ogamdo as a complete literary work, not as 15 individual poems.

‘이상(李箱)’이라는 장르 - 탈장르를 향한 지향과 ‘창작’의 표상

송민호 이상문학회 2024 이상리뷰 Vol.- No.21

이상의 문학은 한국 근대문학사 내에서도 유독 예외적인 위치를 점유하고 있다. 이러한 그의 예외성이야말로 지금까지 우리가 익숙하게 간주해왔던 문학적 개념을 원점에서부터 재검토할 수 있는 힘을 부여한다. 지금까지 이상 문학의 장르를 규정하고자 했던 논자들은 그가 시, 소설, 수필에 걸쳐 장르를 넘나드는 창작을 시도했다는 점에서, 그 장르 구분상의 난점을 표현한다. 이처럼 이상 문학 텍스트를 장르적으로 구분하는 작업이 불가능에 가깝다는 사실을 전제로, 본고는 이상이 작품을 발표했던 신문과 잡지 등 매체의 차례 부분과 본문에 붙어 있는 장르 표제의 차이에 주목하였다. 실제로, 이상은 자신의 산문에 ‘창작’이라는 장르 표제를 자주 붙였고, ‘소설’이라는 장르 표제는 거의 붙이지 않았다. 해당 작품이 실린 차례 부분과 본문 부분의 장르 표제가 다른 경우도 있었지만, 본문 내에는 대부분 ‘창작’이라는 장르 표제를 붙였다. 일반적으로 잡지 매체의 차례 부분이 편집자의 영역이라면, 잡지의 본문은 작가의 영역에 해당한다는 사실을 감안하면, ‘창작’을 선호했던 이상의 장르적 감각을 어느 정도 가늠할 수 있다. 문예지 창조 이후, 한국 근대 문학계에서 ‘소설’ 대신 ‘창작’을 장르적 명칭으로 활용했던 사례는 1920년 중반을 전후하여 자주 발견되고, 1930년 중반 무렵부터 일반적인 현상이 된다. 다만, 이상의 경우, 이러한 문학계의 경향을 답습했다기보다는 자신이 가지고 있는 예리한 글쓰기적 자의식을 산문을 통해 드러내고자 할 때 이를 ‘창작’으로 지칭하는 방식으로 전유하고 있다. 이상의 관점에서 ‘창작’은 ‘소설’과는 명확하게 구분되는 바, 그는 이 ‘창작’을 소설과 수필 사이의 그 무엇이라기보다는, 글쓰기의 메타적인 차원이 확보된 탈장르적 글쓰기를 지향하는 개념으로 활용한다. 1934년 무렵, 본격적으로 문단에 진입하게 되면서 이상은 여러 차례 ‘소설’을 쓰겠다고 공언했던 바 있다. 하지만 실제로 그 이후 나온 ‘소설’들에 그는 예전과 마찬가지로 ‘창작’이라는 표제를 붙이고 있다. 이 시기 이상의 글쓰기에도 여전히 ‘소설’이 될 수 없는 죄의식과 피가 섞여 있던 까닭일지도 모른다. Exceptively, Yi-sang’s literary texts are exempt from any kind of taxonomy, that is, from genre categorization. It is the very exceptionality of Yi-sang’s that gives us the power to reexamine the literary genre as we have been accustomed to it. On the premise for the impossibility of categorizing Yi-sang's literary texts in terms of genre, this paper focuses on the genre headings that appear in the table of contents and body of the newspapers and magazines in which Yi-sang published his work. In practice, Yi-sang frequently labeled his prose as “Changjak(創作, creation)” and rarely labeled it as “novel”. Of course, there were cases where the genre label was different in the table of contents and the body of the magazine. But in the retrospect that the table of contents in the magazine is the domain of the editor, while the body of the magazine is the domain of the writer, it is certain that Yi-sang almost always labeled his manuscripts as “Changjak(創作, creation)” when he submitted them to the magazine. The use of “Changjak(創作, creation)” as a genre in place of “novel” in the modern Korean literary scene was a ordinary phenomenon around the mid-1920s. In the case of Yi-sang, however, rather than replicating this trend in the literary scene of those days, he appropriates it by referring to his keen sense of writing as “Changjak(創作, creation)” when he wants to reveal it through prose. From Yi-sang’s perspective, “Changjak(創作, creation)” is clearly distinguished from “novel”; “Changjak(創作, creation)” is not something in between novel and essay, but rather a post-genre writing that is related to the meta-dimension of writing. Around 1934, as Yi-sang, a outsider of Korean literary scene then, entered the literary scene in earnest, he professed several times to write a 'novel'. However, in reality, 'novels' by written subsequently were not labeled as 'novels' but as “Changjak(創作, creation)” as before. This was because his writing still bore with the sense of sin and some drops of blood.

「街外街傳」과 「황무지」에 나타난 이상과 엘리엇의 제휴

심상욱(Shim Sang-wook) 韓國批評文學會 2011 批評文學 Vol.- No.39

이 논문은 이상 작품의 서구문학사조와의 관계에 초점을 맞춰 이상이 1936년에 발표한 「街外街傳」(가외가전)을 T. S. 엘리엇(T. S. Eliot)의 「황무지」(The Waste Land)와 비교하여 그 의미를 살펴보았다. 한국이 일본의 식민지로 있을 때 서구에서는 제임스 조이스가 ?율리시즈?를 창작하여 T.S. 엘리엇이 조이스의 작품이 신화기법으로 창작되었음을 밝혀 내 모더니즘의 중심과제로 등장해 있었다. 이러한 서구문학은 일본을 경유하여 유학파인 김기림, 정지용 등이 한국에 들여와 이상과 같은 한국 문인들에게 자극을 주었다. 엘리엇의 ‘신화기법’은 현대적인 것과 고대적인 것을 작품 속에 공존시킴으로서 흩어진 사건을 통합하는 방법이었지만, 이상은 한국의 신화와 동양사상에 대한 그의 지속적인 관심을 표현해 냈다. 이상은 식민지 치하에서 살지 않으면 안 되는 상황에서 편안한 대륙으로 암시된 고대 중국을 회상하면서 식민지 치하의 답답한 상황을 벗어나고자 하며, “손자(係子)도 탑재한 객차가 방을 피하나보다.”로 표현하여 중국을 원망하면서 한국의 삼족오 신화가 일본의 신화에 편입된 것을 일깨워 한국의 고유의 전통의식을 자극하고 있다. 엘리엇이 「황무지」에서 신화기법으로 현대문명의 위기를 그려낸 것처럼 이상은 「가외가전」에서 사라진 한국의 신화와 동양사상을 은유적으로 사용하여 한국의 식민지 상황을 그려냈다. 한국의 모더니즘을 주도했던 김기림이 이상을 한국의 ‘최후의 모더니스트’라고 지칭한 바와 같이 그의 ?가외가전?은 식민지 통치가 극에 달하고 있을 때 ‘서울의 모습’을 공개적으로는 말할 수 없어 ‘거리 밖의 이야기’로 그려낸 ‘폭로’적인 작품임을 알 수 있다. This paper is to examine an affiliation of Yi Sang and T. S. Eliot in Gawoigajeon(?街外街傳?) and The Waste Land written by them. For a Korean modernist Yi Sang, during the colonial period, potentially thought that the Korean myth had disappeared from Korean history into a Japanese myth caused by Japan’s colonial policy. He knew T. S. Eliot’s mythic narrative through Guinhoi and other sources. He became the last member of Guinhoi(九人會) and acted in various roles late in life. Through Guinhoi, he came to know a large amount of Western literary thoughts from abroad and created a variety of works, especially according to T. S. Eliot's mythic narrative explaining writing techniques of Joyce’s Ulysses. As Kim, Ki-rim called Yi Sang “Jupiter,” Kim, Yun-sik asked for researchers “Why did Kim, Ki-rim call him “Jupiter”? This question is very important to know Yi Sang, since both Kim, Ki-rim and Yi sang were Korean modernists in the1930s. I think it that both writers created their poems by Eliot’s mythic narrative technique. However, after Yi Sang’s death Kim Ki-rim called him Jupiter, the gratest god of the Greek-Roman myths. As we think of Yi Sang, we must consider Kim, Ki-rim’s The Weather Chart(氣象圖) written in 1935 with Yi Sang’s Gawoigajeon in 1936. ThoughKim was a pioneer for importing Western modernism in Korean Literature, Yi Sang was a representative practice writer written Gawoigajeon depicted the urbanSeoul by the Joycean mythic narrative in the colonial period.

寒洲學派 心卽理설에 대한 定齋學派 심성론의 비판적 특징

이상호 한국유교학회 2011 유교사상문화연구 Vol. No.

이 논문은 퇴계학파의 ‘理發說’을 극단으로 해석하여 ‘心卽理’를 주장했던 한주학파에 대한 정재학파 심성론의 비판적 특징을 규명함으로써, 퇴계학의 전개양상과 퇴계학이 가진 학문적 다양성을 확인하려는 것이다. 더불어 대산 이상정의 성리설을 그대로 잇고 있는 것으로 이해되어 온 정재학파의 철학적 특징과 그 위치를 한주학파와의 비교를 통해서 확인해 보려는 것도 중요한 목적이다. 이를 위해 이 논문은 우선 한주학파의 철학적 특징을 이진상의 성리설을 중심으로 크게 두 가지로 정리하고, 그에 대해 정재학파를 열어갔던 유치명으로부터 그의 대표적 제자인 김흥락과 김도화, 그리고 권상익 같은 인물이 어떻게 비판하는지를 살펴보고 있다. 그 두 가지 입장은 첫째, 이진상이 이황으로부터 이어진 ‘리발설’을 적극적으로 해석하여, 실질적 의미의 ‘리발일도’를 제기하고 있다는 점이다. 발하는 것은 ‘리’밖에 없다는 관점이 강하게 제기되고 있으며, 이것은 ‘심즉리’로 이행되기 위한 기본적인 전제가 된다. 이러한 근거 위에서 둘째, 이진상은 ‘心卽理說’을 제기한다. 이를 위해 그는 주자학의 일반 명제인 性發爲情을 강조하면서, 정을 ‘已發한 리’로 해석한다. 나아가 심통성정에서의 ‘統’을 주재성 중심으로 해석함으로써 궁극적으로 ‘심즉리’를 주장하기에 이른 것이다. 이와 같은 이진상의 철학적 특징에 대해 정재학인들은 어떠한 입장을 가지는지를 두 개의 장으로 나누어 살펴보았다. 우선 ‘리발일도’에 가까운 이진상의 리발설에 대한 입장은 3장에서 정리하였다. 유치명과 정재학파의 문인들은 기본적으로 ‘리기호발’이라는 관점에서 리발설을 인정하지만, 동시에 사단과 칠정은 묘맥에 따라 리발과 기발 모두를 인정해야 한다는 입장을 견지함으로써, 전형적인 ‘리기호발설’을 보여준다. 이진상의 ‘리발일도’와 기호학파의 ‘기발일도’ 중간에 위치하고 있는 것이다. 이와 같은 리기호발설은 심즉리설에 대해서도 비판적 시각을 가지게 하는데, 그 내용은 4장에 정리했다. 리발과 기발을 동시에 인정하는 ‘리기호발설’은 심을 ‘리와 기를 합한 것’ 또는 ‘리와 기를 겸한 것’으로 이해하게 했다. 이러한 과정에서 ‘성발위정’의 논리는 미발의 성과 이발의 정을 나누어 이해하는 이론적 근거로 사용되고, 심통성정에서의 통은 주로 ‘통섭’과 ‘겸섭’으로 해석하는 경향을 보여준다. 그러면서 이들은 심의 속성에 대해 철저할 정도로 ‘合(兼)理氣’라는 입장을 견지하면서, 心卽氣나 ‘心卽理’에 대해 모두 비판적 입장을 견지한다. 정재학파의 이와 같은 이론적 특징은 퇴계학의 특수성을 받아들이면서도 주자학의 일반론에서 벗어나지 않으려는 이상정의 노력을 그대로 잇고 있는 것이다. 한주학파가 실질적인 리발일도와 여기에 근거한 심즉리설을 제기함으로써, 퇴계학이 주자학과 가진 차이를 확연하게 벌여가는 입장이라면, 정재학파는 퇴계학이 가진 차이를 주자학의 일반론 위에서 해석하려고 노력했던 것이다. The purpose of this study is to identify development of Toegye's Philosophy and scientific diversity that it has, by making a close inquiry into critical characteristics of Jeongjae school's theory of human nature and mind for Hanjoo school which interpreted extremely Toegye schools's theory of the manifestation of principle(Li) and then asserted 'Mind is principle(心卽理)'. In addition, another purpose is to identify through comparison Hanjoo school with philosophical characteristics and the position of Jeongjae school that is succeeding to Neo-Confucianism of Daesan Yi Sang-jeong. For this, in this paper, first of all I arrange two philosophical characteristics of Hanjoo school focused on Neo-Confucianism of Yi Jin-sang, and I investigate from Yu Chi-myeong who had started Jeongjae school, to his disciples, Kim Heung-rak, Kim Do-hwa, and Kwon Sang-ik, how did they criticize Yi Jin-sang. These two viewpoints are that, first, Yi Jin-sang positively interprets 'theory of the manifestation of principle(Li)' that is succeeded from Yi-Hwang, so that raise on 'Theory of Libalildo(理發一途說)' of substantial sense, and this is fundamental premise. On this ground, secondly, Yi Jin-sang presents 'theory that heart is principle'. For this, he stresses "Seongbalwijeong(性發爲情)" that is general thesis of Zhuxi Studies(朱子學), and he interprets Jeong(情) as Li(理) which had manifested already. Furthermore, he, ultimately, asserted 'Mind is principle(心卽理)' by interpreting Tong(統) in the "Simtongseongjeong(Mind Contains Human Nature and Emotion 心統性情)" focused traits which presides over. I investigated as two chapter, what viewpoints do followers of Jeongjae school have, for these Yi Jin-sang's philosophical character. First above all, in chapter 3, I arranged Yi Jing-sang's theory of manifestation of principle(理發說) that is proximate to 'Libalildo(理發一途)'. Yu Chi-myeong and followers of Jeongjae school admits Libal(manifestation of principle 理發) in the position of 'Likihobal(Mutual Occurrence of Li and Ki 理氣互發)' but at the same time, they show typical 'theory of Likihobal', by sticking to position that Sadan(Four Clues 四端) and Chiljeong(Seven Emotions 七情) should admit both Libal and Kibal(氣發) pursuant to clue. Their position takes place in the middle of Yi Jin-sang's 'Libalildo' and Kiho school's 'Kibalildo'. This Likihobal has us critical viewpoints of 'Mind is principle(心卽理)', I arranged the contents in the chapter 4. Theory of 'Likihobal' that admits both Libal and Kibal was regarded Sim(Mind or Heart 心) as 'that sums up Li(principle 理) and Ki(氣)' or 'that combines Li and Ki'. In these course, logic of 'Seongbalwijeong(性發爲情)' is used as theoretical base that divides SeongJeong(性情) of Sim(Mind or Heart 心) by Seong(性) of Mibal(that doesn't manifest yet 未發) and Jeong(情) of Yibal(that had manifested already 已發). Tong(統) of Simtongseongjeong(心統性情) is interpreted mainly as 'Consilience 統攝' and 'combination 兼攝'. They stick to radically their opinion of 'Hapliki(that sums up Li and Ki 合(兼)理氣) for property of Sim(心), and hold fast to critical position for 'Mind is Ki(心卽氣)' or 'Mind is principle(心卽理)'. These theoretical characteristics of Jeongjae school accept particularity of Toegye philosophy, and succeed to efforts of Yi Sang-jeong who doesn't turn off from original principle of Zhuxi Studies(朱子學). As Hanjoo school raises substantial 'Libalildo(理發一途) and 'theory that Mind is principle(心卽理說)' based on it, if the theory of Hanjoo school is that which show difference between Toegye philosophy and Zhuxi Studies(朱子學), Jeongjae school had made a effort to interpret philosophical difference which Toegye philosophy has, on original principle of Zhuxi Studies.

이상 시에서의 5차원 의미와 양자-행렬의 대칭성과 확률성 ⎯「線에關한覺書 3」의 양자-행렬 역학적 독법 가능성

김상현 한국시학회 2022 한국시학연구 Vol.- No.70

The poems by Yi Sang have been discussed in depth thanks to the accumulation of the previous studies. However, it does not mean that the freedom is gained that the studies so far are allowed to stagnate for the peculiar difficulty in reading of the poems by Yi Sang. It is because the texts notorious for the difficulty in reading require new challenges, surrounded by the algebraic words in raw and the weird scientific view of the world. This paper is the second presentation of the problem on the possibility of reading the poems by Yi Sang in terms of quantum mechanics. The first has been presented before with the five-dimensional text reading of the full text of Ogamdo: Poem number one. This paper discusses with quantum mechanics the difficulty in reading of the poems by Yi Sang, which are beyond expression without the foundation of the quantum mechanics. It also discusses what the matters are with applying the relativity theory to his poems. This paper deals with symmetry and probability, which are two properties required in discussing the possibility of quantum-matrix mechanical reading. By perceiving the world of variety into the one of singleness, the present world is reduced into the fake world. This fake world can be understood with the theoretical premises of the quantum mechanics – symmetry and probability. These symmetry and probability have to do with the quantum mechanic geometry, the five-dimensional three-dimension angle. The quantum-matrix formulae by Heisenberg can be classified as a model on the weirdness of the electron, which has no mass but has effect on the world. That is, these formulae are regarded as a representative achievement that expresses the possibility that the spectral electrons can exist at a specific spot. This matrix indicates the occidents with the limitless possibility as probability in the rectangular cosmos. One of the characteristics of quantum, which is wave but realizes into particle only when observed, is symmetry between matter and antimatter. Symmetry is also related to the quantum entanglement, another characteristic of the quantum. The hidden possibility of the poems by Yi Sang realizes into particles through these characteristics. It is required to take advantage of the logic of the transposed matrix to draw symmetry naturally from the difficulty in reading of the poems by Yi Sang. It is because in his poems Yi Sang planted with his cosmology his idea that the logic of ‘transpose’ is antimatter against matter and the symmetry to the world. In this paper, as a prior step of that, the questions are posed of dimension and the application of the theory of relativity. It is because setting the present into three-dimension or four-dimension is essential in defining the meaning of ‘the three-dimension angle’ by Yi Sang. Next the meaning of matrix is presented, which is represented as a cosmos in the poems by Yi Sang. In the poems, the matrix is not just the symmetry of the images in the mirror. Researching the logic of math and science presented by Yi Sang without prejudice, the entire picture of his own making is revealed with consistency. This paper is the second challenge to study this. The Memo of the Line 3 is a good example of matrix, symmetry and probability. It is hoped that the quantum-matrix mechanical reading will take a little part in presenting the unexpected possibilities in the whole texts by Yi Sang.

데카당적 댄디 이상과 오스카 와일드의 교감(交感)—「혈서삼태(血書三態)」를 중심으로—

고현혜 고려대학교 민족문화연구원 2024 민족문화연구 Vol.103 No.-

이상은 보들레르에서 와일드로 이어지는 데카당적 댄디의 계보를 잇는 작가이다. 보들레르의 후예인 와일드와 이상의 데카당스 문학은 동성애나 매춘이라는 범법적인 성욕 탐구 및 농담의 형식을 공유한다. 이러한 측면이 이상의 「혈서삼태」에서 확인된다. 이상은 와일드의 삶과 문학에 대해 많은 공감대를 갖고 있었는데, 이 수필은 이를 증명해준다. 여기서 이상은 와일드와 자신의 삶과 문학의 교감은 그와의 내적 대화를 통해, 그의 문학론을 담은 작품들에서 받은 영향과 수용은 자신의 데카당스 문학론의 형상화를 통해 드러낸다. 「혈서삼태」는 와일드의 문학론을 담은 『도리언 그레이의 초상』과 「진지함의 중요성」을 이상이 창조적으로 변형해 그의 데카당스 문학론을 형상화한 작품이다. 여기서 이상은 매춘 탐구와 관련된 그의 데카당스 문학, 곧 창녀와 관련된 혈서로 상징되는 자신의 문학의 주제와 사상, 방법론 및 지향점 등을 밝힌다. 덧붙여 그의 과거, 미래, 현재의 데카당스 문학을 표상하는 3가지 혈서에 대해 논평한다. 그 과정에서 피로 글을 쓸 것을 주창한 니체의 글쓰기론과 와일드의 반체제적 문학론, 곧 경박한 거짓말 혹은 가면으로서의 문학론을 기반으로 해 형성된 이상의 데카당스 문학론이 드러난다. 그것은 혈서라는 심층을 품고 있는 농담이라는 표층의 문학, 곧 반체제적 사유를 검열을 무력화시키며 드러내기 위해 넌센스화하는 농담으로서의 문학에 대한 것이다. 이상의 데카당스 문학은 경박한 농담의 형식을 취하고 있으나 창녀로 대변되는 사회적 약자들에 대한 그의 개인주의적 사상, 곧 그들의 구원을 염원하는 아나키즘 맥락의 반체제적 사상의 진정성을 함축한다. 창녀에 대한 사랑⋅열정을 주제화한 이상 문학은 농담이라는 가면을 쓴 반체제적 혈서의 세계이다. Yi Sang is a writer who belongs to the genealogy of the decadent dandy from Baudelaire to Oscar Wilde. The decadence literature of Baudelaire’s descendants, Wilde and Yi Sang, shares the form of jokes with criminal sexual desires such as homosexuality or prostitution. This aspect is confirmed in Yi Sang’s essay Three Aspects of a Writing in Blood. Yi Sang had a lot of sympathy for Wilde’s life and literature, and this work proves it. Here, Yi Sang reveals the sympathy between Wilde and his life and literature through an inner dialogue with him. On the other hand, the influence and acceptance received from the works containing Wilde’s literary theory are revealed through the embodiment of his decadence literary theory. Three Aspects of a Writing in Blood is a work that embodies his decadent literary theory by creatively transforming The Picture of Dorian Gray and The Importance of Being Earnest, which contain Wilde's literary theory, by Yi Sang. Here, Yi Sang reveals the theme, idea, methodology, and direction of his decadence literature related to prostitution, which is symbolized by a writing in blood related to a prostitute. In addition, he commented on three writing in blood that symbolize his past, future, and present decadence literature. In the process, Yi Sang’s decadence literature theory, which was formed on the basis of Nietzsche’s theory of writing, which advocated writing with blood, and Wilde’s anti-establishment literary theory, that is, the theory of literature as a frivolous lie or mask, is revealed. It is literature with a writing in blood in the depths and jokes in the surface, In other words, it is about literature as a joke that turns anti-establishment thinking into nonsense to reveal them while neutralizing censorship. Yi Sang’s decadence literature related to prostitution took the form of a frivolous joke, but it implied the authenticity of his individualistic ideas about the socially underprivileged represented by prostitutes, that is, the anti-establishment ideas in the context of anarchism that yearned for their salvation. Yi Sang’s literature, which themed love and passion for prostitutes, is a world of anti-establishment a Writing in Blood with a mask of jokes.