신경숙 소설의 공간 지향성과 주체 인식 -마당과 빈집의 의미를 중심으로

양현진 ( Hyun Jin Yang ) 현대문학이론학회 2013 現代文學理論硏究 Vol.0 No.54

이 논문은 신경숙 소설에서 작중 인물의 주체성이 우리나라의 전통적인 마당 공간의 특성에 의거해 획득되고 있음에 주목한다. 이 전통적인 마당 공간은 내·외부 공간을 이어주는 경계 공간으로서 심리적 물리적 채움에 따라 다양한 공간적 특성을 지니게 되고, 다시 비움으로써 또 다른 용도에 대응할 수 있는 다양성과 불확정성의 공간이다. 건물이나 담으로 둘러싸인 무의미한 여백이 아니라 채움을 전제로 비워둔, 건물과 대등한 관계를 가지는 중심 공간인 것이다. 이 마당은 유동적인 채움을 전제로 하는 빈 공간이면서 새로운 것들을 창조한다는 점에서 ‘코라(chora)’ 개념과 상통한다. 신경숙은 문제적 상황에 직면한 주체가 일상 속에서 맞닥뜨리는 마당 공간을 통해 주체의 동일성과 연속성을 교란하고 새로운 정체성을 생성하는 코라 공간을 재현하고 있다. 인물들은 자고 먹고 말하는 일상성이 무너지는 퇴행적 국면에서 비현실적인 마당 공간으로 진입하고 그곳에서 추방당했던 무의식을 만나고 상처를 치유하며 성장한다. 충만한 무의식 안으로의 퇴행적 도피는 지금의 ‘나’를 분열시키고 위협하는 듯해 보이지만, 이것은 무의식 안으로 가라앉은 욕망을 복원하고 주체를 새롭게 구성하는 과정이다. 마당의 빈 공간은 비어 있음에 대한 전반적인 지향성으로 확대되는데, 집 밖의 빈터와 빈집에 대한 상상력이 대표적이다. 집밖에 존재하는 빈터에 대한 집착은 공간에 대한 주체적인 감각과 사용을 통한 자아 확장에 대한 욕망이다. 신경숙의 소설에서 인물들은 자신만의 고유한 시각에 따라 공간을 기획·활용하고 이를 통해 주체성을 경험한다. 특히 집 밖의 빈터는, 공간의 본질적인 의미와 그를 통한 주체성의 발현이 공간을 소유하는 데서 기인하는 것이 아니라 공간을 점유하고 활용하고 채워가는 과정에서 비롯하는 것임을 드러낸다. 이러한 맥락에서 볼 때 집과 빈집은 상반되는 개념이다. 집이 소유와 독점의 욕망을 드러내고 평균화된 사회적 가치관을 반복하는 억압된 곳이라면, 빈집은 단순히 버려진 집이 아니라 주체에게 발각되어 그 빈 공간이 새롭게 인식되고 활용되기를 기다리는, 불확정성의 마당과 같은 공간이다. 코라적 마당 공간을 통해 정체성 확립의 과정을 탐색하는 이 연구는, 신경숙 소설의 여성인물들이 지니는 수동성과 퇴행성이 생산적인 주체 형성에 기여하는 양상을 추적함으로써 그의 소설이 비주체적이고 비관적이라는 부정적 평가를 극복하는 의의가 있다. 또한 마당이라는 세부 공간에 주목한 분석은 신경숙 소설의 공간 연구를 보다 체계적이고 심도 있게 개진하는 가치를 지닌다. In Shin`s novels, the characters` individualities are obtained through the features of the Korean architectural space, the Ma-dang. This study focuses on these space-related individuality recognition in Shin`s novels. The Ma-dang is a border space connecting inner place and outer place. The Ma-dang can have various spatial characteristics depending on what psychological or physical things fill it. When it is cleared, the Ma-dang can be used for other purposes. The Ma-dang is a space that has unfixed features and can have various meanings. The Ma-dang can be categorized as a type of "chora" because the Ma-dang is an empty space that is supposed to be filled with other things and creates new things. Julia Kris Teva focuses on the concept, creating energy among many features of chora and uses chora as the psychological space where each individual`s spiritual characteristics can be plentifully felt. In Shin`s novels, the Ma-dang is a kind of chora space where an individual confronted with a awkward situation can newly see herself or himself in out-of-oneself point of view. Shin`s novels` characters get in the fantastic Ma-dang place when every day life is broken. In the Ma-dang, they meet expelled subconscious minds of their own, heel their wounds and grow up. Although the retrograde flee to subconsciousness looks like to divide and to endanger oneself, the flee is the progress to restore the desire sunken in the subconsciousness and to newly construct oneself. Vacant space in the Ma-dang expands its meaning to the general longing for the emptiness, e.g. imagination of an empty space outside a house or of inside of an empty house. Preoccupied longing for the void space outside a house represents the desire to expand oneself by using and feeling the space individually. Shin`s novels` characters set and use a space according to their own point of view and experience individuality. Especially, a vacant place out of a house shows that intrinsic meaning of a space and manifestation of individuality through space come from occupying, utilizing and filling the space not from just having the space. Therefore an ordinary house is contrary to an empty house. A house reveals desire to have and to monopolize something and is a suppressed place where social normal values are repeatedly executed. In contrast, an empty house is an amorphous place like the Ma-dang and is ready to be detected, newly felt and utilized by an individual. This study investigates the individuality making process in the Ma-dang. This study shows new viewpoint to overcome the critical estimation that Shin`s novels` female characters don`t have personality, are pessimistic. Analysis on the specified space, the Ma-dang shows more systematic and profound study of the spaces of Shin`s novels.

기형도 시의 공간 의식 연구

한금화 겨레어문학회 2008 겨레어문학 Vol.40 No.-

문학적 상상력에 있어서 공간은 경험과 상징에 의해 새로운 공간으로 인지되며 절실한 가치들의 중심지이다. 그것은 추상적 공간의 성격을 벗어나 정체성을 부여받게 된다. 작품의 내적 공간이 작가의 세계관과 깊은 연관성을 갖고 있으며, 작품의 내적 공간을 분석하는 것은 그 작가의 내면세계를 들여다보고 작품을 이해하는 적절한 방법이 될 수 있다. 기형도 시의 유년 공간은 부재나 결핍으로 나타나는데, 이러한 부재와 결핍은 화자의 존재와 세계에 대한 부정적 인식에 영향을 미친 것으로 보인다. 따라서 부재와 결핍의 차가운 유년 공간 ‘집’(방)이 환기하는 이미지는 부정적이다. 공간에 대한 이러한 부정적 인식은 ‘도시’ 공간에 대한 부정성으로 연계된다. 이 ‘도시’ 공간은 존재 순환의 법칙이 이루어지지 않는 공간이다. 이는 그 도시 공간이 그 공간에서 실존하고 있는 시적 주체의 존재론적 순환을 억압하고 있음을 의미한다. 그리하여 그는 인식의 전환을 통해 지향 공간인 ‘자연’이 지닌 우주론적 리듬으로의 일치를 향해 새로운 변화를 꾀하게 된다. 부정적 실존 공간인 도시에서는 존재 순환이 부정됨으로 인해 세계와 존재에 대한 부정적 인식이 농후했다면, 긍정적 지향 공간인 자연의 순환질서 속에 있을 때에 시적 주체는 긍정적인 존재론적 인식에 이르게 된다. 따라서 기형도 시에서 주목할 점은 존재 순환성의 충족 여부에 따라 공간에 대한 인식이 달라진다는 점이다. In literary imagination, space is perceived as a new one by experiences and symbols and is also the center of urgent values. The inner space of a work has a deep connection with a word view of a writer and to analyze this is an appropriate way for us to look into the inner world of the writer and to understand his works. ‘House’, Ki Hyung-do’s boyhood space in his poems, is expressed as absence or dearth and which seemed to influence a negative recognition of the being of the speaker and the world. Such negative recognition of space is linked with a negativity of ‘urban’ space. This ‘urban’ space, where the law of circulation of existence is neglected, suppresses the ontological circulation of a poetic subject. Therefore, he tried a new change not towards ‘nature’, a space to aim at but for the unity of a cosmological rhythm through the conversion of his recognition. The negative recognition about the world and existence is strongly expressed in that negative city, while the poetic subject has finally reached a positive ontological cognizance when being in nature’s circulatory order, an affirmative space to move toward. From this, what we should take notice of in poems of Ki Hyung-do is that the recognition of space is determined by whether or not the existence circularity is fulfilled.

오가와 요코(小川洋子)의『완벽한 병실(完璧な病室)』 고찰-‘나’를 반추하는 세 공간을 중심으로-

김선영 한국일본언어문화학회 2014 일본언어문화 Vol.29 No.-

Ogawa Yoko prioritize space when writing the novel. In 「 Perfect hospital room」there are set three scenes. The heroine ‘I’ is a housewife with no child. The first scene is a hospital room to spend with her brother. The brother would be an incurable disease, he was admitted to the hospital where I work at part-time job. The hospital room of her brother is perfect. In perfect room, the brother is dying. It is unspeakable sadness to ‘I’. So there was no choice but to say it’s perfect for me. Secondly, there is a house that ‘I’ spent with her mother. The mother was sick mentally and she was killed in robbery of bank. Before her death, the house was messy and overflowing with garbage. The perfect hospital room reminded me of the dirty house for childhood. ‘I’ was running away through marriage from the house as throwing her away. But a husband of ‘I’ is busy everyday, so he and ‘I’ can meet hardly. Absence of family makes me distorted nature. The third one is a special space that S doctor is with me. S doctor is the attending physician of my brother. S and ‘I’ have met formally, but begin to meet at a specific place special way. The place that embraced him become a special metamore phose space. S takes after the first love opponent of ‘I’. The memories of first love by S, tied to the one with the word as ‘yearning’ of brother and mother. Each space has been set up with the three best places to reflect on my inside in each situation. Also it is tied to one of the storage space by S who become a memory store.

여성의 해외 거주 경험과 탈경계적 공간 인식 - 손장순과 김지원의 유학·이민 서사를 중심으로

임정연 한국여성문학학회 2014 여성문학연구 Vol.33 No.-

This thesis aims to understand how women perceive spaces as investigating the women’s overseas dwelling experience in the 1970s and the 1980s. The study focused on novels written by Jang-sun Son and Ji-won Kim and analyzed how placeness of these cities, Paris and New York, and residential types such as studying abroad and immigration would get combined with each other. The novel by Jang-sun Son breaks these images of Paris, freedom and generosity, into pieces and re-produces Paris as a city of illusion. Son’s going to Paris to study gave her a chance to enter the inside of Paris and dig into the hidden and deep side of the city. As making use of her being a ‘woman student from South Korea’, not only does she deal with contradictions and repressions of the Korean society but also describes paternalistic violence internalized in the women. The women are considered an in-between with a ‘Parisian’ body but ‘Korean’ thinking, and they do not belong to any of France or South Korea but dispart. Paris is understood as ‘space of drift’ and there, the women realize these differences from the West and fragmentize the core. The background of the novel by Ji-won Kim is New York, and the novel talks about identities and self-awareness of female immigrants. Troubles that the women in Kim’s novel go through are basically caused by their failures with ‘building-up relationships’. Men are considered selfish and paternalistic while the women dream of stable lives through intimate relationships with the men. The women confirm otherness through their failures with building-up relationships and there, New York, the signifier, becomes a symbol of everyday insignificance. As far as the women understand, New York is ‘space of absence’ filled with silence, deportation, deficiency and loss. 이 논문은 여성의 해외 거주 경험을 통해 여성의 공간 인식 양상을 파악하기 위해 손장순과 김지원의 소설에 나타난 유학과 이민 체험이 파리와 뉴욕의 장소 정체성과 상호 결합하는 방식 및 양상을 분석한 것이다. 손장순과 김지원 소설의 여성들은 배타적 남성 공간의 안과 밖, 중심과 주변을 동시에 점유함으로써 경계 너머를 상상하게 만드는 ‘역설적 공간’을 탐색해간다. 이렇게 유학과 이민은 여성의 젠더 정체성을 확인하는 계기로 작용하고, 파리와 뉴욕은 거주와 이주 사이의 경계 공간으로 재표상된다. 손장순은 자유와 관용, 예술과 문학, 낭만과 매혹이라는 프랑스 파리의 장소 표상을 해체한 지점에서 유학 모티프와 ‘유학생 세대’의 초상을 구체적으로 형상화한다. 손장순 소설은 ‘한국인’ ‘여성’ ‘유학생’이라는 세 가지 범주가 중첩되는 지점에서 성과 연애의 문제를 통해 인종, 민족, 젠더 간의 잠재되었던 충돌과 차이를 드러낸다. 그리고 이 ‘차이’를 또 다른 이주의 동력으로 타진하면서 파리를 탈중심적 ‘표류공간’으로 형상화한다. 김지원 소설에서 여성인물들의 존재 탐색과정은 ‘뉴욕’이라는 장소가 제공하는 삶의 양식과 밀접하게 결부되어 있다. 김지원은 남성들과 친밀한 관계 맺기에 실패한 여성들을 통해 뉴욕이라는 기표를 일상적인 무의미의 기호로 환치시킴으로써 뉴욕을 침묵과 추방, 결핍과 상실의 ‘부재 공간’으로 제시한다. 이처럼 모국과 이국, 그 어느 공간에도 정착하지 못하는 여성의 모습은 새로운 이주, 혹은 경계 넘나듦의 삶의 모델로서 유목민적 주체의 탄생을 시사한다. 이렇게 손장순과 김지원은 경계 공간에서 젠더적 삶의 양식을 형상화함으로써 여성이 모든 장소에서 실존적 외부성을 체험하고 탈장소성을 실천하는 존재란 사실을 확인시켜 준다.

충격가치를 너머선 내면의 소통: 곰리(Antony Gormley)와 화이트리드(Rachel Whiteread)

전영백 서양미술사학회 2009 서양미술사학회논문집 Vol.30 No.-

Although shock might be effect of avant-gardist’s works constituting art history, the ‘shock value’ is the new concept put forward to by ‘yBa’ in the 1990s mainly for the exhibition “Sensation” at RA in London in 1997. ‘Sensationalism’ in Gombrich’s term by which he criticizes the current artworks, especially referring to some of yBa, he turns to Antony Gormley’s work as significant and valuable for today’s art. Gormley’s work pursues to materialize the space within the body, to be more precise, endowing volume to the sensation of that inner space of the body. He is said to be the first to use his own body from which he casts. In the process of casting, he experiences temporary ‘death’ by wrapping his own body and get it cast in plaster mould in the claustrophobic situation. Difficult to communicate as it seem to be, it is to do with meditation which has been quite crucial to his work on the whole. The meditational method, called ‘vipassana,’ is the name given to the Buddhist meditation practice in which the artist was trained for two years in India. Such spiritual training on the making of his sculpture is influenced on his development of awareness of the body. In the process of his work, he told that he experiences temporal death. Death can also be said to his particular concern of death mask, of which insight strongly influenced on his casting process. In his work, one can count on feeling the presence of being through the skin. In fact, his whole project is to make the work from the inside, for which he attempts to use of his own body. So his work traces and marks of his body is equated to photography. In Gormley’s words, it is a “three-dimensional photograph.” Casting process is also important to Rachel Whiteread’s work which is well described as solidifying space or embodying nothingness. Her casts in plaster, rubber and resin have a strong material presence. Postminimal sculpture as it is categorized, Whiteread’s work emphasizes materiality and gravity coming from minimal forms. And what she concentrates on is the surfaces of casts. It is because she thinks of casting in terms of removing a surface from one thing and putting it on to another, or taking an image. She has compared the process to the making of a death mask. So her work has quite similar to Gormley’s in its fundamental concern and process. ‘Photographic sculpture’ is also descriptive of Whiteread’s work. It shows almost scientific interest in the trace left by a body and obsession with the specifics of place and community. That makes her sculpture similar to photography in its fundamental structure. ‘Indexicality,’ as is characteristic of the medium of photography, is what is common between Whiteread’s cast work and photography. Photography, like casting, combines that which is present with which is other, that is the residue of original which advances and retreats in the mind of viewer. In Whiteread’s work, the surface of the sculpture is the point of contact between cast and original. The mass of plaster, as we see in her <Ghost> and <House>, taken out of its real matrix, reconstructs in negative, all the elements of the interior surface of the domestic spaces. It is <House>, a cast of Victorian terraced house situated in a typical East End neighbourhood that Whiteread’s work brought social debate on the meaning of an artwork in the community into a flame. Both Whiteread and Gormley show fundamental reversion of conventional ways of both making and perceiving. In Gormley’s case, it is, above all, intimacy and privacy that his ‘body case’ reveals in contrast to monumentality a sculpture generally pursues in conventional terms. It is why so much of his work attempts to lay the verticality of the body down, thereby he tries to reverse and denigrate the sense of dominance and male confrontationality signified in verticality. Horizontality conjured up by his work implies vulner... Although shock might be effect of avant-gardist’s works constituting art history, the ‘shock value’ is the new concept put forward to by ‘yBa’ in the 1990s mainly for the exhibition “Sensation” at RA in London in 1997. ‘Sensationalism’ in Gombrich’s term by which he criticizes the current artworks, especially referring to some of yBa, he turns to Antony Gormley’s work as significant and valuable for today’s art. Gormley’s work pursues to materialize the space within the body, to be more precise, endowing volume to the sensation of that inner space of the body. He is said to be the first to use his own body from which he casts. In the process of casting, he experiences temporary ‘death’ by wrapping his own body and get it cast in plaster mould in the claustrophobic situation. Difficult to communicate as it seem to be, it is to do with meditation which has been quite crucial to his work on the whole. The meditational method, called ‘vipassana,’ is the name given to the Buddhist meditation practice in which the artist was trained for two years in India. Such spiritual training on the making of his sculpture is influenced on his development of awareness of the body. In the process of his work, he told that he experiences temporal death. Death can also be said to his particular concern of death mask, of which insight strongly influenced on his casting process. In his work, one can count on feeling the presence of being through the skin. In fact, his whole project is to make the work from the inside, for which he attempts to use of his own body. So his work traces and marks of his body is equated to photography. In Gormley’s words, it is a “three-dimensional photograph.” Casting process is also important to Rachel Whiteread’s work which is well described as solidifying space or embodying nothingness. Her casts in plaster, rubber and resin have a strong material presence. Postminimal sculpture as it is categorized, Whiteread’s work emphasizes materiality and gravity coming from minimal forms. And what she concentrates on is the surfaces of casts. It is because she thinks of casting in terms of removing a surface from one thing and putting it on to another, or taking an image. She has compared the process to the making of a death mask. So her work has quite similar to Gormley’s in its fundamental concern and process. ‘Photographic sculpture’ is also descriptive of Whiteread’s work. It shows almost scientific interest in the trace left by a body and obsession with the specifics of place and community. That makes her sculpture similar to photography in its fundamental structure. ‘Indexicality,’ as is characteristic of the medium of photography, is what is common between Whiteread’s cast work and photography. Photography, like casting, combines that which is present with which is other, that is the residue of original which advances and retreats in the mind of viewer. In Whiteread’s work, the surface of the sculpture is the point of contact between cast and original. The mass of plaster, as we see in her <Ghost> and <House>, taken out of its real matrix, reconstructs in negative, all the elements of the interior surface of the domestic spaces. It is <House>, a cast of Victorian terraced house situated in a typical East End neighbourhood that Whiteread’s work brought social debate on the meaning of an artwork in the community into a flame. Both Whiteread and Gormley show fundamental reversion of conventional ways of both making and perceiving. In Gormley’s case, it is, above all, intimacy and privacy that his ‘body case’ reveals in contrast to monumentality a sculpture generally pursues in conventional terms. It is why so much of his work attempts to lay the verticality of the body down, thereby he tries to reverse and denigrate the sense of dominance and male confrontationality signified in verticality. Horizontality conjured up by his work implies vulnerability...

김소월 시에 나타난 山(산)의 장소체험과 공간의 의미

노철 ( Cheol Noh ) 현대문학이론학회 2016 現代文學理論硏究 Vol.0 No.65

장소체험은 집과 산의 공간적 관련성을 중심으로 유형화 하였다. 세 유형은 집을 중심으로 한 산의 체험, 집과 거리를 둔 산의 체험, 집과 단절된 산의 체험으로 분류 된다. 첫째 유형은 집에 거주하면서 야산을 체험하거나 산보 형태로 산을 오르거나 산 위에서 바다를 바라보는 체험이다. 야산에서 체험은 임의 부재에 대한 설움을 보여주며 산위에서 바다의 조망 체험은 존재의 변화와 자유에 대한 갈망을 보여준다. 둘째 유형 은 산에 거주하는 것이 아니지만 집과 거리를 둔 공간으로서 산의 체험이다. 불붙는 산은 새로운 자아를 찾기 위해 자기를 불태우는 갱신의 공간이자 임과 영웅적 인물의 현재적 부활을 꿈꾸는 공간이며, 떨어져 앉은 산은 들과 대응되는 장소로 문명과 공동 체와 단절된 공간이다. 셋째 유형은 집과 단절된 산의 체험으로 산을 걷거나 넘는 여로의 체험과 산에 갇히거나 산중에 거주하는 체험이다. 산에 갇히거나 산중에 거주하는 체험은 유랑의 피로로 인해 욕망과 꿈을 버리는 좌절의 공간이었으며, 산중에 거주 하는 체험의 시는 절대적 시공간 속에서 생명이 변전하는 허무의 공간이다. 산의 장소체험의 세 유형은 소월의 주체적 전망 모색과 좌절 그리고 새로운 미래의 상황을 보여준다. 하지만 정신적 변모 과정이라고 할 수는 없다. 소월의 시는 짧은 기 간에 동시에 발표된 시들로 소월의 정신적 구도를 보여준다. Spatial experiences are divided into types centering around differences of space. The three types are classified according to experiences of the mountain with his home as the center; experiences of the mountain with some distance from home; experiences of the mountain severed off from home. The first type is experiencing the mountain, taking a walk up to the mountain or viewing the sea from the peak of the mountain as the poet resides at home. Experiences in the mountains show the poet``s grief upon the absence of the lover while the experience of viewing the sea from mountain-top reveals the poet``s thirst for existential change as well as for freedom. The second type is the experience of the mountain cut off from home despite that the poet does not reside in the mountain. Mountain in a flame is a space where the poet burns himself in order to find renewed self. At the same time it is also a space where he dreams of the resurrection of his lover and heroic figures. Mountain at a distance becomes a counterpart of plains, place cut off from civilization and community. The third type is experiences of the mountain cut off from home, journeying through the mountain, shut up or residing in the mountain. In this case, mountain is a place of frustration where the poet dismisses his desires and dreams as the result of exhaustion from wanderings. Poems with experiences of residing in the mountain reveals sense of futility in face of changeability of life in absolute time and space. The three types of spatial experiences in the mountain show Sowol``s independent groping for future prospect as well as conditions of future broken new. However we cannot call them process of spiritual changes. Sowol``s poems were published in a short period of time and reveal the poet``s spiritual composition.

문학 : 조선시대 천관산(天冠山)의 공간 인식 양상 -유산문학(遊山文學)을 중심으로-

박수진 ( Soo Jin Park ) 온지학회 2008 溫知論叢 Vol.0 No.20

다니엘 리베스킨트 건축의 음악적 공간 구성에 관한 연구

송대호(Song, Dae-Ho) 한국산학기술학회 2015 한국산학기술학회논문지 Vol.16 No.1

본 연구는 다니엘 리베스킨트 건축작품을 분석함에 있어 어린 시절 습득하였던 일련의 음악 작업과 오페라 아론과 모세에 대한 영향을 고찰하여 리베스킨트 건축과의 상관성을 분석하고자 하였다. 그 분석의 결과를 요약하면 다음과 같다. 첫째, 리베스킨트는 악보 위에서 자유롭게 흘러다니는 음계들의 구성을 그의 건축에 차용하여 보이지 않는 선들의 집합을 만들어냈다. 둘째, 음악구조에서의 2중 선율, 즉 다성음악적 비례 형태를 바탕으로 리베스킨트는 대위법(countepoint)적 중첩의 기하학적 형태를 구성하였다. 또한, 건축과 음악과의 상호 텍스트적 결합의 결과로서 재료, 형태 등의 대비를 계획하여 하이브리드(hybrid) 즉, 다차원적인 공간구성을 계획하여 기하학적이면서도 자유로운 선적 리듬을 표현하였다. 셋째, 리베스킨트는 과거의 아픔, 공포, 불안감 등을 공간적으로 나타내고자 노력하였으며 아놀드 쉰베르크의 작품에서의 영감을 통해 그의 작업에서 부재의 공간을 구축하였다. This study is to analyze correlation between Daniel Libeskind's architecture works and the effects as a series of music works be learning in youth and opera "Aron and Mose". The results showed that First, Libeskind created convergence of invisible line by borrowing the composition of freely flowed scales in score from his architecture. Second, he composed geometrical shapes of contrapuntal reiteration based on double tune in music structure, in other words forms of polyphonic proportion. and he expressed the geometrically, freely line rhythm by planning composition of multidimensional spaces, "Hybrid", planning the contrast of material, form by results of Intertextually combination between Architecture and Music. Third, he tried to express the pain, fear, anxiety, etc. of the past spatially, and constructed "the spaces of absence" on his works through inspiration from Arnold Schönberg's works

김종삼 시에 나타난 타자적 공간 연구

김소현(Kim, So-Hyeon),김종회(Kim, Jong-Hoi) 부산대학교 인문학연구소 2018 코기토 Vol.- No.85

본 연구는 김종삼 시에 나타난 타자적 공간을 규명하는 것을 목적으로 한다. 레비나스의 ‘타자’라는 개념을 차용하여 김종삼 시에 드러난 공간을 단순히 물리적 공간(physical space)만으로 해석하는 것이 아닌, 정신적 공간(mental space), 실존의 구조로서 그의 시 세계를 논하고자 한다. 궁극적으로는 존재(시인)의 타자적인 것들로 구성된 외부적 공간이 결국 존재의 실존 문제와 직결되어있다는 점을 밝혀내는 일이다. 첫째로, 시인이 주체라는 전제하에 어린아이, 여성, 이웃과 같은 타자의 공간을 살펴보았다. 시인이 축조한 세계는 어린아이, 여성, 이웃으로 명명되는 타인의 공간이다. 이러한 타자적 공간 내부에 진입한 시적 주체는 타자들과 마주보는 형태를 보인다. 따라서 시적 주체는 타자의 얼굴을 ‘마주봄’을 통해 자신의 존재를 확인한다. 둘째로, 시인의 비극적 세계인식이 비롯된 근간을 시인이 체험한 전쟁의 상흔으로 보았다. 시인이 끌어온 레바논, 아우슈비츠 수용소 등의 이 국정서의 공간이 결국 전쟁이라는 거대한 메타포 안에서 시인이 체험한 한국전쟁과 동일한 참혹성, 폭압성을 드러내고 있다. 시인은 전쟁을 겪으며 고통 받은 이들의 비애와 비극적 정서를 공유한다. 시인은 본문에서 이국에 대한 단어들을 가감 없이 사용하는데, 여기서 이국이 주는 거리감은 느껴지지 않는다, 시적 주체는 이러한 이국적 벌거벗음 속에서 실재할 수 있다는 점을 밝혀냈다. 셋째로, 시인이 동경한 신성․초월․환상의 공간을 살펴보며 이러한 타자적 공간이 시인을 계속해서 욕망하게 만들고 강한 애착을 갖게 하지만, 사실상 신성 공간으로의 진입은 불가능하며 결국 추방당하게 되면서 주체의 욕망이 좌절될 수밖에 없는 과정을 확인했다. The purpose of this study is to examine the space of otherness found in Kim Jong-sam’s poems. Borrowing the concept of Levinas’ ‘others’, this author intends to discuss the world of his poems by analyzing space revealed in his poems not just as physical space but as mental space and also the structure of existence. Ultimately, it is to reveal the fact that space as the world of externality consisting of others to the being(poet) is directly associated with the existential matters of the being after all. First, this author has understood that the poet examines the space of others, for example, young children, women, or neighbors, under the precondition of an agent and learns that the space of others named as young children, women, or neighbors confronts the agent and allows the agent to exist as the face of others eventually. Second, this researcher regards the origin of the poet having that tragic view of the world is his wound from the war that he experienced, and the space of exotic mood that the poet draws such as Lebanon and Auschwitz Camp reveals the same cruelty and oppression that he experienced from the Korean War within the enormous metaphor of war after all, and he shares the sorrow and tragic sentiment of those in pain suffering from war. This author has learned that distance from the foreign land is irrelevant here and one can exist within that exotic nakedness. Third, examining the space of divinity․transcendence․fantasy that the poet longs for, this researcher has found that that space of otherness lets the poet keep desiring and become strongly attached, but in fact, it is impossible for him to enter the space of divinity, and finally, he gets to be exiled in the end and the agent’s desire ends up withering helplessly.

기형도 시의 공간 의식 연구

한금화 ( Kum Hwa Han ) 겨레어문학회 2008 겨레어문학 Vol.40 No.-