‘해 속의 三足烏’를 통해 본 福樂과 災禍의 의미 고찰

金珠美(Kim, Joo-Mi) 동서미술문화학회 2014 미술문화연구 Vol.4 No.4

한국의 대표적인 전통 문양으로 태양을 상징하고 이를 형상화 한 日象文이 있다. 日象文은 원으로 표현되기도 하고, 원 안에 三足烏와 같은 瑞鳥가 결합되기도 한다. 한편 ‘福樂’의 사전적 의미는 행복한 생활을 누리고 편안함과 즐거움을 얻는 것이며, ‘災禍’는 재앙과 불운으로 어려움을 겪게 되는 것을 뜻한다. ‘福樂’과 ‘災禍’에 대한 구체적인 해석은 각기 다를 수 있지만 복락은 조화롭고 풍요로운 세상, 밝고 새로운 세상, 꿈과 희망 등을 포함하며, 재화는 고난과 불행 등을 함축한다. 본고에서는 ‘해 속의 三足烏’로 표현된 한국의 日象文을 중심으로 그것이 함축하고 있는 福樂과 災禍의 의미를 고찰해 보고자 한다. 이를 위해 먼저 태양과 三足烏의 상징적 의미를 알아본 후, 원으로 구성된 日象文과 원과 三足烏가 결합된 日象文의 圖像해석을 통해 ‘해 속의 三足烏’에 나타난 복락과 재화의 의미를 살펴보았다. 그 결과 생명과 아침을 상징하는 붉은 태양 안에 죽음과 밤을 의미하는 까마귀와 같은 玄鳥를 함께 표현한 ‘해 속의 삼족오’는 밤이 지나면 아침이 오듯이 죽음과 어둠은 끝이 아닌 새로운 시작이며, 생성과 소멸은 경계 없는 동반자라는 우주론을 반영하고 있음을 알 수 있었다. 한국의 경우 태양과 三足烏와 같은 玄鳥가 결합된 日象文은 자주적 천하관을 표방했던 시기, 자주 의식이 고양되었던 시기, 통치자의 합법성이 절실히 요구되었던 시기에 주로 나타났다. 특히 대내외적으로 어려움을 겪었던 시기에 ‘해 속의 三足烏’와 같은 일상문이 많이 보이는 것은 국난이나 정치적 혼란과 같은 어려움의 시기가 지나면 밝은 세상이 올 거라는 희망의 메시지를 담고 있기 때문이다. 아울러 영혼의 운반자·天命의 使者·穀靈의 전달자의 성격을 지닌 三足烏를 日象文에 등장시킨 것은 천상에서 지상으로 태양의 정령을 전해줌으로써 하늘과 땅을 연계시키고 만물을 살리며 풍요와 행복을 이어주는 三足烏의 共生共福의 개념을 나타내기 위한 것으로 풀이된다. ‘해속의 삼족오’에 담긴 이러한 심오한 의미가 많은 이들에게 전달되고 인식되기를 희망하며, 아울러 고단한 삶을 사는 분들에게 일몰은 일출을 전제로 하며 완전한 어둠도 완전한 밝음도 없다는 메시지를 꼭 전하고 싶다. The Solar Pattern is a traditional Korean pattern that symbolizes and embodies the sun. The Solar Pattern is expressed as a circle, or combined with an auspicious bird like the Three-legged Crow in the circle. Meanwhile, the lexical meaning of ‘bongrak’ is to live a happy life and get comfort and joy, whereas ‘jaehwa’ means to experience difficulties due to a disaster and misfortune. The specific interpretation of ‘bongrak’ and ‘jaehwa’ may vary depending on circumstances, but bongrak includes a harmonious and affluent world, a bright new world and dream and hope, and jaehwa implies adversities and misfortune. This paper will focus on the Solar Pattern of Korea expressed in the ‘Three-legged Crow in the Sun’ and inquire into the meaning of bongrak and jaehwa implied therein. To this end, for starters, the symbolic meaning of the Sun and the Three-legged Crow will be examined, and the meaning of bongrak and jaehwa expressed in the ‘Three-legged Crow in the Sun’ through the iconographic interpretation of the Solar Pattern expressed as a circle and the Solar Pattern combined with the Three-legged Crow. It was found that the ‘Three-legged Crow in the Sun,’ which expressed hyeonjo(玄鳥 ; a black bird), meaning death and night, in the red Sun symbolizing life and morning, reflects the cosmology that death and darkness are not the end, but a new beginning like the morning comes after the night is over, and that creation and destruction are borderless partners. In Korea, the Solar Pattern, which combines the Sun with hyeonjo (a black bird) like the Three-legged Crow, was most prevalent when the independent perception of the world was advocated, when the independent consciousness was edified and when the legitimacy of the ruler was desperately needed. In particular, the Solar Pattern like the ‘Three-legged Crow in the Sun’ was found most often when the country was having difficulties from within and without because it contains a message of hope, i.e. a bright world will come after tough times like a national crisis or political chaos are over. In addition, the Three-legged Crow, which is a soul carrier, the emissary of Providence and the messenger of the com spirit, appears in the Solar Pattern is thought to express the notion of symbiosis and joint happiness brought about by the Three-legged Crow, which links the Heaven to the Earth by delivering the spirit of the Sun from heaven to earth, gives life to all creation, and brings abundance and happiness. It is hoped that the profound meaning of the ‘Three-legged Crow in the Sun’ will be delivered to and accepted by many people, and the message that the sunset precedes the sunrise and there is no such thing as complete darkness or complete brightness will be delivered to many people who are leading a tough life.

에드가 앨런 포우와 테드 휴즈의 까마귀

신원철 한국현대영미시학회 2011 현대영미시연구 Vol.17 No.2

We can read a kind of dark evilness in the poems of Edgar Allen Poe and Ted Hughes, and that is symbolized as a crow. They created crows as a poetic character which represents their tragic psychological situation. Poe seems to write his poem “The Raven” as a series with his dark novels and its poetic mood is sad and tragic. The poet yearns his dead woman to return, but instead of the woman, a big crow appears in front of him. It answers only “Never more” to the repeated asks of the sad poet. There is not any other accident or action in this poem but the monologue of the speaker without any answer from the crow, which makes the readers feel grotesque ambiguity. The crows of Ted Hughes are more mischievous than that of Poe. Even God cannot control this dirty and noisy crow. His crow is far more evil than Poe’s and it is also very well symbolized as an evil mentality. It is interesting to note this evilness is related with their failure of love and marriage life. Poe’s wife, Virginia Clemm died wretchedly in extreme poor financial condition. His poem “Annabel Lee” was written in the sadness after the death of his wife and “The Raven” is also related with it. Ted Hughes also experienced the suicides of two women whom he loved. Particularly the death of his wife, Sylvia Plath, was a big shock to him. But he silently stood all the reproach of the world for 35 years and published his last anthology Birthday Letters memorizing his last wife in his death year(1998). The death of women seems to cause these dark poems born and it can be another example for genius to create a good work of art in their deep depression.

한국인의 까마귀발주름의 임상적 양상과 분류

추교진,박대환,안기영,송철홍 대한성형외과학회 2004 Archives of Plastic Surgery Vol.31 No.5

Most common signs of human aging often include skin fold and wrinkles in the lateral canthal area. It is called “crow's feet”. The accordion-like activity of the orbicularis oculi muscle during movements of facial expression accentuates this phenomenon because the muscle shortens but the skin does not. The purpose of this study is to present the classification of the crow's feet and to look for it's clinical characteristics in Koreans.The pictures of lateral view of the crows feet in 105 patients taken with digital camera are classified by their age, sex, types and degree of direction. Results show that there are three types of crows feet such as upper, lower and bidirectional types. Bidirectional type is the most common type(85%), lower directional type is 15% and upper directional type is 5%. In thirties, bidirectional type is 50% but the rate of this type increases in older groups. So in over sixties, bidirectional type is almost 100%. There are no differences between the two sexes. The degree of the direction of wrinkles increases in thirties and forties, but in fifties or over no difference was seen. In summary, this study could be helpful to decide the procedure in correction of the crow's feet.

쿠트흐 신화로 본 이텔멘족의 기원과 이동 - 한민족과의 연관성을 중심으로 -

김민수,이성민 배재대학교 한국-시베리아센터 2018 한국시베리아연구 Vol.22 No.2

The Itelmens of the Kamchatka Peninsula have both southern and northern cultural elements and are distinguished from other Paleoasiatics in terms of language and culture. In addition, the Itelmens had a more developed culture. Therefore it can be seen that they have been separated from the more developed people a long time ago and moved to the Kamchatka Peninsula. The Itelmens have a crow totem, and crow Kutx is the creator and founder of the Itelmens in their myth. Although the crow-worship is widely distributed among the Northeast Asian peoples, the differences in mythology and language can regard Itelmens as a messenger that have propagated crow-worshiping idea to neighboring peoples in the process of migration to the Kamchatka Peninsula. The Itelmens crow myth reflects their idea of descent from heaven, and in that sense can be compared to the Dangun myth. In addition, the people settled around the Korean Peninsula are regard as the ancestors of the Itelmens by their ancestral cultures, the etymology of the word Kutx, the meaning of Mithi, whales, and crow Totem. The ancestors of the Itelmens moved to the present Kamchatka Peninsula through the Korean Peninsula. 캄차카 반도의 이텔멘족은 남방문화와 북방문화 요소를 모두 가지고 있으며 언어 및 문화적인 면에서 다른 고아시아계 민족들과 구분된다. 또한 더 발달된 문화를 보유하고 있었다는 점에서 오래 전에 문화가 보다 발달한 민족에서 분리되어 캄차카 반도로 이주한 것으로 볼 수 있다. 이텔멘족은 까마귀 토템을 가지고 있으며, 신화 속 까마귀 쿠트흐는 창조주이자 종족의 시조이다. 까마귀 숭배 사상은 동북아 여러 민족들에 널리 분포되어 있지만, 신화 및 언어에서 나타나는 차이점으로 볼 때, 이텔멘족이 캄차카 반도로 이주하는 과정에서 이웃 민족들에게 까마귀 숭배 사상을 전파한 것으로 간주할 수 있다. 이텔멘족의 까마귀 신화는 그들의 천손사상을 반영하고 있으며, 그런 점에서 단군신화와 비교해 볼 수 있다. 또한 이텔멘의 문화와 쿠트흐의 어원, 미티의 의미, 고래잡이, 까마귀 토템 등으로 보아 한반도 주변에 정착했던 신시베리아족이 이텔멘족의 선조이며, 이들이 한반도를 거쳐서 지금의 캄차카 반도로 이동한 것으로 볼 수 있다.

宮澤賢治の「烏の北斗七星」の対比と隠喩表現

朴京娫 한국일본언어문화학회 2019 일본언어문화 Vol.49 No.-

「Crows and the Big Dipper」by Miyajawa Kenji was written during the Japanese Intervention in Siberia. The literary field of that time was the period when writing was difficult because of the strict censorship and control. This study focuses on the inner world of Kenji through looking into his works during this period. Crows and the Big Dipper, personifying crows and likening a herd of them to soldiers and warships, signifies the writer’s message and is full of a variety of comparisons and metaphors. The background where flying crows controlling warships and the hero crow’s activities so naturally and impressively written that readers would not find any fault. Despite the background, this work actually depicts the world of adults through the eyes of children with pure sensibilities, beautifully depicting winter sceneries that evoke the purely sensible nature. This study analyzes「Crows and the Big Dipper」according to six steps. The six steps correspond to the introduction, the conclusion, as well as the introduction, the development of the theme, conversion, and summing up. Using comparisons and metaphors as methodology, this paper studies the connectedness between the work and its Zeitgeist, the fluctuations of the hero’s status, and the introduction and the conclusion of the work. In sum, this paper examines the message the author intended for his readers through the structure of the work and metaphors. This paper focuses on the division of the work into six parts through the coexistence with the enemy, the esthetics of self-sacrifice as a major tool of understanding the work. Through the analysis, it is realized that the work is significant in its double structure of the introduction that signifies the final message and Kishōtenketsu. Through comparisons and metaphors, the study examines the hidden frame of mind, thoughts, and sense of values of the author. This study argues that the mystery that comparisons and metaphors throughout the fairy tale produce and their literary effects result in the special literary structure.

<SF8 : 하얀 까마귀>에서 드러나는 성도착적 서사의 징후 - 슬라보예 지젝의 논의를 중심으로

허의진 한국문학회 2021 韓國文學論叢 Vol.89 No.-

This paper aims to analyze the narrative of White Crow among the short stories of SF8 (2020) produced jointly by OTT service “Wavve” and MBC, focused on the discussion of Slavoj Žižek. The reason why this study focuses on White Crow is that this film deals with the representation of Trauma. Trauma is a word that Freud explained together while clarifying Unconsciousness, and it is not a concept of an obstacle that can be completely overcome. Taking over Freud, Lacan refers to it as a “fundamental fantasy.” This concept is also not insurmountable, but close to the concept of the void in which fantasy is disturbed and captured again in Traversing the fantasy. However, in White Crow, trauma appears as a concept played by a machine called “IOM2”. In other words, IOM2 provides an individual with a 'customized fantasy, and an individual accesses the machine and plays it. At this point, this paper asks two questions about the trauma reproduced by White Crow. First, it is a question about whether trauma is Juno's. In other words, it is a judgment as to whether her trauma is a real trauma or a plausible trick reproduced by the machine. Next is a question about the external situation in which Juno has no choice but to access the trauma machine. That is to say, along with the reasonably chosen “trauma game” to continue her game BJ activities, it is a question about the situation in which she reveals and commercializes her trauma in the name of “play” in front of tens of thousands of anonymous people. The two questions raised by this study can be said to be expanding to critical work on the present in that they are connected to external situations where trauma has no choice but to “play” along with the work of psychoanalysis of the relationship between virtual and reality. In this process, this study mainly refers to the study of Slavoj Žižek. Based on this, this study reveals that the narrative of “White Crow” reveals a sign of perversion revealed by overlapping imaginary things and the Real when the symbolic Other is stopped. In particular, one of the phenomena among the signs of perversion is the impossibility of solidarity. 본 논의는 OTT 서비스인 ‘웨이브’(Wavve)와 MBC가 합작하여 제작한 <SF8>(2020)의 단편 중 <하얀 까마귀>의 서사를 슬라보예 지젝의 논의를 참조하여 분석하고자 한다. 본 연구가 <하얀 까마귀>에 주목하는 이유는 영화가 트라우마의 재현을 다루고 있기 때문이다. 트라우마란 프로이트가 무의식을 규명하면서 함께 설명한 개념으로, 그것은 완벽하게 극복이 가능한 장애물의 개념이 아니다. 프로이트를 이어받으며 라캉은 이를 ‘근본환상’이라고 지칭한다. 라캉의 이 개념 역시 마찬가지로 극복 가능한 것이 아닌, 환상의 횡단 속에서 환상이 교란되고 다시 포착되는 공백의 개념에 가깝다. 하지만 <하얀 까마귀>에서 트라우마는 ‘IOM2’라는 기계에 의해 게임으로 플레이되는 개념으로 등장한다. 즉 IOM2는 개인에게 ‘맞춤화된 환상’을 제공하고 개인은 기계에 접속하여 이를 플레이하는 것이다. 여기에서 본 논문은 영화가 재현하는 트라우마에 대하여 두 가지의 질문을 던진다. 먼저 트라우마가 정말 주노의 것이 맞는지에 대한 질문이다. 즉 그녀의 트라우마가 진짜 트라우마인지, 아니면 기계가 재현하는 그럴듯한 속임수인지에 대한 판단이다. 다음으로 주노가 트라우마 기계에 접속할 수밖에 없는 외적 상황에 대한 질문이다. 즉 자신의 게임BJ 활동을 지속하기 위해서 합리적으로 선택한 ‘트라우마 게임’을 이름도 얼굴도 모르는 수만 명 앞에서 ‘플레이’해야 하기 때문이다. 다시 말해서 개인의 트라우마를 공개하고 상품화하는 상황 자체에 대한 물음이다. 본 연구가 제기한 두 질문은 가상과 실재의 관계라는 정신분석의 작업과 더불어 트라우마를 ‘플레이’할 수밖에 없는 외적 상황과 연결하고 있다는 점에서, 현재에 대한 비판적 작업으로 확장하고 있다고 할 수 있다. 이 과정에서 본 연구는 주로 슬라보예 지젝의 연구를 참조한다. 이를 바탕으로 본 연구는 <하얀 까마귀>의 서사가 상징적 유효성이 중지되었을 때, 상상적인 이미지와 실재의 중첩 그리고 이로 인하여 드러나는 성도착의 징후를 밝히고 있다. 이때 성도착의 징후가 두드러지게 드러나는 현상 중 하나가 바로 연대의 불가능함이다.

The Mirror Motif in the Crow’s-Eye View (Ogamdo) Poems

( Sone Seunghee ) 서울대학교 규장각한국학연구원 2016 Seoul journal of Korean studies Vol.29 No.1

The works of the avant-garde Korean writer Yi Sang (1910-1937) have puzzled many readers and confused many analysts. When his Crow’s-Eye View (Ogamdo) poems were first serialized in a Korean newspaper in 1934, Yi Sang’s playfulness was misread as a meaningless repetition of signs and regarded as an insult to his readers. The newspaper even stopped printing them before the series was complete. Most critics have sought only to unravel the content of the Crow’s-Eye View poems and have not asked why he played with the poetic form itself. In this paper, I analyze a selection of Crow’s-Eye View, paying close attention to Yi Sang’s mirror motif and the theme of confinement he draws from it. I show how he manifests and undermines “the modern” through his deployment of this and other literary devices. I explore the political and historical position of the “modern boy” through his use of dissonance―combining a dark mood with a playful tone―and the strong visual elements in his poetry. Further, I try to provide a perspective from which to examine Korean literary modernism in the 1930s, and argue that Yi Sang’s cryptic style can offer an appealing introduction to modern Korean poetry for Western readers.

융의 무의식 이론에 의한 조감도(鳥瞰圖)와 오감도(烏瞰圖)에 내재된 이상의 건축적 성향에 관한 연구

이재인 한국문화공간건축학회 2015 한국문화공간건축학회논문집 Vol.- No.51

This study set out to examine and analyze the personal history of Lee Sang based on the unconscious theory of Carl Gustav Jung and also analyze his architectural tendencies inherent in his Bird's-Eye View and Crow's-Eye View, thus shedding light on his new aspects as an architect and proposing a new direction for context comparison and convergent study between literature and architecture based on the psychoanalytical theories. The findings were as follows: first, there were several symbols to imply modernism architecture found in his early poems before he contracted tuberculosis including Bird's-Eye View, but his understanding of modernism seems superficial. Second, the continuity of postmodernism rather than the discontinuity of modernism was found in his Crow's-Eye View created during the period when he faced the fear of death and also in other poems of his from the period through the transformation of traditional texts instead of architectural implications. Third, his Bird's-Eye View emphasized the position of ego that was the center of consciousness, whereas his Crow's-Eye View made an approach toward the self-archetype of unconsciousness from the perspective of Jung's unconscious theory. Finally, while his Bird's-Eye View presented poetry of modernism to destroy the composition of old poetry and advocate the severance of tradition, his Crow's-Eye View put the images of dual values in front through the ambiguity of symbols and showed the collapse of his modernism ideal, thus pointing to the directionality of postmodernism.

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.

앤디 워홀 회화의 표면성에 관한 이론적 논의

이은이(Eun-Yi Lee) 현대미술사학회 2004 현대미술사연구 Vol.16 No.-

Andy Warhol's repetitive style of silkscreen use, his frequent appropriation of popular and commercial images, and his position at the turning point to Postmodernism provide art critics with diverse options for discussion. Ever since his famous comment, "Just look at the surface of my painting. There I am. There is nothing behind", interpretation on his art has been divided into two parts; one is to literally accept his idea, and the other is to create a deeper meaning behind the idea. Jean Baudrillard, one of the most prominent post-structural theorists, valued Andy Warhol as the most important artist who visualized modern society as images that take over reality. To Baudrillard, Warhol's art infinitely reproduces commercial images and signs, represents the logic of the modern consumer society and a technology-dominated era. Therefore his art is just a surface that lacks reality. On the contrary, Thomas Crow emphasized that we need to see his art itself, and Crow made clear deep meanings under the surface of Warhol's images. Based on the fact that overall images of Warhol's art are close connected with death, Crow suggested that Warhol, in his Death and Disasters' series (1962-1965), expresses a mourning sentiment over death, and implicates a sharp critical view on society and politics. But Albert Borgman and Anthony King criticized Baudrillard's hyper-reality as an illusion that ignores reality, so his hyper-reality theory will be dismantled to show that there are cracks in reality. Paul Mattick criticized Crow's idea, which overlooked the evident fact that the surface of mass media and commercial signs are his art. While criticizing each other, those opposing groups arrived at a more persuasive argument It means that Warhol's pictorial surface has a paradoxical structure. As Carter Ratcliff and Daniel Herwiz pointed out, "penetration impossible" and "resistance" of Warhol's surface caused an unwavering interest in Warhol's images. Hal Foster argued that Warhol's painting is surface and at the same time it has deep meaning. He employed the psychoanalytical concept of Jacques Lacan to explain the paradoxical structure in Warhol's painted surface. The Real, Lacanian concept, is connected with Trauma. Since the Real is impossible to be fully understood, it slips on surface. But the Real returns onto the surface through the shock and scar in the scene of Warhol's painting and the rupture and shaking of image. He read Warhol's painted surface as the traumatic meaning of the Real. Accordingly, Foster reached a conclusion that Warhol's image is the modern viewpoint of the optical unconscious, historical confusion between individual and public, hysterical connection between the subject and the object, a forged psychological situation through disasters and death fabricated by mass media. This study pays attention to Hal Foster's interpretation as an alternative to the polemic view on Andy Warhol's art. Foster succeeded in providing a comprehensive view on the paradoxical structure of Andy Warhol's surface with appropriate explanation of the question of resistance on the surface. As Slavoj ?i?ek and Mark Seltzer pointed out contemporary art not only observes the return to the flatness that resurrected in the era of Postmodern art which blurred hard and fast rules about perspective, but also shows the return of body, the return of trauma, and the immersion to trauma. Andy Warhol's shocking scenes of 1960's "Death and Disasters" proves that Andy Warhol was already at the turning point to the new era with the controversial surface that kept raising a question about the tug-of-war between reality and image, what is outside and what is beneath.