근대 이전 한글 애정 편지의 양상과 특징

이기대(Lee Gi-dae) 고려대학교 한국학연구소 2011 한국학연구 Vol.38 No.-

본 논문은 근대 이전에 작성된 한글 애정 편지의 양상과 그 특징에 대해 관련기록과 실제 자료를 토대로 논의하는 것을 목적으로 한다. 그리고 이러한 편지가 남성과 여성이 공식적인 부부의 관계를 맺지 않은 상태에서 주고받은 것이라는 점에서, 이들 편지를 통해 근대 이전의 애정문제에 대한 사실적 접근을 시도한다. 한글 편지를 활용하여 부부의 관계가 아닌 인물들이 애정의 감정을 주고받았다는 것은 한글 창제 이후 얼마 지나지 않은 시점부터 관련 기록을 통해 찾아 볼 수 있다. 특히 궁궐 안의 궁녀나 후궁도 애정 편지를 보내고 있으며, 궁궐 밖의 민간인들도 남녀 간의 은밀한 감정을 편지를 통해 표현하고 있다. 그리고 이러한 관계를 보여주는 편지의 실제 자료로 공개된 것은 19세기에 작성된 것들이다. 이들 편지의 내용을 보면 서로에 대한 일상적인 관심에서 경제적 문제에 대한 고민, 애절한 사랑의 고백에 이르기까지 다양한 양상으로 전개되고 있다. 이 가운데 상대방의 감정을 확인하고자 편지를 보내지만, 이것이 받아들여지지 못하여 괴로워하는 내용의 편지들이 주목된다. 이처럼 부부가 아닌 남녀가 애정의 감정을 담아 보낸 한글 편지는 현대적 의미로 연애편지라 할 수 있다. 이런 측면에서 근대 이전의 애정 문제에 실질적으로 접근하기 위해 한글 편지를 연구하는 것은 의미가 있다고 판단된다. The purpose of this study was to discuss aspects and characteristics of premodern Hangeul (Korean alphabet) love letters which men of noble family exchanged with concubine and gisaeng (woman professional entertainer in the era of Joseon dynasty) in the pre-modern. In this study, their relationships were considered private relationships since they were not any official couple in marriage, and the letters they exchanged with each other were considered love letters on the basis of content in letters. The historical fact that Hangeul letters were used for people of private relationships to exchange any sentiment of affection was well evidenced by relevant records from the period that was not long after the invention of Hangeul as Korean alphabet under the supervision of King Sejong. In particular, it is historically evidenced that court ladies and royal concubines in the era of Joseon dynasty exchanged love letters with men of nobility, and even common people outside court exchanged love letters with others in their private relationships. An actual evidence of these love letters has been lately found to originate from the 19th century. It is found that content of this evidence in form of letter develops in a variety of aspects including usual interests for each other, concerns about financial difficulties and confession of pathetic love. Particularly, it is noteworthy that there were some premodern Hangeul letters that were written by sender to confirm partner’s intentions but ended up in agony of mind due to unaccepted proposal of sender. Hangeul letters written with any sentiment of affection between a man and a woman in their private relationships, not in marital relationships, are reasonably considered ‘love letters’ in our contemporary sense. In this context, it is meaningful to examine premodern Hangeul letters to take a practical approach to matters of love affair before modern time of Korea.

연애편지의 수사학

장혜영(Jang Hye-Young) 한국수사학회 2014 수사학 Vol.0 No.21

The aim of the study is to examine the rhetoric strategies of love. Persuasion is the act of convincing someone to do something or to believe. Love letter is a form of utterance with a clear purpose to achieve the someone‘s heart. Therefore analysing love letters is a relevant way of investigating the diverse rhetorical strategies. Choderlos de Laclos’s the epistolary novel, Liaisons Dangereuses will be analysed here. The rhetorical tropes are examined especially in the two couples’ letters. First, the letter of Valmont (to Madame Tourvel) and the letter of Danceny (to Cecile) will be discussed. Examined rhetorical techniques used in the love letters, I analyse the rhetorical situation of the letter of Valmont and Danceny as the role of addressee(audience)and the type of letter. The type of letter was corresponded with three genres of classical rhetorics such as judicial, deliberative and epideictic genres. For next stage of analysis, I applied the three of the five canons of rhetorics, which were used for the discovery of arguments comes from Aristoteles as reference framework, They were inventio, dispositio, and elocutio. The topos of the declaration of lovers, the organisation of dicourse, the strategy of argumentation, the expression of sentiment of love, figure of speech, and three Aristotle categories of persuasion (ethos, logos, pathos) were analysed. Through these analyses, I found that the letter of Valmont was the forme of judicial genre and the letter of Danceny was the form of epideictic genre. In case of persuasion in love letter, the epideitic genre in the letter of Dancey was more powerful than the judicial genre in the letter of Valmont. The former took the rhetorical strategy of exaggeration for the sentimental appeal. On other hand, the latter took the demonstration trope for mutual faith and sound judgement. Because, we could not reason love in itself. Only we can sense and feel love.

연애편지로 읽어보는 와일드의 『가슴 속 깊은 데서』

이순구(Soonku Lee) 19세기영어권문학회 2008 19세기 영어권 문학 Vol.12 No.2

This paper is a study on De Profundis as a love letter. By proving that this prison letter is a love letter written by Oscar Wilde to Alfred Douglas in Reading Gaol, I want to show that this prison letter subverts the conventional form of the novels. In conventional novels love between man and woman is usual and so erotic heterosexual feelings are common. Hetero-sexuality is a main theme in almost all the traditional forms of novels, poems and dramas. However, in De Profundis Wilde experiments with a new kind of writing when he makes his love for Douglas clear. Erotic feelings for another man is presupposed in this letter. Wilde started his letter expressing his hatred and despise toward Douglas, who had not written to him for a long time just because Wilde didn’t allow him the dedication of his poetry to Wilde. Wilde found this to be an insufficient excuse for cutting off communication. However, recalling his past life with Douglas before his confinement and reconstructing it in his mind Wilde confessed that Douglas had loved him really and he himself loved him as mother loved her own child. Moreover, he introduces another lover, Robert Ross, into the letter and portrays him as an ideal friend. This must have hurt Douglas. However, this was just a gesture to make Douglas feel jealousy for Ross. Inspiring jealousy for the rival in a lover when the lover doesn’t show enough love is one of the traditional methods of love between man and woman. Wilde here makes use of a triangular relationship of love to get back Douglas’ love. Therefore, we can conclude that Wilde regarded homosexuality as the same thing with heterosexuality in its essence.

다음성적 구조와 소통의 거리 발견

윤향기(Yoon Hyang-Ki) 한국비평문학회 2007 批評文學 Vol.- No.26

The first genre of human literature is a letter which is connecting a man to a man through a medium of words. 『Strange Love Letter』, an epistolary novel written by Da Eun Kim, expresses an old castle as a perfect place for people to meet and part from each other through which the author cries to montage manhood and womanhood. The novel showing the most advanced epistolary sense, on the other hand, is associated with 『Da Vinci Code』. Readers can feel chilled suspense and close rhythm of dialogic style which young generation more prefers. The reason why people can listen to foreign music for hours even if they don't know the language, is that its own rhythm is alive. Rhythm entertains people and makes them happy. Yes, the reason why articlesin newspaper are not exciting peopleis because there is no rhythm in them. The best strategy of writing is not repeating but finding rhythm. The novel 『Strange Love Letter』 is therefore very special on attracting readers' eyes via rhythm. This novel is a story about a spot where poisoning murders are continuously happening for centuries because of a fake letter that couldn't be delivered to the right person. The novel is quite readable as the author uses diverse literary styles and expresses different characters' contrasting thoughts and emotions quite sufficiently under the characteristic of the genre of letter. In particular, the best attraction is that this work can sense a delicate change of mentality incurred by exchanging mutual reflection between characters. A letter seems to be very limited as a format of a novel since it is a unilinear communication method between a sender and receiver. However, the author completes an epic drama by using diverse imaginations and expanding the relation networks. An unveiled letter is surely a letter but not a letter either. As the letter of countess Urgong that Daniel recited earlier, a letter becomes everyone's as soon as it is read by someone. This open letter read by people becomes a type of literature. In this era when ideology and taboo on sex disappearand old fashioned themes are not exciting people as a story of a novel any more, the novel 『Strange Love Letter』 boosting thrill and imagination must be a work that left footprints in our history of literature. It is certain that this novel 『Strange Love Letter』 becomes a cornerstone that settles an epistolary work down as a genre of literature into our history of literature.

淸代浙江閨秀作家情書之管窺

강유나 영남중국어문학회 2011 중국어문학 Vol.0 No.58

In Qing Dynasty literary world, there were lots of women writers. They were good at poetry and ci, skilled in calligraphy and painting and they also wrote articles. This paper takes the women writers` love letters in middle Qing Dynasty for example and analyzes its ideological content from three respects: lovesickness, propitiating the husband and educating the children and poetry letters. Then this paper studies these love letters` emotional characteristics through comparing them with the love letters writing by the women writers from different identities, areas and times. Through the research on women writers` love letters, we hope to espy their marriage life and emotional state and deepen the study of Qing Dynasty women literature.

릴케를 통한 시적 전신(轉身) ― 전봉건의 ‘사랑의 노래’를 중심으로

송현지 한국비평문학회 2020 批評文學 Vol.- No.76

By analyzing that Jeon Bong-keon's poetic transition - delivery and discontinuance of ‘song about love’, this study aimed to identify that Jeon Bong-keon sought attitude and method as a poet fighting back against the ruins of postwar period through Rainer Maria Rilke. This was done with the judgment that Jeon Bong-keon referred to Rilke at every aspect of thinking about what to write as a poet at this moment, at this place based on his confession that he took Rilke’s attitude as poet as his own poetic mirror. After the end of the Korean War, Jeon Bong-keon changed his poetic direction by singing ‘song about love’ after questioning his identity as a poet to Rilke. The direct cause of singing ‘love' so abruptly, for a person who had been writing war poems based on participating in a war, was discovering vital power from ‘love’. However, when seeing that such a transition took place right after questioning Rilke and that ‘love’, which he chose as a way of fighting back, was eros, it can be assumed that he had been influenced by Rilke since Rilke not only emphasized recovery of humans’ basic and simple desire such as sex as a way to resolve problems of contemporary era but also suggested the vocation of a poet which Jeon Bong-keon tried to achieve through ‘song about love’ by seeing poet as the existence who can give birth to new life like women. His poetic strategy to overcome ruins through ‘love’ discontinues after 「Repetition for Love」, 「Chunhyang Yeonga」, and 「Inner Sea」 and he changed direction toward singing about the scars of war again since he realized that ‘song about love’ cannot be a sound way of overcoming reality in the process of singing ‘song about love’ through the mouths of Chunhyag and Cheoyong. The next step he took through Chunhyang and Cheoyong after confronting impossibility of love shows that he obtained an answer from the essay on poetry by Rilke. Their accepting impossibility of love, facing reality, and neutralizing life and death, hope and despair, and confrontation between scar and love coincides with the step of ‘woman in love’ who faced impossibility of love which Rilke praised. Jeon Bong-keon acknowledging that the scars of war are always accompanied in life after discontinuing singing ‘song about love’ and not trying to overcome them and accommodating them in reality was the way of love ultimately pursuing Rilke and the way of writing poems. Jeon Bong-keon practiced Rilke's poetry by going beyond and singing another ‘love’. 본 연구는 ‘사랑의 노래’의 타전과 중단이라는 전봉건의 시세계에서의 두 번의 시적 전환이 전봉건이 릴케의 시학을 능동적으로 전유한 흔적임을 분석함으로써 전봉건이 릴케를 통해 전후의 폐허에 응전하는 시인의 태도와 방법을 모색해갔음을 밝히고자 하였다. 이는 릴케의 시인으로서의 태도를 자신의 거울로 삼았다는 그의 고백에 기대어 그가 지금-이곳에서 시인으로서 무엇을 해야 하는가를 선택해야 했던 기로마다 릴케를 참조하였다는 판단에 의해서였다. 전봉건은 전후의 폐허에서 시인으로서의 정체성과 시인의 소명에 대해 궁구하며 릴케에게 질문을 던진 이후, 폐허에 응전하는 첫 번째 방법으로 ‘사랑의 노래’를 부르는 것을 선택하였다. 전투시를 쓰던 그가 시적 방향을 선회한 직접적인 원인은 사랑에서 생명력을 발견하였기 때문이었지만, 그러한 전환이 릴케에게 질문을 던진 직후에 이루어졌으며 그가 선택한 사랑이 에로스를 뜻한다는 점에서 이는 릴케의 영향으로 해석된다. 릴케 역시 현대의 문제를 해결할 수 있는 방법으로 성(性)과 같은 인간의 기본적이고 소박한 욕구 회복을 강조하였을 뿐만 아니라 시인을 여성과 같이 생명을 낳을 수 있는 존재로 봄으로써 전봉건이 ‘사랑의 노래’를 통해 의도한 시인의 소명을 선취하고 있기 때문이다. 그런데 사랑을 통해 폐허를 극복해보려는 그의 시적 전략은 「춘향연가」와 「속의 바다」를 거친 후 중단되고, 그는 전쟁의 흔적이 남은 현실을 노래하는 것으로 방향을 바꾼다. 그것은 ‘사랑의 노래’가 전쟁의 폐허를 극복할 수 있는 온전한 방법이 되지 못한다는 것을 그가 춘향과 처용의 입을 빌려 ‘사랑의 노래’를 부르는 과정에서 깨달았기 때문이었다. 그런데 사랑의 불가능성 앞에서 춘향과 처용은 좌절하기보다는 현실을 직시하며 이를 다른 창조의 가능성으로 승화한다. 이러한 춘향과 처용의 모습은 릴케가 찬양하였던 ‘사랑하는 여인들’의 행보와 일치하는데 이는 그가 여전히 릴케의 시론에서 모종의 해답을 얻고 있었음을 보여준다. ‘사랑의 노래’를 중단한 후 전봉건이 전쟁이 남긴 상처를 극복하려 하기 보다 그것이 언제나 삶과 함께 하는 것임을 인정하고 전쟁의 기억을 소환하는 것은 우리의 삶이 전쟁 이전으로 돌아갈 수 없으며, 전쟁이 남긴 상처는 극복될 수 있는 성질의 것이 아님을 그가 깨달았기 때문이다. 그는 처용이 ‘일식의 춤’을 추었던 것처럼 폐허에 맞서는 방법으로 폐허를 노래하는 과정에서 오히려 다른 이에게 각인된 전쟁의 상처를 포용하게 된다. 이는 릴케가 궁극적으로 추구하였던 융합과 헌신, 그리고 유대로서의 사랑이라는 점에서 그가 전(全) 전 시작 과정에 걸쳐 릴케의 시학을 실천하였음을 증명한다.

『플로스 강의 물방앗간』에 나타난 여성적 주이상스의 추구

이지현(Jihyun Lee) 19세기영어권문학회 2019 19세기 영어권 문학 Vol.23 No.1

This paper is an exploration of feminine jouissance and Philip Wakem in George Eliot’s The Mill on the Floss, from the perspective of the Lacanian concept of sexual difference. In the novel, Philip is demarcated from the other male protagonists, Tom Tulliver and Stephen Guest with regard to masculinity. In fact, Philip is diametrically opposed to them, importantly, in respect to how he expresses his love towards Maggie Tulliver. Philip’s unconditional love for Maggie can be read as corresponding to the Lacanian notion of the subject’s unconditional fidelity towards the Other. Significantly in chapter Ⅶ of Encore, “A Love Letter,” Lacan enunciates the difference between a feminine structure, characterized by feminine jouissance, and a masculine structure, characterized by phallic jouissance, in a sociocultural, not a biological, context. Although it is remarkable that Philip’s love letter to Maggie encapsulates the concept of feminine jouissance, relatively little attention has been paid to this insightful man within contemporary criticism of The Mill on the Floss. Therefore, by drawing an analogy between Lacan’s “A Love Letter” and Philip’s love letter, this paper offers a new interpretation of Philip as a subject who pursues feminine jouissance beyond what Lacan defines as the symbolic order. In addition, this paper also provides a new representation of love through Philip in relation to the Lacanian notion of femininity.

영화 <러브레터>에 대한 정신역동학적 고찰 -상실의 외상과 반복강박, 동결된 기억의 해빙과 치유의 관점에서-

정승아 한국문학치료학회 2020 문학치료연구 Vol.55 No.-

This paper presents an in-depth psychological analysis of the film <Love Letter>, often to be considered as a lyrical drama that awakens memories of a long-lost love. To this end, this paper divided the contents of the film into three key elements. First, it showed that the psychological impact of traumatic memories related to the loss of love is the key to the inner psychological process of the characters in the story development of the film. In addition, the author discussed the meaning of the release of frozen memory through a process in which the traumatic experience is established as a frozen memory and subsequently revealed as repetition compulsion. Finally, the author showed that such a process might take place due to a conflict between the instinct of life and death behind the process of memory intrusion. The analysis indicated that the film depicts the process of accepting traumatic loss as the thawing of memories and integration of identity that eventually leads a healing experience. Through this discussion, this paper aimed to show that <Love Letter> is a film with abundant psychological implications-it conveys the essence of love and how it becomes a trauma experience, which, in turn triggers an internal process of subsequent healing. 본고는 자칫 아련한 옛사랑의 기억을 떠올리게 만드는 서정적인 애정 영화 정도로만 간주되기 쉬운 영화 <러브레터>를 심층심리학적 관점에서 분석해 보았다. 이를 위해 영화의 내용을 크게 세 가지 핵심 요소로 나누어 심리학적 고찰을 시도해 보았다. 우선, 이 영화의 스토리 전개에 있어서 인물들이 겪고 있는 내면 심리 과정 속에 애정의 상실과 관련된 외상적 기억들이 미치는 심리학적 영향이 핵심 요소로 자리 잡고 있다는 것을 보여주었다. 아울러 그 외상경험이 동결된 기억으로 자리 잡고 반복 강박현상으로 드러나는 과정을 통해 그 동결된 기억이 풀려나는 과정이 어떤 의미를 갖는지를 고찰해 보았다. 마지막으로, 그러한 심리과정은 배후에서 삶의 본능과 죽음의 본능이 서로 길항적으로 작용한 결과로 바라볼 수 있으며, 궁극적으로는 기억의 해빙과 정체성의 통합을 통해 외상적 상실 기억을 수용하고 결국은 치유적 경험에 도달하게 되는 과정을 그린 것으로 분석하였다. 이러한 분석과 고찰을 통하여, 본고는 <러브레터>가 사랑의 본질이 무엇인지, 그 사랑이 어떻게 외상경험으로 자리 잡게 되고 그 경험은 이후 치유에 이르는 어떤 내면 과정을 촉발하는지를 보여주는 심리학적 의미가 풍부하게 내포된 영화라는 것을 보여주고자 하였다.

하데위히의 신비문학: 궁정풍 문학과의 관련성

신소희 한국문학과종교학회 2016 문학과종교 Vol.21 No.3

하데위히(Hadewijch of Antwerp)는 중세 그리스도교의 여성 신비가이며 베 긴이고, 신비문학가로서 13세기 전반에서 중후반 무렵에 현대의 벨기에의 안트 베르펜을 중심으로 활동한 것으로 추정한다. 그는 다양한 문학 장르를 통하여 자신과 신적 연인 민느(Minne)의 신비적인 사랑의 길을 저술하면서 궁정풍 사 랑의 구도 및 관용적 어법을 사용하였다. 본 연구는 하데위히의 작품 안에 궁정 풍 사랑의 특성과 상응하는 내용들을 조사하여 그의 작품 안에 궁정풍 사랑의 요소들이 풍부히 담겨 있음을 제시한다. 이를 위하여 그의 작품 중에서 『편지』 와 『비전』 을 중심으로 살펴보았다. 하데위히는 궁정풍 사랑을 해석의 틀로 삼 아 신비 작품을 저술함으로써 독자들이 그리스도교의 신비적인 길을 쉽게 이해 하도록 도움을 주었고, 그들에게 사랑할 수 있는 상대를 신적 연인으로 확장하 여 사고하도록 의식의 지평을 열어주었을 것이라고 생각한다. 위와 같은 자료를 토대로 볼 때 과연 하데위히의 작품들은 종교적 궁정풍 문학이라고 할 수 있겠 다. Hadewijch of Antwerp is a 13th-century female mystic, beguine and poet, who is thought to have lived in Antwerp, in present-day Belgium. As a writer of medieval Christianity, Hadewijch adopts the structure and idioms of courtly love to depict her mystical love with Minne, a divine lover. This study demonstrates how the works of Hadewijch follow the conventions of courtly love through examining the various elements of her works that correspond closely with the characteristics of courtly love. For that, this research mainly focuses on her “Letters” and “Visions”. By adopting the popular genre of her time, courtly love, she explores the way of Christian mystical life. She invites the reader to conceive of a divine lover to expand the horizon of Christian consciousness, and thus the perspective on Christian mystical life is widened. Hadewijcj’s works are superb examples of religious mystical writing in the tradition of courtly love.

일반논문 : 1920년대 "편지의 배치와 감수성의 문학

장인수 ( In Su Jang ) 한민족문화학회 2013 한민족문화연구 Vol.42 No.-

1920년대 초에 널리 퍼진 서간체 소설은 편지가 진실만을 중개한다고 하는 공리에 기반을 두고 있었다. 당대 문학적으로 충분히 훈련을 받지 못한 독서 대중들은 문학성을 평가하는 기준이 아직 없었기 때문에 ``진실성``을 유력한 기준으로 채택했다. 그것은 ``눈물``이라는 육체적 반응에 의해 확인되는 다분히 주관적인 개념이었다. 잘 울 수 있는가는 ``감수성``이 있는 사람인가 아닌가를 나누는 기준이 되었다. 『사랑의 불꽃』을 필두로 한연애편지의 유행은 자유연애사상에 편승한 것이었지만, 문학애호가의 특권으로서 ``감수성``을 부각시킨 사건이기도 했다. 그러나 『사랑의 불꽃』의 상업적 성공은 편지의 진실성을 결과적으로 훼손했다. 편지의 진실성은 의심 받기 시작했다. 염상섭은 편지의 진실성과 그에 대한 의심이라고 하는 주제를 그의 소설들에서 성공적으로 보여주었다. 그는 3·1운동 이후 정열을 잃고 우울증적 상태에 빠진 조선 사회에 ``함께 울 수 있는 장``을 ``편지``라는 장치를 매개로 마련했다. 한편 임화도 편지 형식을 차용한 시들을 1920년대 말 잇따라 발표했다. 당시는 카프 내에서 대중화에 대한 논의가 진행 중에 있었다. 당대 ``편지``는 대중적으로 큰 영향력을 인정받은 문학적 장치였기 때문에 임화의 시도가 ``대중화``와 무관하지 않으리라는 것은 짐작할 수 있다. 김기진 역시 임화 시의 대중적 호소력을 직감하고 높이 평가했다. 그러나 임화는 이 대중을 염두에 둔 실험의 감상주의적 성격에 대해 자기비판하지 않을 수 없었다. 1930년대 모더니즘 운동이 시작되면서, 1920년대 감수성을 자극하는 문학은 ``감상주의``로 비판을 받게 되었다. 문학성을 판단하는 기준이 없었던 시대의 문학에 대해 이 ``감상주의``라는 비판은 다소 가혹한 면이 있다. The epistolary novel is based upon the premise that the letter stick to the facts. In the early 1920s, many public readers accepted that the premise was true. They believed that the good literature had to be sincere. In Fact, they were not able to be supply the proper education in this field, so they depended on their own physical reaction like a tear or a shudder. They believed that the sensitive people could cry more easily than the insensitive people. The vogue of selected love-letters was influenced by the social advocation for free love, it was also the incident that highlighted sensibility, the privilege of the literary enthusiast. But the commercial success of selected love-letters has damaged the veracity of the letter consequentially. Many people had doubt about the veracity of the letter. Yeom Sang-sup`s works ranged over the topic of the veracity and the doubt in the letter. The letter in his novel supplied many disappointed people after the frustration of 3·1 independence movement with the space for crying. Meanwhile Lim Hwa also composed many epistolary poems in the late 1920s. At that time the argument of the popularization was in progress in KAPF. Maybe Lim Hwa`s epistolary poems were part of the popularization project. He comprehended that the letter was an influential gadget to the public. In the early 1930s Gim Gi-lim who was a pioneer of modernism accused the sensitive poetry of sentimentalism. But this condemnation was too harsh considering temporal conditions. There was no critical standards of the literariness at that time.