돌의 언어성에 관한 비교문학적 소고

장미영(Chang, Mi-Young) 한국외국어대학교 외국문학연구소 2012 외국문학연구 Vol.- No.46

본 논문은 서양 시에서 비롯되는 ‘시학적 시’라는 개념이 한국 시문학의 창작과 비평의 주제와 해석의 시각을 확장하는데 효과적인 도구가 될 수 있다는 생각에서 출발한 비교문학적 시도이다. 시학적 시는 시인의 자기성찰, 창작의 원칙, 시인 내지 시의 사회적 위상이나 역할에 대한 성찰을 담은 시로 광범위하게 정의된다. 벤과 첼란, 그리고 김현승은 서로 다른 시공간적 배경과 특징을 전제함에도 불구하고 이 정의 하에 한데 묶일 수 있다. 이들은 우선 언어가 창작의 도구가 아니라 주제이자 핵심이라는 언어관에서 출발하여 침묵의 시어를 공유한다. 더욱 흥미로운 것은, 이들에게서 침묵의 언어가 공교롭게도 돌 모티브의 상징성에 기초하고 있다는 점이다. 본래 돌의 언어성은 성서의 전통에까지 거슬러 올라간다. 그러나 여기서 돌은 침묵하는 돌이 아니라 소리치는 언어로 의인화되어 있다. 즉 돌의 외침은 타락한 이스라엘을 향한 선지자의 경고와 예언의 의미를 지님으로써, 이 돌의 언어가 한계상황의 언어임을 시사한다. 이러한 전제하에 본 논문은 독일과 한국의 현대시에서 돌의 언어적 상징을 가능하게 한 사회역사적, 문학사적 특수성과 그 문학적 형상화의 특징들을 고찰하고 이 모티브가 궁극적으로 지니는 의미론적 기능을 도출하려는 시도이다. 성서에서와 마찬가지로 시학적 시에서 돌은 일반적 언어상황을 상정하지 않고, 오히려 절규, 항의, 저지된 말, 상식을 넘어서는 언어상황을 가리킨다. 또한 바로 그 때문에 돌의 언어는 한계상황의 언어로서 훨씬 더 높은 시적, 문학적 집중도를 시인과 독자 모두에게 요구한다. 언어에 대한 이러한 각성은 세 시인 모두에게서 공히 최소한 중기시 이후, 특히 마지막 창작기에 집중적으로 반영된다. 그러나 무엇보다 중요한 위 세 시인들의 공통점은 각자가 처한 시대적, 내면적, 문학적 현 상황을 인식했다는 점 뿐 아니라, 바로 그 절체절명의 순간에도 시어를 포기하지 않고 침묵의 언어, 밤의 언어이자 돌의 언어, 절대적 언어의 형태로 재탄생시키고자 했다는 데 있다. 이렇게 보면 위 시인들이 시 속에 구현했던 침묵이라는 비정상적 언어상황은 돌이라는 새로운 모티브를 통해 옳은 말하기, 즉 "시인의 언어"의 모습에 근접하고 있다고 할 것이다. This Thesis is a comparative-literature attempt and started from the idea that the concept of ‘poetic poem’, which stems from the western poetry, can be effective means to expand the creation and the theme of the Korean poetry-literature and its methodology. Poetic poems can be generally defined as reflective poems on poet’s self-reflection, principles of creative writing, social prestige and roles of poet and poem. Benn, Celan and Hyun-Seung Kim share the same poetic language of silence in spite of the premise that their temporal and local backgrounds and characteristics are different from each other. More interestingly, their language of silence happens to be based on the symbolism of the stone. Originally, the language of stone goes back to the Bible. But here, the stone is not a silent stone but is personalized as a shouting stone. In other words, the shouting of the stone, having the meaning of warning and prophecy of the prophet towards the corrupted Israelites, implies that this language of stone is the language of extreme circumstances. On the premise, this thesis explores socio-historical characteristics and literary figurations which are enable to shape linguistic symbol of stone, ultimately attempting to lead the semantic function of stone motif. Like in the Bible, the stone in the poetic poem does not presume the general language situation. Rather it indicates the language situation of scream, protest, blocked words and non-common sense. But just because of it, the language of the stone, as the language of the extreme circumstances, offers much higher poetic and literary intensity to the readers. But the common ground of the above three poets is that they not only recognized their historical, internal and literary situation, but also, even under such circumstances, they did not abandon, but tried to revitalize the poetic language into the form of the language of silence, language of night, language of stone and the absolute language. Therefore the abnormal linguistic situation of silence these poets’ poems have shown is the right way of saying through the new motif of stone, that is, an approximate way to poetic language. 본 논문은 서양 시에서 비롯되는 ‘시학적 시’라는 개념이 한국 시문학의 창작과 비평의 주제와 해석의 시각을 확장하는데 효과적인 도구가 될 수 있다는 생각에서 출발한 비교문학적 시도이다. 시학적 시는 시인의 자기성찰, 창작의 원칙, 시인 내지 시의 사회적 위상이나 역할에 대한 성찰을 담은 시로 광범위하게 정의된다. 벤과 첼란, 그리고 김현승은 서로 다른 시공간적 배경과 특징을 전제함에도 불구하고 이 정의 하에 한데 묶일 수 있다. 이들은 우선 언어가 창작의 도구가 아니라 주제이자 핵심이라는 언어관에서 출발하여 침묵의 시어를 공유한다. 더욱 흥미로운 것은, 이들에게서 침묵의 언어가 공교롭게도 돌 모티브의 상징성에 기초하고 있다는 점이다. 본래 돌의 언어성은 성서의 전통에까지 거슬러 올라간다. 그러나 여기서 돌은 침묵하는 돌이 아니라 소리치는 언어로 의인화되어 있다. 즉 돌의 외침은 타락한 이스라엘을 향한 선지자의 경고와 예언의 의미를 지님으로써, 이 돌의 언어가 한계상황의 언어임을 시사한다. 이러한 전제하에 본 논문은 독일과 한국의 현대시에서 돌의 언어적 상징을 가능하게 한 사회역사적, 문학사적 특수성과 그 문학적 형상화의 특징들을 고찰하고 이 모티브가 궁극적으로 지니는 의미론적 기능을 도출하려는 시도이다. 성서에서와 마찬가지로 시학적 시에서 돌은 일반적 언어상황을 상정하지 않고, 오히려 절규, 항의, 저지된 말, 상식을 넘어서는 언어상황을 가리킨다. 또한 바로 그 때문에 돌의 언어는 한계상황의 언어로서 훨씬 더 높은 시적, 문학적 집중도를 시인과 독자 모두에게 요구한다. 언어에 대한 이러한 각성은 세 시인 모두에게서 공히 최소한 중기시 이후, 특히 마지막 창작기에 집중적으로 반영된다. 그러나 무엇보다 중요한 위 세 시인들의 공통점은 각자가 처한 시대적, 내면적, 문학적 현 상황을 인식했다는 점 뿐 아니라, 바로 그 절체절명의 순간에도 시어를 포기하지 않고 침묵의 언어, 밤의 언어이자 돌의 언어, 절대적 언어의 형태로 재탄생시키고자 했다는 데 있다. 이렇게 보면 위 시인들이 시 속에 구현했던 침묵이라는 비정상적 언어상황은 돌이라는 새로운 모티브를 통해 옳은 말하기, 즉 "시인의 언어"의 모습에 근접하고 있다고 할 것이다. This Thesis is a comparative-literature attempt and started from the idea that the concept of ‘poetic poem’, which stems from the western poetry, can be effective means to expand the creation and the theme of the Korean poetry-literature and its methodology. Poetic poems can be generally defined as reflective poems on poet’s self-reflection, principles of creative writing, social prestige and roles of poet and poem. Benn, Celan and Hyun-Seung Kim share the same poetic language of silence in spite of the premise that their temporal and local backgrounds and characteristics are different from each other. More interestingly, their language of silence happens to be based on the symbolism of the stone. Originally, the language of stone goes back to the Bible. But here, the stone is not a silent stone but is personalized as a shouting stone. In other words, the shouting of the stone, having the meaning of warning and prophecy of the prophet towards the corrupted Israelites, implies that this language of stone is the language of extreme circumstances. On the premise, this thesis explores socio-historical characteristics and literary figurations which are enable to shape linguistic symbol of stone, ultimately attempting to lead the semantic function of stone motif. Like in the Bible, the stone in the poetic poem does not presume the general language situation. Rather it indicates the language situation of scream, protest, blocked words and non-common sense. But just because of it, the language of the stone, as the language of the extreme circumstances, offers much higher poetic and literary intensity to the readers. But the common ground of the above three poets is that they not only recognized their historical, internal and literary situation, but also, even under such circumstances, they did not abandon, but tried to revitalize the poetic language into the form of the language of silence, language of night, language of stone and the absolute language. Therefore the abnormal linguistic situation of silence these poets’ poems have shown is the right way of saying through the new motif of stone, that is, an approximate way to poetic language.

찰스 번스틴의 ‘윤리적, 미학적, 정치적’ (반)시학에 대한 연구

구자광(Jakwang Gu) 한국비평이론학회 2018 비평과이론 Vol.23 No.3

The aim of this paper is to elucidate that Charles Bernstein’s ‘Language Poetry’ makes ‘aesthetic’ element of language ‘visible, heard and intelligible.’ To clarify what ‘aesthetic’ means, this paper will be supported by the ‘aesthetic’ claims by Jacques Rancière. According to Rancière, aesthetics is closely related to poetics which makes sense data ‘visible, heard and intelligible.’ ‘Representative regime’ based on correspondence between poetics and aesthetics will recognize only what is made ‘visible, heard and intelligible’ by poetics. ‘The principle of adequation’ set up by poetics will determine in advance order and occupation and subsequent distribution of time and space in community. In representative regime, poetics will guarantee and legitimize aesthetics, ethics as ethos and politics of community. On the contrary, ‘aesthetic poetics’ makes ‘visible, heard and intelligible what is ‘alien, foreign’ to poetics of representative regime. ‘Aesthetic poetics’ creates alien and foreign ‘aesthetic’ time and space out of time and space allocated and assigned by poetics of representative regime. ‘Aesthetic’ opens possibilities of ‘alien and foreign’ ethics and politics. Charles Bernstein’s ‘Language Poetry’ forges ‘alien, foreign’ and ‘aesthetic’ language. What ‘aesthetic language’ means is language ‘alien, foreign’ use of language in contrast to language practiced by poetics of representative regime. Aesthetic use of language creates always ‘alien and foreign’ uses other than instrumental uses of language in representative regime. Bernstein’s language poetry makes ‘alien, foreign’ and ‘aesthetic uses of language’ visible, heard and intelligible. His poetic language is ‘alien,foreign’ language carved out of mother tongue. ‘Language Poetry’ made of ‘aesthetic use of language’ which is nothing other than ‘use of alien and foreign mother tongue’ within mother tongue is already ethical and political.

일반논문 : 1930년대 새로운 시와 시적 언어의 한계 -김기림의 시와 시론을 중심으로

여태천 ( Tae Chon Yeo ) 국제비교한국학회 2013 비교한국학 Comparative Korean Studies Vol.21 No.3

이 논문은 1930년대 김기림의 시와 시론을 중심으로 그가 새로운 시를 어떻게 구상해나갔는지를, 그리고 그 과정에서 맞닥뜨리게 된 시적 언어의 한계는 어떤 것이었는지를 살펴보고 있다. 김기림의 시적 변화가 그가 주장한 시론의 변화에 기인한 것이라는 통념과는 달리, 그의 시에는 언어적 관심과 태도를 확인할 만한 구체적인 단서가 적지 않다. 그는 당대의 어떤 시인보다 외래어, 한자어, 관념어, 일상어 등을 적극적으로 차용하여 시적 언어로 수용하였다. 이로 인한 언어적 혼란은 그 현상의 모양과 정도를 달리하면서 그의 시에 지속적으로 나타난다. 김기림은 이와 같은 언어적 혼란을 나름대로 극복하면서 새로운 시의 방향을 모색하였다. 하지만 “과도기적 형태로서의 文語”의 단계를 벗어나지 못하고, 동시에 “발견된 말의 가치”를 획득하지 못한 채 언어의 보편성으로 줄어들고 말았다는 것은 김기림 시가 지닌 언어적 한계라고 할 수 있다. 그럼에도 불구하고 1930년대 모더니즘을 새롭게 수용한 김기림이 새로운 시를 구상하면서 언어에 대해 남다른 고민을 하고 있었다는 사실은 매우 소중한 우리 문학의 자산임에 틀림없다. 김기림의 시가 보여주는 언어적 변화는 문화적 경험과 그것을 하나의 기호로 인식하고 소비했던 1930년대 한 시인의 특수한 사례에 해당한다. 동시에 그 변화는 조선 문학이 언어적 측면에서 그 영역을 새롭게 확보해가는 중요한 과정으로 이해할 만하다. This article looks around Kim Ki-rim`s poems and his poetics in 1930s. Specifically looks all around carefully how he envisioned a new poetry and what the limits of the poetic language which he confronted in the process. It is the general idea that Kim Ki-rim of the poetry change was due to the change of poetics he claimed. But Kim Ki-rim`s poems, there is not a little concrete evidence to check his interest in language and his attitude to poetic language. He wholeheartedly accepted foreign word, Sino-Korean word, conception word, colloquial everyday language. He actively using those words better than anyone else as a poetic language. Due to its linguistic confusion appeared constantly in his poems as different shapes and degrees. Kim Ki-rim is overcoming such linguistic confusion and sought the direction of a new poetry in his own way. But his poetic language is not leaving the stage of “written language as a transitional form”, at the same time, is unable to obtain “discovered the value of language”. Thus his poetic language reduced to the universality of the language. It is the linguistic limitations of Kim Ki-rim`s poems. Nevertheless Kim Ki-rim who the newly embraced modernism in the 1930s, envisioned a new poetry and extraordinary worried about the poetic language. That is a very valuable asset in korean literature. The linguistic changes appear at Kim Ki-rim`s poems are special case of a poet who spent and recognized it as a symbol of one corresponds to cultural experience in 1930s. At the same time the changes of Kim Ki-rim`s poems is understandable as an important Korean poetry process to secure the new area in terms of linguistic.

『화사집』에 나타난 구어적 상상력

김정배 ( Jeong Bae Kim ) 영주어문학회 2012 영주어문 Vol.23 No.-

This paper considered a colloquial imagination in Seo, Jeong-Joo`s first book of poems, ?Hwasajip? from the following four perspectives. Firstly, it ``accepts an oral language through a body language``. It proves that an oral language is ``a straightforward(Jikjeong) language emphasizing and reflecting physical phenomena``, beyond the concept of a simple and individual dialect. Seo, Jeong-Joo``s poetic language has spontaneous properties and intactly shows properties of spoken language. This is worthy of notice as a poetic language unique to Seo, Jeong-Joo. Secondly, it ``repeats and expands a colloquial language``. Repeated effects of sound and a conscious repetition of a poetic language are recognized as media to exteriorize poet``s inner state. It was found that this process was helpful for the poetic narrator to express his poetic consciousness more solidly. Thirdly, it ``discovers ecriture and a poetic will``. Seo, Jeong-Joo releazed ecriture`s aesthetic beauty using non-sensuous similiarity and his own unique sense of language. Particularly, he frankly conveyed his mental state to readers, by using punctuation marks intensively. Lastly, it ``expresses the feelings of despair based on poetic self-consciousness``. As a result, a colloquial language used in Seo, Jeong-Joo`s poems is associated with the feelings of despair. It represents that the poet`s personal experience promoted using the colloquial language. It was also found that the poetic selfconsciousness inside him was embodied in a literary way.

자유시 ―찰스 번스틴의 경우

구자광 한국현대영미시학회 2019 현대영미시연구 Vol.25 No.2

The aim of this paper is to understand American language poet, Charles Bernstein’s ‘language poetics’ through Walter Benjamin’s ‘pure language’ and Giorgio Agamben’s ‘inoperativity.’ According to Benjamin, language for communication and information through ‘expression’ and ‘meaning’ of subject’s intention is language constructed by bourgeois concept of language. Benjamin’s ‘pure language’ means communicability freed from ‘intention’ and ‘meaning’ of bourgeois language and ‘expressionless’ language indifferent to expression. Agamben’s ‘pure’ can be attached to what practices ‘inoperativity.’ Agamben’s ‘pure capability’ is capability of incapability which can render its own capability inoperative. Agamben names this capability of its own incapability as ‘sui generis praxis.’ Human subjectivity is the place where this ‘sui generis praxis’ happens. Agamben’s ‘inoperativity’ ‘suspends’ specific and concrete operations and ‘exposes’ possibilities of ‘different’ operations at the same time. Benjamin’s ‘pure language’ is communicability as communication of communication exposed through suspension of specific and concrete communication based on expression and meaning of bourgeois language. Language in Bernstein’s ‘language poetics’ is language freed from bourgeois language and ‘expressionless’ language indifferent to expression and language operated by Agamben’s ‘inoperativity.’ Bernstein’s ‘language poetics’ ‘suspends’ ‘Official Verse Culture’ based on bourgeois language and ‘exposes’ possibilities for ‘different’ ‘foreign’ languages. Bernstein’s ‘language poetics’ halts ‘free verse’ by poet subjects presupposed by ‘Official Verse Culture’ and ‘lyric’ of ‘expression of universal human feeling’ by ‘Official Verse Culture.’ ‘Free verse’ by ‘language poetics’ is ‘free verse’ freed from ‘free verse’ and ‘lyric’ by poetics of ‘Official Verse Culture.’ ‘Free verse’ of ‘language poetics’ where ‘sui generis of language’ happens can be said to be the place where ‘sui generis praxis’ of free verse happen.

언어-문학영재의 시적 언어능력 활성화 방안

장창영(Jang, Changyoung) 국어문학회 2013 국어문학 Vol.55 No.-

이 논문은 언어-문학영재의 시적 언어능력을 활성화할 수 있는 구체적인 방안과 그 의미에 대해 고찰한 것이다. 언어-문학영재들의 시적 언어능력은 어휘의 선별과 배치, 감수성과 직관력, 상상력과 창의력, 창조성과 실험정신, 형상화와 미적 완성도 등에 복합적으로 작용한다. 이 글에서는 이에 착안하여 언어-문학영재들이 지니고 있는 시적 언어능력을 개발할 수 있는 구체적인 방안을 모색하고자 하였다. 언어-문학영재들은 시적 언어능력을 작품 창작으로 체화하면서 자신의 능력을 재확인하고 이를 형상화하는 과정에서 독자적인 자신만의 영역을 구축한다. 그러므로 때문에 언어-문학영재들이 시적 언어능력을 활성화하기 위해서는 자신의 실체를 점검하고 단계화를 통해 역량을 강화하는 과정이 필요하다. 이를 위하여 1단계에서는 사고의 유연성을 확보하기 위한 고정관념 해체, 장면 전환 대응 훈련, 어휘력 강화훈련을 시도하고자 한다. 2단계에서는 경험과 상상력을 구체화하는 표현력 강화훈련과 시야 확장 훈련을 진행한다. 마지막 단계에서는 자아 만족감, 원활한 대인관계 형성, 지속성 강화훈련을 시행할 수 있다. 이를 통해 언어-문학영재들은 상상력의 무한 확장, 언어 표현력의 확장, 정서적 안정감과 긍정적인 심리 변화, 잠재능력 개발에 따른 자아 성취감 형성 등을 기대할 수 있다. 이 글에서 살펴본 시적 언어능력 개발과 관련한 요소들은 언어-문학영재들이 언어를 매개로 하여 자신 및 세계와 소통할 수 있는 장치라는 점에서 의미가 있다. 나아가 시적 언어능력 활성화 방안은 언어-문학영재들에게 그들에게 주어진 기회이자 또 다른 가능성을 만나기 위한 우리의 미래 성장 전략이기도 하다. This paper considers about the poetic linguistic competence application plan of the language-literary genius and this meaning. The poetic linguistic competence of the language-literary geniuses acts in the sorting of the vocabulary and arrangement, susceptibility and intuition ability, imagination and creativity, creativity and experimenting spirit, and patterning and aesthetical percentage of completion compositively. In this paper, the concrete stratagem developing the poetic linguistic competence which the language-literary geniuses carry in 5 sides tried to be devised. The language-literary geniuses have some unique experiences in the process that accumulate the poetic linguistic competence with the creation of works, and reconfirm and materialize their own capabilities. Therefore it is necessary to make a process of intensifying the ability through the leveling in order to activate the poetic linguistic competence of the language-literary geniuses. In the first step, the pliability of thought, fixed idea dismantling, and vocabulary intensified training are attempted. In the second step, the power of expression intensified training and view expansion training are progressed to materialize the experience and imagination. In the final step, the euphoria can be promoted at the writing process by implementing the self satisfaction expansion, smooth interpersonal relationship formation, and maintenance of relation with a mentor, the psychological balance sense is maintained with the power of expression Through this, the language-literary geniuses can expect the feeling of self accomplishment formation by the unlimited expansion of the imagination, the expansion of the ability of lingual expression, the emotional sense of stability, the positive psychological change and the latent faculties development, and etc. The elements related to the poetic linguistic competence enlightenment looked into in this paper have the meaning in the point that they are the devices which the language-literary geniuses can communicate with themselves and world by the medium of the language. In addition to that the poetic linguistic competence activation plan is not only the obligation given to the language-literary geniuses but also our investment to meet the another world.

오월 시학과 포에톨로지(Poetology)‘오월광주’

전동진 전남대학교 호남학연구원 2019 감성연구 Vol.0 No.18

‘May Gwangju’ is a topological name that combines ‘May’ of time with ‘Gwangju’ of space. ‘The ten days community’ of ‘May Gwangju’ was an absolute community. Language of an absolute community was also the first appearance, and poetics was bound to be new. The sad thing was that language had also disappeared from reality with the ten days of community. The language of May is not the same means of human communication as we already know. It is not the language of purpose that lyric poetry pursues. The language itself is a language of practice that is 'knowing' and 'being'. It is necessary to try writing that can be directed beyond reality by using the performance of language as a motive power. So I proposed topological writing. Topological writing is writing beyond structure. May Gwangju needs to distort verbal events in political events. In the past, We have gathered strength to uncover the reality truth, fact. Now it is time to secure a variety of aesthetic truths. It is impossible to restore the language of May. However, no one can deny the reality of the ten days community. We must try to comprehend the language of May in various dimensions. In the meantime, we should explore the aspect of May poetics as a anti-poetics in the contrapuntal position of traditional poetry. The power of approaching the May-poetics can be derived from the ‘act of language’, the emergence of powerful consciousness. Linguistic action acquires empirical truth through the integrated orientation of subjective truth and objective fact. We can acquire a topological place when we solidify this open horizon of meaning. It is the spirit that flows in the depths of topological places. The 'spirit of Gwangju' has also flowed into a change of some historical distortions, vagaries and gaze. The power of the spirit flows smoothly through the directionality. When the flexibility of Gwangju spirit is stylized through the plot, colorful stories have a uniform orientation, and one spirit can spread into a colorful life. It is poetology that weaves and worsens a new place (language) through the place (language) formed by colorful stories spreading ‘together and apart’ ‘apart and together’. The most stereoscopic, three-dimensional, the most delicate, and the most gigantic place of spreading is ‘May Gwangju’ as poetology. ‘오월광주’는 ‘오월’이라는 시간과 ‘광주’라는 공간을 합하여 장소화한 위상학적 명칭이다. ‘오월광주’에 펼쳐진 ‘열흘의 공동체’는 절대 공동체였다. 언어 역시 처음 등장한 것인 까닭에 시학도 새로울 수밖에 없다. 안타까운 것은 그 열흘의 공동체와 함께 언어 역시 현실에서 사라졌다는 것이다. 오월의 언어는 우리가 기존에 알고 있었던 것과 같은 의사소통의 수단은 아니다. 서정시가 추구하는 목적의 언어도 아니다. 언어 자체가 ‘앎’이며 ‘함’인 수행의 언어이다. 언어의 수행성을 동력으로 삼아 현실 너머로 지향할 수 있는 글쓰기를 시도할 필요가 있다. 위상적 글쓰기는 구조를 넘어서는 글쓰기이다. 오월광주는 정치적 사건에서 언어적 사건을 변곡할 필요가 있다. 기존에는 실체적 진실 곧 사실을 밝혀내는 데 힘을 모았다. 이제는 미학적 진실의 다양성을 확보하는 데로 나가야 한다. 오월의 언어를 복원하는 것은 불가능한 일이다. 그러나 그 열흘 공동체의 실체는 누구도 부인할 수 없다. 오월의 언어에 대한 다가섬을 다양한 차원에서 시도해야 한다. 그러면서 전통 시학의 대위적인 자리에서 반시학으로서 오월 시학의 면모를 탐색해야 한다. 오월 시학에 접근하는 동력은 ‘언어의 행위’ 곧 강력한 의식류의 발생에서 얻을 수 있다. 언어적 행위는 주관적 진실과 객관적 사실의 통합적 지향을 통해 경험적 진실을 획득한다. 이렇게 열린 의미의 지평을 입체화할 때 우리는 위상학적 장소를 획득할 수 있다. 위상학적 장소의 심연에 흐르는 것이 정신이다. ‘광주정신’은 어떤 역사적인 왜곡과 질곡 그리고 시선의 변화에도 도도히 흘러왔다. 정신의 힘은 지향성을 통해 유연하게 흐른다. 광주 정신의 유연성이 플롯을 통해 양식화할 때, 다채로운 이야기는 한결같은 지향을 갖고, 하나의 정신은 다채로운 삶으로 퍼져나갈 수 있다. ‘함께 따로’ ‘따로 함께’ 펼쳐지는 다채로운 이야기들이 형성하는 장소(언어)를 통해 새로운 장소(언어)를 직조(織造)하고, 모전(毛氈)하는 것이 ‘포에톨로지(poetology)’이다. 가장 입체적이고, 가장 섬세하고, 가장 거대하게 펼쳐지는 장소가 이러한 포에톨로지가 가장 입체적이고 가장 섬세하고, 가장 거대하게 펼쳐지는 장소가 포에톨로지로서 ‘오월광주’다.

中国现代诗歌语言常用词的相关比较研究

张庆艳 한국중국언어문화연구회 2014 한중언어문화연구 Vol.- No.35

The poetic language is an imagerial and intentional language, which is different from the legal language, the everyday language and the literary language, especially in terms of vocabulary. With a close examination of The First 200 Words of the Modern Poetry in comparison with The First 200 Words of the Legal Language, The First 200 Words of the Everyday Language, and The First 200 Words of the Literary Language, the author argues that: 1) Because the poetic language and the legal language belong to different registers, the two languages differ significantly in their selection of vocabulary, therefore we should put more efforts into the study of register; 2) The poetic language is constructed on the basis of the everyday language, on account of the shared vocabulary of the poetic language and the everyday language; 3) The poetic language is most closely related to the literary language. The poetic language transcends the literary language, and should be distinct from the literary language.

“What Transplant to Dispel upon” : The Utterance as Poetic Language in Theresa Hak Kyung Cha’s Dictée

Wonjae Kim Ewha Institute of English and American Studies 2019 Journal of English and American studies Vol.17 No.1

Theresa Hak Kyung Cha’s Dictée (1982) is widely known for avant-garde experimental writing, which causes a zealous controversy in academic discourse between postmodernism and Asian-American discourse. Since Cha’s reflections on language, history, and myth are fragmented and disjunctive, this heteroglossia text provides readers diverse clashes, namely, clashes between English and French, national history and personal history, letters and images, lyric and epic et al. Precisely because of these clashes, the text defies the traditional notion of genre and writing, making readers perplexed and challenging to approach and interpret the text. In other words, the text rejects to be identified in a singular identity and leaves heterogeneous space, which is the point where the text is difficult to be located solely in experimentalism or Asian-American discourse. For both of experimental, postmodern and Asian-American discourses, the text has been approached mainly focusing on the first half of the text, which is a collage of excerpts and images of historical figures—Guan Soon Yu, Hyung Soon Huo, Joan of Arc and St. Thérèse of Lisieux. However, the majority of researches fail to read the text’s juxtaposition between the first half and the latter part of the text, since the latter part is almost inaccessible because of the inexplicable forms and contents. In conjunction with Julia Kristeva’s Revolution in Poetic Language and other essays, I argue that Cha’s artistic text unsettles rigidified, fixed and ideological language system with Cha’s own poetic language. In order to do so, I focus on Cha’s poetic utterances in Dictée, expressed in both the first half and the latter part of the book. Cha’s repetitive poetic utterances are a sound that wishes to find a home, and they wish to recuperate matrilineal language. With this poetic utterance, Cha’s writing records the multiple self(s) over the rigidity and fixity of ideological language and history by resisting to be contained in particular language and history that are deeply entrenched in an ideological discourse.

스피노자의 코나투스를 통해 본 김지하의 생명시학과 시적 언어

김난희 한국기호학회 2023 기호학연구 Vol.74 No.-

The purpose of this study is to read Kim Ji-ha’s Life Poetics and his poetic language anew through Baruch de Spinoza’s concept of conatus. If Spinoza’s conatus is the principle of life that structured the duality of preservation and coexistence, Jiha Kim’s principle of complementarity called 易 can also be seen as the principle of life that shows the duality of ‘sinmyeong’ as resistance and ‘teum’ as symbiosis. Kim Ji-ha’s Life Poetics and poetic language can be seen as having been continuously transformed in connection with the idea of life that he has consistently pursued and explored, rather than being of a specific period distinguished by his poet career. This can be seen as the poetics of Shinmyeong, the poetics of Teum, and the poetics of Yulyeo. These three poetics are later systematized as they converge into the integrated life-poetics of ‘white shade’. In this paper, focusing on the poetics of sinmyeong and the teum, at what point can they be in common with Spinoza’s conatus, and what are their implications wanted to take a look. The dual attributes of conatus, preservation and coexistence, are essentially in line with Kim Ji-ha’s core element of life thought,易 or 不然其緣. Based on this point, in this paper, ‘Shinmyung Poetics’in the 1970s and 1980s was examined as a conatus of preservation, and ‘poetics of teum’ from the 1990s to the early 2000s as a conatus of coexistence. This will be an opportunity to interpret Kim Ji-ha’s life-poetics and poetry from a different perspective, and it will be an opportunity to more actively explain Kim Ji-ha’s life-poetics and poetic language in the relationship with Spinoza’s Conatus.