번역과 조선시형의 창안 -김억을 중심으로-

김문주 ( Mun Joo Kim ) 민족어문학회 2011 어문논집 Vol.- No.63

1920년을 전후로 한 시기에 진행된 외국문학의 수용과정은 한국근대문학의 방향과 양상을 구체화하는 핵심 동인이었다. 이전의 번역자들이 편내용중심(偏內容中心)의 번역을 수행하였던 데 반해, 김억의 번역 활동은 내용과 형식을 함께 존중함으로써 시문학 장르의 실체에 본격적으로 육박해 들어간 최초의 작업이었다는 점에서 혜성적인 성격을 지닌 것이었다. 김억은 당대 번역자들이나 문학인들과 달리 원본(출발어 텍스트)에 대한 강박이 거의 없었으며, 아울러 시란 기표(記標)와 기의(記意)로 분리할 수 없는 문학 장르라는 사실을 분명하게 인지하고 있었다. 이러한 생각은 시는 번역이 불가능하며, 시의 번역은 새로운 시와 시형을 창안하는 작업이라는 인식으로 발전해 간다. 김억은 번역을 통해 새로운 조선의 시를 모색하였으며 이 과정에서 개진된 것이 ``情調``와 ``格調詩``였다. 그는 시의 형식을 정형의 틀로 인식하지 않고 ``인간 내면 운동의 표현``으로 보았으며, 시의 모든 음성적 자질을 시의 내용과 밀접하게 연관되는 주요 요소로 의식하였다. ``情調의 시학``은 시의 음성적 요소를 중시하고 궁극적으로 의미지상주의에 반대하는 김억의 詩觀에서 비롯된 것이었으며, 이후 원시적 감정 표현의 도야를 강조하는 ``格調詩``로 전환된다. 정조에서 격조로의 변화는 언어의 음성적 자질을 언어 내용의 비물질적 영혼으로 인식하고 시어의 음성적 자질의 가능성을 온전히 개방하려는 태도의 부분적 회수를 의미하는 것이었다. 이는 정형시(定型詩)와 자유시 사이에서 정형성(整形性)을 지향하는 김억의 리듬 의식의 산물이자 시의 음성적 자질을 중시했던 시의식의 결과였다. 시의 번역불가능성에 대한 인식을 통해 김억은 ``창작적 번역``을 시도하였고, 이러한 일련의 이해와 작업을 통해 그는 번역 과정에 내재된 상호주체성과 시적 언어의 고유한 자질에 대한 깊이 있는 인식에 도달할 수 있었다. 정조의 시학에서 격조시형으로 나아가는 과정에서 보여준 시의 음악성에 대한 그의 이해와 심미적 한계는 한국근대시사의 성취/실패와 밀접하게 연관되어 있으며, 이와 같은 그의 번역 작업은 한국근대시사의 내적 변화 과정을 해명할 수 있는 유력한 기지라고 할 수 있다. The process of accepting foreign literature proceeded in around the year 1920 was a core motive to embody the direction and aspects of Korean modern literature. Existing translators totally focused on contents of text in translation while Kim Eok respected not only contents but also form. His translation activity has the character of sudden prominence in that the work was the first one to really approach the real entity of genre of poetry. Differently from other literary persons, Kim Eok was not nearly obsessed by original text(source language text) and he clearly recognized that poetry is a literary genre where signifiant and signified cannot be separated. This thinking develops to the recognition that translation of poetry is impossible and is a work to create new poetry and poetic form. Kim Eok explored new poetry of Choson through translation and ``sentiment and refined poem`` was disclosed in this process. He did not recognize form of poem as a frame of fixed form but recognized as ``expression of human inner movement.`` He was aware of all phonetic qualities of poetry as main factor closely related to contents of poem. ``Poetics of sentiment`` was originated from Kim Eok`s viewpoint of poem that phonetic factor of poem is important and eventually the meaning-for meaning principle is refused. Later, ``Poetics of sentiment`` was transformed to ``refined poem`` that emphasizes practice of primitive emotional expression. The change from sentiment to refinement meant partial collection of attitude to recognize phonetic quality of language as non-material soul of language contents and to completely open the possibility of phonetic quality of poetic language. This is a product of Kim Eok`s consciousness for rhythm and at the same time, a result of poetic consciousness emphasizing phonetic quality of poem -he pursued refined form between Poems of fixed form and free verse. Kim Eok tried ``creative translation`` through recognition about impossibility of translation of poem and based on such a series of understanding and work, he could reach the deep recognition about mutual subjectivity inherent in the translation process and peculiar quality of poetic language. His understanding and aesthetic limit about poetic musicality shown in the process where poetics of sentiment was transformed to refined form, was closely related to the achievement and failure of the history of Korean modern poetry. Such his work in translation may be strong base to explain the process of inner change in history of Korean modern poetry.

정지용 시에서 시조의 의미

유인채(Yu In-Chae) 한국시조학회 2011 시조학논총 Vol.34 No.-

본고는 지용의 시세계에 있어서 시조와의 관련성과 전통의 계승이라는 측면에서 시조가 지니는 의미를 고찰하였다. 최초의 모더니스트인 그가 시의 현대화를 위해 노력하면서 시조도 함께 발표하는 등 전통적인 시가 예술의 중요성을 인식하고 있었다는 점에서 그 의미는 조명되어야 한다. 그는 우리의 고전 시가 양식 중에서 시조가 가장 전통적이라고 생각했다. 우리의 언어성을 중시했기 때문에 그 맥이 끊어질 수 없다며 전통의 계승과 창조의 측면에서 시조관을 펼쳤다. 시조의 제약적 부자유를 통하여 절조적 자유를 추구할 수 있다며 감정의 절제와 정제된 형식미의 중요성도 역설하였다. 지용의 시조는 개인적인 감정을 억제하고 시어의 함축, 비유와 상징 등으로 절제된 표현을 했다. 이러한 점은 같은 시기에 활동했던 육당의 시조가 감정을 드러냈던 것과 다르다. 모더니즘 시에서도 극도로 절제된 표현을 한다. 1920년대 낭만주의 시들이 현실도피적 성향과 함께 감정의 과다한 표출이 두드러지던 것과는 현격한 차이를 보인다. 정제된 형식면에서 시조의 율격을 이어받았다. 특히 2행 1연 반복의 시 형태가 많은데 이것은 시조의 한 장을 둘로 나눈 것과 같다. 두개의 행이 각각 2음보를 이루면서 대응되며 여기에 음보를 가감하는 형식으로 행이 길어지거나 짧아진다. 이런 유형의 시는 시조의 현대적 변용이다. 이와 같이 시조의 절제미와 정제된 형식 등 전통을 창조적으로 계승한 것은 지용 시에서 시조가 지니는 중요한 의미이다. This article aims to search for influential significance of Sijo regarding the succession of tradition in Jiyong's poems. Considering the fact that he, Korea's first modernist, attempted to modernize our poems while directly writing Sijo, our traditional poetical form, we can read the meaning of his awareness and perception about our tradition. He thought of Sijo as the most traditional literary form in Korea's literary history. He advanced the view of Sijo emphasizing that language is the spiritual sinew of a nation in aspect of succession of tradition and creation of newness. He also stressed Sijo's moderation of emotion and its refined formal beauty in that it pursued freedom of abstinence through the controlment of freedom in its form and style. In Ji Yong's Sijo connoting the reality of humiliation by Japanese militarism we can see his personal emotional controlment, unlike Choi Nam Seon's Sijo revealing his emotion. Ji Yong's poems are different from the other romantic ones in 1920s displaying the avoidance of reality and the gush of emotion. Ji Yong's poems inherited the rhythm of Sijo in terms of refined form. His poems reveal the repetition of two lines and one stanza. For example two lines consist of each symmetrical two verse pace being longer or shorter in form of addition and subtraction. This type of poem is modern variation of Sijo. Therefore It is significant in view of creative succession of tradition that Ji yong's poems creatively inherited Sijo's own peculiarities like controlled expression and refined form.

1920년대 한국 시론의 미적 지향성 - 전통미학과 상징미학을 중심으로

김동근 원광대학교 인문학연구소 2013 열린정신 인문학연구 Vol.14 No.1

This thesis concerning the aesthetic directivity of 1920s poetics by relationship with formation logic of Korean Modern poetry. Concretely, this explores the terms of literary modernity that Korean Poetical circles were faced in 1920s, in other words it explores individual poet's aesthetic directivity through the relation of Traditional-aesthetics and Symbol-aesthetics. Also, it examines the development process of Korean essay on Modern poetry based on mutual negotiation of Traditional-aesthetics and Symbol-aesthetics. First, Kim-Eok's essay which navigates 'a Refined Poetic form' as a new tradition is reinterpreted in terms of correlation between symbol and tradition. Second, in the case of Kim-Sowol, it focuses on the establishment of a new tradition called 'Poetical Spirit' as a matrix of language. Third, Baek-Daejin's essay is organized as the subject of combination of symbol and life. Fourth, the main point of Hwang-seokwoo's essay is that he tried to establish ethics of life by some ideal things like the order of nature. In Korean Modern Poetical Circles, Traditional-aesthetics and Symbol-aesthetics are not mutually exclusive. In the process of Korean Modern poetry of 1920s securing autonomous region from the public spheres, they have formed a complementary and different directivity. This aspect is clearly contrasted to the point that the Korean essays on poetry of 1930s were developed forming a full-scale competition.

1920년대 한국 시론의 미적 지향성

김동근(Kim, Dong-geun) 원광대학교 인문학연구소 2013 열린정신 인문학연구 Vol.13 No.3

This thesis concerning the aesthetic directivity of 1920s poetics by relationship with formation logic of Korean Modern poetry. Concretely, this explores the terms of literary modernity that Korean Poetical circles were faced in 1920s, in other words it explores individual poet"s aesthetic directivity through the relation of Traditional-aesthetics and Symbol-aesthetics. Also, it examines the development process of Korean essay on Modern poetry based on mutual negotiation of Traditional-aesthetics and Symbol-aesthetics. First, Kim-Eok"s essay which navigates "a Refined Poetic form" as a new tradition is reinterpreted in terms of correlation between symbol and tradition. Second, in the case of Kim-Sowol, it focuses on the establishment of a new tradition called "Poetical Spirit" as a matrix of language. Third, Baek-Daejin"s essay is organized as the subject of combination of symbol and life. Fourth, the main point of Hwang-seokwoo"s essay is that he tried to establish ethics of life by some ideal things like the order of nature. In Korean Modern Poetical Circles, Traditional-aesthetics and Symbol-aesthetics are not mutually exclusive. In the process of Korean Modern poetry of 1920s securing autonomous region from the public spheres, they have formed a complementary and different directivity. This aspect is clearly contrasted to the point that the Korean essays on poetry of 1930s were developed forming a full-scale competition.

아리스토텔레스의 ‘카타르시스’에 대한 재고

권혁성 한국미학회 2022 美學 Vol.88 No.2

The present paper is a reconsideration of Aristotle’s Catharsis. For this task it is above all needed to reconsider thoroughly the passage in the Politics about the musical Catharsis; for this passage has been often misunderstood. As the result of this reconsideration it is revealed that the view this passage represents about the Catharsis can be as a whole accepted for the interpretation of tragic Catharsis on the basis of the Poetics. In consequence the tragic Catharsis can be interpreted as follows: It is such a function of the tragedy that by arousing pity and fear intensely in the mind of the spectator through its plot understood by him, the tragedy makes him feel such emotions, without vagueness that they would have more or less in real life, in refined form. The Catharsis as the tragedy’s function that consists of this refined emotional experience is not in itself anything that forms moral virtue, but can contribute to this cultivation. On the other hand, it brings the spectator’s mind to pleasurable relief by its termination, because this emotional experience as intense also is, when terminated, subsiding. 본고는 아리스토텔레스의 카타르시스를 재고하는 작업이다. 이를 위해 종래에 빈번히 잘못 이해되어 온 음악의 카타르시스에 대한 『정치학』 구절이 면밀히 재고되어야 한다. 이 재고에 따르면, 이 구절이 카타르시스에 대해 대변하는 견해는 그것 전체가 『시학』에 따라 비극의 카타르시스에 대한 해석에 수용될 수 있다. 그 결과, 비극의 카타르시스는 다음과 같이 해석될 수 있다. 그것은 비극이 플롯에 의해 이를 이해하는 관객의 마음에 연민과 공포를 강렬하게 환기함으로써, 관객으로 하여금 이러한 감정들을, 현실에서라면 그것들이 다소간 가졌을 수 있는 혼연함 없이, 정련된 상태로 느끼게 하는 것이다. 카타르시스는 이러한 정련된 감정 경험으로 이루어지는 것으로서 그 자체가 덕성을 형성하는 것은 아니지만 이에 기여할 수 있다. 다른 한편으로 카타르시스는 그것의 종료에 의해, 이 감정 경험이 또한 강렬한 것으로서 종료되면 가라앉기에, 관객의 마음에 즐거운 경감을 가져다준다.

열간성형효과를 고려한 저합금강의 상변태 모델링

복현호(Hyunho Bok),이명규(Myoung-Gyu Lee),최종원(Jong Won Choi),F. Barlat 한국자동차공학회 2012 한국자동차공학회 부문종합 학술대회 Vol.2012 No.5

In order to consider the effect of hot deformation on following phase transformations in steels, the Avrami type austenite recrystallization model was used to calculate the austenite grain refinement. This refined grain was incorporated into the diffusional phase transformation kinetics suggested by Li et al. As a result, the diffusional phase transformations were enhanced and, therefore, martensite transformation was suppressed.

An analytical approach for buckling of functionally graded plates

Daouadji, Tahar Hassaine,Adim, Belkacem Techno-Press 2016 Advances in materials research Vol.5 No.3

In this paper, an efficient and simple refined theory is presented for buckling analysis of functionally graded plates. The theory, which has strong similarity with classical plate theory in many aspects, accounts for a quadratic variation of the transverse shear strains across the thickness and satisfies the zero traction boundary conditions on the top and bottom surfaces of the plate without using shear correction factors. The mechanical properties of functionally graded material are assumed to vary according to a power law distribution of the volume fraction of the constituents. Governing equations are derived from the principle of minimum total potential energy. The closed-form solutions of rectangular plates are obtained. Comparison studies are performed to verify the validity of present results. The effects of loading conditions and variations of power of functionally graded material, modulus ratio, aspect ratio, and thickness ratio on the critical buckling load of functionally graded plates are investigated and discussed.

An efficient and simple refined theory for buckling analysis of functionally graded plates

Thai, Huu-Tai,Choi, Dong-Ho Elsevier 2012 Applied mathematical modelling Vol.36 No.3

<P><B>Abstract</B></P><P>In this paper, an efficient and simple refined theory is presented for buckling analysis of functionally graded plates. The theory, which has strong similarity with classical plate theory in many aspects, accounts for a quadratic variation of the transverse shear strains across the thickness and satisfies the zero traction boundary conditions on the top and bottom surfaces of the plate without using shear correction factors. The mechanical properties of functionally graded material are assumed to vary according to a power law distribution of the volume fraction of the constituents. Governing equations are derived from the principle of minimum total potential energy. The closed-form solutions of rectangular plates are obtained. Comparison studies are performed to verify the validity of present results. The effects of loading conditions and variations of power of functionally graded material, modulus ratio, aspect ratio, and thickness ratio on the critical buckling load of functionally graded plates are investigated and discussed.</P>

Dual-phase hot-press forming alloy

Yi, H.L.,Ghosh, S.,Bhadeshia, H.K.D.H. Elsevier Sequoia 2010 Materials science & engineering. properties, micro Vol.527 No.18

Hot-press forming steels are formed in a fully austenitic state followed by die-quenching in order to generate martensite and achieve strong steel. The ductility however, tends to be limited. We explore in this work a novel steel design in which the forming operation is in the two-phase austenite and ferrite field, so that the quenching results in a dual-phase ferrite and martensite microstructure at ambient temperature. It is demonstrated that better properties are achieved. The interpretation of the mechanisms of deformation during tensile testing indicates that the ductility can be further enhanced without compromising strength. The new steel also can be heated to temperature which is lower than that used for conventional hot-press forming steels, before transfer into the forming press.

Microstructure Evolution of AA1070 Aluminum Alloy Processed by Micro/Meso-Scale Equal Channel Angular Pressing

Walaa Abdel‑Aziem,Atef Hamada,Takehiko Makino,Mohsen A. Hassan 대한금속·재료학회 2021 METALS AND MATERIALS International Vol.27 No.6

The Micro/meso-forming of commercially pure aluminum, AA1070, processed at room temperature by equal channel angularpressing (ECAP) with a die channel angle of 90° through 4 deformation passes has been conducted. Microstructure features,such as grain size, misorientation angle distributions and the developed texture during the four deformation passes of micro/meso-ECAP have been investigated by Electron backscattering diffraction (EBSD) technique. Then, hardness measurementsover the cross-section of the processed samples were correlated with the EBSD analysis. EBSD scans revealed thatextended shear bands are formed and represent the microstructural feature induced during micro/meso-forming. Whereas,a non-uniform grain structure consisting of intensive low-angle grain boundaries was obtained in the first pass, a uniformultrafine-grained structure of high-angle grain boundaries (in the range of 1–2 μm) was achieved at the fourth pass. Consequently,a significant improvement in the hardness value to 65.3%, with respect to the starting material, was achieved due tothe enhancement of the fine grain structure. The texture analysis exhibited that the high plastic shear strain associated withmicro/meso-scale ECAP was capable to develop a weak texture in the flow plane compared to the starting texture.