• 기호학연구
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• v.59
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• pp.1-32
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• 2019

본고의 목적은 헤테로크로닉을 통해 1980년대 노동시의 정치성에 대한 해석을 달리하고자 함에 있다. 1980년대 노동시에 대한 지금까지의 평가나 해석이 주로 맑스주의에 기반한 사회주의 리얼리즘 차원의 것이었다면, 이 논문에서는 조금 다른 각도에서 80년대 노동시의 정치성에 대해 살펴보고자 한다. 랑시에르의 헤테로크로닉 개념을 바탕으로 1980년대 대표적인 노동시인인 박영근, 백무산, 박노해의 노동시를 살펴볼 것인 바, 이들 세 시인의 1980년대 노동시에는 랑시에르의 헤테로크로닉 개념에 비추어 살펴볼 수 있는 유의미한 양상들이 자리 잡고 있다. 이들의 노동시에는 장시간 노동과 열악한 노동조건, 저임금 등의 환경 속에서 벗어나고자 하는 열망과 저항이 여러 유형으로 나타난다. 이들 시에 나타난 '인간해방'과 '노동해방'은 이념과 계급투쟁, 혹은 전형성의 원리 및 사회주의 리얼리즘 차원에서 주로 언급되었지만, 본고에서는 1980년대 노동시에 나타난 노동해방과 계급해방에의 열망과 저항을 과거 사회주의 문학 이론에 입각하여 읽어내기보다는 '사회적 위계'의 해체와 새로운 구축이라는 시간성을 통해 달리 읽어보고, 당대의 노동시가 갖는 정치성의 지평에 대해 재고(再考)하는 계기를 갖고자 한다.

• The Korean Literature and Arts
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• v.27
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• pp.273-321
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• 2018

The purpose of this study is to explore the characteristics and meaning of the Korean American women's poetry in New York area. New York area poetry has been led by women poets from the very beginning of the paragraph. In this paper, set the starting point of "New York Literature" in 1991, and classified the poets who had started their activities in the past as a first generation, and poets who have been active since then, as second generation. The characteristics and meaning of women's poetry were examined by focusing on Kwak Sang-hee, Kim Jung-ki, Kim Song-hee, and Choi Jeong-ja in the first generation, Jo Seong-Ja, and Shin Ji-hye, An Young-ae, Bok Young-mi in the second generation. On the one hand, they share a common sentiment of immigrant women, while on the other they show a slightly different world recognition and identity for each poet. The characteristics of women's poetry in New York area are as follows: ① they express the nostalgia for their experience and home in a strange space, ② that they reveal their identity as a mother and a poet, ③ they show the experience of labor and other consciousness, and ④ shows the changing identity through Nomadistic thought and de-territorialization. Although the content of the prototypes of female poets differ slightly depending on the motive and timing of immigration, in the early days of immigration, mainly the nostalgia for their hometowns and the consciousness of the Gentiles have become a poetic theme, and the alienation ceremony, And as time passes it shows consciousness as a settler who regards America as their second hometown. In the 1990s, most of the first-generation women poets have been harsh with the process of adaptation and settlement, revealing the nostalgia for their hometowns. Jo Seong-Ja and Shin Ji-hye, who are doing their work in the 1990s as a settlement stage, are adapting easily to American society compared to their predecessors. They also show that they are able to overcome ethnicity and race, It shows the open vision and identity to overcome. If the first generation of immigrant women has been leading the flow of New York poetry since the liberation, it is meaningful that second generation of women's poetry can be used as a measure of future change and development of New York poetry.

• Journal of English Language & Literature
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• v.57 no.2
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• pp.191-215
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• 2011

This paper aims at investigating Dorothy Wordsworth's later conversation poetry, which has not been the focus of critical discussions on her literary works. While many critics have been emphasizing Dorothy Wordsworth's journals and the tendency of self-effacement in her prose, this paper argues that her later poetry often reveals acute self-consciousness about the circumstances that condition this self-annihilation and searches for a creative way to endorse her own identity. In "Lines Intended for My Niece's Album," she expresses anxiety and uncertainty about the inclusion of her poetic piece in Dora Wordsworth's album, which contains poems by prominent male writers of the contemporary period. "Irregular Verses" presents Dorothy Wordsworth's self-conscious narrative of her girlhood and shows how her own ambition to become a "Poet" has been stifled by external circumstances, including the ideology that instills the idea of proper womanhood into aspiring girls. While these poems examine contemporary gender discourse and the frustrated poethood resulting from it, other poems activate conversations with William Wordsworth's poems and thereby provide a revisionary re-writing of her brother's texts. For example, in "Lines Addressed to Joanna H." Dorothy Wordsworth becomes "a woman addressed who herself addresses others." Her scrupulous approach to her own addressee refuses to subordinate the other to the self's will, and through this revision of "Tintern Abbey," Dorothy Wordsworth vicariously liberates her own self confined in her brother's poems. "Thoughts on My Sick-Bed," which echoes "Tintern Abbey" through borrowed phrases and direct address to William Wordsworth, foregrounds her own poetic identity in the form of the first-person pronoun "I." Dorothy Wordsworth's continual illness during this period of her life paradoxically allows her the time for personal reflection formerly denied to her in her busy life constantly occupied by physical and spiritual labor for others. Instead of earning satisfaction from the subsumption of her creative energy under William Wordsworth's poetical endeavor, Dorothy Wordsworth finally starts to affirm her own poetic identity that can properly express her inner vision and artistic talent. Although this final affirmation remains largely incomplete due to her later mental collapse bordering on madness, it powerfully conveys the hidden literary aspiration of the formerly frustrated female poet.

• Korean Journal of Heritage: History & Science
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• v.54 no.2
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• pp.216-239
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• 2021

Inlay (入絲), a poetic technique of digging grooves in the surface of crafts and decorating them with metal materials, was used throughout the royal daily routines, ceremonies and government officials of the Joseon Dynasty. The government-owned handicraft industry in the Joseon Dynasty was composed of craftsmen belonging to central and local government offices and was operated mainly by government-owned craftsmen. The inlay craftsman was transferred to the central government office and was in charge of inlay poetry for crafts. The current records of Korean inlay craftsmen are concentrated in the state-owned handicraft industry. In the state-owned handicraft industry, the government offices of inlay craftsmen can be divided into Kongjo (工造), Sangeuiwon (尙衣院), and the military. Here the election of a temporary government office for airspace is added. The government offices and military inlay craftsmen who use inlay crafts are assigned, and the inlay craftsmen are placed separately in the temporary office where the fine division of labor is developed. It can be made by utilizing craftsmen. The operation of these production systems was indispensable in pre-modern Korean society, where crafts had to be produced by hand. In this paper, we investigated the roles and job types of craftsmen in the state-owned handicraft industry during the Joseon Dynasty, focusing on inlay craftsmen. Although the details applied to the characteristics and materials of the field, labor supply and demand, etc. are different, Korea pursued crafts for various purposes through craftsmanship within the framework of the basic state-owned handicraft policy . The institutional equipment for implementation was almost common. We believe that adding and analyzing some literature records and relics will help us to study the crafts of the Joseon era in more detail.