• 한국산학기술학회논문지
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• 제17권5호
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• pp.137-145
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• 2016

우리는 무엇인가를 보고 아름답다고 말하는 것은 익숙하지만 숭고하다는 표현은 자주 사용하지 않는다. 사실 아름답다는 것과 숭고하다는 것은 다른 의미이며 숭고의 대상은 따로 존재한다. 숭고론은 롱기누스를 시작으로 버크, 칸트에 이르기 까지 개념과 대상에 대한 깊이 있는 연구가 이루어져왔다. 이들의 연구에 따르면, 우리는 공포의 대상으로부터 숭고미를 느낄 수 있는데 그것은 공포감 속에 숭고함이 내재되어 있기 때문이다. 이에 본 연구는 고딕소설로 분류되는 "에밀리를 위한 장미"에 표현된 숭고미를 고찰해보았다. 작품 속에 묘사된 에밀리의 칙칙한 철회색 머리카락과 붉은 피를 상징하는 빨간 장미, 그리고 그녀의 검은 옷은 어둡고 엄숙한 분위기의 숭고미를 표현하며, 떠난 호머를 기다리고 그리워하는 에밀리의 모습, 마지막으로 숨진 채 누워있는 호머의 모습 자체는 공포의 분위기를 일으킴과 동시에 비극적 숭고함을 보여준다. 고딕소설 뿐 아니라 모든 문학 장르에서 숭고함의 표현은 찾아볼 수 있으므로, 앞으로 여러 문학 분야에서 숭고미에 대한 연구와 분석이 이루어질 것이다.

• Architectural research
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• 제15권1호
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• pp.17-23
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• 2013

The purpose of this paper is to reconsider and revaluate Ste. Genevieve Library designed by Henri Labrouste as a criticism of Classicism. Considered as the epitome of the early structural Rationalism the modern historian tried to focus only on the iron structure of the library. Arguably, the structural concern was one of the ideas that the architect wanted to manifest in the library. As a rebel against a view of the Acad$\acute{e}$mie des Beaux-Art the notions of H. Labrouste were radical. He criticized an autistic Classicism with an echoing Claude Perrault's doubt about the myth of classical beauty. These radical ideas firstly showed in his report of the Grand Prix de Rome and must have been developed through several discussions for a novel: Notre-Dame de Paris by V. Hugo. 'Ceci tuera cela', one of the chapter of the novel, was generally known as the death of architecture due to the invention of the printing press around Renaissance period. We, however, consider that even though the historical background of the novel is the Gothic period the ideas, which was discussed with Labrouste, related to the death of architecture was not the architecture itself but classical architecture recomposed during Renaissance period. As the first design work the library must be reflected his ideas, which were developed, and manifested his criticism of the Classicism indirectly.

• 영어영문학
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• 제55권6호
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• pp.1123-1137
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• 2009

Revisiting the horror of slave mutiny in nineteenth century America via Julia Kristeva's concept of abject, this essay examines abject fear in Amasa Delano and Babo's subversive act to deceive Delano in Herman Melville's "Benito Cereno." Babo, the slave, exercises subversive power, thereby reversing racial hierarchy aboard the slave ship-the San Dominick. Babo's ability to mimic and control racial stereotypes exposes how nineteenth-century racial hierarchy was only a social fiction, which becomes the very source of Delano's fear. Delano's dread belies upon the possible disruption of social order triggered by Babo'sblack rebellion. In order to repress his fear, Delano consciously and unconsciously attempts to re-inscribe white dominion and reaffirm black inferiority and stereotypes by means of rationalizing the disturbing signs he witnesses on the San Dominick. When Delano discovers the realsituation of the ship, he must relinquish the abject resonance that disturbs the previous racial order. Employing a legal document, Delano re-inscribes the official position of the blacks as slaves, defining them as violent savages, and thereby silences Babo. However, Melville's text is not a testament to white power. "Benito Cereno" actually endorses abject instability to challenge racial hierarchies through the poignant image of Babo's dead gaze in the last scene of the novella. Thus, "Benito Cereno" exemplifies the recurring power of abject as a threat to social hierarchy and as a constant reminder of the falsity and insecurity of a social order.