• 영어영문학
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• 제56권6호
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• pp.1295-1310
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• 2010

In her "After Language Poetry: Innovation and Its Theoretical Discontents" in Contemporary Poetics (2007), Marjorie Perloff spotted Steve McCaffery's and Lyn Hejinian's points of reference and opacity/transparency in poetic language, and theorizes in her perspicacious insights that poetic language is not a window, to be seen through, a transparent glass pointing to something outside it, but a system of signs with its own semiological interconnectedness. Providing a critique and contextualizing Perloff's argument, the purpose of this paper is to introduce a topological model for poetry, language, and theory and further to elaborate the relation between the theory and the practice of language poetry in terms of "the revolution of language." Jacques Lacan's poetics of knowledge and of the topology of the mind, in particular, that of "extimacy," can articulate the way how language poetry problematizes the opposition between inside and outside in the substance of language itself. In fact, as signifiers always refer not to things, but to other signifiers, signifiers becomes unconscious, and can say more than they actually says. The original signifiers become unconscious through the process of repression which makes a structure of multiple and polyphonic signifying chains. Language poets use this polyphonic language of the Other at Freudian "Another Scene" and Lacan's "Other." When the reader participates the constructive meanings, the locus of the language writing transforms itself into that of the Other which becomes the open field of language. The language poet can even manage to put himself in the between-the-two, a strange place, the place of the dream and of the Unheimlichkeit (uncanny), and suture between "the outer skin of the interior" and "the inner skin of the exterior" of the impossible real of definite meaning. The objective goal of the evacuation of meaning is all the same the first aspect suggested by the aims of the experimentalism by the language poetry. The open linguistic fields of the language poetry, then, will be supplemented by The Freudian "unconscious" processes of dreams, free associations, slips of tongue, and symptoms which are composed of this polyphonic language. These fields can be properly excavated by the methods and topological mapping of the poetics of extimacy and of the klein bottle.

• 영어영문학
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• 제58권4호
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• pp.565-588
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• 2012

This paper aims at reconsidering 'suture,' a key concept in early Lacanian film criticism, with a view to narrowing a supposed gap between early Lacanian and later Lacanian film criticism. Early Lacanian film theorists, among whom Jean-Pierre Oudart, Jean-Louis Baudry, Laura Mulvey and Daniel Dayan, to name a few, are prominent, focus on cinematic signifying system as well as its ideological effects on shaping subjectivity of the audience. Initiated by Jacques-Alain Miller's article on suture as the logic of signifier and grafted into film as the logic of the cinematic by Oudart's writing, the concept of suture was established as a key word in early Lacanian film criticism. In their taxonomy, suture refers to the processes by which the audience are stitched into the story-world of a film. The audience are drawn into the film and take up positions as subjects-within-the-film such that they make sense of and respond to what the film represents as they are encouraged to do so by the film itself. On the other hand, later Lacanian film critics, who are much influenced by Lacan's later emphasis on the Real, focus on concepts such as gaze, petit objet a, fantasy, rather than suture. They are more concerned with the failure of suture and the disruption of the Symbolic than the ideological effects of suture and the consolidation of the Symbolic. They require a break from the previous approach of Lacanian film theory which centers around the Imaginary and the Symbolic. However, early Lacanian and later Lacanian film theory do not manifest as much disparity as they are supposed to do, for both are against the ideological manipulation of suture. Slavoj Žižek, a leading scholar of later Lacanian psychoanalysis, revives the concept of suture as a patch of the Symbolic which covers the gap, if not always successful.

• 한국멀티미디어학회논문지
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• 제20권2호
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• pp.420-428
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• 2017

In recent trends, the first age of digital device usage has been significantly getting low and the using frequencies for younger generation have been gradually increasing. Also, while there were more negative opinions of this trend in the past, the new idea is changing to more needs of training and approaches for children's sound using guidelines for digital device. In fact, people believe the new generation will face more advanced future, called the Fourth Industrial Revolution. The purpose of the paper is first to explain about the Jacques Lacan's concept of desire theory in order to understand the human's unconscious level through His desire theory. Second, the paper identifies how this unconscious level is affected to ethical aspects of new generations whose unconscious level are frequently and early exposed to digital media. Lastly, the paper will present the necessity of digital literacy education as well as future direction. Furthermore, the paper review for what is the ethics and positive guidelines of digital media for children who will become the future citizens in the era of the Fourth Industrial Revolution.

• 비교문화연구
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• 제53권
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• pp.73-102
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• 2018

이 논문의 목적은 자크 라캉(Jacques Lacan)의 욕망 이론을 토대로 이디스 워튼(Edith Wharton)의 "순수의 시대(The Age of Innocence)"의 두 주인공인 뉴랜드 아처Newland Archer)와 엘런 올렌스카(Countess Ellen Olenska)의 관계에서 엘런을 대상 소타자(objet petit a)로 규정하고 두 사람의 사랑의 불가능성을 욕망의 불가능성으로 읽어내는 것이다. 뉴랜드는 1870년대의 뉴욕 상류사회에서 참된 사랑과 참된 감정이 결여되어 있다는 것을 깨닫는다. 그에게 엘런은 뉴욕 상류사회의 틈새와 결핍이자 그의 삶의 틈새와 결핍을 동시에 구현하면서 그 틈새와 결핍을 메울 수 있는 존재, 즉 대상 소타자가 된다. 대상 소타자로서의 엘런은 뉴랜드의 욕망을 작동시키는 원인으로 작용하지만 뉴랜드는 중요한 순간마다 사회적 규범 속으로 도망침으로써 엘런과의 결합을 지연시키는 방향으로 행동한다. 그의 행동은 욕망의 목적이 대상과의 결합이 아니라 욕망의 순환과 재생산이라는 특성을 보여 준다. 뉴랜드가 마지막 장면에서 엘런과의 재회를 포기하는 것은 엘런을 도달할 수 없는 대상으로, 접근 불가능한 대상으로 유지시키고 그녀를 욕망의 대상으로 영원히 붙잡아 두기 위한 노력으로 해석될 수 있다. 이 논문의 또 다른 목적은 이런 욕망의 특성을 남녀관계의 특성과 연관시켜서 "순수의 시대"를 남녀관계의 본질을 보여주는 이야기로 읽어내는 것이다. 주체와 대상 소타자의 관계를 보여주는 뉴랜드와 엘런의 관계는 남성과 여성이 결코 조화로운 관계를 만들어낼 수 없다는 것을 보여준다.

• 한국콘텐츠학회논문지
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• 제15권4호
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• pp.88-96
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• 2015

시각이미지에 나타나는 메시지 담론의 본질은 시각이미지 발신자와 이를 받아들이는 수신자 모두의 경험과 문화 등과 밀접하게 관련되어 있다. 시각메시지의 의미작용은 상호주체적인 과정을 통해서 드러나는 것이다. 발신자의 기표 생산과 은유적 기표가 수용자에게 무의식적으로 작용하는 메커니즘을 '무의식은 언어처럼 구조 지어져 있다'는 라캉의 이론에 적용하였다. 그리고 언어적으로 접근한 라캉의 은유 공식을 시각적 이미지에 적용하여 은유 구조와 의미작용 분석의 가능함을 제시하였다. 본 연구를 통한 분석은 시각적 은유 표현에 나타난 기표의 다양한 층위를 논리적이고 실용적으로 모색하는 근거가 될 수 있다. 기표의 은유적 구조와 분석 매트릭스는 시각적 이미지 생산을 위한 창의적 아이디어 전개와 실천적 방법을 제시할 수 있어, 향후 분석결과와 더불어 수신자 감성 반응의 실증적 연구를 기대할 수 있다.

• 한국실내디자인학회논문집
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• 제26권6호
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• pp.81-96
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• 2017

This study aims at establishing a basic theory for the combination of architecture and movies by comparing the long-take technique of movies and the continuity of space, one of space composition principles, which is important in digital architecture based on Jacques Lacan's visual-art theory and finding common features and differences of them. The following is a summary of the conclusions. First, analyzing the long-take technique on the basis of Lacan's visual-art theory found that the subject of representation is scenes of movies and that staring shows features of narrative. Second, the long-take technique can be thought as a cinematic technique which tries to realize the real order beyond the symbolic order in real life through the process of continuous replication of replication of replication of a scene in one shot. Third, in contemporary architecture, which is compared to the long-take technique in the past, the inclined space of opened gaze is similar to the method which tries to realize architectural space of the reality which belongs to the symbolic order close to the real order which belong to significant in human unconsciousness. Fourth, the freeform continuous space of closed gaze, which can be compared to contemporary long take combined with computer graphic technology, has more difficulty in realizing the real order than the long-take technique in the past and inclined, continuous space as the feature which belongs to $signifi{\acute{e}}$ in human consciousness has been strengthened through the circulation which repeats and expands along an observer's movement. Fifth, when the contemporary long-take technique and freeform continuous space expand gaze which opens from the inside to the outside, it is considered that the space which is closer to the real order than the classic long-take technique and inclined continuous space can be created.

• 비교문화연구
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• 제36권
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• pp.37-59
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• 2014

William Wordsworth's "The Thorn" revolves around the following questions: Who is Martha? Why does she go to the mountain top and repeat her doleful cry? To these questions, it gives us two different kinds of answers; one derives from the villagers, and the other from the narrator. This essay attempts to examine how the answers exemplify two different critical approaches to the problem of community, using Jacques Lacan's account of sexual difference in his seminar on Encore as a guiding thread of analysis. The important thing to retain here is that sexual difference in Lacan's seminar on Encore does not so much indicate biological determinations as two distinct forms of relating to the other which are intimately bound up with the question of how a community is constructed and maintained. The first form, called "masculine," suggests that it is a radical exception to a community that makes possible the community as a field of totality or sameness; the second form, called "feminine," shows that each of the subjects cannot be regarded as a member of a closed community which is guaranteed by the exceptionality, but as an exception that is radically singular. This in turn leads us to consider the possibility that the masculine form has to do with the villagers' effort to distinguish themselves from Martha and the feminine form with the way in which the narrator confronts and represents her. In the course of his formulation of sexuation graph, Lacan stresses that the masculine side must be supplemented by the feminine side, which allows us to elaborate on why, concerning Martha, the narrator does not just keep the completely different position from the villagers'. This is to say that the villagers' representation of Martha as an exception to the community should be supplemented by the narrator's attempt to tell Martha's story as the villagers do and at the same time to capture something of her enigmatic unrepresentability. Bearing in mind Charles Shepherdson's elaboration of traumatic memory, this essay also tries to clarify how the narrator preserves and even transmits something of Martha's truth that is embodied in her uncontrollable and unassimilable cry.

• 비교문화연구
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• 제53권
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• pp.103-130
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• 2018

칠레 여성 작가 마리아 루이사 봄발(María Luisa Bombal, 1910 - 1980)의 단편소설 "나무"('El ${\acute{a}}rbol$', 1939)는 '브리히다'라는 여주인공의 '개안(눈뜸)의 과정'을 이야기한다. 브리히다는 아버지의 관심을 얻지 못하자, 이를 남편의 사랑으로 대치하고, 이마저도 실패하자, 이를 대신하여 창문 앞 아름드리 고무나무 (남자로부터 받는 사랑의 대체물)에게서 위로를 얻고자 한다. 개안의 순간은 국가도로사업에 의해 고무나무가 잘려 나가면서 일어난다. 그 순간 그녀는 자신이 아직도 사랑을 원하고 있음을 깨닫는다. 소설은 나무의 쓰러짐과 여성 개안의 연관성에 대해 설명하지 않으므로써 그 상징성과 심미성을 높였다. 이에 필자는 봄발의 "나무"를 더 깊게 이해하기 위해 이러한 질문에 대한 답을 하고 있는, 한국 여성작가 김채원(1946 - )의 단편소설 "물의 희롱-무와의 입맞춤"(2015)을 분석한다. 김채원의 작품을 통해 봄발을 읽음으로써 봄발의 "나무"가 궁극적으로 이야기 하고자 하는 것이 여성이 남성과의 성과 사랑에 기대는 한 결국 파멸되게 되어있음을 고찰하고자 한다. 본 논문은 라틴아메리카의 단편소설과 아시아의 단편소설을 나란히 놓고 읽음으로써 여성이 주체적 삶을 살아가기 위해 인지해야 할 점들(a. 남자가 바라는 여자여야 한다는 강박관념의 오류와 b. 남성을 인생의 부분으로 여기지 못함으로써 생기는 오류)을 지적한다. 그리고 필자는 쟈크 라캉(Jacques Lacan)의 욕망 이론에서 나타나는 욕망대상의 허상성과 숭고한 대상의 붕괴를 통하여 앞서 언급한 두 소설이 말하는 예정된 여성 파멸의 이유를 설명한다. 그리고 결론으로 여성의 개안이란, 남성과의 성과 사랑을 통한 인생에의 안온함은 없다는 것을 인지하여, 본질적으로 허상적인 사랑에 스스로를 가두는 습성을 버려야 함을 주장한다.

• 복식문화연구
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• 제23권1호
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• pp.1-10
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• 2015

This study, which focuses on a masquerade, starts from the concept that all men exist as visual objects as well as visual subjects before discussing an issue of sexuality to inquire into masquerade characteristics of fashion photography. Masquerade is a concept that can describe various and multidimensional attributes of humans in social norms prescribed separately for men and women till now, and the concept has not yet been introduced in the field of fashion. However, it is considered a measure to analyze contemporary expressions of sexuality, on which a need for this research is raised. This study looks into the basic concept of the object and the ego through a psychoanalysis-related literature review. This study, then inquires into Jacques Lacan's notion of gaze and Roger Caillois's theory of mimicry through related specialty publications. This study reinterprets the concept of masquerade from Lacan's perspective and carries out an empirical analysis of masquerade characteristics in contemporary fashion photography based on the result drawn in parallel. Sexual masquerade shown in fashion photography based on the concept of masquerade is as follows: first, it appears as normative sexual description, divided into male and female by social norms; second, sexual ambiguity, obscuring the distinction between the sexes through playful and bombastic forms; and lastly, sexual subversion, disguising as the opposite sex through putting on clothes of the opposite sex.

• 종교문화비평
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• 제25호
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• pp.77-122
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• 2014

우리에게는 아직 생소한 일본의 영화감독 소노 시온(원자온(園子溫), 1961~현재)은 <자살클럽>(2001)의 대성공 이래 그 속편인 <노리코의 식탁>(2005)을 비롯하여 <기묘한 서커스>(2005) 및 '증오 3부작'이라 칭해지는 <사랑의 노출>(2008), <차가운 열대어>(2010), <사랑의 죄>(2011) 등 시적이고 철학적인 메시지를 수반하는 충격적이고 자극적인 폭력과 독창적이고 도전적인 터치의 섹슈얼리티 묘사를 거쳐, 3 11 동일본대진재 이후 내놓은 <두더쥐>(2011)와 <희망의 나라>(2013)에서는 보다 직접적인 방식으로 현실참여적인 비전을 제시하고 있다. 본고의 목적은 응시와 대상a, 환상과 욕망, 상상계-상징계-실재계, 주이상스(jouissance) 등의 라캉(Jacques Lacan, 1901-1981)적 개념들을 도구 삼아 소노 시온의 영화 가운데 <사랑의 노출>(愛のむきだし)에 대한 정신분석학적 해석을 시도하는 데에 있다. 그 과정에서 특히 사랑 담론에 주목하는 한편, 라캉으로 영화 또는 종교를 말한다는 것이 종교연구자에게 어떤 새로운 전망을 제시해 줄 수 있는지를 모색하고자 한다. 이때 다음과 같은 라캉의 세 가지 문제의식 즉 (1)오인의 구조로부터 출발하자는 제안 (2)틈새(간극, 잉여, 구멍, 공백)와 부재(결여, 결핍) 또는 실패의 적극적인 의미를 수용하는 자세 (3)시각(eye, 주체가 대상을 보는 것)으로부터 응시(gaze, 대상이 주체를 보는 것)로 전환하자는 문제의식 등으로부터 적지 않은 시사를 받을 수 있으리라고 기대된다.