• 영미문화
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• 제17권2호
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• pp.29-61
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• 2017

Said's Orientalism criticized the European representations on the Middle-East by theorizing orientalism as a discourse. In this text, he explored and criticized the colonial forms of knowledge and language that distorted the image of the colonized. The justification of the discourse of orientalism is derived from the binary system that is originated from Plato which Derrida rejects on the ground that it always privileges one term over the other, that is, colonizer over colonized. Derrida names for this traditional heritage of Western binary system logocentrism which regards logos(the Greek term for speech or reason) as the central principle of language and philosophy, whereas mythos derives its meaning from the logos on the basis of binary oppositions. Thus according to logocentrism, the colonized is merely the defined who can have its meaning from the definers, colonizers. In this paper, utilizing Derrida's a (non)concept called supplement which means both to add on as a surplus and to make up something missing as a mere extra, I propose another alternative interpretation towards the critique of colonial representation by raising internal contradictions in the Platonic dichotomy between logos and mythos embedded in western colonialism discourse, orientalism. I attempt to show that logos(colonizer) and mythos(colonized) is inseparable in itself due to the fact that they exist as supplementary. For this purpose, I demonstrate how colonial binary system constituted and was constituted in terms of language. Through this paper I reinterpret the colonial rationality of privileging 'logos' over 'mythos' by substituting the colonial binary system with the supplement.

• 복식문화연구
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• 제7권6호
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• pp.85-97
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• 1999

Contemporary hairstyle is too various and individual to be explained by an objective theory and an asthetic appraisal. Consequently, this study is to understand the various expression of contemporary hairstyle on the basis of J. Derrida\`s deconstruction theory. The results of this study are following as : First, it breaks up binary metaphysic and pursues disharmonous beauty because of intertextuality. Second, it breaks up logocentrism metaphysic and pursues neglected beauty because of decentring. Finally, it breaks up present metaphysic and puruses accidental beauty because of undecidability.

• 한국의류학회지
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• 제22권1호
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• pp.3-17
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• 1998

The aim of this thesis is to clarify the application of Derrida's 'Deconstruction' theory on the contemporary costume. Derrida's theory of 'Deconstruction' took into the 'decentring' concept which deconstructed the subjects i.e., Occidentalism, Elitecentrism, logocentrism, mancentrism etc.; it deconstructed the dichotomy that had been expressed in the traditional occidental metaphysics, by raising the isolated ones such as the Orient, sub-culture, ir- rationality, madness, woman etc. Summarizing the conclusion of this thesis as follows, 1. The impact of 'Deconstruction' from the inside is to be seen in the principles of intertextuality of the costume, therefore it has shown the bisexual costume by interacting gender, and the costume by mixing time, place and occasion. 2. $\ulcorner$Dis$\lrcorner$ deft phenomena which shows the concept of escape from the center were presented as decentring, dislocation, discomposition, disorder. 3. Undecidability principle resulted in the undecidable presentation in the wearing styles such as wearing, unwearing, layering. Contemporary costume by the 'Deconstruction' from the inside regards costume as a dynamic text, which has attempted the interaction with the other genres. It deconstructed the teleology of the costume function, and it accepts all the various aesthetic principles.

• 비교문화연구
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• 제45권
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• pp.479-496
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• 2016

본 논문은 죠셉 콘래드의 "어둠의 속"에서 중심인물인 말로우가 자신의 아프리카 탐험을 바탕으로 한 서사를 통해서 스스로를 서구 계몽주의의 합리적 이성주체 그리고 진리주체로 드러내고자 하는 시도를 하고 있음을 고찰하고자 한다. 작품에서 제국주의 이데올로기와 성 이데올로기는 서구 계몽주의 합리적 이성주체를 구성하는 데 작동하고 있다. 말로우는 아프리카에서 커츠를 만나러 가는 여정과 그와의 만남을 통해 제국과 성의 이데올로기들이 외부 현실세계에서 작용하고 있다는 사실을 알게 되었다고 자부한다. 그러나 말로우는 자신의 현실인식 역시 타자를 억압하고 타자의 정체성을 소멸시키는 서구의 전체주의적 이데올로기 담론에 의해 침윤되어있다는 사실을 모르는 주체이다. 말로우는 서구 계몽주의 주체인 동시에 계몽주의의 이분법적 위계서열을 가치판단의 기준으로 삼는 이성에 의해 지배당하는 식민주체이다. 말로우는 자신이 제국주의의 본질이란 정치적 폭력과 경제적 수탈로 점철되는 현실이고 이것을 깨달은 진정한 계몽주체라고 자랑한다. 그러나 그의 서사담론은 제국주의에서 발견되는 배타적이며 자기중심적 이데올로기와 성 이데올로기로 원주민을 비인간적 존재로 판단하고 여성을 이상화된 세계에 매몰된 존재로 파악하는 자기모순의 오류를 범하고 있다.

• 영미문화
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• 제16권2호
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• pp.111-139
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• 2016

Plato's philosophical importance in western thinking history cannot be understated. Especially his dichotomy system became common to the European traditions of philosophical and scientific discourses by assigning principal value to the presence that is opposed to the absence. Since the ancient Greeks, the concept of presence has been expressed itself in number of ways such as God, Truth, Logos, and center. Derrida called this European thinking "the metaphysics of presence." In order to analyze logocentrism also called the metaphysics of presence in No Telephone to Heaven, I used the term, paralogy that Aristotle did not accept as rules of argumentation but that Lyotard revived it positively as the principle of reason. Lyotard's incredulity towards rationalist theory of modernism is that knowledge can never be certain. Without any ultimate validity, certainty is impossible. Nevertheless, as Fanon said, the colonial world is dominated with a traditional Manichaean world. As a result what remains to the colonized to establish their identities is that of an armed struggle towards the colonizer even though they know it results in the vicious circle of hatred endlessly. Cliff attempted to show this message in her text through the tragic heroine, Clare Savage. Cliff's another critique of modernism's rationalism is shown through the ambiguous sexuality of Harry/Harriot. In this novel, gender plays also a central role by questioning the traditional binary system of sexuality. In this paper, I deconstructed this traditional gender system in terms of Bulter's concept of performitivity. This study will give the text another layer of deconstructive interpretation echoing with the proverb, one tree cannot make a forest.

• 건축역사연구
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• 제31권1호
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• pp.77-88
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• 2022

Architecture had played a significant role model in philosophy because the construction of building represented doing philosophy. 'Architecture as metaphor' made it possible that doing philosophy was a kind of construction of thinking and western philosopher considered himself as an architect of idea. As a system of system, architectural analogy gave philosophy a chance to insist himself as a theory of theory. So architecture had always been a privileged model of discourse system and also a fundamental metaphor in philosophy. Because of its original meaning, Architecture as techne could be considered as poiesis, that was the special building(making) in western culture. The archi(arche) - structure(techne) was a ideal model and mechanism of philosophy because with this analogy doing philosophy became a kind of building act to make a logical system of idea. This kind of tradition in philosophy, especially metaphysics, made the characteristics of western philosophy 'architectonic' that implied the meaning of the rational, stable, hierarchical and holistic. But this kind of tradition exposed the problem of philosophy that focused on Identity and excluded the others. The logocentrism of western philosophy was also the limitation of architectonic thinking and its reductionism became a grand monologue which only allowed systematic, rational discourse. Its ideological position Inevitably caused the anti-architectural thinking in modern age as a diverse form of new trend of thinking as like postmodernism or deconstruction. Even Deconstructivism, or 'informe', non-representation in architecture depends upon anti-architectural thinking. Relationship between architecture as metaphor and the building of philosophy is problematique issue.

• 만화애니메이션 연구
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• 통권50호
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• pp.75-99
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• 2018

일본의 애니메이션 감독 신카이 마코토는 1인 제작 시스템과 '빛의 작가' 로 주목 받으며 등장했으나 그의 2016년 개봉작 <너의 이름은.>은 그러한 기존의 그의 작품을 특징지은 요소들로부터 상당부분 스스로 탈피한 모습을 보임과 동시에 일본 전통적 인연설인 무스비 테제의 결합으로 내러티브의 풍부함과 열린 해석 가능성의 매력으로 흥행은 물론 앞으로의 작품에 대한 기대감까지 한껏 고조시켰다. 이 작품은 제목에서도 짐작할 수 있는 바, '이름'에 관한 일본 고대 언어관과 현대 언어관의 만남이 나타나며 온전한 '만남' 을 위해 이름(언어)의 역할이 사건 속에서 다양한 변주로 반복 강조되는 모습을 보인다. 이 작품에서는 인물들도, 사물들도 접촉하는 주체의 뜻에 따라 그 기의가 유사성의 은유적 역할로 해석이 확장, 유보된다. 기표와 기의라는 구조를 통해 분석된 말과 사물의 관계는 소쉬르를 통해 나타난 현대의 획기적인 사상적 발견이다. 데리다는 소쉬르의 이 개념에서 사물을 비로소 존재하게 하는 '차이' 에 주목하며, 로고스의 명령에 충실해 온 서구의 로고스 중심주의, 이성 중심주의를 해체한다. 이처럼 서구 형이상학의 폐쇄적이고 배타적인 원리가 해체된 이후 대두되게 된 것은 중심의 해체, 주체의 해체이다. 데리다는 이처럼 해체주의를 표방하며 그 동안의 이성 중심주의에 의해 배제되어왔던 수많은 약소자들 및 타자들과 어떻게 관계를 맺으며, 어떻게 타자들의 부름에 응답하고 그들을 환대할 수 있느냐 하는 문제를 제기한다. 데리다의 '해체'개념은 언어의 본성에 대한 통찰을 출발점으로 하는 철학적 전략이다. 그가 텍스트를 읽는 방법적 개념으로 등장시킨 은유인 '산종(dissemination, 散種)'은 해석 실천(혹은 유희의 방법)으로 작용하며, 어떤 종국적인 해석을 추구하지 않는다. 그의 '결정 불가능성'은 그 출발은 무한성이 아니지만 귀결되는 종착지는 무한성이다. 연구자는 인간이 언어의 주체가 아닌 언어의 사용자의 입장이기에, 데리다 역시 기표와 기의로 이루어진 사물의 세계를 열린 텍스트로 해석함으로써 우리 역시 세계의 해석자가 될 수 없음을 스스로 증언했다고 파악하며, 데리다의 '해체'와 '산종'의 프레임을 통해 사물과 이름의 이야기, 이름을 통한 만남을 이야기하고 있는 신카이 마코토의 작품을 읽어보고자 한다. 또한 기표와 기의의 구조가 이 작품 속에서, 또한 현대를 살아가는 우리 인간과는 어떠한 관계가 있는지 제고하며. 데리다의 해체와 산종 개념을 통해 작품에 나타난 말과 사물의 관계를 살펴보며, 기표와 기의로 세계를 파악하는 우리 역시도 곧 기표와 기의의 일부에 다름없음을 확인한다.

• 조형예술학연구
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• 제7권
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• pp.5-63
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• 2005

Generally, the meanings of destruction are related in the meaning of demolition, breakdown, into fragments ... and so on, and the similar meanings are twist, crush, demolish, split, cut, into pieces , break up ... etc. Further, it has related in the cruelty and destructive heart which are linked with orgy, Sadism, Necrophilia and so on. The meanings are also expressed by the initial , which are deprivation, deface, defame, deform, degrade, delegitimize, denounce , deride, destroy, devalue, as well as debase, debunk, declaim, declassify, decry, delete, denigrate, deprecate, despise or detract ...and so on. Dario Gamboni has discussed the meaning in his book as two categories Iconoclasm and Vandalism. And the similar meanings could be found in the words which has the initial of , like abase, abate, abhor, abjure, abolish, abridge, abuse ...and so on. Even though the distinct meanings of Iconoclasm and Vandalism, it is not easy to distinguish clearly between the differences when the results are accomplished in contemporary paintings because of the similarity of the results. In korean vocabulary there are no similar words to distinguish between the meanings of destruction and deconstruction, and the deconstruction is not recorded in the general dictionaries. However the meaning of is diminishing, separation, contrast and so on. So the unification of the word as do-construction is not construct, minus construction, reverse construction. And Vincent Ditch explained that there are the meaning of destroy the text. From Jacques Derrida, the deconstruction strategy is to criticise the world of traditional metaphysics and logocentrism, and not to reconstruire the philosophical meaning of texts but $d\'{e}construire$ them. And Saussure emphasized that the signifers could have more meaning that there can be more signified in traditional texts in the art. as a result, deconstruction is explained that there are many signified meanings in a signifer. In this thesis , from using the meanings of destruction and deconstruction, to distinguish the expressive skills in contemporary art works are arising. Therefore, special methods which are linked in the destruction styles are selected. As a result, the two different purposes of destruction is arising, one is enmity destruction and the other is self destruction another word, auto destruction or destruction to create The enmity destruction can be distinguished by the two category Iconoclasm and Vandalism. They come from the moment of different historical aspect is arising and want to attack the Icon or masterpiece this concept is from the study of John Philips and especially iconoclasm is linked with religious and artistic heart, but Vandalism is come from the political attack. Sometime, this distinguish is not clearly arising, because the two aspects are co-related in the attack. As a result, firstly, the Iconoclastic controversy had arisen in the methods of Dadaism which has developed by Man Ray, Francis Picabia and Marcel Duchamp. They want to attack the pre-established master-pieces and painting spaces, and they had 'non-artistic attitude' not to be art. Since 1980, the German artist Anselm Kiefer adapted the methods and made them his special skills so he had tried to paint tough brush strokes and draw with hugh pallette image line and fire and water images , they can be the image attack as the Iconoclasm. secondly, the model of vandalism is to be done by hammer, drill, canon and so on. the method is to attack the content of painting. Further, the object of destruction is bound by cords and iron lings to demolish or to declare the authority of pre-statues; it symbolize the pre-authority is gone already. Self-destruction based paintings are clearly different in the purpose of approaching the art work. First of all, they can be auto-destruction, creative destruction and metamorphosis destruction, which is linked with the skill the material aspect and basic stature, and sign destruction or signifier destruction, which is link with the inner meaning destruction that is considered as the Semiotical destruction in post-modern paintings. Since 1960, the auto destruction is based on the method of firing, melting, grinding and similar skills, which is linked with Neo-Dada and reverse-assemblage. Metamorphosis destruction is strongly linked with the basic inner heart price and quality, so it can be resulted in the changedness of expectation and recognition. Tony Cragg has developed the skills to metamorphose the wood as stone or iron as cloth and stone as sponge and rubber and so on. The researcher has developed the same style in the series of since 2003. The other self-destructive methods are found in the skill of sign destruction. In the methods the meaning of the art is not fixed as one or two, but is developed multi-meaning and differ from original starting situation, so Jacques Derrida called the difference meaning in deconstruction. It is the destruction of textes. These methods are accomplished by David Salle, Francesco Clemente, and recently Tracy Emin, who has developed the attacking heart in the spectators' emotion. Sometime in the method of self-destruction, it is based on horror and shock, the method is explored by Demian Hirst and Jakes and Dinos Chapman. Their destructive styles stimulate ambivalent heart and destroy original sign of girl and animals.