• 영미문화
• /
• 제9권1호
• /
• pp.113-139
• /
• 2009

Such is an elective affinity between literary studies and psychoanalysis that the latter sometime serves as a form of literary pedagogy. The affinity mainly consists in their shared concern for language. The signification of language in psychoanalysis is much similar to that of literature. Many of psychoanalytic terms and theoretical tenets bear witness to its dependence clinically on speech phenomena and theoretically on language in general. It is most true of Sigmund Freud, for whom the unconscious is in effect the linguistic unconscious. The Freudian unconscious, compressing and displacing through images and ideas, works as a text for psychoanalysis, which approach has not only paved one of the ways to poststructuralist anti-essentialism but with which literary studies also feel uncanny familiarity. Freudian psychoanalysis, starting empirically from clinical observations, discovers that words exist independent of meanings in the form of things in the unconscious system. Out of the various sensory elements of a word-thing, in psychoanalytic terms, the auditory is central. Now with the auditory imagination cultivated in the clinic, Freud figures out compression and displacement as the chief unconscious works, of which my main argument is that they are based phonetically on heteronym and homonym associations respectively. Compression and displacement work to be masks, which excites Freud's sense of challenge: his is a kind of poststructuralist approach, in the sense that the closed interrelatedness of words without external referents determines the signification in a given situation. But the works of compression and displacement, viewed in auditory terms rather than mapped on to metaphor and metonymy, can provide a new insight for a literary reading of Freud. Pursuing Freud's auditory imagination is not only an attempt to read his writing as literary text rather than for theoretical discussion, but also an experiment with the possibility of literary reading of a theoretical text in the age of after-theory.

• 디지털융복합연구
• /
• 제19권12호
• /
• pp.443-450
• /
• 2021

이 연구는 아나 릴리 아미르푸어(Ana Lily Amirpour)의 영화 '버려진 자들의 땅(The Bed Batch, 2016)'을 중심으로 연구하였다. 논문의 핵심주제인 '언캐니 인간학(Uncanny anthropology)'은 프로이트(Sigmund Freud)의 '언캐니(Uncanny)' 이론을 '인간의 관계성 (주체와 타자)' 에서 바라보자는 의미에서 출발해서 이상적 인간학을 지향한다는 의미에서 특별히 사용하였다. '언캐니 인간학'의 새로운 이론 논의를 위해서 키르케고르를 시작으로 니체(F. W. Nietzsche), 하이데거(Martin Heidegger), 레비나스(Emmanuel Levinas)의 인간학이 언캐니 인간학의 이론적 배경에 해당된다. 하지만, 이 논문에서는 제한적인 지면 관계상 레비나스의 관계적 인간학에 집중해서 살펴보았다. 이 영화에서 가장 중요한 점은 인간과의 악의적인 관계성을 사랑으로 승화시켰다는 점이다. 일상적이지 않은 주제를 선택했고, 네러티브에서 인과성을 단절시키면서 주제와 내용을 표현했으며, 레비나스의 언캐니 인간학이 오롯이 표현된 영화로 평가된다.

• Journal of Multimedia Information System
• /
• 제4권1호
• /
• pp.27-32
• /
• 2017

Through the development of the medium, Sigmund Freud's uncanny element in the Cinemagraphic technique of digital image is analyzed, and the research problem presented through the case and literature data is interpreted. Look for an Uncanned element as seen from. Interpret the theories found in art paintings and human philosophical perspectives through examples in the overlapping cinema graphs of photographs and videos that we have looked at unfamiliarity. It interprets the double surreal image of Cinemagraph through unfamiliar gaze and evaluates new horizon with digital photograph.

• 로봇학회논문지
• /
• 제2권1호
• /
• pp.9-20
• /
• 2007

This paper presents a theoretical study for making intelligent robots with human-like mind. For the development of a cognitive mental model, we developed three algorithms based on the cognitive process for human psychoanalysis. Specifically, the concept of id, ego and superego from the theory of Sigmund Freud was adopted and the procedural algorithms were presented.

• 한국콘텐츠학회논문지
• /
• 제10권8호
• /
• pp.168-176
• /
• 2010

영상을 주의 깊게 시청하는 관객은 보이는 영상의 성격에 따라 여러 심적 변화를 경험한다. 기쁨, 슬픔, 놀람 등 관객이 느낄 수 있는 다양한 감정 상태는 심리학에서 많이 활용되는 제임스 러셀(James Russell)이 정의한 감정 원형모형을 통해 정리된다. 관객이 느낄 수 있는 감정들 중에서도 특히 지그문트 프로이트(Sigmund Freud)가 언급한 언캐니(uncanny)는 기존의 명료한 정서적 개념들의 틈새에 존재하는 첨예한 중간자로 대변된다. 언캐니 현상은 비윤리적으로 인식되는 영상을 시청하는 관객이 보편적으로 느끼는 불쾌한 부분이 쾌로 수용되는 상태, 즉 사회적 금기에 대해 긍정적인 상태이기 때문에 이는 사회윤리적인 해석과 더불어 명확한 수리적 분석이 후행될 때 비로소 첨예한 심리상태로서 분석 가치를 지닌다. 따라서 본 논문에서는 감정 원형모형과 언캐니 상태를 분석하고, 관객의 언캐니 상태에 관한 가설을 설립하여 ECG(Electronic Cardiogram)와 GSR(Galvanic Skin Response) 신호 측청과 같은 생체신호 실험을 수치화한 결과를 러셀의 감정 원형모형을 기반으로 분포, 거리, 시간 등을 분석하는 방향으로 진행된다.

• 한국실내디자인학회논문집
• /
• 제22권1호
• /
• pp.164-173
• /
• 2013

This study aims to analyze the aesthetic thought and expression tendency appeared in contemporary architecture by looking at today's architectural art based on the concept of the uncanny that Sigmund Freud contended as an aesthetic principle, of the aesthetic concepts tossed around to define the contemporary times in the aesthetics field and discuss the architectural analysis possibility of the concept of the uncanny. The generation structure of the uncanny that generates experiences of fear and surprise is classified into dual structure, trauma, threatening structure, and repetition compulsion. This is the principle that evokes a sense of experiencing subject, incorporates sensibility, and vitalizes internal process. This is also the methodology to organize and structure the concept of the uncanny. When seen from the four factors drawn from the concept of the uncanny and aesthetic expressions, the uncanny expression characteristics of contemporary architecture includes isolation, subversion, trace, absence, oblique line, flotation, concealment, and disturbance. Isolation and subversion refers to producing the space of the pressure of tension and relaxation caused by repression and relief from repression and eliciting the maximum expansion of the sense of space through spatial change. Trace and absence indicates being able to elicit more intense emotions from the experiencing subject by applying the images of alienation and absence in the way to reproduce historical trauma. This happens by implementing the potential value of physical activity. Oblique line and flotation means visual impulse. This happens in the way to visualize uneasy points. This causes uncanny by threatening the survival. Finally, concealment and disturbance refers to creating unpredictable space. The concept of masquerade and maze space composition are applied in the way to activate spatial perception, including space exploration and unintended subject's forced selection. As stated above, the uncanny expression characteristics shown in contemporary architecture can be presented as indicators that are available to analyze the undecided and diversified contemporary architecture aesthetically. In this respect, this study has great significance.

• 한국콘텐츠학회논문지
• /
• 제22권1호
• /
• pp.405-414
• /
• 2022

본 연구는 프로이트(Sigmund Freud)의 언캐니(Uncanny) 개념과 그로테스크 이미지가 특징적으로 드러나는 마기 마랭(Maguy Marin)의 작품(1981)를 분석함으로써 무용작품의 미학적 해석 지평을 확장시킬 가능성을 발견하는 것에 목적을 두었다. 언캐니와 그로테스크 이론은 문헌연구와 함께 호프만의 『모래 사나이』(1816)를 사례로 제시하였다. 무용작품 분석에서는 무대공간, 움직임, 의상, 음성 등 다양한 요소들을 활용하였다. 이를 통해 이 작품이 언캐니와 그로테스크를 통해 전통적 무대미학의 고정관념에서 벗어나 관객의 정신적 참여를 제공하는 실험정신을 가진 작품이라는 점을 발견해 낼 수 있었다. 아울러 시대에 따른 관점변화가 무용 창작에 영향을 주듯이 작품 분석을 통한 다양한 미학적 해석방법의 담론화는 향후 무용 연구에 다양한 방향성을 제공하리라 사료되며, 이 연구가 무용예술의 미적 가치와 위상을 올리는 데 도움이 되기를 기대한다.

• 한국실내디자인학회논문집
• /
• 제17권2호
• /
• pp.130-139
• /
• 2008

We have attached importance to the values of spirit and immateriality. As the age of modernism of rationality ended, human being began to emphasize spiritual and immaterial while accepting multiplicity and diversification in the whole areas of society and culture. Hence interests have increased in another side of human spirit that was oppressed by rational, analytic, reasonable and scientific thinking, which has expanded the inner world of human being to the world of the unconscious. According to these paradigm changes, steady efforts to improve our lives better both materially and spiritually have been made in the areas of art and design. Therefore, the current study aims to examine the meaning of object expressed in space from the viewpoint of the unconscious, focusing on works of designer Philippe Starck after 2000 in which unique, preferential and liking characteristics are expressed well. Philippe Starck is a designer who connects design with our daily lives and formalizes it with creative ideas. Also the study theoretically explored the theory of the unconscious, a concept of Freudianism, based on 'Meaning of Dreams' of Freud, and explained the expressional characteristics and meaning of unconscious desire through his works by putting object in Philippe Starck's space. It aims to grope for the meaning of object as another possibility that can function as a spatial ruling element by analyzing object through expanding the extent of correlation and interpretation between human containing spiritual things and object which is the recognition subject in space of the present time, not a mere concept as substance like in the past, and expression of Starck's unconscious desire based on unconscious theory.

• 문화기술의 융합
• /
• 제9권2호
• /
• pp.437-444
• /
• 2023

현대 사회의 발전으로 보면 사회는 사람들에게 쾌속하고 편리한 삶을 제공하는 동시에 불안, 우울 및 기타 심리, 정신적 질병을 유발하기도 해서 예술은 심리적 장애를 치료하는 방법과 경로로도 사용할 수 있습니다. 예술 치료는 치료에 사용하는 한 가지 창조적인 표달방식으로서 예술과 심리 치료의 융합에서 비롯됩니다. 예술은 서비스적이고 공공적인 예술활동으로서 주로 인간 심리적 문제를 해결하는 것을 목적으로 하고 비언어적인 표현과 소통기회를 제공하며 다학과 간의 융합을 통해 특수 집단의 정서를 개선하고 안정하며 간접적으로 부적절한 행동을 개선하여 심리 및 정신적 내포를 치료하는 것도 예술 치료의 중점입니다. 예술 치료는 독립적인 학문으로서 20세기 3, 40년대 유럽에서부터 시작되었으며 주로 프로이드(Sigmund Freud)와 융(Carl (Gustav) Jung) 두 심리학자의 영향을 받았습니다. 우리는 정신분석학의 이론적 기초인 융사상으로 시작하여 예술이 현대 사람들의 심리치료에 대한 유효성을 탐구하고 융사상중의 도가 관점에 대한 인용과 참고로부터 시작하여 양자 사상의 유사점을 분석하고 예술치료가 현재 생활에서의 응용과 과학기술의 발전추세를 탐구하며 예술치료와 과학기술 사이의 심층교류를 탐구하여 대중들에게 예술치료의 다양한 길을 제공하고 과학기술의 사용이 예술치료의 타당성 탐색길 중 하나가 될 수 있도록 한다.

• 복식
• /
• 제65권6호
• /
• pp.99-111
• /
• 2015

The purpose of this study is to identify the expression methods of uncanny images shown in contemporary fashion through the visual expression methods of plastic arts. The study results are as following. First, there is a concept-forming element of 'The return of Repressed', which is a psychological mechanism for generating uncanny sets to the component of 'repression' and 'return'. 'Repression' herein consisted of 'unconsciousness', 'the other', and 'anxiety', while the return was composed of 'trauma' and 'repetition compulsion'. Second, there are visual expression methods of the uncanny in contemporary art. The subject of 'repressed things' was expressed as grotesque and having a terrible look. 'Fragmented body' was analyzed as 'dismantling' by mutilation, 'combination' placing cut body parts in other places, and 'damage' suffering from an illness or accident. 'Fear of death' was shown as 'anatomy' reminiscent of death and 'iconography of death' meaning return of the dead. 'Post-human' was a surrealistic being such as a monster and mechanized human, and was analyzed as 'gene variation' and 'cyborg'. Third, the methods of visual expression of the uncanny reflected on contemporary fashion was analyzed as 'fragmented body', 'fear of death', and 'post-human'. 'Fragmented body' appeared as the object reminiscent of the fragmented body, 'dismantling and combination of the body', and 'damage of the body' through the distortion of the clothing construction principle. 'Fear of death' visualized the characteristic elements of the subject reminiscent of death as 'iconography of death' and 'symbolic object of death' through the motif. 'Post-human' was the description of the subject beyond the body's function and form, and was shown as 'gene variation' and 'cyborg'.