• 영미문화
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• 제9권1호
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• pp.113-139
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• 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.

• International journal of advanced smart convergence
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• 제9권4호
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• pp.101-105
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• 2020

In this study, we are going to discuss the role of sound, which exists as the background of a movie scene, and the relationship between seeing and hearing. In order to analyze the form in which the scene and sound are matched, the visual content of the image must be analyzed first. In this study, we analyzed Stanley Kubrick's film . Generally, there are both visual and auditory features in the scene of the movie. In some cases, the sound is emphasized more than the scene, and the scene is emphasized more than the sound. In particular, the sound in movies enables a wider imagination and a three-dimensional experience. Images and sounds will have different meanings and effects depending on the purpose of use. By analyzing the correlation between visual scene and auditory sound based on the role sound plays in the film in this study, we would like to confirm that sound is one essential element that has the role of equivalent and independent expression, not the role of assisting images.

• 융합정보논문지
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• 제7권4호
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• pp.121-127
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• 2017

1920년대를 다룬 피츠제럴드의 소설 "위대한 개츠비"를 루어먼은 2013년 영화로 재현하고 있다. 소설에서는 독자가 플롯을 통해 자신의 상상력으로 이야기의 흐름을 파악해야 하지만, 영화 는 소설의 요소에 시청각적인 효과를 융합시키고 있다. 데이지는 패션의 아이콘으로 그녀가 입고 있는 프라다, 샤넬, 그리고 티파니 같은 보석은 재즈 시대의 의상을 현대적인 감각으로 재현하여 관객들에게 볼거리를 제공하면서, 내용을 더욱 잘 이해할 수 있도록 도와주고 있다. 또한 영화에서 시사하고 있는 "재의 계곡", "초록 불빛", "이스트 에그", "웨스트에그"와 같은 그 지역이 주는 상징들은 좀 더 직접적이다. 컴퓨터 그래픽으로 만들어진 개츠비 대저택에서 주말마다 열리는 광란의 파티는 정신적인 혼란과 물질적인 풍요라는 시대적인 분위기를 잘 반영해 주고 있다. 여기에 배우들의 명연기가 소설의 주제를 잘 부각시켜줌으로서 영화로의 융합은 소설을 좀 더 대중적인 예술로 승화시키고 있다. 이러한 것들을 인터넷 자료를 통해 좀 더 체계적으로 살펴본다.