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Question of ethical embodiment or disembodiment in Classical Rhetoric
김종갑 한국수사학회 2014 수사학 Vol.0 No.20
After 1968's failed revolution, Guy Debord lamented that we live in the society of the spectacle, images not only replacing but reigning over the reality as well. Jean Baudrillard's notion of "hyperreality" was another version of such a critique of images. Three centuries ago Ludwig Feuerbach in the preface of The Essence of Christianity predicted the reality of our visual culture: "our era prefers the image to the thing, the copy to the original, the representation to the reality, appearance to being"(quoted from Sontag 81). But this anxiety about images is not a new product of the modernity. Wherever literature, arts, and rhetoric are mentioned, this problematic relation between images and reality has never ceased to the field of vehement controversy, along with the aesthetic or rhetorical question of what or how we (re)present. Recently Jacques Ranciere in The Politics of Aesthetics argued that at the core of such a question lies the more fundamental question of who has a right to present him/herself in public and speak: the authority of a speak rules over discoursive power and the identity of a speaker proceeds the truth value of the speech in the class society. In terms of Aristotelian tripartite division of rhetoric into ethos, pathos, and ethos, ethos came before logos. Plato and Aristotle shared the misgiving that the uneducated people might be emotionally agitated and incited into riot by seductive speeches of demagogues, those who appeared true and persuasive. People might be beguiled by the false appearance of the orator.
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김종갑 한국비교문학회 2010 비교문학 Vol.0 No.50
If the medium is the message as McLuhan said, the change in the means of communication from letter to image should influence our way of experiencing the world and the forms of social structure. While image is predominantly geared to seeing, letter is more closely related to the reading of signs whose meaning is revealed only to those who are initiated into the symbolic. The being of the letter is constituted by the authority of the symbolic. It follows that if the symbolic authority disintegrates, the letter is bared of its meaning and is seen as just material images. This is true with human bodies. Body can be read or can be seen. Body is symbolic or imaginary, and is experienced imaginariiy if the symbolic declines. This paper argues that body has become more visible than before since the advent of visual culture. That explains why old people, who were once identified with authority, now begin to identify themselves with visible material body, attempting to beautify it so that it looks younger and more handsome. In order to explain textually such a changing orientation toward body, the paper analyzes Thomas Mann's Death in Venice.
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김종갑 한국비교문학회 2012 비교문학 Vol.0 No.58
For Rancière, democracy presupposes or coincides with literarity, "the excess of words" over bodies(speakers or things) named or signified. The Aristotelian decorum regulating hierarchical relation between speaking subjects and words, between the visible and the sayable, should be abolished. What is important is not the question of who speaks, but words themselves as opposed to the actual words of speakers. In its essence literarity is disembodied words with no proper owners. In rhetorical terms logos displaces the character of the speaker(ethos), thus speech being without speaking subjects. In this paper I argue that such a definition of words deprives speaking subjects of their opportunity for subjectification or aesthetic stylization: to quote the title of his book The Flesh of Words, words cannot become bodies. Rancière overemphasizes the gap between the sayable and the visible at the expense of their agreement or unity; in principle he disproves any accord between them for he regards Aristotelian decorum as the enemy of democracy. Here I disagree with him. His politics of literarity is too much obsessed with the Aristotelian problematic to a degree that is anachronistic. In our modern society words are always in excess and are free floating signifiers with no proper reference and we don't have any norms to fight against. What we are in need of is not any further anonymous excess of words, but to answer the question of how to live words, how to subjectify and embody words, how to makes words sensible.
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김종갑 한국비교문학회 2011 비교문학 Vol.0 No.53
How does one experience the other in his or her first encounter with the other? What does happen especially when he or she encounters the other whose body radically differs from his or her own? Is it possible for the subject to see the other with innocent eyes not contaminated by racial and cultural ideologies? This paper is an attempt to answer such a question by analyzing travel writings on Korea by European travelers at the end of the 19th century. Among so such travelogues, Ernst Jakob Oppert's A Forbidden Land and Henry Savage-Landor's Corea or Cho-Sen: The Land of the Morning Calm will be discussed in detail, since the phenomenon of the encounter of the other is most predominantly foregrounded there. The author of this paper found that European travellers experienced Koreans indirectly, that is, through the mediation of racial and cultural schema. Racial schema enabled them to penetrate into the mystery of the Korean body, which would have remained indecipherable otherwise: Korean body should be described, characterized, and then categorized according to the then leading racial theory: theory produces the Korean body. For Oppert, Koreans are of two races, Mongolians and Caucasians with the latter of which he felt solidarity. Of course, such a notion of two races is produced by the racial schema which dichotomized the infinitely diverse Korean bodies, while ignoring bodily characteristics which do not confirm to the racial categories available. However, such a violent theoretical gaze at the Koreans happened to reveal the materiality of the Korean bodies invisible to the innocent eyes. The material condition of Korean nobility make them look like Caucasians whereas the Koreans laborers exposed to the harsh weather and the scorching and pitiless sun looked like black. Racial gaze inadvertently hit upon the fact that body is constituted according the class lines.
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