시와 영화의 수사학에 관한 정신분석적 일고찰 - 라캉의 '은유'와 '환유' 개념을 중심으로

안숭범 한국문학이론과비평학회 2009 한국문학이론과 비평 Vol.45 No.-

This paper seeks to shed a new light on the rhetorical relationship between poetry and films through the concept of metaphor and metonym demonstrated by Jacques Lacan. To this end, a study on the linkage between diaphor, conceptualized byPhilip Wheelwright, and the collision montage that is creatively renewed by contemporary films, will be conducted first. The shock of image and the sense of disparity between the core and satellite concepts in poetry are in line with a broad range of collisions and the effects thereof between different scenes in films. The aesthetic nature inherent in this kind of literature style can be painted in a different light with Lacan’s metaphor and metonym, which displays subtle difference from the conventional definition of rhetoric. First of all, Lacan’s metaphor differs from the comprehensive concept of metaphor, defined by the conventional rhetoric that is based on similarities of successive signifiers. However, Lacan’s metaphor becomes an appropriate conceptual tool for comprehending the “diaphor-collision montage”. Looking at the style of ambiguity that opens the door for aesthetic discussion in poetry and films, some replace signifiers to give shock to strange images, creating a whole new meaning. This is one of the methods of continuing the signifying chain, and the formula of metaphor set forth by Lacan becomes a meta-text that provides an efficient explanation of the comprehension process of readers. The “moment of endowment of meaning”, if it can be perceived as a metaphor (i.e. the effect of signifiers that come into being at the moment of choice and replacement), should then be consistent with the genuine unleashing of the “lesensobtu”stated by Barthes. Lacan’s metonym is similar to the conventional definition of metonym, since it accepts the principle of adjacency between signifying chains. However, Lacan’s metonym puts emphasis on the ceaselessly-postponed meanings, in other words, the sliding of the signified. The signifiers that have not been expressed generates deficiency, and deficiency produces a permanent desire that seeks to find the subject matter of loss. This process is formalized by Lacan’s formula of metonym—this is a “diaphor-collision montage” based on adjacency, but when it discloses the deficiency in meanings, Lacan’s metonym becomes a useful conceptual tool. For example, if the series of meaningless signifiers that are unable to express the omitted signifiers makes an imaginative fantasy, Lacan’s metonym formula can be the framework for explicating the aesthetic form. From the syntax perspective, contemporary poetry and films have a perfect rhetorical style, while there are increasing expressions that are isolated from true meanings. In light of this, Lacan’s metonym should be studied in a more profound manner in order to identify the aesthetic form of individual poetry and films. Poetry and films that are open to semantic structures require a more acute aesthetic sense from the reader, to which cases where people sense artistic aesthetics from individual works are closely related. Therefore, studies on the aesthetic form of “diaphor – collision montage” with Lacan’s metaphor and metonym should be conducted more widely in order to enjoy the aesthetic matter whose meaning is difficult to create.

라캉과 바디우

박영진(Youngjin Park) 한국비평이론학회 2023 비평과이론 Vol.28 No.3

본 연구는 철학과 반철학의 관점에서 자크 라캉과 알랭 바디우의 관계를 조명하는 것을 목적으로 한다. 바디우에 따르면 서구 사유의 역사는 철학과 반철학의 끊임없는 대화다. 주지하듯이 바디우 자신이 라캉 정신분석과의 비판적 논쟁을 통해 자신의 철학을 정립했다. 최근 출간된 『알랭 바디우 세미나: 자크 라캉』에서 바디우는 라캉을 반철학의 관점에서 다룬다. 바디우에 따르면, 라캉 반철학은 철학적 진리의 권위를 실추시키고, 철학적 작용의 실체를 폭로하며, 철학적 작용에 맞서 분석 행위라는 자기 고유의 행위를 제기한다. 그러나 라캉 본인은 반철학이라는 용어를 단 두 차례만 사용했을 뿐, 반철학에 대해 어떤 정돈된 논의도 남기지 않았다. 그렇다면 우리는 철학과 반철학에 대한 라캉의 입장에 어떻게 접근할 수 있을까? 이러한 문제제기에 입각해 본 연구에서 필자는 바디우가 제시한 라캉 반철학론의 주요 논점에 대해 비평하고, 라캉 본인이 철학에 대해 내어놓은 발언들을 분류하고, 이를 통해 라캉과 바디우의 관계가 “철학 vs 반철학”이라는 단순한 진영논리로 환원될 수 없는 뒤얽힌 관계를 형성한다는 점을 보여줄 것이다. 이를 통해 『세미나: 라캉』에 대해 읽기를 제시하는 한편, 라캉과 바디우 및 철학과 반철학에 대한 논의에 기여하고자 한다. This article attempts to shed light upon the relationship between Jacques Lacan and Alain Badiou from the perspective of philosophy and antiphilosophy. According to Badiou, the history of Western thought is constituted by the ceaseless dialogue between philosophy and antiphilosophy. It is well-known that Badiou elaborated on his philosophy through the critical dialogue with Lacanian psychoanalysis. In Lacan: Anti-Philosophy 3, Badiou addresses Lacan through the lens of antiphilosophy. According to Badiou, Lacanian antiphilosophy deposes the authority of philosophical truth, discloses the philosophical operation, and presents his analytic act against the philosophical operation. However, Lacan himself used the term “antiphilosophy” only twice in his entire intellectual itinerary. Moreover, he did not leave any systematic discussion about his antiphilosophy. How can one address Lacan’s position regarding philosophy and antiphilosophy, then? This article engages with this question. The author first reviews the main points of Lacanian antiphilosophy as presented by Badiou, classifies Lacan’s extensive and inconsistent comments on philosophy, and shows how Lacan and Badiou have an interlaced relationship, which cannot be reduced to the simple antagonism “philosophy vs. antiphilosophy.” This will not only serve as a critical reading of the Badiouian version of Lacanian antiphilosophy but also contribute to the exploration of the relationship between Lacan and Badiou, philosophy and antiphilosophy.

자크 라캉(Jacques Lacan)의 이론에 기초한 정신분석적 미술치료 연구

이수진,김민 한국미술치료학회 2013 美術治療硏究 Vol.20 No.3

This study will shed a light on Psychoanalytic Art Therapy based on Jacques Lacan's theory. The research methodology is a method of psychoanalysis, which Freud straightened out into a method of investigation of a particular subject, a psychotherapeutic method, a group of psychological and psychopathological theories. This study is not only qualitative research but also exploratory research. It draws a conclusion that: Firstly, Lacan's subject investigation of Psychoanalytic Art Therapy is to explain the 3 constituents and fundamental concepts of Psychoanalytic Art Therapy: the subject, the art as object a, and the analyst. Lacan's fundamental concepts of Psychoanalytic Art Therapy explicates the unconscious and drive of the subject, the repetition and projection of the subject through the art, and the desire and transference of the subject towards the analyst. Secondly, Lacan's method of Psychoanalytic Art Therapy is to describe the 2 principles and processes of Psychoanalytic Art Therapy, the 7 techniques of Psychoanalytic Art Therapy possible to apply. The subject can experience two psychotherapeutic procedures that are the process of projection through the art, and transference towards the analyst. While the projection of the subject through art is a process for the subject to discover him/herself in the dual relation of the imaginary of the subject and the art, the transference of the subject towards the analyst a process of the triple relation of the symbolic of the subject, the art and the analyst. Thirdly, Lacan's Psychoanalytic Art Therapy plays a major role in the ethics of life that can help the subject to make self-discovery and self-realization, identify with the symptom, and by extension, keep enduring the act and will towards desire. Therefore, the meaning of Lacan's subject investigation and method of Psychoanalytic Art Therapy proves that it is an independent and singular theory having accumulated its own system. 본 연구는 자크 라캉(Jacques Lacan)의 이론에 기초하여 정신분석적 미술치료를 구명한 연구다. 본 연구의 방법론은 정신분석적 접근법으로, 이 방법은 프로이트가 정신분석을 주체 탐구 방법, 치료 방법, 이론의 세 가지로 정의한 것에 기초한다. 본 연구는 질적 연구인 동시에 탐색 연구다. 본 연구를 통해 얻게 된 결론은 다음과 같다. 첫째, 라캉의 정신분석적 미술치료의 주체 탐구는 정신분석적 미술치료의 세 형성체와 근본 개념을 구명한다. 즉 세 형성체인 분석주체, 대상 a로서의 예술, 분석가는 각각 무의식과 충동, 투사와 반복, 욕망과 전이를 근본 개념으로 한다. 둘째, 라캉의 정신분석적 미술치료 방법은 2가지 정신분석적 미술치료의 원리와 과정, 그리고 7가지 정신분석적 미술치료 기법을 구명한다. 즉 라캉의 정신분석적 미술치료에서 분석주체는 2가지 치료 과정을 경험하는데, 분석주체의 예술을 통한 투사 과정(상상적 2자 관계에서의 자기 발견)과, 분석주체의 분석가에 대한 전이 과정(상징적 3자 관계에서의 자기 발견)이다. 이때 적용 가능한 정신분석적 미술치료 기법은 7가지다. 셋째, 라캉의 정신분석적 미술치료는 분석주체의 자기 발견과 자기 실현, 증상과의 동일화, 삶의 윤리로서 의미를 갖는다. 이처럼 라캉의 정신분석적 미술치료의 주체 탐구와 라캉의 정신분석적 미술치료의 방법을 통해 얻게 된 의미는 그 체계가 응집되어 독자적인 라캉의 정신분석적 미술치료 이론을 구명한다.

이중 이미지의 의미 : ‘실재-가능(reel-virtuel)’의 상관성

남인숙 ( Ihn-sook Nam ) 한국미학예술학회 2020 미학예술학연구 Vol.59 No.-

This paper aims to understand the structure of the image and its meaning around Seminar of Jacques Lacan: Book 1. Lacan understands the image as having a decisive and direct relationship between the composition of the subject and the formation of the self. Compared to the importance of images, Lacan shows limitations in explaining how images are related to the real. This point, also understood as the limit of Lacan's theory, includes the debate on the development stage of Trieb and the Oedipus period. This study, limited to the purpose of understanding the function and meaning of images in Lacanian psychoanalysis, aims to examine the structure (the virtual and real correlative structure), and how to understand the image function of pre-Oedipus, which was difficult to explain due to the limitations of Lacan. Obscure and pointed out as the limit of research, the pre-Oedipus phase of Lacan seeks to widen its understanding of image structure and function by enhancing Melanie Klein's problem and explaining D. Winnicott's transitional environment. It is especially important in that it is one of the ways to reveal the relationship between Trieb and images. Melanie Klein, in the case of Dick, demonstrated that before the Oedipus period, Lacan had already established self-organization through the formation of relationships with things, thereby reframing Donald Winnicott's meaningful notion of a transitional environment and a transitional object to present a concrete interpretation of the self-contained libido reversal. This allows this study to more clearly reveal the images that are talked about in Lacanian psychoanalysis and to extend its understanding. This point can lead to an intensified interpretation of the psychoanalysis of the whole Lacan period, and it suggests the possibility of deepening the psychoanalytic interpretation of art.

한국의 행정언어와 정부간 인사교류의 딜레마: Jacques Lacan의 정신분석학을 통한 인사교류담론 분석

정성호 ( Sung Ho Chung ) 한국행정학회 2004 한국행정학보 Vol.38 No.4

The paper analyzes recent dilemma in intergovernmental personnel mobility in Korea with the psychoanalytic framework of Jacques Lacan. The dilemma of intergovernmental personnel exchange after the local autonomy is explored and discussed along the Lacanian concepts like language, object as the cause of desire, and jouissance of Korean public administrators as split subjects. Korean public administrators live in an extremely hierarchical language and are haunted or addicted by a kind of control and promotion game. As the solution to the intergovernmental personnel mobility dilemma, the paper argues for a fundamental change of the Korean public administration language itself, from the hierarchical to the non-hierarchical.

라깡의 주체 담론: 인간의 욕망구조의 서사성

김현주 한국문학과종교학회 2017 문학과종교 Vol.22 No.4

This paper uses Jacques Lacan’s discourse of psychoanalysis as a framework for analyzing the structure of human desire. Lacan has established psychoanalysis as a discipline on human desire and subject. In Lacan’s theory, the relationship between desire and subject, object ‘a,’ is intertwined like a band of Mobius in the framework of Imaginary, Symbolic, and Real. Lacan’s desire is a non-verbal symbol created by the gap of desire and demand by the division of the linguistic subject, and it is a transcendental sign that allows the subject to imagine the transaction of desire by returning the desire to the subject through semanticization. The desire to work with a symbolic structure can not be destroyed. It is the power of the signpost, the power of life that moves constantly and anytime, and the desire to work with a symbolic structure is always indestructible and not influenced by any demands. Therefore, in Lacan’s paradigm, human desire originates from the divine aspect in the sense that the psychoanalytic experience has rediscovered in man the imperative of the Word as the law that has formed him in its image. 본 논문은 자끄 라깡의 정신분석학 담론을 준거의 틀로 삼아 인간의 욕망구조를 분석해 보고자 한다. 라깡은 정신분석학을 인간의 욕망과 주체에 관한 학문으로 정립시켰다. 라깡의 이론에서 욕망과 주체, 대상 ‘a’의 관계는 상상계, 상징계, 실재계의 틀 안에서 뫼비우스의 띠처럼 얽혀 서로를 구속한다. 라깡의 욕망은 언어적 주체의 분열에 의해 욕구와 요구의 빈틈에 의해 생겨난 비언어적 상징이며, 그 의미화를 통해 주체에게 욕망을 되돌리고, 주체로 하여금 무언의 욕망하는 거래를 상상하게 만드는 초월화된 기표이다. 그것은 스스로 움직이면서 모든 의미화 과정(signifying chain)을 움직이는 무엇이다. 인간의 가장 심오한 차원을 여는 욕망은 언어의 무한한 연쇄 과정 속을 부유하며 완전한 존재가 되기 위하여 갖추어져야 할, 그러나 항상 결핍되어져 있는, 기표를 움직이는 힘이며 언제 어디서나 쉬지 않고 움직이는 삶의 동력인 것이다. 항상 상징적 구조를 띠고 작동하는 욕망은 파괴할 수 없으며 욕구에 의해 영향 받지 않는다. 따라서 라깡의 사유체계에서 인간의 욕망은 모든 것에 내재된 초월적 에너지의 의미에서 신적 조망을 공유한다.

자크 라캉의 욕망이론과 새로운 미디어에 기반한 예술의 관계 연구

배우리 ( Woo Ri Bae ),박상현 ( Sang Hyun Park ) 한국디지털영상학회 2014 디지털영상학술지 Vol.11 No.-

Developing new media art though combination with technology has transformed into a diverse and collaborative nature. Besides, As technology evolves, approaching more closely in our lives, digital media is able to represent the images of humanity itself. By the 21st century, new media art already seems to exist beyond our consciousness. This study assumes that new media art relates the desire theory of Jacques Lacan and then we investigate a relationship between the desire theory and new media art through this way : First, it is to consider the desire theory from medium perspective. Second, we examine the changes in the role of new media art and audience. Third, though this, we propose to analyze the appreciation methods of new media arts based on the desire theory of Lacan’s 3 steps (The imaginary, The symbolic, The real). For this purpose, we research on Lacan’s 3-steps and development of the new media art and then categorize them into two paragraphs:unfolding of new media art, Characteristics of new media art. Based on that, this paper infers about analyzing between new media art and audience(or user) applied of Jacques Lacan’s 3 steps. Through this, we do not define any fixed form, but propose to interpret in various ways. Also, a meaning of this attempt is to more extensive perspective of New media art in the rapidly changing world of technology.

자크 라캉의 거울 단계와 폭력에 관한 분석: 영화 <범죄 도시 2>를 중심으로

Zhou Xin,최원호 사단법인 한국융합기술연구학회 2023 아시아태평양융합연구교류논문지 Vol.9 No.3

Jacques Lacan's theory of the Mirror Stage, proposed in 1936, addresses the relationship between moi identification and recognition and has far-reaching implications for understanding the reality depicted in the film. It also provides a valuable perspective on the connection between the individual and their conception of the world, uncovering human’s fantasme around moi. Lacan posits that moi is a result of identification Identifizierung based on narcissisme Narzissmus, and that the aggressive self generated by this identification pattern creates tension between the two, resulting in human obsessions and serving as the source of social conflict in humanity. Through the use of compelling violence in characters and scenes in the film "The Roundup(2022)," this paper explores the significance of the Mirror Stage in examining, comprehending, and addressing violence. 자크 라캉(Jacques Lacan)의 거울 단계(mirror stage) 이론은 주체의 무의식 형성과 이미지가 주체에게 작용하는 과정을 해석할 수 있는 주요한 개념이다. 또한, 주체와 세계에 대한 상상과 이미지에 대한 큰 시사점을 제공했으며, 주체의 환상성(fantasme)을 설명하는데 크게 기여하였다. 라캉에 따르면, 자아는 나르시시즘(narcissisme Narzissmus)의 동일시(identification Identifizierung)에서 비롯된 것이며, 나르시시즘의 동일시에서 자아의 공격성(aggressivité)이 형성된다고 하였다. 즉 나르시시즘과 공격성은 주체를 형성하고, 나아가 주체들간의 충돌과 갈등을 야기하는 원인이 된다. 본 논문에서는 라캉의 거울 단계에 대한 개념을 바탕으로 주체의 폭력성을 해석하고, 나아가 <범죄 도시 2>의 사례를 통해 폭력을 통한 주체성에 대해 연구하고자 하였다.

자크 라캉 정신분석학의 미술교육적 함의

손지현 한국초등미술교육학회 2017 미술교육연구논총 Vol.48 No.-

본고는 자크 라캉의 정신분석이론을 적용하여 미술교육에서 학생의 정체성을 무의식과 정서적 영역으로 확장하여 시각적 경험과 학생의 자기이해를 탐구하고자 하는 기초연구이다. 라캉은 이미지를 보는 경험을 통해 자아의 의식이 생긴다는 거울단계를 비롯하여 상상계, 상징계, 실재계의 정신세계의 구성요소를 기초로 주체성의 형성을 설명한다. 학생의 교육적 주체로서의 성장과 욕망 이론은 오늘날 우리가 경험하는 자아와 타자의 관계성과 자기성찰성에 대한 역동적 관점을 제공한다. 이러한 과정을 통해 본고는 라캉의 이론을 도입하여 환상을 통한 무의식의 세계와 응시의 문제를 미술작품을 통해 고찰한다. 본고는 언어적 상징체계의 한계를 설명한 라캉의 관점에 기초하여 학생들의 미술 창작 활동에서 주체 형성과 의미 만들기로서의 가능성을 제안한다. 미술 활동은 학생들이 현대 사회에서 겪는 욕망, 분열과 소외의 관계 속에서 자신을 주체로서 인식할 수 있는 교육적 성장의 기회를 제공할 수 있을 것이다. This study is a basic study to explore visual experience and student 's self - understanding by applying Jacques Lacan' s psychoanalytical theory to extend student 's identity to unconscious and emotional areas in art education. Lacan explains the formation of subjectivity based on the mirror stage that consciousness of self is created through experience of image, and the components of imaginary system, symbolic system, and spiritual world of real world. The growth and desire theory as a student 's educational subject provides a dynamic view of the relationship and self - reflection of the self and others we experience today. Through this process, I introduce Lacan 's theory and examine the problem of the unconscious world and the gazing through fantasy from the visual through art works. This article suggests the possibility of subject formation and meaning-making in students' artistic activities based on Lacan's point of view that explains the limitations of the linguistic symbol system. Art making can provide students with opportunities for educational growth to recognize themselves as a subject in the relationship of desire, division and alienation that students experience in contemporary society.

자크 라캉 무의식이론의 관점에서 본 현대 에로티시즘 패션의 미적 정체성 연구 -주이상스와 응시론을 중심으로-

양정원 ( Jungwon Yang ),이미숙 ( Misuk Lee ) 한국패션비즈니스학회 2023 패션 비즈니스 Vol.27 No.2

The purpose of this study is to determine the aesthetic identity of modern eroticism fashion in which the energy of desire is maximized through the ‘jouissance’ and ‘gaze’ of the unconscious theory of Jacques Lacan. The research method derived aesthetic identity after examining jouissance and gaze deeply related to eroticism in Lacan's theory of the unconscious by analyzing data of domestic and foreign monographs and prior research. Case analysis was limited to 2000 S/S to 2022 F/W. Based on prior research, it was analyzed mainly on clothing with eroticism characteristics of ‘exposure, close contact, see-through, the conversion of underclothes into outer garments’. Results of the study are as follows. First, eroticism, which can be linked to Lacan's type of ‘jouissance’ with multiple meanings as the generating point of eroticism, has manifested itself in voyeuristic eroticism, fatale eroticism, masochistic eroticism, surplus eroticism, and sacred eroticism. Second, as eyes of unconscious desire, visual expression characteristics of ‘gaze’ appeared as anamorphosis, trompe l'oeil, and depaysement. The identity of eroticism derived from Lacan's jouissance and the perspective of the desire gaze was divided into voyeuristic desire to gaze, fatal desire to gaze, masochistic desire to gaze, surplus desire to gaze, and sacred desire to gaze. Results of this study will expand theoretical horizons of eroticist fashion with a new interpretation of eroticism by combining Lacan's desire as a repressed and alienated subject within the human unconscious with the art that expands it.