시쓰기가 시가 되기: 애쉬베리의 『볼록거울에 비친 자화상』에 나타나는 거리 만들기와 소격효과

박정필 ( Jung Pil Park ) 영미문학연구회 2009 영미문학연구 Vol.16 No.-

Ekphrasising "Self-Portrait in the Convex Mirror," a prominent work of an Italian Mannerist painter Parmigianino, John Ashbery points out various modes of being and nothing or minute differential flows in the picture. Above all, the large hand in it, unfolding the intertextuality with postmodern sensibility, implies such unorthodox themes as unbalance, distortion, bizzarreness, moving out, surprise effect, otherness, etc. Ashbery exalts this postmodern rereading and misreading to his dynamic, pluralistic, and different ontology. Above all, Ashbery focuses on the increase of significant distance in the picture to the effect of the convex mirror. Not to mention anti-classic elongation the distancing generates various derivatives. First, the increase of distance is to swerve out, to be expelled far away, or to advance to the marginal or the void abandoning this saturated atmosphere for release or disturbing center, linearity, and order but risking instability. Then the distancing reaches the territory of void or the untouchable, in which language or cognizance is completely challenged and incommunicable. Second, the distance veils and obscures things for protection into haze or abstract darkness, but on the other hand can cause them to be buried in vapid equalization or generalization. Third, the distance as nullification, invisibility, or death implies that invaluable things also should accept the destiny of being discarded into vacuum. Finally distance as a mechanism of shocking effect tends to preserve its own difference as the gap between the text and the reader is seldom broken down and makes his anticipation fail. The increase of distance produces varied estrangement effects. The most distinguished one is the emergence of unexpected otherness which makes all the accustomed things uncanny and turns small warp to be firm transgression as if an artist modifies his subject into monstrous in the finish. But this difference sometimes configurates disconnected connection paradoxically as in the meeting of many scholars who have different race, nationality, and major in a particular place. Another estrangement effect is an unexpected return as a boring story completely dead revives or something reappears from such hiding places as shade, hole, irregular crystal, etc. But all these strong and weak effects of eccentricity perish into the vacant, the opaque, or the ordinary itself. Even if emerging as otherness, progressing swervingly, and vanishing suddenly, order, identity, or organization could be implied. Various kinds of forms can be constructed in incessant flux of things. That is, Ashbery does not disregard any probabilities of connection, equalization, order, and coherence which usually take shape from the accumulation of facts. But essentially regularity and unity presume instability; for their ultimate sources are chaos, oblivion, and nothing. Ashbery approves reservation, imbroglio, and ambiguity positively as the indispensable elements of inventing his poems; furthermore, they lead him up to erase any distinction between versification process and poetry itself. His unstable beings or words amount even to the forgettable, the destructible, or the unreachable but unexpectedly are reinstated as otherness, memory, or a sort of order. But again nothingness or equivocation inundates them agape letting something else be awaited.

전통인형극〈꼭두각시놀음〉에 나타난 몰입과 소격의 변증법

최배석(Bae-Suk Choi) 한국콘텐츠학회 2019 한국콘텐츠학회논문지 Vol.19 No.3

몰입과 소격의 이중구조로 되어 있는 〈꼭두각시놀음〉에서는 상충하는 두 요소가 어떻게 변증법적으로 통합되고 그것이 주는 수용미학의 의미와 가치는 무엇인가를 탐색해 보고자 본 논문은 수행되었다. 연구 결과 첫째, 브레히트가 제시한 소격 효과 기법들이〈꼭두각시놀음〉에서는 몰입 기법으로 기능할 수 있음을 보여주었다. 둘째, 관객의 참여성 확대를 위한 산받이의 역할은 몰입 효과와 함께 소격 효과를 동시에 산출 한다. 이러한 산받이의 이중적 기능은 변증법적으로 통합되며 관객의 이성적 현실 성찰과 웃음과 즐거움, 그리고 유희성을 동시에 거양(靈揚)해 낸다. 셋째, 인형극은 현실묘사의 방법이 아니라 현실 바라보기 방법으로서 유효하다. 그런면에서 인형극 〈꼭두각시놀음〉은 대항 담론의 생산방식으로 표현의 확장성이 무한하며 어느 공연양식보다 효과적이라는 것을 보여준다. This study points out how the two conflicting elements of empathy and estrangement that constitute the dual structure of 〈Kokdugaksinorum〉 are incorporated by dialectic; finally, this paper explores the spontaneous estrangement effects meaning and value on the point of view of reception aesthetics. As results of these studies, First, the Brechtian set of estrangement effects techniques showed that in 〈Kokdugaksinorum〉 it could function as an empathy technique for audiences. Second, the role of Sanbazi to increase the audiences participation was to produce both the immersion effect and the estrangement effect simultaneously. These double features of Sanbazi are dialectically incorporated and simultaneously bring about both the social reality reflection and enjoyment of the audience. Third, the puppetry is valid as not a way to describe reality but one of the ways to look at social reality. Conclusionally, in terms of producing counter discourse, the puppet show 〈Kokdugaksinorum〉 has more extensible than any other form of performance with regard to expression.

도시민속조사에 대한 경험의 공유

이건욱 국립민속박물관 2008 민속학연구 Vol.0 No.23

이 논문은 그동안 국립민속박물관에서 추진한 도시민속조사사업을 통해 얻어낸 다양한 주지사항에 대한 것을 정리한 글이다. 그동안 한국의 민속학은 주로 농어촌의 잔존문화를 주로 연구하였다. 하지만 현대 한국인들의 대부분은 도시와 도시주변에 살고 있으며, 전통 농경문화에서 벗어나 산업사회로 접어든 지도 오랜 시간이 흘렀다. 여기에 도시 재개발이 곳곳에서 이루어지고 있으며, 도시민들의 삶에 대한 다양한 연구의 필요성이 제기 되었다. 이에 국립민속박물관에서는 서울시 마포구 아현동과 서울시 성북구 정릉동에 대한 대규모 민속조사를 실시하였다. 그러나 막상 조사를 수행하면서 기존의 농어촌 조사방식과 조사방향으로는 도시민들의 삶과 문화에 대한 객관적 자료들을 확보할 수 없었다. 그래서 그동안의 조사경험을 토대로 필자는 몇 가지 제언을 한다. 먼저 그동안 민속학계에서는 현상조사에 머물러 당대의 자료적 가치를 지니는 자료보다는 학문을 위한 학문적 자료만을 양산했다. 필자는 이에 대해 인문학의 기본 출발점인 인간에 대한 깊은 이해와 학자가 아닌 일반인의 입장에서 민속조사를 할 것을 요구한다. 그래서 이른바 경험적 민족지를 작성할 것을 제언했다. 또한 조사 항목에 있어서 기존 항목에 대해 비판적 검토를 할 것을 주장하며 생애사 조사, 물질문화 조사에 대해 구체적인 방법론을 제시했다. 마지막으로 연구자는 궁극적으로 민속지가 나가야 할 길을 제시하고 본인이 조사를 하면서 겪은 문제점들을 공개적으로 밝혀 향후 비슷한 여건에서 연구를 해 나갈 연구자들에게 일종의 시행착오를 공유하였다.

A Map of the World: A Compromise of Politics and Fiction

김화순 한국현대영미드라마학회 2009 현대영미드라마 Vol.22 No.3

David Hare’s A Map of the World(1982) concerns international politics and artistic representation, changing the setting in the play from a domestic one to foreign India. For the play Hare takes advantage of Brecht’s principle of estrangement and the deconstructive approach to the subject matter for the audience/reader’s judgement. The consequence of his attempts is problematic because to form a judgement itself from a certain perspective turns out to be an aporia in the play and for the audience. And the excessive adoption of the Brechtian principle and diffusion with an aporia rather seem to function as an obstacle to his sustaining the balance between politics and theatricality. Only the title of the play seems to help the audience/reader discern his dream of politics and art. In the play there intersect various and irreconcilable perspectives which incite the audience/reader’s curiosity and resist the endorsement of a certain perspective. Like the continents on the map of the world, they are major concerns in the play: the conflict between writing and journalism, the opposing attitudes between the right and left wings in younger and older generations, the collision between orientalism and national identity, and art and representation. And all the conflicts among the perspectives result in the conflict between truth and lies, or pureness and a compound. Eventually, self-deception and compromise can function as a possible alternative for the truth or pureness in reality. Hare’s choice of the title for his play from Wilde’s coinage reflects the implication of a paradoxical dilemma of the ideal and of an undaunted experimental spirit of an artist. The play seems to suggest that despite the dilemma, what matters is the writer’s and audience/reader’s will for social change. The title tacitly insinuates that the play dreams of an unattainable Utopia for politics and theatricality.

A Map of the World : A Compromise of Politics and Fiction

Kim Hwa Soon(김화순) 한국현대영미드라마학회 2009 현대영미드라마 Vol.22 No.3

David Hare’s A Map of the World(1982) concerns international politics and artistic representation, changing the setting in the play from a domestic one to foreign India. For the play Hare takes advantage of Brecht’s principle of estrangement and the deconstructive approach to the subject matter for the audience/reader’s judgement. The consequence of his attempts is problematic because to form a judgement itself from a certain perspective turns out to be an aporia in the play and for the audience. And the excessive adoption of the Brechtian principle and diffusion with an aporia rather seem to function as an obstacle to his sustaining the balance between politics and theatricality. Only the title of the play seems to help the audience/reader discern his dream of politics and art. In the play there intersect various and irreconcilable perspectives which incite the audience/reader’s curiosity and resist the endorsement of a certain perspective. Like the continents on the map of the world, they are major concerns in the play: the conflict between writing and journalism, the opposing attitudes between the right and left wings in younger and older generations, the collision between orientalism and national identity, and art and representation. And all the conflicts among the perspectives result in the conflict between truth and lies, or pureness and a compound. Eventually, self-deception and compromise can function as a possible alternative for the truth or pureness in reality. Hare’s choice of the title for his play from Wilde’s coinage reflects the implication of a paradoxical dilemma of the ideal and of an undaunted experimental spirit of an artist. The play seems to suggest that despite the dilemma, what matters is the writer’s and audience/reader’s will for social change. The title tacitly insinuates that the play dreams of an unattainable Utopia for politics and theatricality.

그로테스크 효과와 종합적 인식의 추구

정원채(Won Chai Jeong) 한국현대소설학회 2006 현대소설연구 Vol.- No.32

Lee, Chung-jun gather again his 1960`s works at ≪to show the star≫(1971). This work`s collection is observed by two reason. First, author use grotesque as a method of novel to display his own the theme. Second, author establish opposite clause to extend novel`s world, to recognize the situation overall. This point is found by the interior of the his work. Analysis of work is difficult to understand by mix the elements of opposite and both-sided. Here, I observed an aspect and function of grotesque, opposite clause and pursuit of synthetic cognition. Lee, Chung-jun show aspect of grotesque to mix the elements of opposite and both-sided. For example, narrator of <leaving hospital> show a figure of grotesque because of a clash at the interior of regression`s desire at mother and admission`s will at father`s world. Then art`s life and earthly living crash at works of a material of artisan. Character`s strange action and novel`s odd atmosphere are originated in clash of opposite clause. In addition to, novel of ≪to show the star≫ making grotesque atmosphere because of conflict opposite element without solution. While author create effect of estrangement to use grotesque. Effect of estrangement is a method to give mental impact at reader with mix opposite element, and to unfamiliar accustomed condition and world. Author making daily world and ordinary situation to unfamiliar with mix opposite factor and duplexity. So a reader is induced to recognize a human being once more, to have a question at inertia`s thinking. For example, <terrible saturday> and <flower and snake> belong to this. This works induce to reader recognize inside of phenomenon once more but treat with daily material. Author make a reader to recognize crack of modern wedded pair once more at <terrible saturday>, to perceive modern people`s condition of to lose nature and activity at <flower and snake>. In addition to Lee, Chung-jun extend novel`s world to establish opposite clause. By the way the reason of to extend novel`s denotation because that author pursuit synthetic recognition. Author approach synthetic recognition by establish opposite clause at work and work, at work`s inner part. For example, author deny affirmative and negative public opinion about murderer at <accomplice>. then author put into phenomenon to cover truth of event`s the other side. And pursuit of synthetic cognition is emerged by offer various vision about two man`s death at <a feigned sleep>.

영화 『어제(昨天)』에 대한 정신분석적 탐색

李炳旼(Lee Byoung-min) 중국어문학연구회 2010 중국어문학논집 Vol.0 No.65

아베 고보(安部公房)와 "괴물성"의 문학

이선윤 ( Sun Yoon Lee ) 한국일어일문학회 2014 日語日文學硏究 Vol.88 No.2

本論文は安部公房が使用した<怪物>という用語を、安部公房の芸術及び文學論を構成する重要槪念の一つとして捉え、その意味と論理を分析したものである。安部公房は戰後日本のSFの出發点であった1960年代前半、その應援部隊として支持を表明しながら積極的に發言していた。安部は空想科學や非現實的素材を扱う文學テクストが、現實を直視させる重要な可能性を孕んでいると高く評價していた。安部はこの可能性を論じるとき<怪物>という用語を用いたのである。‘妖怪を信じない怪談’が必要だと發言していた安部は、變形した身體を持つ人物や幽靈など、多くの異形の存在を自分の作品の中に頻繁に登場させている。意外な狀況に遭遇した讀者が迎えることになる、トドロフの言う<ためらい>の瞬間の運動性を<驚異>に向かわせるという戰略を、安部は取っているのである。そしてこのような認識の轉換を可能にする<怪物>がテクストの中に配置され、またテクスト自體が<怪物>になる。安部はこの<怪物>の系譜に自分の文學を接續させながら、名のない<怪物>の力動性が發現されるテクストの必要性について力說した。安部公房の<怪物性>についての發言は安部自身の文學的マニフェストであったのである。 The purpose of this study is to examine the theoretical basis of Kobo Abe’s‘Kaibutsusei(monstrousness)’, which is the key word of Abe’s art theory and of hisliterary point of view. Using this word, Abe emphasized the necessity of sciencefiction or fantasy novel which has this ‘Kaibutsusei’. In the early 1960’s, Abe wasa big supporter of Japanese after-war period science fiction and he had paid attentionto the power that makes readers face up to the reality. Kobo Abe said we need horrible stories that don’t believe in ‘Yokai’. And healso mentioned that a nameless monster is much more menacing than a lion in thecage at a zoo. ‘Hypothetical literature’ means the energy that can cause theepistemological turn and this is the core of ‘Kaibutsusei’ in the art work. We seethat it is not a literary point of view only, but also the literary manifest of Abe’s.

황지우 초기 시의 대중문화 간섭 현상연구

강석 대중서사학회 2005 대중서사연구 Vol.- No.14

황지우의 시는 1980년대 이후 한국의 모더니즘을 대표하는 시다. 그의 초기 시는 형태 파괴를 통해 당대 사회를 풍자하는 내용이 주를 이루었다. 이런 사회 비판의 시에는 대중문화의 여러 요소들을 그대로 옮겨다 붙인 것이 많다. 신문을 그대로 인용하여 당대 정권에 부정성을 직접적으로 보여주기도 하고, 대중문화를 여러 요소들 속에서 잘 드러나지 않는 부정성을 보여주기도 한다. 황지우의 시에서 대중문화는 부정적 측면이 강한데 이는 당대 사회의 부정성의 무게가 대중문화의 긍정적인 면을 감지할 수 없게 만드는 이유 때문이기도 하다. 이런 기법은 <시적인 것>을 찾고자 하는 시인 특유의 시 창작 방법론적 특성과, 당대 현실의 반영 그리고 브레히트가 주장한 소격 효과가 결합되어 있다.주제어대중문화, 대중매체, 꼴라쥬, 사회비판, 소격효과

오윤의 말기(1984~86) 예술론에서의 현실과 전통 인식—「미술적 상상력과 세계의 확대」에 대한 텍스트 검토

박계리 한국미술이론학회 2008 미술이론과 현장 Vol.6 No.-

An artist, Oh Yun(1946~86)’s theory of people’s art during his final period issummed up in his essay ‘Expansion of Artistic Imagination and World’(1985).Emphasizingthe mystic and traditional characteristics of Oh Yun’s artistic oeuvre during his final period,some critics focus on Oh Yun’s experience of medical treatment and shamanistic custom atJin Do island, and his belief in Jeung San Do, the dao of Jeung-san, the Ruler of theUniverse. However, they forget the practical intention and implication of his theory of artduring his final period, which aimed to overcome the contradiction of revelation itself. Oh Yun’s essay criticized the loss of artistic imagination and the ignorance oftraditional culture that resulted from the elevation of science to a religion, and insisted thatthe stereotyped idealism, scientism and elitism in art should be overcome in order torecover the full reality in realism and to continue traditional cultures. The essay iscomprised of 18 paragraphs. Oh Yun criticized monochromatic art, conceptual art, hyper-realistic art, objet d’art,and neo-dadaist art, saying that they were simply mechanical forms of modern art derivedfrom scientism and a fetishistic lens culture. In addition, he criticized naturalism in art,which had continued as a tendency in the development of western art, for the samereason. He pointed out that even the world of realism had been diminished by elitestereotypes and diagrams. He declared the need to overcome the imitation of shells orstereotyped propaganda, and recover full realism, which seems to have started with areflective examination of current problems in ‘Reality and Utterance’, in which heparticipated. Especially, he thought that universality and the extension of full realism could be achieved by building on the views of traditional cultures, which is meaningful. This logic issame as the theory of epic theatre that Bertolt Brecht(1898~1956)has developed under theancient Greek masque and Pieter Bruegel the Elder(1525~69)’s story-like picture style. Theuniversality of realism and the extension of acquisition to include incantation art,rather thanmove toward incantation art, is what Oh Yun intended to propose in ‘Artistic Imagination’.This attitude is same as Bertolt Brecht’s aesthetic viewpoint in the 1930s. But regrettably,Oh Yun’s style wording, which seems covert and far-sighted, is often misunderstood as‘mysticism’. In the flow of people’s art in the 1980s, Oh Yun was a traditionalist in a narrowsense, and an realist in a broad sense. However, his critical mind, which comprehendstradition and reality, was attempting to expand universality and extend full realism, and thisattempt found many sympathizers and had an influence on the next generation of people’sartists, such as 「Levee」which is field-centered, to which we should pay attention. Thismeans that while their works thought about ‘tradition’, we should be careful not to connectthem with‘aesthetic conservatism’or ‘classical art’. This is the why the meaning of Oh Yun’stheory of art during his final period should be closely examined again.