딜런 토머스 시에 나타난 몸— 모리스 메를로-퐁티의 몸 철학을 중심으로

김경화 한국현대영미시학회 2009 현대영미시연구 Vol.15 No.1

This paper aims to interpret Dylan Thomas’ poetry in the light of Maurice Merleau-Ponty’s theory of body opposed to Descartes’ mind-body dualism. Though never having read Merleau-Ponty’s books, Thomas writes poems centering around the body which is one of the philosophical topics of Merleau-Ponty. While Merleau-Ponty wants to establish the theory for community based on body, Thomas tries to write the poems that can be understood by the immediate sensation of the body. Writing poems on body, Thomas struggles to bring the “overclothed blindness” into the “naked vision” and to come “from darkness towards some measure of light.” Thomas’ poems have been studied mainly on the basis of psychoanalytical approaches, which is likely to narrow a distinctive possibility of interpretation. This study focused on Merleau-Ponty’s theory of body enables us to regard Thomas as a religious poet who rethinks the sacred meanings embedded in our bodies. According to Merleau-Ponty, the world and the human body are so intricately intertwined that each object is a mirror of all others. All others could be communicated with us through bodily involvement. The concept of “flesh” introduced by Merleau-Ponty helps to fill up the gap between us and the others. Similarly, in a poem like “This Bread I Break” Thomas celebrates “flesh” bridging nature and men, men and God through the mystery of transubstantiation. Rereading poetry of Thomas based on Merleau-Ponty’s theory of body can show that lots of ambiguities of Thomas’ poetry may be deeply rooted in the sacred of body. This paper aims to interpret Dylan Thomas’ poetry in the light of Maurice Merleau-Ponty’s theory of body opposed to Descartes’ mind-body dualism. Though never having read Merleau-Ponty’s books, Thomas writes poems centering around the body which is one of the philosophical topics of Merleau-Ponty. While Merleau-Ponty wants to establish the theory for community based on body, Thomas tries to write the poems that can be understood by the immediate sensation of the body. Writing poems on body, Thomas struggles to bring the “overclothed blindness” into the “naked vision” and to come “from darkness towards some measure of light.” Thomas’ poems have been studied mainly on the basis of psychoanalytical approaches, which is likely to narrow a distinctive possibility of interpretation. This study focused on Merleau-Ponty’s theory of body enables us to regard Thomas as a religious poet who rethinks the sacred meanings embedded in our bodies. According to Merleau-Ponty, the world and the human body are so intricately intertwined that each object is a mirror of all others. All others could be communicated with us through bodily involvement. The concept of “flesh” introduced by Merleau-Ponty helps to fill up the gap between us and the others. Similarly, in a poem like “This Bread I Break” Thomas celebrates “flesh” bridging nature and men, men and God through the mystery of transubstantiation. Rereading poetry of Thomas based on Merleau-Ponty’s theory of body can show that lots of ambiguities of Thomas’ poetry may be deeply rooted in the sacred of body.

로렌스와 메를로 뽕띠의 세잔론

최선령 한국로렌스학회 2022 D.H. 로렌스 연구 Vol.30 No.2

This paper aims to explore some similarities between Maurice Merleau-Ponty and D.H. Lawrence in terms of their evaluation of historical achievements of Paul Cézanne. Merleau-Ponty holds the basic view that human perception arises from the interaction between the human body and the object, not from the Cartesian cogito. In “Cézanne’s Doubt,” he also points out that Cézanne is faithful to the phenomenon itself and takes the actual perceptual point of view. Merleau-Ponty sees reality as something active and inexhaustible, and argues that Cézanne made his lifelong struggle to grasp and represent reality as it is. Similarly, Lawrence says that Cézanne’s apple realizes the “appleyness” because it is presented just like it “really exists” breaking away from scientist, objectivist, or anthropocentric assumptions of the apple. Lawrence and Merleau-Ponty also have something in common in that they emphasize that human body inextricably intervenes in the act of perception. Nevertheless, unlike Merleau-Ponty, Lawrence relatively devalues the achievement of Cézanne’s later watercolor paintings, and this is because Lawrence is mainly committed to criticizing idealism in “The Introduction to These Paintings.” While Merleau-Ponty’s arguments are fundamentally based on the theoretical researches of the “primordial perception,” Lawrence directly goes into the kernel of Cézanne as a man and painter, and makes us keenly feel his struggle and appreciate the rarity of his achievement. In spite of these differences, Lawrence’s view that imagination is basically “physical and intuitive perception,” obviously has a significant affinity with Merleau-Ponty’s phenomenological approach which demands a return to “living experience.”

「세잔의 회의」에 대한 현상학적 분석

홍옥진(Ok-Jean Hong) 현대미술학회 2014 현대미술학 논문집 Vol.18 No.2

메를로-퐁티의 「세잔의 회의」는 『지각의 현상학』에서 전개한 철학적 주제와 밀접한 관계가 있다. 이 논문은 「세잔의 회의」에서 세잔의 회화에 관한 메를로-퐁티의 현상학적 기술을 분석하기 위해 세잔의 지각에 대한 ‘회의’와 현상학적 환원, 세잔의 회화적 표현에 대한 ‘회의’와 메를로-퐁티의 지각에 관한 이론, 그리고 세잔과 메를로-퐁티에게 있어서 애매성이라는 주제로 『지각의 현상학』과 연계하여 고찰한다. 세잔에 대한 메를로-퐁티의 관심은 세잔의 현상학적인 태도에 있다. 세잔은 화가로서 생애 내내 실재를 재발견하고, 그것을 회화적 언어로 표현하고자 노력했다. 그 과정에서 세잔이 겪게 되는 어려움은 얼핏 세잔의 특이한 성격에 따른 회의, 화가로서의 직업에 대한 회의 혹은 세계를 모방하기 위한 기법에 대한 회의로 해석될 수 있다. 그러나 현상학적인 관점에서 접근할 때, 세잔의 ‘회의’는 감각 경험을 포기하지 않으면서 실재에 도달하려는 목표에서 기인하는 것이고, 그것은 지각의 ‘현상’에 도달하려는 방법적 절차이면서 동시에 지각된 현상을 회화로 표현하는 데에 필연적으로 갖게 되는 회의라고 볼 수 있다. 또한 세잔의 회의 과정에는 감각과 지성과 같은 대립적인 양상이 극복되는 애매성을 보여준다. 이처럼 「세잔의 회의」를 『지각의 현상학』과 연계하여 지각, 표현, 애매성 개념으로 접근할 때 세잔의 회화 세계가 지닌 현상학적 의미뿐만 아니라 메를로-퐁티의 현상학적 사유는 더욱 선명하게 드러나게 될 것이다. Merleau-Ponty"s “Cezanne"s Doubt” has close relation with his philosophical themes developed in Phenomenology of Perception. Thus “Cezanne"s Doubt” shows Merleau-Ponty"s ideas on phenomenology as well as on art. This essay attempts to analyze Merleau-Ponty"s phenomenological description on Cezanne"s painting under three themes; 1) Cezanne"s ‘Doubt’ and phenomenological reduction, 2) Cezanne"s pictorial expression and Merleau-Ponty"s theory on perception. (3) ambiguity in both Cezenne and Merleau-Ponty. Merleau-Ponty suggests that an artist"s life cannot completely determine the meaning of his work of art. Thus we should understand that the source of Cezanne"s doubt consists not in his peculiar personality nor nervous weakness but his artistic purpose. Cezanne, throughout his life, attempted to reveal our primordial contact with the world. This is why he underwent numerous difficulties for a still life, a portrait and a landscape. He wanted to rediscover genuine reality and covert what he perceived into pictorial language. His way of expression, that is, achieving reality without abandoning sense experience resulted in distorted shape, perspective and color. Merleau-Ponty"s Phenomenology of Perception can be a way to understand Cezanne"s expression in depth. According to Merleau-Ponty the object is not some independent reality but rather a correlative of our body. Our bodily being is the basis of the properties of the object we perceive. We can understand the implicit phenomenological meanings in Cezanne"s paining through Merleau-Ponty"s philosophy on perception and body.

지각행위로서의 문학

박주식(Jusik Park) 한국비평이론학회 2013 비평과이론 Vol.18 No.1

This study investigates a theory of literature envisioned by Maurice Merleau-Ponty, a philosopher of phenomenology who succeeded and revised the basic ideas of Husserl's transcendental phenomenology. Although Merleau-Ponty can rarely be thought of as a theorist of literature, it is known that his philosophy has a lot to say something about art and literature. Actually, he tried to pursue his goal of theorizing the phenomenology of perception by way of a range of literary and artistic thematics. Thus, art and literature become an indispensable part of his philosophical considerations, a fact evinced by his own formulation that the task of philosophy cannot be separated from the task of literature. After briefly reviewing the key concepts of perception and body shown mainly in his magnum opus The Phenomenology of Perception, this study goes on to reveal the ways in which his theory of perception extends to the realm of art and literature. In so doing, this study is giving a special attention to Merleau-Ponty's idea of language which is formulated as a division between indirect language and algorithm. Finally, we will see the epistemological implications of the so-called his philosophy of ambiguity, an expression that is related to the nature of his phenomenology of perception as a negative confrontations of philosophy of reflection.

메를로 퐁티와 푸코의 신체론 비교 -선험적 주체와 자연주의적 신체를 넘어서-

이소희 ( So Hee Lee ) 고려대학교 철학연구소 2009 철학연구 Vol.0 No.37

우리는 메를로 퐁티와 푸코의 신체론을 비교함에 있어서 텍스트 분석의 방법을 사용하여 양자의 차이보다는 공통점을 발견하고자 한다. 먼저 메를로 퐁티와 푸코의 신체론의 공통점으로 선험적 주체에 대한 거부를 들 수 있다. 실제로 메를로 퐁티는 『지각의 현상학』에서 선험적 자아 없는 현상학을 자신의 철학의 출발점으로 삼았고, 『말과 사물』에서 푸코는 칸트 이후의 주체 철학이 ‘인간학의 잠’에 빠져있다고 비판한다. 그리고 메를로 퐁티와 푸코는 신체에 대한 자연주의적 해석을 거부한다. 메를로 퐁티는 객관적 신체와 구분되는 ‘각자의 신체’, 혹은 ‘체험된 신체’를 통해서 자연주의를 거부하고, 푸코는 신체를 사회적이고 역사적인 특수성을 지닌 것으로 간주함으로써, 사회, 역사, 담론, 이전에 신체가 아 프리오리(a priori)하게 있다고 주장하는 신체에 대한 자연주의적 관점을 거부한다. 이를 통해서 메를로 퐁티와 푸코 모두 신체를 중심으로 몸과 마음의 이분법을 극복하려고 시도한다. Nos recherches concernant les points communs entre la theorie du corps chez Merleau-Ponty et celle de Foucault, presentent le refus de la subjectivite transcendantale, puisque Merleau-Ponty poursuit la phenomenology sans l`Ego transcendental, et que Foucault critique la philosophie subjective, plongee dans “le sommeil de l`Anthropologie”. En meme temps, Merleau-Ponty et Foucault refusent le naturalisme par rapport au corps. Merleau-Ponty met au centre le corps propre en distinguant celui-ci du corps objectif et Foucault considere le coprs comme l`inscription sociale et historique au lieu du corps a priori dans l`attitude naturaliste. Ce faisant, Merleau-Ponty et Foucault s`efforcent de depasser le dualisme entre la conscience et le corps.

특집논문 : 몸 혹은 괴물-영화에서의 육체성; 영화에서 몸의 표상에 관한 현상학적 연구 -메를로-퐁티의 몸의 현상학과 브레송 영화의 몸의 이미지를 중심으로-

서정아 ( Jung Ah Seo ) 한양대학교 현대영화연구소 2013 현대영화연구 Vol.9 No.1

In the classic movie film, human`s body has been treated as a tool of reflection on man` emotions and thoughts, and after the age of silent film, how to express the body and to deliver the message of the body has been coded in a standard way. In this point, the body cannot escape from the passivity in the consciousness. However, Robert Bresson`s film shows a different view of human`s body in terms that the body is treated as the subject of perceiving the world. Such a view has similar to Merleau-Ponty`s view over the phenomenology of the body which regard human`s body as the subject of human`s experience, not as the object and the accidental element of building human`s recognition, for the first time in the world. The purpose of this paper is not to apply Merleau-Ponty`s phenomenology to Bresson`s body image, but to find the possibility that Bresson`s body image could be interpreted as the phenomenology. This paper, first, would find out the cause of general view over the human`s body through the silent films which began to try showing body`s expression, and then, would find out the relations Bresson`s body with Merleau-Ponty`s body, by way of analyzing body` characteristics showed in some Bresson`s films. Bresson`s body image theory should be understood that the meaning of body`s image does not come from the similarities of reality, but from the relationship itself among various body`s images which is removed a meaning as much as possible. As the result, Bresson`s film shows the process how to body`s performance reveals the emergence of existence, the occurrence of events and thoughts, and self internality. Bresoon`s body image is similar to Merleau-Ponty`s phenomenology of the body in terms that body`s image shows the process of revealing the other people, and the world. This paper would also examines the phenomenology of the body could be simply not only a study of a new perspective on the body`s image, but also, a study of the ontology of the film image.

메를로-퐁티의 현상학: 스타일 개념에서 본 댄스스포츠

이경숙 한국체육철학회 2022 움직임의철학 : 한국체육철학회지 Vol.30 No.3

This study is based on the theme of ‘Merleau Ponty's Phenomenology: Dance Sport in the Concept of Style’. In the phenomenological context, this study tried to find the possibility of being applied to ‘dance sport’ by limiting to the concept of ‘style’ presented in 『Le visible et l'invisible』. How can the style already inherent in the actor's perception in dance sport be revealed in dance? It is not a means used to reproduce the world, and it is based on the phenomenon of perception, not on the analysis of beauty or the interpretation of historical context. First, the interest in the perception of dance is the relationship between the subject and the essence of the world, which is the basis. In other words, for male and female couples, style is an equivalent system set by oneself in expressing the expression technique of dance sport. This is the way to approach the artist's world and at the same time, to find new meanings in a way that expresses dance. And rather than expressing the meaning of each dance event, the meaning of male and female couples permeates dance, penetrating perception and object, forming a unique style of male and female couples and revealing meaning through concrete expression techniques unified through dance. In the end, what has been revealed through the concept of Merleau-Ponty's style is the expression activity of the creative male and female couple of dances. Through this the actor reveals the perceptual meaning through the expression technique of dance. 본 연구는 ‘메를로-퐁티의 현상학: 스타일 개념에서 본 댄스스포츠’라는 주제로, 현상학적 맥락에서 메를로-퐁티가 『간접적인 언어와 침묵의 목소리』에서 제시한 ‘스타일(style)’ 개념에 국한시켜, ‘댄스스포츠(dancesport)’에 적용될 수 있는 가능성을 모색하고자 하였다. 댄스스포츠에서 행위자(남녀커플)의 지각에 이미 내재되어 있는 스타일은 춤에서 어떻게 드러낼 수 있을까? 그것은 세계를 재현하는데 사용되는 수단이 아니며, 미에 대한 분석 혹은 역사적 맥락에 대한 해석이 아니라 지각의 현상에 토대를 둔다. 먼저 춤의 지각에 대한 관심은 그 근거가 되는 ‘주체(행위자, 남녀커플)’와 ‘세계의 본질’, 양자의 관계이다. 즉 남녀 커플에게 있어서 스타일은 ‘댄스스포츠(춤)의 표현기법’을 표현하는 과정에 스스로 설정해 놓은 ‘등가체계’이다. 이것이 예술가(행위자)의 세계에 접근하는 방식이면서 동시에 춤을 표현하는 방식으로 새로운 의미를 발견하게 된다. 그리고 춤의 종목별로 나타나는 의미를 표현하기 보다는 남녀커플의 의미가 춤에 스며드는 것이며, 지각과 대상(댄스스포츠)에 침투해 있는 남녀커플의 고유한 스타일을 형성하고, 춤을 통해 통일된 구체적인 표현기법을 통해 의미가 드러나도록 하는 것이다. 결국 메를로-퐁티의 스타일 개념을 통해 드러나는 것은, 댄스스포츠는 행위자가 춤의 표현기법을 통한 지각적 의미를 밖으로 드러내는 춤의 창조적인 남녀커플의 표현 활동이다.

장 스타로뱅스키 비평에서 메를로 퐁티의 영향

이충훈 ( Lee Choong Hoon ) 한국프랑스어문교육학회 2020 프랑스어문교육 Vol.70 No.-

본 논문은 현대 비평가 장 스타로뱅스키 비평의 여러 원천 가운데 메를로 퐁티의 영향에 주목한 것이다. 두 저자의 영향관계는 다음 세 가지로 요약된다. 첫째, 세계와 신체로부터 분리된 한 저자의 순수의식을 거부한다는 점이다. 그들은 한 개인의 구체적인 경험들을 제거한 투명한 자아의 생각을 받아들이지 않는다. 둘째, 주체는 지각을 통해 세계와 타인들과 연루된 복잡한 현실을 살아가게 된다. 이런 관점에서 본다면 개인은 자기성찰을 계속할수록 분화될 수밖에 없다. 셋째, 시선은 그저 능동적이거나 그저 수동적인 것이 아니라 변증법적이다. 그래서 시선은 보는 주체와 보이는 대상이 맺는 관계를 순환하며 그 외부에 놓일 수 없다. 메를로 퐁티와 스타로뱅스키가 지각하는 자와 지각된 자의 관계를 얽힘의 개념을 통해 파악하고자 하는 것이 그 까닭이다. 본 논문은 이 세 가지 문제를 통해 스타로뱅스키와 메를로 퐁티의 영향관계를 파악하고자 했다. 전자는 문학 작품에서 복잡하게 얽힌 시선이 잘 드러난 여러 대목을 세심히 분석하면서 후자의 신체와 지각에 대한 현상학 이론을 직간접적으로 드러내고 있다. 특히 루소의 자서전 작품들에 대한 스타로뱅스키의 여러 비평에 메를로 퐁티의 영향관계는 무시될 수 없으며, 스타로뱅스키는 이 분석을 통해 루소의 다양한 면모와 복잡한 성격을 부각시키면서 작가와 작가의 작품의 새로운 이해와 해석의 가능성을 열어 놓는다. L'influence de Merleau-Ponty sur Starobinski peut être résumée selon trois points : premièrement, les deux auteurs refusent la conscience pure d'un auteur, séparée du monde et du corps ; deuxièmement, la perception permet au sujet de faire naître une réalité complexe où le sujet est impliqué et mêlé dans le monde et dans les autres ; troisièmement, le regard n'est exclusivement ni actif ni passif, mais dialectique. Il se trouve toujours dans le rapport entre le sujet qui voit et l'objet qui est vu. Nos auteurs prêtent attention à une relation entre le percevant et le perçu pour montrer leur chiasme. Nous découvrons donc une influence merleau-pontienne sur Starobinski. Celui-ci a analysé des scènes littéraires où se présentent mieux les entrelacs du regard dont l'enchevêtrement nous empêche de définir le tempérament d'un auteur ou les pensées qu'il a conservées toute sa vie. Nous analysons donc deux épisodes autobiographiques de Rousseau lus par Starobinski. Selon lui, Rousseau nous y révèle ses caractères singuliers et c'est là que nous comprenons mieux cet auteur et sa littérature.

『唯識三十頌』에 나타난 인격구성과 현상학적 이해 : 유식의 '識轉變'과 Maurice Merleau-Ponty의 '몸의 현상'을 중심으로 Centering around Mind-changing(識轉變) in Mind only School(唯識) and Phenomenon of Body in Maurice Merleau-Ponty

정혜정 한국교육사학회 2004 한국교육사학 Vol.26 No.2

From the peride of the three states to an ancient Korean state Buddhism is impotent traditional thought. It is influence to new-confucian of Chosun and gives some idea to post-modernism. 'Mind only school(唯識:vijn~a￣ptimatra)' is Buddhist psychology and is the theory of character. In the western tradition of thought, the education of character is based on each development of knowledge, emotion, morals. For example there are the intelligent development of Piaget, the emotional development of Bridges, Kretschmer, Adler, and so forth, and the moral development of Kohlberg. But the mind only school and phenomenology are proposed the unity of them. The development of intelligence, emotion and morality is not able to separate. intelligence, emotion and morality is brought result by experience of perception. When we see one thing, we can not see it itself. We see the thing only through the own eyeglasses. So in the mind only school and Phenomenology, there is to set up the storehouse consciousness and body schema(image) as an fundamental base. And it is an universal mind and a basis-consciousness. The foundation consciousness is the place where the propensities or imprints created by actions under the influence of afflictive obstructions are 'stored' until the conditions for their manifestation are present. Our cognition and object of representation is unsubstantial. Our cognition and object of representation is out put by storehouse consciousness in mind only school and by body schema of phenomenology. So to see the things is that to see the mind itself and to see the body itself. Storehouse consciousness and body schema is not fixed and changes continuously by interaction of cognition and object of representation each other. Our character is constitute by them. When we have the view of mind only school and phenomenology, the impotent thing in the education of character is that the truth is not able to instruct. Only we supply the experience of base to make the truth. So the education of character in the philosophy of mind only school and phenomenology is focus on the aesthetic experience, the sincere interaction of teacher and student, By reason that we are the common subject by experience of perception through words, own self is to be the whole. So teacher tell the true words to his student and seek after the non-egocentrism.

지각 현상학을 바탕으로 한 유휴학교 재생 공간디자인 특성 연구

가기열,김지은 한국전시산업융합연구원 2024 한국과학예술융합학회 Vol.42 No.3

본 연구는 출산율 저하에 따른 학령인구 감소로 인한 유휴학교가 사회적 문제로 대두되면서, 이에 따른 다양한 활용전략이 제시되는 현상에서 시작되었다. 본연구의 목적은 메를로-퐁티의 지각 현상학으로 유휴 학교 재생공간에서 디자인방식을 탐색하는 것이다. 이에 본 논문은 유휴학교 재생공간의 특성을 도출하고, 유휴학교를 활용하여 재탄생한 일본, 스페인, 중국, 체코의 실제 사례를 활용하여 재생공간의 특성이 어떻게 표현되는지 분석하였다. 연구 결과 및 내용은 다음과 같다. 첫째, 메를로 퐁티 지각 현상학의 신체적 공간과 공간적 개념을 분석하여 공간개념 성격을 도출하였다. 지각 현상학의 영향을 많이 받는 건축가의 작품을 분석하여 건축 요소를 도출하고 앞서 제시한 성격과 연계하였다. 둘째, 유휴학교와 재생공간의 개념과 특성을 정리하여 2장에서 제시한 언어와 통합 및 연계하여 유휴학교의 재생공간 특성을 도출하였다. 셋째, 유휴학교의 재생공간 특성을 분석틀로 국내외 4개 지역의 실제 사례를 분석하였다. 본 연구에서 제시된 유휴학교를 대표하는 4가지 공간특성 관계적 투명성, 동태적 변화성, 기억의 잠재성, 융합적 지속성의 의미는 실제로 재생된 유휴학교와 인간의 상호작용에 중요한 연결고리 역할을한다. 이러한 연구 결과를 바탕으로 재생공간 특성은 주체와 공간이 유기적으로 통합된 전체로 형성될 수 있으며, 유휴학교 재생공간의 다양한 디자인과 관람객의 인지 경험을 향상시킬 수 있을 것으로 기대한다. This study started with a phenomenon in which idle schools emerged as a social problem due to a decrease in the school-age population due to a decrease in the fertility rate, and various utilization strategies were proposed accordingly. The purpose of this study is to explore the design method in the idle school playback space using Merlot-Ponty's perceptual phenomenology. Therefore, this paper derives the characteristics of the idle school playback space and analyzes how the characteristics of the playback space are expressed by using actual cases of Japan, Spain, China, and the Czech Republic reborn using idle schools. The research results and contents are as follows. First, the characteristics of the spatial concept were derived by analyzing the physical space and spatial concepts of Merleau-Ponty perceptual phenomenology. By analyzing the works of architects who are greatly influenced by perceptual phenomenology, architectural elements were derived and linked to the characteristics presented above. Second, by organizing the concepts and characteristics of idle schools and playback spaces, the playback space characteristics of idle schools were derived by integrating and linking them with the language presented in Chapter 2. Third, actual cases in four regions at home and abroad were analyzed as an analysis frame for the characteristics of idle schools' playback spaces. The four spatial characteristics representative of idle schools presented in this study: relational transparency, dynamic change, memory potential, and convergent persistence, play an important role in the actual interaction between idle schools and humans. Based on these research results, it is expected that the playback space characteristics can be formed as an organically integrated whole with the subject and space, and various designs of idle school playback spaces and the cognitive experience of visitors can be improved.