Eulerian multiphase analysis for heat transfer enhancement by CO₂ sublimation in slot jet impingement

Kwak, Songmi,Lee, Jaeseon Elsevier 2018 International journal of multiphase flow Vol.107 No.-

<P><B>Abstract</B></P> <P>A new numerical method for carbon-dioxide (CO<SUB>2</SUB>) slot jet impingement cooling with dry ice is proposed and its analysis predicts an improvement in heat transfer performance by sublimation. When the CO<SUB>2</SUB> passes through the tiny orifice gap or jet nozzle, it experiences the rapid temperature drop as well as pressure decrease by the Joule–Thomson effect. This temperature drop causes the formation of small CO<SUB>2</SUB> dry-ice particles in the jet flow. Besides the enhanced cooling performance by lowered bulk-jet temperature, the significantly improved heat transfer can be expected by the additional sublimation effect between the dry-ice particles and cooling target.</P> <P>Computational analysis for solid–gas two-phase jet impingement flow was performed using a commercial CFD two-phase solver as a framework. Additional in-house code accounting for the sublimation effects is embedded into the solver. The effect of sublimation on heat transfer performance was investigated by the variance of flow rate or Reynolds number.</P> <P>As a result, analysis of gas–solid jet considering sublimation predicts higher heat transfer coefficients than those without sublimation analysis, and sublimation maintains the temperature of the jet bulk flow for a longer time through the absorption of additional thermal energy. As the Reynolds number increases, the amount of sublimation increases and thus heat transfer enhancement is also accompanied. It can be confirmed that the heat transfer performance at the jet target surface edge weakened by the diffusion of the wall jet flow can be compensated by the dry ice sublimation. The sublimation model presented in the current study shows that the characteristics of the impinging jet cooling containing dry ice are effectively analyzed.</P> <P><B>Highlights</B></P> <P> <UL> <LI> A numerical method for the dry ice sublimation is proposed in the multiphase flow analysis. </LI> <LI> The latent heat of dry ice sublimation keeps the jet flow at low temperature. </LI> <LI> Sublimation greatly improves the CO<SUB>2</SUB> impinging jet cooling performance. </LI> </UL> </P>

승화, 대양적 느낌, 그리고 자기대상 - 종교의 승화가능성에 대한 정신분석적 연구

장정은 장로회신학대학교 기독교사상과문화연구원 2015 장신논단 Vol.47 No.2

Religion puts emphasis on sublimation as a sign of spiritual maturity. Even if the churches and seminary schools do not necessarily use the term, similar concepts such as transformation, change, and transition are often used. However, it is hard for them to find adequate theological language to describe the term. Examining sublimation from the perspective of psychoanalysis, which deals with impulsive desires given to human beings and their vicissitudes, is helpful to describe the meaning and goal of sublimation and to assess whether or not religion contributes to its process. Two theoretical frames of Freud’s sublimation lie in the desexualization process and psychological connection. Sublimation is completed when instinctual drives are desexualized or neutralized and they find an object which is psychologically related to the archaic libidocathected object. However, for Freud, religion has nothing to do with sublimation because it is rooted in psychological mechanisms of repression and regression which were used to protect civilization from the forces of nature and instinctual impulses. However, Freud showed a reserved position regarding religion in his interpretation of oceanic feeling and a positive comment on mystic practices compared to the therapeutical efforts of psychoanalysis. His argument was complemented and developed by Kohut’s concept of the self object which paved the way for religious sublimation. This study provides a way of assessing whether or not the present Korean Protestant churches are functioning in the role of regressive religion or providing a way of sublimation. 종교는 보다 높은 단계로의 성숙을 의미하는 승화를 강조한다. 교회와 신학교의 교육과 가르침에서 반드시 승화라는 단어가 등장하지 않더라도, 변형, 성장, 성화와 같은 승화와 유사한 개념이 자주 사용된다. 이것은 변화되어야 하고 전환되어야 할 필요가 있는, 원초적인 본능적 충동이 인간에게 존재함을 전제한다. 그렇기에 인간의 본능적 충동과 그 변형에 대해 다루는 정신분석의 용어를 빌려 승화의 개념이 무엇이며, 승화는 어떤 과정을 통해 이뤄지고, 종교가 승화의 가능성을 제공해주는지를 연구하는 것은 승화를 이해하는 데 유익하며, 이것이 본 연구의 주된 목적이 된다. 프로이트의 승화개념에서 중요한 두 이론적 틀은 탈성화와 심리적 연관성이다. 본능적 충동이 탈성화 혹은 중성화 되고, 그 본래의 대상과 심리적으로 연관된 대상을 찾게 될 때 승화는 이뤄진다. 반면, 그의 관점에서 종교는 자연의 막강한 힘과 인간의 본능적 충동의 도전에서 문명세계를 보호하기 위한 억압과 퇴행이라는 심리적 기제에 근거해 있기 때문에 승화와 아무런 관련이 없다. 하지만, 후기에 프로이트는 종교에 대해 유보된 입장과 때로는 긍정적인 관점을 취하기도 했다. 그것이 잘 나타난 것이 로망 롤랑에 의해 종교성의 원천으로제기된 “대양적 느낌”에 대한 프로이트의 해석이며, 신비주의 수행을 정신분석의치료적 노력과 유사할 수 있다고 본 신비주의에 대한 그의 언급이다. 그의 논의는코헛의 자기대상(selfobject)의 개념을 통해 보다 발전시킬 수 있으며, 이는 종교가어떻게 승화의 대상이 될 수 있는지를 보여준다. 본 연구는 침체기를 겪고 있는한국 교회가 억압과 퇴행의 종교로 기능하고 있는지, 아니면 승화의 종교로 기능하고 있는지를 진단하고 돌아보는 기회를 제공할 것이다.

The Poetics of Sublime in Yeats

Youngmin Kim 한국예이츠학회 2018 한국예이츠 저널 Vol.57 No.-

숭고는 미학과 밀접한 관계를 지닌 개념으로서, 대상에 대해 명상할 때 에 우리의 정신과 육체의 정서적 감각에 광범위한 영향을 미친다. 롱자이너스는 숭고 를 고양된 스타일을 재현하는 문학작품에서의 “숭고한 열정의 존재”로 정의하고, 에드 먼드 버크는 거리감을 두고 자연의 파괴적 위력에 연관된 숭고의 경험에서의 고통과 즐거움에 초점을 맞추어 공포와 환희의 균형을 맞춘다. 칸트는 버크의 공포와 환희의 기이한 형태를 결합하고, 라깡은 프로이트와 칸트의 문맥에서 극단과 무한을 추구하 여, 칸트의 숭고를 넘어서는 승화의 개념을 구성했다. 본 논문은 라깡의 숭고와 승화 의 문맥에서 예이츠의 “비극적 환희”에 재현된 숭고를 예이츠의 시에서 찾아, 예이츠의 숭고의 시학을 살펴본다. The sublime is a concept in close relationship with aesthetics. When we meditate about an object, it provokes a wide range of affective sensations in our mind and body. Longinus defines sublime feeling as “the presence of noble passion.” Focusing on the pain and pleasure of the sublime experience in relation to nature’s destructive powers, Burke balances the “terror” with “delight.” Kant clarifies the affectivity of the sublime, tempering Burke’s terror with a strange form of joy. Lacan pursues the excessive and the unbounded by engaging with Freud and Kant, and constructs the human subject in terms of an effect of language in relation to the concept of “sublimation” beyond the Kantian sublime. In the context of sublime and sublimation, I will demonstrate how the sublime and sublimation are represented in “tragic joy” in Yeats’s two poems.

「늑대 인간」 사례 분석으로 본 승화 개념의 연구

김나원 한국현대정신분석학회 2024 현대정신분석 Vol.26 No.2

이 논문에서는 ‘늑대 인간’인 ‘세르게이 판케예프’에 대하여 지그문트 프로이트, 루스 맥-브런즈윅과 뮤리엘 가디너의 정신분석 사례 연구를 중심으로 승화에 대한 개념을 살펴본다. 승화는 만족을 추구하려는 과도한 욕동(충동)을 완화하는 메커니즘이자 죽음과 상실의 애도 과정을 변화시키는 도구이다. 실제로 승화는 정신분석학에서 보편적인 개념이며 오늘날 기술 중심 사회의 문명인에게 없어서는 안 될 개념이다. 필자의 가설은 애도가 개인이 고통에서 벗어나 새로운 만족을 추구하는 승화로 이어질 수 있다는 것에서 출발한다. 필자의 견해를 진전시키기 위해 먼저 세르게이의 개인적인 삶을 살펴보고 그가 경험한 애도와 승화를 탐구한다. 세르게이는 처음 프로이트와 분석을 시작했고, 이후 두 분석가인 루스 맥-브런즈윅과 뮤리엘 가디너와 분석을 계속하여 약 60년 동안 정신분석에 전념했다. 젊은 시절, 그는 여동생과 아버지가 자살한 후 비탄한 심경을 겪어야 했다. 이후 그는 망명 생활과 전시 중 재산 몰수, 아내의 자살 등의 온갖 트라우마를 견뎌내야 했다. 하지만 결국 그는 작가이자 예술가로서 사회적으로 인정받는 전문가로 거듭났다. 세르게이의 삶을 살펴보면, 정신분석이 그의 삶을 승화로 이뤄내기까지 어떠한 도움을 주었는지 알 수 있다. 필자는 세르게이의 증상을 정신질환의 병리가 아니라 끝없는 애도라고 과감하게 결론을 내린다. 그의 삶에서 승화는 더 높은 가치로 변화한 것이며, 이는 인류문명의 발전에 매우 중요하다는 것을 의미한다. This paper examines the concept of sublimation in the psychoanalytic case study of the wolf-man, with reference to the study of Sigmund Freud, Ruth Mack-Brunswick, and Muriel Gardiner. sublimation is a mechanism that serves to mitigate excessive drives(impulse) to seek gratification and represents a tool for transforming the mourning process associated with death and loss. Indeed, the concept of sublimation is a fundamental concept of psychoanalysis and an indispensable concept for civilized people in today’s technology-driven society. My hypothesis is that mourning can lead to sublimation, in which an individual escapes from pain and seeks new satisfactions. In order to develop my perspective on this hypothesis, I will first examine the personal circumstances of Sergei and investigate the mourning and sublimation processes sublimation. Sergei initially undertook analysis with Freud, subsequently with two analysts, Ruth Mack-Brunswick and Muriel Gardiner, and remained committed to psychoanalysis for nearly six decades. In his youth, he was profoundly affected by the suicides of his sister and father. Subsequently, he was compelled to confront a multitude of additional traumatic experiences, including exile, the wartime confiscation of his property, and the suicide of his wife. Nevertheless, he ultimately achieved social recognition as a writer and artist. An examination of Sergei’s life how psychoanalysis facilitated the sublimation of his experiences. It can be asserted that Sergei’s symptoms are not indicative of a pathological mental illness, but rather represent an enduring state of mourning. In his life, sublimation is a transformation to higher values, which is very important for the development of human civilization.

캐릭터의 윤리적 행위와 승화, 그리고 관객의 전이

윤보협(Yoon, Bo Hyeop) 한국영화학회 2020 영화연구 Vol.- No.86

본 연구는 윤리적 행위와 승화 그리고 전이의 개념이 관객이 특정 영화를 수용하는 특정한 순간, 영화텍스트를 접하는 계기를 분석하고 해석할 수 있게 한다고 전제한다. 본 연구는 정신분석학의 윤리의 문제를 왜 재고해야 하는가에 관한 문제 제기를 개념 정립과 영화분석을 통해 소통해내고 이로써 정신분석적 윤리학의 지평을 숙고하고 영화비평과 영화이론에서 그 실효성이 있음을 주장한다. 윤리와 승화(sublimation)를 죽음 충동(death drive)과 연결하면서 수정된 승화의 개념을 주장하는 라캉에게 본 연구는 주목한다. 후기 라캉의 그 핵심 개념을 정리하기 위해서 본 연구는 환상과 환상의 횡단, 그리고 상징적 죽음과 주이상스 등의 개념을 조명하고, 그리고 라캉의 이론을 영화이론과 이데올로기 비판이론으로 확장한 지젝이 분석한 영화들과 본 연구가 선정한 영화들을 분석하고, 그리고 라스 폰 트리에의 영화들을 분석하고 본 연구는 윤리적 행위와 승화 그리고 전이의 개념을 정립하고자 한다. 연구 진행은 다음과 같다. 첫째, 후기 라캉의 기본개념들인 환상과 환상의 횡단, 상징적 죽음과 주이상스, 죽음 충동 등을 정리하고, 승화의 선행연구를 조회한다. 그리고 지젝이 분석한 영화들과 본 연구가 주목한 영화들을 분석하고 비판적으로 정리한다. 둘째, 트리에가 여성을 주인공으로 만든 <브레이킹 더 웨이브>(Breaking the Waves, 1996), <어둠 속의 댄서>(Dancer in the Dark, 2000), <도그빌>(Dogville, 2003) 그리고 <맬랑콜리아>(Melancholia, 2011)를 윤리적 행위와 승화 그리고 전이 등 라캉의 개념으로 분석하고 해석하고 정리한다. 셋째, 영화분석에 대한 평가와 윤리적 행위와 승화, 그리고 관객의 전이에 대한 개념정리와 종합을 수행한다. This study presupposes that the concept of ethical act, sublimation, and transference allows us to analyze and interpret the moment of encountering film-text at a particular moment of acceptance of a particular film. The film goes through a unique process of creating meaning through the connection of the shot, scene and sequence, creating a shock to the spectators by experiencing something that can have some powerful effect on the viewer’s unconsciousness through the process. However, when the spectator is shocked to discover the eccentric behavior of a particular character, understanding and interpretation of the psychological shock and transference that occur inside the spectator is not easy. The study insists that Lacan’s psychoanalysis must be an effective framework for such an inextricable analysis. Psychoanalysis is the view that the behavior and perspective of the characters that are difficult to understand can be revealed as an acceptable category by showing the bizarre behavior of the characters and the psychological reality of the characters that are not exposed. Some of these character’s shocks can be seen as meaning the process of subjectification, to get out of the symbolic into the real, the goal of analysis presented by Lacan. This process can explore the ethical-artistic human that may exist in the real. Ethical-artistic humans are closely related to the concept of sublimation. The concept of sublimation, which is often used in psychoanalysis, is in fact a guide to t he b asic n eeds o f Freudian t heory . However, t he l ack of c oherent t heory of sublimation remained one of the flaws in psychoanalysis. But while sympathizing with Freud that links sublimation to creativity and art, Lacan also argues for the concept of modified sublimation, linking it to ‘death drive’. This study reinterprets films with prior study and Kieslowski’s films focused on by Slavoj Žižek with reinterpreted ethics and sublimation of Lacan. And this study does the following. First, This study do understand the concepts of fantasy, the traverse of the fantasy, symbolic death for organizing the concepts of ethical act and sublimation and transference, and this study refers to Žižek’s references to Kieslowski’s carefully interpreted films, <Decalogue>(1988), <The Double Life of Veronique>(1991), <Blue>(1993), <White>(1994) and <Red>(1994). <Point Break>(1991) and <Lolita>(1994). And this study do compare the remake of <Point Break>, <Breakpoint>(2015) and the other film from the original novel, <Lolita>(1962). And his study do reanalyze the preceding study of Park Chan-wook’s <Sympathy For Mr. Vengeance>(2002). Second, this study do analyze Lars Von Trier’s the films, <Breaking the Waves>(1996), <Dancer in the Dark>(2000), <Dogville>(2003), and <Melancholia>(2011). Third, this study do evaluate film analyses. And this study do articulate character’s ethical Act and sublimation, and spectator’s transference.

1970년대 영화 검열의 신문(訊問)구조와 욕동의 향배: 여인잔혹사극 <마님>(1970)을 중심으로

박유희 한양대학교 현대영화연구소 2023 현대영화연구 Vol.19 No.1

This study aims to capture changes to South Korean films in the 1970s, focusing on Mistress[Manim], which tells the “cruel story of a woman in the form of historical drama” and was ranked No. 2 at the domestic box office in 1970. A”cruel story of a woman in the form of historical drama” was a type of period drama that depicted the cruel fate of a woman in the second half of Joseon and her sexual love. It has been considered a representative genre of the 1980s in South Korean film history. This genre began with Women of Yi Dynasty [Ijo Yeoin Janhogsa](1969) and revealed its aspect of a hybrid erotic historical drama in Mistress(1970). Starting in the early 1980s, erotic historical dramas became prevalent, but the hybrid tendency combined with comedy was manifested in Mulberry[Ppong](1984). In this sense, Mistress displayed such tendencies earlier than Mulberry. Amid the reinforced censorship of the 1970s, this film was criticized as a “low-grade” work for its entertaining and unfettered vitality and revised to embody “sublimation.” By examining this process, one could effectively capture changes to South Korean films in the 1970s and further identify a crack in the narrative composition of South Korean film history during the decade that was called an “era of low-grade films due to the recession and censorship.” Censorship forced filmmakers to choose between “sublimation and obscenity.” However, only what was sublimated could be externalized, meaning that censorship had a discourse structure similar to an interrogation in which a question, with a pre-determined answer, was asked. Films could only be produced under censorship in those days; thus, the interrogative structure of censorship placed a limit on governing South Korean films in the 1970s. The structure did not allow obscenity, which should not be visible, to be sublimated, preventing any connections between obscenity and sublimation. The subjects of production had to explore approaches to obscenity while meeting the requirements of censorship. In this process, cruelty for sublimation was rationalized. Even though cruelty―along with pornography―was an obscene and low-grade element, a paradox occurred wherein sublimation recommended by censorship and low-grade nature prohibited by it became symbiotic. In this triangle of obscenity, sublimation, and cruelty, excessive, dislocated, and perverted inventions emerged. A grotesque vitality was revealed. This vitality, exhibited by Mistress, however, gradually weakened in later films telling the cruel story of a woman in the form of historical drama. Instead, the rationalization of cruelty for sublimation became more prominent in films encouraged by a national policy. These findings raise a need to reconsider the dichotomy of “excellent/art/policies vs. low-grade/entertainment/commerce,” which has divided the evaluations and descriptions of South Korean films in the 1970s and stipulation of the decade as an era of darkness and stagnation. 이 연구는 1970년 국산영화 흥행 2위를 차지한 여인잔혹사극 <마님>을 통해 1970년대 초반한국영화의 변동과 정향(定向)을 포착하는 것이다. ‘여인잔혹사극’은 조선후기 여성의 잔혹한운명을 그리며 성애를 재현한 시대극으로, 한국영화사에서 1980년대를 대표하는 장르 중 하나로 인식되어왔다. 그러나 이 장르는 1960년대 말 신필름의 영화들에서 시작되었다. 그리고 혼성적 에로사극의 면모가 드러나기 시작한 것은 <마님>(1970)부터였다. 1980년대 초부터 에로사극이 성행했지만 코미디와 결합된 혼성적 경향은 <뽕>(1984)에 이르러서야 발현되었다는 점에서 <마님>은 그것을 선취한 영화였다. 그러나 검열이 강화되는 가운데 이 영화의 분방한 경향은 ‘저질’로 간주되며 ‘승화’를 구현하는 방향으로 수정되었다. 따라서 이 과정을 고찰하면1970년대 한국영화의 변동을 효과적으로 포착할 수 있으며, 1970년대 한국영화사를 규정해온‘저질’의 함의에 대해 재고해볼 수 있다. 검열에서는 잔인하거나 음란하거나 저속한 것은 외설로 제한하는 반면, ‘승화’를 권장했다. 승화는 국가 이념과 민족문화 창달에 기여하는 계몽적 주제를 드러내거나 국가가 허용하는‘예술성’을 형상화하는 것이었다. 당시 모든 영화는 검열을 통과하지 않고는 제작될 수 없었으므로 사실상 검열이 요구하는 승화를 충족시켜야했다. 그러나 보여서는 안 되는 외설을 통해 승화를 구현할 수는 없었으므로 외설과 승화는 연계될 수 없었다. 그렇다고 제작주체 입장에서는 흥행을 위한 외설을 포기할 수도 없었으므로 ‘승화’에 부응하는 길과 함께 외설의 방식을 모색하게 된다. 이 과정에서 검열을 피해 외설을 재현하기 위한 창안이 이루어지는 한편승화를 위한 잔혹이 합리화된다. 외설-승화-잔혹의 삼각구도 속에서 과잉과 탈구가 발생하며, 이 와중에 비어져 나오는 다기한 욕동은 그로테스크한 활력을 생성한다. 그러나 <마님>이 보여준 오락적 에로사극으로서의 혼성성과 활력은 이후에 만들어지는 여인잔혹사극에서는 약화된다. 대신에 승화를 위한 잔혹이 관습화되는데, 이는 비단 여인잔혹사극에서뿐만 아니라 동시기 영화에 편재한다. 한국영화사에서 1980년대 영화의 변동으로 인식되어 온 혼성적 에로사극의 출현은 1970년대로 넘어가는 시기에 이미 시작되었음이 <마님>을통해 확인된다. 그리고 검열을 구성했던 담화구조는 영화의 변동을 통어하는 제약으로 작용하는 동시에 1970년대 영화미학의 특이점을 구성했음이 드러난다. 이 과정에서 창안된 외설의재현방식은 이후 에로사극의 관습이 된다. 이에 따라 한국 에로사극의 역사는 다시 서술되어야 하며, 1970년대 한국영화사 역시 새로이 맥락화될 필요가 있다.

Naphthalene sublimation. Experiment and optimisation based on neuro-evolutionary methodology

Silvia Curteanu,Mirela Smarandoiu,Doina Horoba,Florin Leon 한국공업화학회 2014 Journal of Industrial and Engineering Chemistry Vol.20 No.4

This paper presents experimental and simulation studies on spherical samples of naphthalene sublimation in the presence of air as driving agent. The mass transfer rates and the influence of air flow characteristics on mass transfer are investigated. The degree of sublimation and sublimation front position as function of time are also determined. A modelling and optimisation strategy based on neural networks and genetic algorithms, designed in simple and adaptive variants, is developed and applied for determining optimal working conditions which lead to the maximisation or minimisation of sublimation rate. Accurate results are obtained proving the efficiency of the neuro-evolutionary methodology.

윌리엄 워즈워스의 승화(昇華): 방어 기제를 통한 개성의 발달

황병훈 ( Hwang Byeong-hoon ) 대한영어영문학회 2009 영어영문학연구 Vol.35 No.2

Wordsworth as an artist transforms unrealistic needs of his instincts into something more achievable and desirable within his psychic territory through a defense mechanism, sublimation. The immediate purpose of his poetry as an art, which he majestically searches for, is not the mere admiration of nature through his versification but the meditation of nature of life. His artistic sublimation presupposes the suppression of his instinctual drive. However, his sublimation serves to relieve the instinctual repression within the range of reasonable acceptance of the artistic and cultural development. The successful sublimation of his psyche entirely depends upon his insight into the social and cultural conditions of his time, not merely upon the exhibition of his aspiring instinctual urge. His poetry is a statement of this process at work. (Keimyumg University)

1970년대 ‘국민학생관람가’ 영화에 나타난 ‘아동의 죽음’에 대한 연구 ―이승복, 정재수 실화 영화를 중심으로―

박유희 민족어문학회 2023 어문논집 Vol.- No.99

This study examines cruelty, particularly the death of children, as depicted in films rated for elementary school students in the 1970s to analyze the dynamic relationship between cruelty and sublimation for film censorship during this period. During the 1970s, the Korean government placed a lot of emphasis on wholesomeness and morality for political purposes. Concurrently, this period witnessed a rising interest in films for children, as they emerged as a crucial audience with the growth of baby boomers. Numerous discussions of these films arose in response to this trend, and the Korean government actively intervened in the production of children’s films by implementing censorship and the Outstanding Film System. The film rating for elementary school students, which was introduced in this period, corresponds to the general audience rating of the present. In other words, the entire public, including children, were allowed to watch films rated for elementary school students, which were evaluated as harmless and enlightening by the authorities responsible for film censorship. Standards for determining which films would be rated for elementary school students reflected the ethical goal that the innocence of children should not be damaged as well as the political goal that children should be disciplined to become “right and wholesome” citizens of the nation. For this reason, films rated for elementary school students tended to exhibit the Korean government’s national ideology and policies. However, scenes of children’s death were actively depicted in these films. For film censorship in the 1970s, the Korean government consistently stressed the importance of sublimation, which refers to the act of implementing cinematic representation to convey or promote values recommended by the nation. In this context, “sublimation” served as a bridge connecting censorship and the representation of a film. Once film scenes were confirmed to be sublimated, even obscene and violent scenes were allowed for public viewing. This study posits that the cruelty associated with the scenes of death of children, seemingly recommended for viewing by children, had a close relationship with the demand for sublimation. Based on this premise, it analyzes the dynamic relationship between cruelty and sublimation and the significance of such a relationship by examining films of the 1970s that portrayed the death of Lee Seung-bok and Jung Jae-soo, who were respected as admirable children, in the context of film censorship applied to the target films. Consequently, it presents the distinct features of Korean films of the 1970s that were structured on a combination of sublimation and cruelty.

라캉적 승화

안정인(Ahn, Jeong-Inn) 새한영어영문학회 2012 새한영어영문학 Vol.54 No.4

This is a study on the homology of psychoanalysis and aesthetics especially from the viewpoint of the Lacanian psychoanalytic theory. Lacan opened his Seminar Ⅶ, The Ethics of psychoanalysis, by drawing attention to the psychoanalytic experience attempting to restore to favor in the strongest possible way the productive function of desire as such. He returned to Freud with Kantian perspective on the ethics and the beauty in his Critique of Judgement. Lacan proposed the concept of sublimation as the ethics of psychoanalysis defining it as “the satisfaction of the drive with a change of object, that is, without repression.” With a change of object, an object can be raised up to the Thing. Lacan’s sublimation is dialectically articulated between desire in the symbolic and drive in the real. The real is that which resists symbolization; it is the traumatic kernel at the core of subjectivity and the symbolic order. The real is thus associated with the death drive and jouissance as the ultimate, unspeakable, limit of human experience with the failure of our desire - and it is through fantasy and the object a that the subject sustains himself in this impossible scenario Lacan praised the splendor of Antigone related to the sublimation. She shows the ideal image by her act according to the ethics of psychoanalysis. The paradox is in that it is the ethics of transgression. It is related to the death drive beyond the pleasure principle. Lacan regards the notion of the death drive as a creational sublimation. Psychoanalysis and aesthetics can meet in the dimension of absence that indicates the necessity of the creation ex nihilo. According to Lacan’s explanation, the appearances of the beautiful creates two things that go together: the something and the void, the emptiness inside it. With every creation, the space in-between gets created. This is why in relation to the phenomenon of the beautiful Lacan speaks of the fantasy which he formulates in terms of a beauty that must not be touched. The splendor of beauty is a kind of shield that the artist and the spectator raise at the very point of das Ding. This shield is made to stop desire: desire, as it were, stops at beauty and remains with it, not wishing to go any further. It is not that the desire for the beautiful is suspended, but rather that desire is suspended, frozen within the realm of the beautiful. This is the effect of beauty on desire.