언캐니 개념의 공간적 표현특성 연구 - 인스톨레이션 공간을 중심으로 -

김관현 ( Kim Kwanhyun ),김지은 ( Kim Jieun ),김개천 ( Kim Kaichun ) 한국공간디자인학회 2021 한국공간디자인학회논문집 Vol.16 No.3

(Background and Purpose) Sigmund Freud assert in his thesis Das Unheimlich that even eccentricity, fear, and anxiety, the opposite aspect of the traditional aesthetic, which deviates from the sublime, joy and impression, should be studied in the realm of beauty. In the contemporary aesthetic paradigm of rejecting fixed norms and pursuing diversity, contemporary art is pouring out various works that go beyond existing understanding and common sense. In this trend, the conception of uncanny is presented as a new perspective on contemporary art and is actively studied in the area of aesthetics. However, the 'uncanny' conception has become to have established itself as a major category of visual art, but it is worth the research in that there has been no discussion in the field of spatial design. The purpose of the study was to look at the spatial installation located at the interface of sculpture, space, and architecture as an extension of the art works and see possibility that how to characteristics of uncanny can be implemented in space. (Method) First, based on Freud's thesis, which studied the ‘uncanny’ based on psychoanalysis, we analyze the causes that trigger the ‘uncanny’ and categorize the results. Second, the framework for interpreting contemporary art works is analyzed using 'desire to return to womb', 'Regard of castration’, 'anti/life', 'regressive to an inorganic' and 'repetition compulsion of signifier', which is characteristic of uncanny. Based on that analysis, construct to formative elements through the sculptural characteristics of art works. Third, analyze the spatial Installation based on the formative elements derived from the analysis to see how the characteristics of the uncanny are represented in the spatial domain, and propose a expected effect based on the conclusion. (Results)) As a result of analyzing spatial installation through the six types of expression derived on the three types of formative elements showed that the uncanny's formative features were abundant, and the provocative features that reverse and break the stereotype caused visual shock and triggered the uncanny's effects such as ambivalence feeling, anxiety and confusion. (Conclusions) This work was able to verify the spatial applicability and its validity of the uncanny conception by analyzing the installation space where the characteristics of the uncanny appear. Uncanny's formative singularity, which has infinite potential without being bound by a fixed semantic system made of rational logic, is expected to become the center of leading diverse and new aesthetic and spatial experiences in the area of spatial design.

앤 래드클리프의『이탈리아인』 - “낯선 두려움”의 세계

선희정 ( Hee Jung Sun ) 한국영어영문학회 2013 영어 영문학 Vol.59 No.2

This paper examines whether Sigmund Freud`s concept of the uncanny can give new depth to our understanding of one of Gothic`s central figure, Ann Radcliffe. The Italian (1797) is probably the high-water mark of her achievement, and the uncanniness of the phenomena is the biggest draw of this novel. I refer to Freud`s magnificent, troubling, and inspired essay of 1919, “The Uncanny” because Freud offers us a much improved theory of terror, a theory which helps to explain the dreadful terror in Radcliffe`s The Italian. In the most basic definition, the uncanny, the particular species of the frightening, is the feeling of unease that arises when something familiar suddenly becomes strange and unfamiliar. Taking my lead from Freud I argue in this study that Freud`s uncanny offers an interesting perspective on the theme of the fear and terror in Radcliffe`s The Italian. I try to make clear how Radcliffe`s world of Gothic novel is so evidently one of the uncanny, a new human experience of strangeness, anxiety, bafflement, and intellectual impasse, by focusing on the aesthetic notions of the uncanny of ambivalence, defamiliarization, otherness. The Radcliffian atmosphere of “dreadful uncertainty” creates the conditions for the uncanny. The ‘otherness’ of Italy plays out the central issue of foreign-ness and familiarity that Freud treats as integral to the logic of uncanniness. Freud notes that to many people the height of the uncanny is represented by anything to do with death, dead bodies, the return of the dead, spirits and ghosts, superstitions, premonitions, the evil eye, the double, strange repetitions and coincidences. Many of these appear in The Italian, and Radcliffe`s character Schedoni becomes the prototype for uncanny villains.

앤 래드클리프의『이탈리아인』 —‘낯선 두려움’의 세계

선희정 한국영어영문학회 2013 영어 영문학 Vol.59 No.2

This paper examines whether Sigmund Freud’s concept of the uncanny can give new depth to our understanding of one of Gothic’s central figure, Ann Radcliffe. The Italian (1797) is probably the high-water mark of her achievement,and the uncanniness of the phenomena is the biggest draw of this novel. I refer to Freud’s magnificent, troubling, and inspired essay of 1919, “The Uncanny” because Freud offers us a much improved theory of terror, a theory which helps to explain the dreadful terror in Radcliffe’s The Italian. In the most basic definition, the uncanny, the particular species of the frightening, is the feeling of unease that arises when something familiar suddenly becomes strange and unfamiliar. Taking my lead from Freud I argue in this study that Freud’s uncanny offers an interesting perspective on the theme of the fear and terror in Radcliffe’s The Italian. I try to make clear how Radcliffe’s world of Gothic novel is so evidently one of the uncanny, a new human experience of strangeness, anxiety, bafflement,and intellectual impasse, by focusing on the aesthetic notions of the uncanny of ambivalence, defamiliarization, otherness. The Radcliffian atmosphere of “dreadful uncertainty” creates the conditions for the uncanny. The ‘otherness’ of Italy plays out the central issue of foreign-ness and familiarity that Freud treats as integral to the logic of uncanniness. Freud notes that to many people the height of the uncanny is represented by anything to do with death, dead bodies, the return of the dead, spirits and ghosts, superstitions,premonitions, the evil eye, the double, strange repetitions and coincidences. Many of these appear in The Italian, and Radcliffe’s character Schedoni becomes the prototype for uncanny villains.

이호철의 소설에 나타난 언캐니 연구 ― 이방인과 소시민적 인물을 중심으로 ―

서보호 ( Seo Bo-ho ) 현대문학이론학회 2017 現代文學理論硏究 Vol.0 No.69

이 논문은 이호철 소설에서 나타나는 언캐니(Uncanny)가 서사 안에서 핵심적으로 기능하는 미학적 원리임을 밝히는 것에 목적을 둔다. 또한 언캐니는 낯선 존재인 이방인에 대한 윤리를 정초하는 토대가 될 수 있다는 전제 하에, 이호철 문학에서 주요하게 다뤄져 온 `소시민성`이 이방인의 문제와 맺는 관련성을 살펴보고자 한다. 그 동안 이호철 문학은 `상황성`과 `무드`의 측면에서 논의되었다. 본고는 이러한 `무드`와 `상황성`이 구체적으로 언캐니를 통해 발현될 수 있음에 주목하였다. 프로이트가 논의한 언캐니는 낯선 대상에게 느껴지는 두려움과 관련한 보편적 심리현상이다. 리처드 커니는 이러한 언캐니에 대한 정신분석학적 접근이 이방인의 문제와 깊은 관련이 있음을 밝히는데, 그에 따르면 언캐니는 `우리 안의 이방인`에 대한 한 가지 설명방식이 된다. 이호철의 문학에서 문제적 인물인 소시민은 낯선 이방인의 출현으로 인해 빈번하게 언캐니에 노출된다. 그런데 이는 단순히 시대적 특징을 문학적으로 형상화한 것에 그치지 않는다. 작가 이호철은 소시민적 인물을 통해 이방인과 언캐니의 문제를 반복적으로 드러내고 이에 대한 해석행위를 시도함으로써 일종의 윤리적 실천을 모색한다. This paper aims to reveal that Uncanny in Lee Ho-Cheol`s novel is aesthetic principle functioning in narrative. In addition, under the premise that Uncanny can be the basis for the ethics of the Strangers, I will examine the relevance of `Petit bourgeois`, which has been mainly dealt with in Lee Ho-cheol`s literature, with the problems of the Strangers. In the meantime, Lee Ho-Cheol`s Literature was discussed in terms of `situationality` and `mood`. This paper notes that these `mood` and `situationality` can be manifested through uncanny. The uncanny discussed by Freud is a universal psychoanalytical phenomenon related to fear that is felt by strangers. Richard Kearney reveals that the psychoanalytic approach to these uncannies is deeply related to the problem of the Strangers, according to which the Uncanny is a way of describing the `stranger in us`. In the literature of Lee Ho-Cheol, the problematic person, the Petit bourgeois, is frequently exposed to the uncanny because of the emergence of strangers. However, this is not merely a literary form of the characteristics of the period. Lee Ho-Cheol repeatedly reveals the Strangers and Uncanny through the Petit bourgeois and attempts to interpret them, eventually seeking a kind of ethical practice.

언캐니 개념을 차용한 도예작가 연구

이미종,여화선,김승욱 한국도자학회 2018 한국도자학연구 Vol.15 No.1

In this study, the aesthetic characteristics appearing three modern ceramic artist's works were examined by based oon Freud's uncanny theory. The uncanny is described in Freud's psychoanalysis as the "regression of the repressed body." It is also a prominent feature of the reaction due to the development of modern machine civilization. Freud refers to the uncanny as an aesthetic element that replaces beauty and the uncanny concept becomes an attractive element to contemporary artists challenging the limits of aesthetics through constant challenges and experiments. while the concept of the existing aesthetic focuses on the sublime and beautiful concept, the concept of the uncanny such as fear, anxiety, and bizarreness has become a filed of aesthetics and has reached a topic of interest to modern pottery artists as well. The purpose of this study was to see how the uncanny's aesthetic feature were expressed in ceramic works. For this study, two domestic and two foreign artists among the representative artists who borrowed the concept of the Uncanny were selected and examined their common characteristics and differences in how uncanny aesthetics appeared to contemporary ceramic artists through their works of art. Hwang Jae-won made FFanG, a self-portrait doll to double express his oppressed self. And Cha You jong borrowed the psychological mechanism of the Uncanny, trauma, to approach his complex with metaphorical expression and ambivalence. Christi Brown expressed the illusion of unfamiliarity as if it were bringing life into things through the return of archaeological relics. On the other hand, Sergei Isupov was able to find out that he conveyed an unfamiliar feeling by contrasting the people's life, diversity, and the artist's experience. 본 연구에서는 현대 도예 작가 작품에서 등장하는 미학적 특성을 프로이트의 언캐니 이론을 중심으로 고찰하였다. 언캐니는 프로이트의 정신분석학에서 설명되는데‘억압된 몸의 회귀’라고 할수 있다. 현대 기계문명의 발달에 의한 반작용의 두드러진 특성이기도 하다. 지그문크 프로이트는아름다움을 대체하는 미학적 요소로서 언캐니를 언급하였고 언캐니 개념은 끊임없는 도전과 다양한 실험으로 미학의 한계에 도전하는 현대 미술가들에게 매력적인 요소로 자리 잡게 된다. 기존미학의 개념이 숭고하고 아름다운 개념에 초점을 맞추었다면 상대적으로 공포감, 불안함, 기괴함등과 같은 언캐니 개념이 미학의 한 분야로 가치를 지니게 되면서 현대 도예가들 에게도 관심 있는 주제로 다루어졌다. 본 연구의 목적은 언캐니적 특성이 현대도자작품에 어떻게 표현되었는지에대한 것이었다. 이 연구를 위해 언캐니 개념을 차용한 대표적 작가 중 두 명의 국내작가와 두 명의 국외 작가를 선정하여 이들 네 작가의 작품을 통해 언캐니 미학이 현대 도예 작가들에게는 어떻게 나타났는지 공통적 특성과 차이점을 고찰하고자 했다. 황재원은 자화상 인형인 FFanG를 만들어 억압된 자아를 이중적으로 표현하였고, 차유종은 언캐니의 심리적 메카니즘인 트라우마를 차입하여 자신의 콤플렉스를 은유적인 표현과 양가적으로 접근하였다. 크리스티 브라운은 고고학적 유물의 회귀를 통해 사물에 생명을 불어넣는 것 같은 환상을 낯설게 표현하였다. 한편 세리게이 이수포프는 사람들의 삶과 그 다양성과 작가의 경험을 대립적인 표현으로 낯선 감정을 전달하였음을알 수 있었다.

언캐니(Uncanny)-메커니즘과 이창래의 『떠오름』(Aloft)

유명자 ( Yu Myong-ja ) 대한영어영문학회 2014 영어영문학연구 Vol.40 No.3

From E. Jentsch to S. Freud, several authors have written essays dealing with the uncanny. However, it seems much still remain to be explored, especially its role in the creative activities. This paper is an attempt to illustrate the dynamic function of the uncanny taken as a developmental mechanism. Its main stages observed in this paper are as follows: the first stage of settling of the uncanny affect figure, the second stage of pathological confusion, the third stage of fatal accident and the fourth stage of self-destruction or getting over that tragedy. Here the fatal accident could be overcome by chance, or the subject will survive it if somehow he is physically and mentally strong enough. Likewise, not only will he be able to avoid the self destruction, but realize he lived and went through a sort of fantasy. This opens him the next level of the uncanny-mechanism; After awakening, he now tries to reach out for an upgraded stage of uncanny, namely, the stage of sublimation. This last stage will sometimes be connected to the literary and artistic creations. The ‘double’, ‘deja vu’, and ‘unhomely home’ are frequent themes of those literary creations. Aloft(2004) by Chang-Rae Lee shows a quite subtle form of the uncanny effect evoked by a non-pathological protagonist. Its originality lies in that the author succeeds in presenting the invisible dynamism of the uncanny through the description of the visible elements although the story ends at the stage of the surmounted fatal accident without going much further to get into the stage of sublimation. (Kyungpook National University)

애니메이션에서 구상형태와 추상동작의 결합을 통한 언캐니 표현에 대한 연구

정주아,최유미 한국애니메이션학회 2020 애니메이션연구 Vol.16 No.1

Animation is an art medium to show an inanimate object as if it is a life form by giving it motion, and its essential feature is an overlap between life forms and non-life forms. Therefore, animation is radically related to uncanny, an aesthetic effect arising form the boundary confusion ‘if a living thing really lives or if non-living thing is actually a life form’ and it is available for maximizing and expressing it better than any other art medium. Accordingly, this study aims to figure out in-depth relations between the point of an ‘overlap between life forms and non-life forms’ by reviewing theoretical discussions about the essential characteristics of animation and uncanny from the previous literature, and to investigate on the specific cases of the application of uncanny by enhancing an ‘overlap between life forms and non-life forms in animations based on it. Among the methods to express uncanny through an ‘overlap between life forms and non-life forms in animation, this study pays attention on the ‘combination of figurative form and abstract movement’ for expressing uncanny. As animation has possibilities to express freer motions than any other art media, it can also express more differentially and originally enhanced uncanny through the method of combination between figurative form and abstract movement. In order to show the specific cases about it, the study analyzes the scenes about the expressions of uncanny through combination between figurative form and abstract movement by Brother Quay and Jooa Chung. This study, through the investigation about the expression of uncanny in animation and ‘combination between figurative form and abstract movement’, one of its specific methods, tries to contribute to more diverse development and expansion of animation productions and researches, which are inclined to express commercially and popularly, by including experimental and avant-garde expressions. 애니메이션은 생명이 없는 대상에 움직임을 부여함으로써 생명을 가진 것처럼 보이게 하는 예술 매체로서 생명과 비생명의 중첩을 매체의 본질적인 특성으로 가진다. 그러므로 애니메이션은 ‘살아있는 것이 정말 로 살아있는지, 혹은 살아있지 않은 것이 사실은 살아있는 것이 아닌지’에 대한 경계의 혼란에서 발생하는 미학 적 효과인 언캐니와 본질적으로 접하게 관련되어 있으며 다른 어떤 예술 매체에서보다 이를 극대화하여 표현 할 수 있다. 그러므로 본 논문에서는 선행 연구를 통해 애니메이션과 언캐니의 본질적 특성에 대한 이론적 논의 들을 살펴봄으로써 이들이 ‘생명과 비생명의 중첩’이라는 접점을 통해 깊은 관련성을 가지고 있다는 것을 밝히고 자 했으며, 이를 바탕으로 애니메이션 작품에서 생명과 비생명의 중첩’을 강화함으로써 언캐니를 표현한 구체적 인 적용 사례를 살펴보았다. 애니메이션에서 생명과 비생명의 중첩을 통해 언캐니를 표현하는 방법 중 본 논문 에서 주목한 방법은 ‘구상형태와 추상동작을 결합함’으로써 언캐니를 표현하는 것이다. 다른 어떤 예술 매체에서 보다 자유로운 움직임 표현의 가능성을 가지는 애니메이션이 구상형태와 추상동작을 결합하는 방식을 통해서 보다 차별적이고 독자적인 방식으로 강화된 언캐니를 표현할 수 있기 때문이다. 이에 대한 구체적인 예를 제시 하기 위해서는 형제 작가 브라더 퀘이의 <악어의 거리(The Street of Crocodile)>와 정주아의 <진실한 남자> 가 구상형태와 추상동작을 결합하여 언캐니를 표현한 장면들을 분석하다. 본 논문은 애니메이션에서의 언캐 니 표현과 그 구체적인 방법 중 하나인 ‘구상형태와 추상동작의 결합’에 대한 연구를 통해 상업적·대중적인 표 현에 치중되어 있는 애니메이션 제작과 연구가 실험적이고 전위적인 표현을 포함하여 보다 균형있고 다양하게 발전, 확장되는 데 기여하고자 한다.

이광수 후기 단편소설 인물들의 퇴행 연구

강윤신 ( Youn Shin Kang ) 한국동양예술학회 2012 동양예술 Vol.19 No.-

Freud defined uncanny as the ``alienation of familiar things``. The origin of the word uncanny is unheimlich, which is a German word. This came from the word heimlich, which means ``comfortable as one``s hometown``. Therefore, it can be said that the ``alienation of familiar things`` within uncanny means including the ``familiar things`` in this word heimlich(comfortable as one``s hometown)``. Then, the rest ``alienation`` should be found from un. Un is the concept that something familiar is suddenly unfamiliar one day. This un in German is ``un`` by the pronunciation of English. Thus, the alienation of familiar things becomes uncanny. Uncanny is the place which was one``s hometown once, and the place where everyone lived in the beginning. Hence, an uncanny place is the door through which one can go back to the hometown of every human being, and when someone thinks in a place where he or she has never been before that This place is familiar. I have been here before., that place can be said to mean the sexual organs of his or her mother. The uncanny related to dreams also started from something which was once one``s hometown and something that was as comfortable and familiar as one``s hometown. However, the prefix ``un`` is the symbol of suppression. The uncanny of Freud means some place that was once familiar and became an unfamiliar place one day. That is due to the suppression. The place was once a familiar place but it became unfamiliar due to suppression. When someone feels like a place he or she has been for the first time is a familiar place, it is the phenomenon in which the ``un`` disappears. It is the phenomenon of returning back to the original familiar state at a moment. However, the subject that has been once suppressed is uneasy. Even though the subject goes back, the subject cannot return to its appearance in the past, because some vague phenomena that are difficult for the subject to understand occur. That is, the phenomenon in which the sign deprives the referent of its status or the phenomenon in which the subject deprives the physical real existence of its position when the subject is in the state of self-denial appears. When these things happen, the subject falls into the surrealistic state. Dali experienced surreality when the referent is covered by the symbol or when the subject becomes a slave of sign or symptom. Like this, the experiences of surreality are a phenomenon that appears as the result of uncanny, that is, uneasiness. These characteristics of alienation are prominent in the main character of ``Road Play``, a novel of Gwangsu Lee. The main character of ``Road Play``, which is a late short story in the late period of Gwangsu Lee, often falls into the uncanny state of surrealists. This can be seen as a phenomenon in which the ``alienation of familiar things`` of Freud appears. In addition, all the main characters of ``Ignorance``, ``The Old Lady in Youngdang`` and ``Nanjeoh``, which are novels of Gwangsu Lee, are into narcissism. They can be called the imaginary characters as they are the type of people for whom it is hard to enter the symbolic of Lacan. The world these types of people can fall into easily is the world of illusion, and this characteristic is moving into the romantic utopia of the main character in the novel ``Girl in Sanggeunnyeong``. In addition, the degradation in the form of novel is executed in ``Corn`` and ``Story of Mrs. Kim``.

언캐니 이론을 적용한 영화 사례분석

김석원 ( Seokweon Kim ),임경호 ( Kyungho Lim ) 한국영상미디어협회 2011 예술과 미디어 Vol.10 No.2

본 논문은 언캐니(Uncanny) 이론을 적용해서 영화의 사례를 분석한 연구이다. 영화의 사례를 분 석하기 위해서 크리스 마르케(Chris Marker)의 실 험영화 <라제떼,La jetee, 1962>를 기준으로 선정 한 세 편의 영화를 언캐니 이론으로 적용해서 살펴 보았다. 세 편의 영화는 프로이트(Sigmund Freud) 의 언캐니에 대한 충분한 이해와 해석 능력을 갖추 고 있다. 언캐니 이론으로 적용된 영화는 <라제떼> 보다 앞서 상영한 알프레드 히치콕(Alfred Hitchcock)의 <사이코: Psycho,1960>와 <라제떼> 가 제작되기 오래전에 이미 등장한 로베르토 로셀 리니((Roberto Rossellini)의 <이탈리아 여행, Journey to Italy, 1953> 그리고 <라제떼>에 직접 적으로 영향을 받은 테리길리엄의 <12마리 원숭이, Twelve Monkeys, 1995>가 포함된다. 본 연구에 서는 세 편의 영화에 중심적인 개념으로 작동하는 ``죽음충동``은 서로 다른 양상을 지니고 있다는 것이 밝혀졌다. 아울러 세 편의 영화에서는 공통적으로 인간의 불안한 심리에서 자아를 방어하는 ``무의식적 역동``이 발생하는 현상을 각기 다른 서사구조로 표현했다. 그것은 인간의 삶과 죽음 사 이의 경계에 위치하고 있다. 연구자는 세 편의 영화를 통해서 죽음에 대한 문제를 해결하려는 것보다 는 언캐니의 이론을 기준으로 영화를 해석할 수 있다는 가능성에 더 무게를 두었다. 논문에서 살펴본 세 편의 영화에서 주인공이 동 시에 느끼는 존재의 불안은 하이데거에 의하면 존 재 자체가 불안한 것으로서, 현 존재를 죽음을 향한 존재로 표현한다. 하지만, 일상생활에서``존재(실 존)``가 나타나면 안된다. 우리의 삶은 죽음을 지우 고 일상으로 도망가고 도피해 있지만 불안해진다. 즉 내가 존재에서 도망을 쳤지만 제대로 도망을 친 것인지 불안한 것이다. 그런 이유 때문에 불안하고 ``섬뜩함(Unheimlich)``이 발생하는 것이다. 섬뜩 함은 일상에서 실존을 망각하고 있을 때 환기시킨 다. <언캐니 이론을 적용한 영화 사례분석>의 의미 는 언캐니의 미학적인 개념을 영화를 분석하는 도 구로 사용했다는 점에서 매우 의미 있는 지점으로 생각된다. 즉 언캐니의 미학을 통해서 영화를 분석 본 논문은 언캐니(Uncanny) 이론을 적용해서 영화의 사례를 분석한 연구이다. 영화의 사례를 분 석하기 위해서 크리스 마르케(Chris Marker)의 실 험영화 <라제떼,La jetee, 1962>를 기준으로 선정 한 세 편의 영화를 언캐니 이론으로 적용해서 살펴 보았다. 세 편의 영화는 프로이트(Sigmund Freud) 의 언캐니에 대한 충분한 이해와 해석 능력을 갖추 고 있다. 언캐니 이론으로 적용된 영화는 <라제떼> 보다 앞서 상영한 알프레드 히치콕(Alfred Hitchcock)의 <사이코: Psycho, 1960>와 <라제떼> 가 제작되기 오래전에 이미 등장한 로베르토 로셀 리니((Roberto Rossellini)의 <이탈리아 여행, Journey to Italy, 1953> 그리고 <라제떼>에 직접 적으로 영향을 받은 테리길리엄의 <12마리 원숭이, Twelve Monkeys, 1995>가 포함된다. 본 연구에 서는 세 편의 영화에 중심적인 개념으로 작동하는 ``죽음충동``은 서로 다른 양상을 지니고 있다는 것이 밝혀졌다. 아울러 세 편의 영화에서는 공통적으로 인간의 불안한 심리에서 자아를 방어하는 ``무의식적 역동``이 발생하는 현상을 각기 다른 서사구조로 표현했다. 그것은 인간의 삶과 죽음 사 이의 경계에 위치하고 있다. 연구자는 세 편의 영화를 통해서 죽음에 대한 문제를 해결하려는 것보다 는 언캐니의 이론을 기준으로 영화를 해석할 수 있다는 가능성에 더 무게를 두었다. 논문에서 살펴본 세 편의 영화에서 주인공이 동 시에 느끼는 존재의 불안은 하이데거에 의하면 존 재 자체가 불안한 것으로서, 현 존재를 죽음을 향한 존재로 표현한다. 하지만, 일상생활에서``존재(실 존)``가 나타나면 안된다. 우리의 삶은 죽음을 지우 고 일상으로 도망가고 도피해 있지만 불안해진다. 즉 내가 존재에서 도망을 쳤지만 제대로 도망을 친 것인지 불안한 것이다. 그런 이유 때문에 불안하고 ``섬뜩함(Unheimlich)``이 발생하는 것이다. 섬뜩 함은 일상에서 실존을 망각하고 있을 때 환기시킨 다. <언캐니 이론을 적용한 영화 사례분석>의 의미 는 언캐니의 미학적인 개념을 영화를 분석하는 도 구로 사용했다는 점에서 매우 의미 있는 지점으로 생각된다. 즉 언캐니의 미학을 통해서 영화를 분석 한다는 의미와 함께 인간에게 존재론적인 삶에 대 해 반성을 하게 한다는 점에서 많은 생각을 하게 한다는 것이다. This study is related to analytical researches on movie cases by applying the Uncanny Theory. In order to analyze movie cases, the study looked into 3 movies having been selected with bases on experimental movies of Chris Marker <La jetee, 1962>. 3 movies equip with sufficient understanding and analytical abilities on the uncanny of Sigmund Freud. Movies to which the uncanny theory was applied includes <Psycho, 1960> of Alfred Hitchcock screened prior to <La jetee>, <Journey to Italy, 1953> of Roberto Rossellini having been already appeared long before producing <La jetee>, and <Twelve Monkeys, 1995> of Terry Gilium that was directly affected from <La jetee>. In this study, a fact that ``Thanatos`` operating as the key concept of 3 movies had different aspects each other was cleared. Also, the phenomena in which ``unconscious dynamics`` of defending the self from human`s uneasy psychology commonly was described in 3 movies with different epic structures respectively. It is located on a boundary between human life and death. Researcher focussed on the possibility of being able to interpret movies more based on the uncanny theory rather than trying to solve the problem on death through 3 movies. The fear on the existence felt at the same time by hero in 3 movies having been reviewed in the study means the feeling of uneasiness on the existence itself according to Heidegger, and it expresses current existence as that of proceeding to death. However, ``existence`` has not to be appeared in the daily life. Our life become to uneasy even though erasing death, and then running away or escaping. That is, I become to uneasy because of now know about whether I ran away properly even though escaping from existence. From such reasons, uneasiness and ``Unheimlich`` senses become to be occurred. Horrifying senses call attention to existence when it is being forgotten in the daily life. <Movie Case analysis applying the Uncanny Theory> is considered as having very meaningful points in that it used aesthetic concepts of Uncanny as tools for analyzing movies. That is, it is making people think a lot of things from aspects of letting human reflect on existential life together with the meaning of analyzing movies through Uncanny`s aesthetics.

언캐니 개념으로 바라 본 현대건축의 미적사유와 표현경향 연구

박경아(Park, Kyoung-Ah) 한국실내디자인학회 2013 한국실내디자인학회논문집 Vol.22 No.1

This study aims to analyze the aesthetic thought and expression tendency appeared in contemporary architecture by looking at today’s architectural art based on the concept of the uncanny that Sigmund Freud contended as an aesthetic principle, of the aesthetic concepts tossed around to define the contemporary times in the aesthetics field and discuss the architectural analysis possibility of the concept of the uncanny. The generation structure of the uncanny that generates experiences of fear and surprise is classified into dual structure, trauma, threatening structure, and repetition compulsion. This is the principle that evokes a sense of experiencing subject, incorporates sensibility, and vitalizes internal process. This is also the methodology to organize and structure the concept of the uncanny. When seen from the four factors drawn from the concept of the uncanny and aesthetic expressions, the uncanny expression characteristics of contemporary architecture includes isolation, subversion, trace, absence, oblique line, flotation, concealment, and disturbance. Isolation and subversion refers to producing the space of the pressure of tension and relaxation caused by repression and relief from repression and eliciting the maximum expansion of the sense of space through spatial change. Trace and absence indicates being able to elicit more intense emotions from the experiencing subject by applying the images of alienation and absence in the way to reproduce historical trauma. This happens by implementing the potential value of physical activity. Oblique line and flotation means visual impulse. This happens in the way to visualize uneasy points. This causes uncanny by threatening the survival. Finally, concealment and disturbance refers to creating unpredictable space. The concept of masquerade and maze space composition are applied in the way to activate spatial perception, including space exploration and unintended subject’s forced selection. As stated above, the uncanny expression characteristics shown in contemporary architecture can be presented as indicators that are available to analyze the undecided and diversified contemporary architecture aesthetically. In this respect, this study has great significance.