형상적 사유의 존재양식: 『달마가 동쪽으로 간 까닭은?』의 들뢰즈적 이해

정형철 한국비교문학회 2009 比較文學 Vol.0 No.47

W. J. T. Mitchell has coined the term, "the pictorial turn," to indicate the cultural change whereby people show simultaneous symptoms of panic and feelings of euphoria with regard to visual stimuli. Today, the pictorial turn assumes a peculiar aspect, which is a sort of "madness of vision" erupted by the visual impulse. This pictorial or visual turn reflects the recognition that the visual experience and ocular desire cannot properly be explained by the order of discourse. This study considers the mode of existence of the figural thought, which is resistant to the discursive signification, in terms of Gilles Deleuze's cinematic concepts. Jean François Lyotard, in his Discours, figure, distinguishes between the discursive and the figural. In the schematic dichotomy between the abstract conceptual thought and the sensory visual experience, the discursive/text/ reading is associated with the former, whereas the figural/image/seeing is with the latter. Reading (or decipherment, decoding, interpretation) concerns the problem of the text, whereas seeing (or the gaze, the glance, the practices of observation, surveillance, and visual pleasure) focuses on the matter of the image. According to Lyotard, while reading, one identifies "linguistic unities"; while seeing, one seeks out "plastic and libidinal events." Then, it can be said that the figural lies in the realm of "plastic and libidinal events." What "the figural" signifies needs to be explored in our further study, but the figural might be similar to what Deleuze calls "the body before discourses, before words, before things are named.". The postmodern/poststructuralist aesthetic tendency, on the whole, consists in the preference of the figural to the discursive, which is also found in the Buddhist nonlinguistic, illogical, and non-abstract mode of thought based on the recognition of the limits inherent in the discursive. For instance, the extraordinary koan behaviors of the zen monks, including their hitting and shouting, reveal their pursuit of the deterritorialization of libidinal energy territorialized by the discursive order. From this perspective, this study examines the mode of existence of the figural thought, especially focusing on a Korean Buddhist film, Bae Yong-gyun's Why Has Bodhi-Dharma Left for the East? W. J. T. Mitchell has coined the term, "the pictorial turn," to indicate the cultural change whereby people show simultaneous symptoms of panic and feelings of euphoria with regard to visual stimuli. Today, the pictorial turn assumes a peculiar aspect, which is a sort of "madness of vision" erupted by the visual impulse. This pictorial or visual turn reflects the recognition that the visual experience and ocular desire cannot properly be explained by the order of discourse. This study considers the mode of existence of the figural thought, which is resistant to the discursive signification, in terms of Gilles Deleuze's cinematic concepts. Jean François Lyotard, in his Discours, figure, distinguishes between the discursive and the figural. In the schematic dichotomy between the abstract conceptual thought and the sensory visual experience, the discursive/text/ reading is associated with the former, whereas the figural/image/seeing is with the latter. Reading (or decipherment, decoding, interpretation) concerns the problem of the text, whereas seeing (or the gaze, the glance, the practices of observation, surveillance, and visual pleasure) focuses on the matter of the image. According to Lyotard, while reading, one identifies "linguistic unities"; while seeing, one seeks out "plastic and libidinal events." Then, it can be said that the figural lies in the realm of "plastic and libidinal events." What "the figural" signifies needs to be explored in our further study, but the figural might be similar to what Deleuze calls "the body before discourses, before words, before things are named.". The postmodern/poststructuralist aesthetic tendency, on the whole, consists in the preference of the figural to the discursive, which is also found in the Buddhist nonlinguistic, illogical, and non-abstract mode of thought based on the recognition of the limits inherent in the discursive. For instance, the extraordinary koan behaviors of the zen monks, including their hitting and shouting, reveal their pursuit of the deterritorialization of libidinal energy territorialized by the discursive order. From this perspective, this study examines the mode of existence of the figural thought, especially focusing on a Korean Buddhist film, Bae Yong-gyun's Why Has Bodhi-Dharma Left for the East?

Virginia Woolf`s Figures of Loss

( Kelly S. Walsh ) 한국근대영미소설학회 2016 근대 영미소설 Vol.23 No.1

Virginia Woolf’s poetics of loss has long been recognized for its contradictory qualities, which make her elegiac works so singular, vital, and open-ended. Her “fiction-elegies” mourn for losses that are past and those that may come to pass; they register the “blows” of loss, both individual and collective, and aesthetically shape them; they use loss as a creative spur in the effort to overcome it and achieve some sort of wholeness. While this complex “grief work” is self-avowedly inconclusive, the consolations partial and temporary, there are, I contend, important, if equally provisional, triumphs at the level of style, through what I am calling Woolf’s figure-language of loss. Words will never be sufficient to recover what has been lost; however, by marshalling tropes, like metaphor and metonymy, imagery and anthropomorphism, into “companies,” Woolf’s figure-language, in intensified moments, pierces through the “cotton wool” of the “conventions of sorrow” and their prescribed forms and meanings. Throughout her major novels, these singular figure-languages both reopen wounds and feelingly contour our thoughts, such that, figuratively, we share in a more authentic response. Consoling and anti-consolatory, the force of this language lies in its capacity to wound, while provoking us to face loss openly, mindfully, and inventively.

창의성 도형 검사를 기반으로 한 워밍업 드로잉의 제안과 효과: 미술 수업 현장에의 적용

정해나(Jung, Hae Na),조슬기(Cho, Seul Gi),김보섭(Kim, Bo Sub) 한국미술교육학회 2021 美術敎育論叢 Vol.35 No.1

이 연구는 토랜스의 창의성 도형 검사를 응용한 워밍업 드로잉을 제안하고 그에 대한 미술 수업 내 효과에 대해 논의하는 것을 목표로 한다. 이 연구는 토랜스의 창의성 도형 검사의 도형 완성 문제를 변용하고 토랜스의 평정 기준으로서 독창성, 유창성, 정교성, 융통성을 워밍업 드로잉의 결과를 해석하는 도구로 활용하였다. 본 연구는 4~6학년 전체 49명의 초등학생이 참여하여 전체 683개의 워밍업 드로잉을 산출하였다. 연구자들은 드로잉의 결과를 정량적, 정성적으로 분석해 미술 수업에서 워밍업 드로잉의 효과를 밝혔다. 미술 수업의 예비 과정으로서 워밍업 드로잉은 본 수업에 대한 학생들의 호기심과 흥미를 유발하고 교사에게는 전체 수업의 운영 계획을 세울 수 있도록 하며 개별 학생에 대한 발전 과정에 대한 세밀한 관찰과 학생들의 강점과 약점에 대한 보완적 상호소통 등의 효과를 가지고 있다. This study aims to discuss the in-class effects of warm-up drawing, which transforms The Torrance test of creative thinking (figural). Torrance s figural test consists of associative thinking to complete the rest of the figures. And as its evaluation criteria, originality, fluency, elaboration, and flexibility have been used as tools to observe various creative aspects of students. A total of 49 elementary school students from grades 4 to 6 participated in the study, deriving in a total of 683 warm-up drawings. The researchers quantitatively and qualitatively analyzed the results of the drawing and revealed the effectiveness of warm-up drawing in the field of art classes. In conclusion, warm-up drawing is a preliminary course of art education, which creates students curiosity and interest and increases the understanding of the whole class. And warm-up drawing allows teachers to plan for class operations and to carefully observe the process of development for individual students, and complementary and interactive communication about their strengths and weaknesses.

중등 기하문제 해결에서 시각화 과정

류현아,장경윤 대한수학교육학회 2009 수학교육학연구 Vol.19 No.1

본 연구는 기하문제해결에서 시각화 과정을 분석하여 기하추론교육에 시사점을 얻기 위하여 이루어졌다. 이를 위하여 선행연구를 근거로 시각화 과정을 구분하였으며 Duval의 이론을 기초로 시각화 과정 분석틀을 개발하였다. 서울과 경기지역의 중학교 3학년생 2명과 고등학교 1학년생 6명이 이 연구에 참여하였다. 각 학생들에게 평행선, 평행사변형, 닮음비, 닮음도형, 중선, 무게중심, 수직이등분선, 각의이등분선 등 평면도형 과제를 제공하고 각 학생의 문제해결 과정을 질적인 방법으로 분석하였다. 분석 결과 평면도형 문제해결에서 시각화는 도형의 이해를 도와 문제해결에 중요한 통찰을 제공하는 것으로 나타났다. 시각화 과정에서 도형에 대한 담론적 이해와 조작적 이해는 구성 요소들 간의 성질과 성질들 간의 관계를 알게 하고, 도형의 구조를 파악할 수 있게 하는 발견적 역할을 하였다. This study was designed to gain insights into students' visualization process in geometric problem solving. The visualization model for analysing visual process for geometric problem solving was developed on the base of Duval's study. The subjects of this research are two Grade 9 students and six Grade 10 students. They were given 2D-geometric problems. Their written solutions were analyzed problem is research depicted characteristics of process of visualization of individually. The findings on the students’ geometric problem solving process are as follows: In geometric problem solving, visualization provided a significant insight by improving the students’ figural apprehension. In particular, the discoursive apprehension and the operative apprehension contributed to recognize relation between the constituent of figures and grasp structure of figure.

영화에서 빛의 현상학, 그 나타남에 관한 연구

서정아 한양대학교 현대영화연구소 2017 현대영화연구 Vol.13 No.4

This study examines the relationship between the meaning of light and the philosophical thought in the film through the transition from metaphysical thought to light phenomenon. We will examine how the conversion of thinking about light affects the way of existence of images. In the movie, light has played a role as a symbolic, dramatic, and background effect, whether it is natural scenery or artificial lighting. The metaphysics of light(sacredness, transcendence, the symbol of truth) was the dominant thinking in many films, from silent films to sound movies. Plotinus’ metaphysics and the aesthetics of light in the middle age are situated in this perspective. Metaphysical thought understands light as the fundamental principle of all the phenomena that explain the world. This image of light is regarded as a representative image for the understanding of narrative, and establishes a logical and rational ordering world as a part of meaning system of discourse. However, Dreyer’s Ordet(1955) considers light as a matter of nature and recognizes light as a manifestation of God as light aesthetics, while at the same time explaining light materially and consider a light as a figural. It also splits up the logical semantics of the narrative by imposing contradictory meanings which can not be interpreted as an iconographic method. This explains way in which images of light are not included in the film narrative. Ferrara’s King of New York(1990) reveals conversion of thinking about light in that it perceives light as a material matter, not a mental reality. Light as a material is a physical activity such as wavelength and intensity, movement and diffusion, fullness, void, and permeability, and is a process of movement. Since light is phenomenal, this research is to acquire the analyse the process of light, not semantics. The analysis of the process of meaning reveal the coexistence of heterogeneous images : an iconographic image composed of customary images of the genre, the process of mouvement of images described irrelevant to film narratives, the virtuality of the image, the process of phenomenological(dwell, anxiety, death experience) revealed by the spatiality and planarization of light and by penetrability of light to the body. The material internal movement of light is due to the sudden appearance of non-representative and non-material elements, which can not establish a systematic and integrated discourse, resulting in discontinuity, cracking, and discontinuity. It also reveals the heterogeneous way in which images exist. The heterogeneous way of being is not just coexistence. Heterogeneous images exist in a multi-layered way by supplementing narrative narration, being independent of narrative, anticipating unrealized events, or exposing concealment. Therefore, the way in which heterogeneous images exist can not be defined. This is the way the image exists, and the ‘phenomenology of appearance’ that material images reveal. Research on the phenomenology of light leads to constant reflection on the creative process of film images. 본 연구는 빛의 형이상학적 사유에서 현상학적 사유로의 전이과정을 통해 영화에서 빛의 의미와 철학적 사유와의 상관관계를 고찰한다. 또한 빛에 관한 사유의 전환이 이미지의 존재방식에 어떻게 작용하는가를 밝히려 한다. 영화에서 빛은 자연풍경이든 인위적인 조명이든 상징적, 드라마적, 배경효과로서의 분위기의 역할을 했으며, 무성영화부터 유성영화에 이르기까지 많은 영화에서 빛은 형이상학적으로 사유되었다. 즉, 빛은 신성성, 초월성, 진리로, 어둠은 악, 죽음 등을 상징하는 것으로 인식되었다. 이러한 사유에는 플라톤과 플로티누스의 본질론적 형이상학이 자리하고 있다. 형이상학적 사유는 빛을 존재의 근본원리로 이해하고 실체론적으로 인식함으로써 동일성의 원리에 의해 세계를 설명한다. 빛에 관한 이러한 형이상학적 사유는 영화에서 빛의 이미지의 의미화signification를 추구한다. 즉, 빛을 서사이해를 위한 재현적인 이미지로 간주하여, 통합적인 담론의 부분적인 구성요소로 편입시켜 영화이미지의 논리적, 합리적인 질서의 세계를 구축한다. 그러나 드레이어의 <오데트>(1955)는 빛을 본질론적으로 사유하여 빛의 미학처럼 빛을 신의 현현으로 인식하면서도 동시에 빛을 질료적으로 해석하여 빛에 관한 형상론적인 사유를 열고 있다. 또한 도상해석학적으로 해석할 수 없는 모순적인 의미를 빛에 부여함으로써 서사의 논리적인 의미체계에 균열을 일으킨다. 이를 통해 재현체계에 포함되지 않는 빛의 이미지의 존재방식에 대해 사유하고 있다. 아벨 페라라의 <뉴욕의 왕>은 빛을 정신적인 실체가 아니라 물질적인 질료로 인식한다는 점에서 <오데트>의 연장선상에 있다. 그러나 빛의 이미지에 본질론적인 의미를 제거하고 빛의 의미화가 아닌, 질료적인 빛의 의미생성 과정에 주목한다. 질료로서의 빛은 파장과 강도, 이동과 확산, 충만과 텅 빔, 투과성 등 물질적인 활동이며 내적 운동에 의한 움직임이다. 빛의 물질적인 내적 운동은 서사와 독립적으로 이미지들의 의미망을 생성한다. 이러한 빛의 의미생성 과정에 대한 분석의 결과는 이질적인 이미지들의 공존이다. 장르의 관습화를 따르지만 파편적 이미지들이 도상해석학적 방법으로 인물의 성격화를 형성하거나, 사건과 무관한 영화이미지의 본질(빛과 이미지의 물질적인 토대와의 관계, 이미지의 가상성)을 반성하거나, 발생할 사건을 예고하는 이미지의 잠재성(virtuel)을 일깨우거나, 인물의 공간과 신체에 투사된 빛이 존재론적 ‘분위기’를 형성하여 실존적 상황을 현시하거나 한다. 활동의 과정에 놓인 빛의 이미지는 비재현적, 질료적 이미지들을 갑작스럽게 출현시키고 서사와 독립적으로 형상체계를 구성하여 일관적, 체계적인 담론체계가 아닌 단절, 균열, 비연속성을 특징으로 하는 이미지의 이질적인 존재방식을 드러낸다. 이질적인 존재방식은 단순한 공존이 아니다. 이질적인 이미지들은 서사를 보충설명하거나, 서사에 독립적이거나, 실현되지 않은 사건을 예고하거나, 은폐된 것을 드러내는 식으로 다층적으로 존재한다. 그 때문에 이질적인 이미지들의 존재방식은 규정할 수 없는 것이다. 이것이 빛의 이미지에 대한 분석으로부터 도출된 이미지의 존재방식이며, 물질적인 이미지들이 현시하는 ‘나타남의 현상학’이다. 빛의 현상학에 관한 연구는 영화이미지의 창조적인 발생과정에 대해 끊임없이 성찰하도 ...

공간적 인지 활동에서의 뇌파 분석에 의한 두뇌 기능 연구 : 지능 검사지의 도형 문제 풀이를 중심으로

김용진 韓國生物敎育學會 2003 생물교육 Vol.31 No.4

To investigate the relationship between the problem types of I.Q. test and the brain functions, brain waves(EEG) were measured during the solving of figural problems (the figural rotation and the figural folding problems) used to the test of spatial cognitive ability. Twenty 8th-grade male students were chosen as subjects. Brain waves were monitored over 8 scalp locations representing the frontal (F₃, F₄), the temporal (T₃, T₄), the parietal (P₃, P₄), and the occipital (O₁, O₂) lobes. Brain functions were analyzed from the relative power of alpha frequency band(8∼13.9Hz) produced through a fast Fourier transform (FFT) of the collected EG data. The state of brain functions in the base line (eyes open state) had the highest activity in the frontal lobe (F₁, F₂) and the lowest in the parietal lobe (P₃, P₄). And the functional activity in whole brain increased by the cognitive performance of figural rotation and folding problems compared to the base line. By the solving of figural rotation problem, the functional activity in the parietal lobe (P₃, P₄) and the occipital lobe (O₁, O₂) increased significantly compared to that in the base line. The right parietal lobe(P₄) and occipital lobe(O₁, O₂) had a increased functional activity in the figural folding problem solving compared the base line. There was no difference in the activity of brain functions between the figural rotation and the figural folding problem solving. The results show the figural rotation and the figural folding problems, used in I.Q. test, are similar types in the brain functions for spatial cognition, and suggest it is necessary to research the brain functional activation required in various I.Q. test problems. .

구조주의 이후의 새로운 영화분석 방법론에 대한 인식론적 고찰 : ‘형상’으로서의 이미지와 내재적 구성주의, 그리고 역사

이정하 영상예술학회 2010 영상예술연구 Vol.16 No.-

The poststructualist film theory introduce the figural into contemporary analysis, thereby circumventing the reign of the sign in favour of the figural as the virtualisation of the image within various modes of temporal becoming. Drawing on Lyotard’s early work on the figural in Discours, figure, film analysts trace a path through various writings in poststructualist film theory towards an elaboration of figural as a key concept. This figural analysis is a form of hermeneutics involving the historical relation between signs and events, between the text’s present condition of meaning and its capacity to draw on and summon forth the past through the power of images. The figural opens up the historicity of the film text so that the event’s past is also its coming to presence. Reading the figural is to read the past in the present, to read with the pastness of the text as a prefiguring of something beyond what the text says in its normative, denotative mode of signification. The task of figural analysis is not limited to describing figures in film texts. Rather, it concerns the mapping of the images composed of various historically defined elements drawn synthetically into particular arrangement and assemblages that make film happen in the way that it does. 본 연구는 구조주의 이후의 새로운 철학적 지평 하에서 구조주의의 선험적 전제들에 대한 비판과 해체를 넘어 창조적으로 이미지의 역량을 재규정하고 이를 통해 형상 분석이라는 새로운 영화분석 방법론을 개진한 현재 프랑스 영화연구의 이론적 경향의 실제와 의의를 인식론적으로 고찰한 것이다. ‘형상’에 대한 문제제기는 이미지의 관념적 의미작용이 아닌 직접적인 이미지의 물질적 형상화 과정과 그 역동성, 즉 이미지의 형상적 사건에 먼저 주목하는 것이다. 또한 형상으로서의 이미지를 분석한다는 것은 모델이나 약호, 문법, 기표, 사전적 참조물로 환원될 수 없는, 독특하고 예외적이며 의외인 이미지의 존재성을 받아들이고, 그 고갈될 수 없는 힘의 역동적 지도를 그리는 것이다. 이미지의 관념적 의미작용이 아닌 직접적인 이미지의 물질적 삶에 대한 이러한 탐색은 이미지의 형상적 사건의 의미를 이미지에 대한 방대한 사유의 집결이라 할 인류학적 자료들에서 ‘고고학적’이고 ‘계보학적’인 방법을 통해 맥락화한다. 바로 여기에서 이미지의 문제가 형상화되는 시간적 과정, 역사적 과정에 주목하고 이를 ‘구축’ 혹은 구성construction(더 이상 구조를 찾거나 이를 해체하려는 것이 아닌)하고자 하는 새로운 분석의 실천이 가능하게 된다. 이미지의 문제는 이미지의 ‘문제들’의 지평 하에서 탐구되어야 하며, 보다 본질적으로 이미지는 스스로의 ‘사유의 형식’을 창조한다는 인식이 가능하게 된 것은 이러한 분석적 실천의 결과이다.

안구 운동 추적을 활용한 중학교 수학 영재의 도형추론능력 분석

최인용 대한수학교육학회 2020 학교수학 Vol.22 No.3

Using the raven’s advanced progressive matrix, this study investigated the figural reasoning ability of 30 mathematically gifted students in middle school and analyzed the figural reasoning process using eye-tracking method. As a result of the study, mathematically gifted students showed a large individual difference in figural reasoning ability. Almost all subjects were able to solve the items that require simple visual manipulation, but there were individual differences in the accuracy of visual items involving complex rules or items with two or more rules. As a result of analyzing the patterning process, there were many differences in thinking ability or characteristics such as information searching method, structure grasping speed, mental flexibility, meta-cognition, and analytical thinking, which influenced the success or failure of figural reasoning. It was confirmed that the selected mathematically gifted students' individual thinking ability and characteristics were measured and that differentiated instruction was needed to strengthen their thinking ability. 본 연구는 레이븐 고급 누진 행렬 검사를 이용하여 중학교 수학 영재 학생 30명의 도형추론능력을 확인하고 안구 운동 추적을 활용하여 그 과정을 분석하였다. 분석 결과 수학 영재들은 간단한 시각적 조작을 요구하는 문항은 모두 잘 해결하였지만, 다소 복잡한 시각적 사고나 분석적 사고가 필요한 문항에 있어서는 차이가 나타났다. 수학 영재 학생들이 도형 패턴에서 규칙을 추론하는 과정을 분석한 결과, 정보 검색 방법, 구조의 파악 속도, 사고의 유연성, 메타인지 등에서 많은 차이가 존재했고, 이는 도형추론의 성패에 영향을 미쳤다. 연구 결과를 토대로 영재 교육에 대한 시사점을 제시하였다.

현대 상업공간 실내에 나타나는 형상적 오너먼트의 표현 특성에 관한 연구

이승윤(Lee, Seung-Yun),김문덕(Kim, Moon-Duck) 한국실내디자인학회 2012 한국실내디자인학회 학술대회논문집 Vol.14 No.3

Amongst the artistic works known to us today, the oldest were the works painted and sculptured by those who lived in caves in the early civilization. The figures in art expressed in their own space of ‘cave’ enable us to conjecture the meanings of creative and essential ornament such as prayer for fecundity, production, survival, and incantation. In a broader range of focus on architecture, space, and art according to the Western history, ornament also evolved into the murals or mosaic styles on the walls and ceilings of ancient architectural structure and cathedrals, and from this time on, the term of ‘ornament’ has settled as a linguistic expression to denote the figures made with various techniques. This ornament sometimes expressed the stylized decorative elements that developed with the imitation of leafy forms in nature, and other times combined the organic figures in nature such as those of plants, animals, and humans with the non-organic figures like crystalloid and natural phenomena. Like this, the ornament that has repetitively developed through history is shown today as an important concept that constitutes organic harmony with environmental, cultural, and technological interactions. The present day is witnessing the change into the new era that general people want not so much abstract as expressive, gorgeous, and pleasant forms, and the contemporary interior design is reflecting the ‘figural’ approach in various aspects. In this situation, it is considered necessary to examine the expression characteristics of various figural ornament in contemporary interior space.

훌리오 코르타사르의 『62. 조립모델』과 피구라 해석

박병규 ( Byong Kyu Park ) 한국스페인어문학회 2011 스페인어문학 Vol.0 No.58

En el presente trabajo se trata de una relacion posible de la novela 62. Modelo para armar de Julio Cortazar con la interpretacion figural de Erich Auerbach. Segun el filologo aleman, la interpretacion figural supone que la conexion entre episodios no depende de una evolucion temporal o causal, sino que mas bien se considera como la unidad dentro del plan de Dios. Cortazar sabe bien el concepto de la interpretacion figural y lo menciona por boca de Morelli en Rayuela. Desde nuestro punto de vista la ambiguedad o inestabilidad narrativa del 62 es debido principalmente a la yuxtaposicion de los elementos temporales y los atemporales y a la transgresion de la ley de causa y efecto. Estas estrategias narrativas, que utiliza Cortazar para crear un nuevo tipo de narrativa, demuestra una similaridad estructural entre el 62 y la interpretacion figural aunque por falta de Dios una fuerza incognita hace y domina el mundo cortzariano.