현대영화의 `파편화(fragmentation)`의 서사적 효과 연구-페드로 코스타, 장-뤽 고다르, 요한 반 데르 퀘켄의 영화를 중심으로-

정은정 ( Jeong Eun Jeong ) 한양대학교 현대영화연구소 2017 현대영화연구 Vol.13 No.1

본 논문은 현대영화의 주요한 형식적 특징인 `파편화`가 영화적 이야기 세계를 어떻게 변형시켜 나가는지에 대한 연구이다. 파편화는 기성의 전체성을 전제한 개념이다. 그리고 영화에서의 전체란 보통 연속적인 시공간과 인과적인 사건 전개로 이루어지는 이야기 세계를 의미한다. 파편화는 이러한 전체로서의 이야기 세계를 해체한다. 그리고 해체를 통해 새로운 이야기 세계를 구성한다. 따라서 파편화에 대해 말한다는 것은 해체와 구성에 대해 이야기 함을 의미한다. 이러한 이유로 본 논문은 현대영화에서 발견되는 다양한 파편화 형식이 어떻게 이야기 세계를 해체하고 새롭게 재구성하는지를 사례 중심으로 살펴보고자 한다. 이를 위해 본 논문은 우선 여러 사상가들의 파편에 대한 사유를 살펴볼 것인데, 여기에서 우리는 파편에 대한 일반적인 논의를 만나게 될 것이다. 파편에 대한 일반적 논의에 이어 본격적인 사례 연구가 시작될 터인데, 그 대상이 된 영화들은 페드로 코스타의 <뼈>, 장-뤽 고다르의 <미치광이 피에로>, 그리고 요한 반 데르 퀘켄의 <침묵의 순간> 이다. 이 영화들의 파편화는 다양한 방식으로 해체와 재구성을 수행한다. 그러나 작가 각각이 추구하는 영화철학의 차이에 따라서 그들의 파편화 스타일은 각기 다르게 나타난다. 코스타의 파편화는 현실의 파편들을 집적함으로 해서 느슨하지만 진실한 하나의 이야기 세계를 제시한다. 이에 비해 고다르의 파편화는 총체적인 파편화 실험을 통해 다중의 이야기 세계를 만들어 내고, 영화의 메타언어로서의 가능성을 한없이 강조한다. 마지막으로 반 데르 퀘켄은 현실에서 경험하는 감각적 파편을 자유롭게 콜라주함으로써 영화적 이야기 세계의 소멸을 감행한다. 현대영화의 파편화는 서사중심의 고전적 재현체계가 추구했던 하나의 명확한 이야기 세계를 거부한다. 현대영화의 파편화가 이처럼 이야기 세계를 변형시키는 이유는 명확한 이야기 세계가 제약하고 있는 영화적 가치들이 존재한다는 공통된 인식이 있기 때문이다. 이를테면 코스타가 추구한 리스본 변두리의 빈민촌의 진실, 혹은 고다르가 추구한 영화의 메타언어화, 또는 반데르 퀘켄이 추구한 감각으로서의 현실 등은 하나의 명확한 이야기 세계로는 도달하기 어려운 영화적 가치들이다. 요컨대 현대영화의 파편화는 이야기 너머를 추구하는 작가들의 형식적 귀결인 셈이다. 따라서 현대영화의 파편화를 연구한다는 것은 영화작가가 추구하는 이야기 너머의 영화적 가치를 이해하는 과정이기도 하다. The subject of this research is how modern film`s important form, “fragmentation” modifies a filmic narrative world. The fragmentation is an opposite concept of the totality which exists as a preconceived idea. The filmic totality means a narrative world which is consisted of continuous space and time, and cause and effect course. However, the fragmentation breaks down the entire narrative world and reconstructs the new narrative through deconstruction, thus the study of the fragmentation represents a discussion about deconstruction and reconstruction. Therefore, this study examines how various fragmentation forms in modern films that break and reconstruct the narrative world through observing several examples. First of all, this study observes some thinkers` thoughts that express the general discussion. Some of the specific examples of the study are Pedro Costa`s film < Ossos >(1997), Jean-Luc Godard`s < Pierrot le Fou >(1965), and Johan Van der Keuken`s < Un Moment de Silence >(1960). The fragmentation of these films is deconstructed and reconstructed in diverse ways. However, the styles of the fragmentation appear differently according to the differences of the film directors`own philosophy. For instance, Costa`s fragmentation pursues an accumulation of fragments of reality based on one diegesis and has phenomenological features. On the other hand Godard`s fragmentation is characterized by a multilayered discourse, which emphasizes the multiple diegeses and film as a metalanguage. Lastly, Van der Keuken demonstrates one layered fragments of sense that the diegesis is totally disappeared. Modern film`s fragmentation rejects a clear narrative line which is pursued by the narrative - centric strategy of Classical realism. The reason why modern film`s fragmentation modifies the narrative is that the clear narrative limits filmic values. For instance, the reality of a poor village of Lisbon`s suburb in Costa`s film, or Godard`s metalanguage, or Van der Keuken`s sensible reality are the filmic values that can`t be reached by one clear narrative. The modern film`s fragmentation is a cosequence of the film form by cineastes who pursue something beyond the narrative. Therefore, the study of the modern film`s fragmentation is a process of understanding of the filmic value that exists beyond the narrative.

『소리와 분노』: 반복으로서의 내러티브

송은주 ( Eun Ju Song ) 한국영미문화학회 2013 영미문화 Vol.13 No.2

This aims to study William Faulkner`s narrative technique in The Sound and the Fury. It consists of four sections narrated by different narrators such as the Compson brothers and a third-person narrator. The notable characteristic of this work is that the same images, memories and feelings repeatedly appear in each section and alternate between sections. The Compson brothers narrate their feelings and reactions on their loss of Caddy repeatedly. The fragmented and repetitive patterns of the narratives disrupt the conventional order in the novel; nevertheless, such narrative technique produces interactions and associations among seemingly isolated sections. One of the repetitions is the Compson brothers` repeated failure in trying to make up for the loss of Caddy, but their attempts are inevitably frustrated since she is originally an “empty center.” The last section, the so-called “Dilsey section,” compared to others, seems to be relatively objective, but it isn`t omniscient. It is just one of the imperfect perspectives that cannot be seen as a conventional “real ending” of a novel. However, it is meaningful to reject to authorize an author`s voice as a master narrative and exclude other local narratives, inducing readers` participation. The accumulation of fragmented narratives of this novel suggests the possibility for a reader to find out an alternative interpretation through the effect of juxtaposed narratives.

『대리모 이야기』의 현재성: 희망 없는 시대의 정치학

강의혁 ( Euihuack Kang ) 한국영미문학페미니즘학회 2018 영미문학페미니즘 Vol.26 No.2

This article traces the process in which the narrator Offred’s narrative is constructed as her own survival strategy. Faced with unavailability of adequate discourse to narrate her story in the suffocating totalitarian society, Offred comes up with a highly fragmented narrative where she constantly vacillates between past and present, her own life experience and others’ life-stories, and reflections on past events and alert consciousness on current surroundings. Thus the narrative form becomes an amalgam of disparate lives, different moments, and contradictory perspectives. While this highly fragmented narrative form constantly blocks the unified representation of Offred’s and others’ life-stories, the very aesthetic form enables the oppressed people’s lived lives to be narratively re-inscribed without losing their respective individualities. Further, throughout the narrative process, a sense of solidarity between the narrator and the oppressed others emerges in contradistinction to the dominant and abstract discourse of the regime whose edifice is maintained essentially by the legitimation and imposition of its national idea(l). Ultimately, the narrative’s dialectical movement of fragmentedness and solidarity, collectivity and individuality demonstrates that the ‘beyond’ of dystopian present lies not in a coherent utopian program but the ruptures that social others make within the society.

외상경험 강도와 복합외상후 증상의 관계: 감각기억 활성화, 내러티브 파편화의 매개효과

김소희,유금란 한국상담심리학회 2021 한국심리학회지 상담 및 심리치료 Vol.33 No.3

The purpose of this study was to identify the effect of traumatic experience fragmentation on the relationship between the impact of traumatic experience and complex posttraumatic symptoms. Based on previous research, traumatic experience fragmentation was conceptualized in two dimensions: sensation-based memory, and narrative. Participants were 277 college students, and 180 reporting having had a traumatic experience. The results indicated that the activation of sensation-based memory and narrative fragmentation fully mediated the relationship between trauma and CPTSD. A multi-group analysis was used to investigate the path difference between the simple trauma group (n=82) and the complex trauma group (n=98). The results indicated that the path of trauma impact to the activation of sensation-based memory was significantly different between the two groups. The implications and limitations of this study, and recommendations for the further study are discussed. 본 연구의 목적은 외상경험의 강도와 복합외상후 증상의 관계에서 외상경험 파편화가 미치는 영향을 확인하는데 있다. 선행연구를 바탕으로, 외상경험 파편화(통합실패)는 감각기억과 내러티브, 두 가지 차원에서 측정하였다. 본 연구를 위해 대학생 277명을 대상으로 설문을 실시하였고, 이 중 외상경험이 있다고 보고한 180부를 분석하였다. 구조방정식 모형 검증 결과, 외상경험 강도와 복합외상후 증상의 관계에서 감각기억 활성화와 내러티브 파편화가 매개함을 확인하였다. 감각기억 활성화와 내러티브 파편화의 순차적인 경로가 외상경험 강도와 복합외상후 증상 간의 관계를 완전 매개하는 것으로 나타났으며, 완전매개모형이 부분매개모형보다 더 적합한 것으로 나타났다. 외상경험의 유형에 따라 경로에 차이가 나는지 확인하기 위해, 단순외상 경험 집단과 복합외상 경험 집단으로 나누어 다집단 분석을 실시하였다. 그 결과, 단순외상(n=82)과 복합외상(n=98) 집단의 경로 중 외상경험 강도와 감각기억 활성화의 경로에서 집단 간 유의한 차이가 나타났다. 이는 강한 복합외상 경험일수록 외상관련 감각기억이 더 활성화할 수 있음을 의미한다. 본 연구의 의의를 논의하면서, 연구 결과가 상담 및 심리치료 현장에서 어떻게 활용 가능한지 언급하였으며, 연구의 제한점에 대해서도 논의하였다.

피나바우쉬 탄츠테아터의 내러티브와 관객지각에 관한 소고 -작품 <카네이션(Nelken)>을 중심으로

김예숙(Kim, Ye Sook) 한국문화예술교육학회 2015 모드니 예술 Vol.13 No.-

Pina Bausch’s Dance Theater explores itself as an art form using dancer’s body. Her work denies the signification of body, but have it as subject in formation and transformation of meaning. Along with the transformation of meaning, the referential function of the theater fades out and the presence of body takes place. In other words, dancer’s body is the content and form referring itself. Despite this phenomena, however, Bausch’s work still intend to tell something and there is narrative. This paper studies the techniques of Bausch’s narrative. Her work does not represent a text, but foregrounds the ‘process’ of creating meaning through communion of the choreographer and the dancers. The dancers’ daily gestures are performed on stage fragmented and repeated and the audience perceive or create the meaning of what is shown with their own experience. Through this process the narrative of each piece constructed in audience’s mind. In summary, the techniques of fragmentation and repetition were inevitable approach rather than arbitrary to form the ‘process’ of signification.

An Endless Story with Fragmented Memories

Sun-hwa Park 한국영미어문학회 2011 영미어문학 Vol.- No.98

Doris Lessing's Alfred and Emily (2008) as a biographical fiction can be considered important due to the change in her attitude towards her parents. Considering the conflicts between Lessing and her mother as demonstrated in her writings, it is interesting to see her softened approach towards her mother. In addition, she uses a style of a novella in which she reinvents her mother and father's lives in the scenario that there had been no World War One, because their lives were shattered by the War in reality. She confesses that she wanted to give her parents a new and happy life that they did not enjoy during their real lives. Strangely, Lessing's parents are not married to each other in the imagined world and she erases herself from her parents' imagined story. In Alfred and Emily, Lessing uses some pictures which were used in her autobiography Under My Skin. These pictures are related to her fragmented memories about her family, in particular, her mother. Through repeatedly telling readers about her mother, Lessing demonstrates sympathy towards her mother, and in her old age she attempts to reconcile her feelings towards her mother. Lessing is seen to have suffered trauma from the aftermath of the War just like her unhappy parents, and is ready to understand her mother using the trauma narrative. However, she is still struggling to embrace her mother in that she shows her mother's death in a different way; in the imagined world, she gives her mother a less peaceful death. In other words, Lessing intends to show how difficult it is to accept the past and how dangerous it is to pretend to understand her mother's suffering through writing. Accordingly, her attempt to recover from the loss still continues unresolved.

『캉디드 혹은 낙관주의』: 재난의 기억과 단층의 글쓰기

최요환 ( Yohwan Choi ) 한국18세기영문학회 2021 18세기영문학 Vol.18 No.1

Voltaire’s Candide or optimism is readily associated, in the mind of most contemporary readers, with the Lisbon Earthquake of 1755. Any book that offers a general account on this chef-d’oeuvre never fails to point out that one of the principal reasons of the writing of the book can be found in this catastrophic event. What we are setting out to do in this study is not the investigation of the philosophical aspect of the Candide, even less its understanding in the historical perspective. The aim of our study lies precisely in identifying a specific mode of writing that one can witness on the surface of the text. If the Earthquake, as one argues, caused intellectual earthquake in the very mind of Voltaire, how does his own text, published four years later, reflect memories of the such event? Memories, but not the immediate nor faithful description of the catastrophe. Our study suggests that the text, as well as its several characters is in constant motion as if the tremor subsequently follows the earthquake. What Voltaire successfully presents to the readers is the successive pictures of the tragedy underwent by the characters and carried out by the swift transition of one event to another. Moving from one place to another, from one country to another, from the barony of Westphalia to the New World, Candide and his entourage experience all kinds of “evils”: they are hanged, dissected, raped, beaten, sold to pirates, robbed, disemboweled; their castle demolished, their parents murdered. Behind this vertiginous rhythm of the narrative, even the most insensible reader can notice that it oftens lacks any causal relation. Frequent use of parataxis emphasizes the abrupt nature of the narrative. Extreme fragmentation of the text and the narrative, along with the obsessive depiction of the body in pieces, all these succeed in representing the memories of the catastrophe. Lastly, we suggest that beyond the image of this shattered world, one can still find a possible, mysterious chain that would link one end of the globe to the other, one character to another, one event to another; and that the pessimistic vision of Voltaire reveals itself once again through the tragic nature of the ever closer world.

‘비체’라는 개인성의 표현으로서 홍석중의 『황진이』(2002) 연구

이인표 한국문학연구학회 2020 현대문학의 연구 Vol.0 No.70

This study examines Hong Seok Joong’s Hwang Jin-i (2002) embodying Jin-i’s individualism as “the abject.” North Korean literature generally represents a collectivism for the history of revolution. Thus the embodiment of individualism in North Korean literature has been explored to a special point. The value of Hwang Jin-i can also be explored in this context. Nom-i is a representation of collectivism, but Jin-i is a representation of individualism. Jin-i's representation can never be buried in Nom-i’s representation. Jin-i's representation shows the existence of individualism in the collectivism of North Korean literature. Jin-i embodies the sexuality that is the “abject” of the ruling class. The aesthetic representation of this sexuality is constantly being fore-grounded and fragmented. Because “abject” is originally “fragments” that the subject of the ruling class discards to establish self-identity. Representations which are constantly being fore- grounded and fragmented cannot be representations of collectivism. This is because it presupposes individual creativity that constantly foregrounds and fragments the world. Jin-i’s representation, therefore, is the existence of individualism in the collectivism of North Korean literature. Hwang Jin-i is a narrative allegorizing “the abject” of Jin-i. In North Korea, Jin-i’s “abject” does not appear to be as spot- lighted as in South Korea. So, rather, Jin-i’s “abject” can be considered to have special value in North Korean literature. The issue is how long this special value should exist in North Korea. However, the birth of individual “abject” will broaden this issue in the future. 이 글은 홍석중의 『황진이』(2002)가 ‘비체’인 진이의 개인성을 표현하는 것을 고찰한다. 북한문학은 혁명역사를 위해 드팀없이 뭉치는 집단성을 대변할 수도 있다. 그래서 북한문학에서 개인성의 표현은 특별한 지점으로 탐색되어 왔다. 『황진이』의 가치 역시 이런 맥락에서 탐색될 수 있다. 놈이는 집단성의 표상지만, 진이는 개인성의 표상이다. 진이의 표상은 놈이의 표상에 매몰되지 않는다. 진이의 표상은 북한문학의 집단주의에서 개인주의가 실존하는 것을 보게 한다. 진이는 당대 지배계급의 ‘비체’인 섹슈얼리티를 형상화한다. 이 섹슈얼리티의 미적 표상은 끊임없이 전경화되고 파편화되는 것이다. ‘비체’는 본래 주체가 자기동일성을 확립하기 위해 버린 파편들이기 때문이다. 전경화되고 파편화되는 표상은 집단성의 표상일 수 없다. 세계를 끊임없이 전경화하고 파편화하는 창조적 개인성을 전제로 하기 때문이다. 그러므로 진이의 표상은 북한문학의 집단주의에서 개인주의가 실존하는 것이다. 『황진이』는 이러한 진이의 ‘비체’를 알레고리화 한 서사이다. 북한에서 진이의 ‘비체’는 남한에서만큼 각광을 받지는 못했던 것으로 보인다. 그래서 오히려 진이의 ‘비체’는 북한문학에서 특별한 가치를 가진다고 생각할 수 있다. 이런 특별한 가치가 언제까지 특별한 가치여야 할지는 숙제로 남는다. 그러나 ‘비체’라는 개인성의 표현이 등장할 수 있었다는 점은 앞으로 이 숙제를 폭넓게 숙고하게 할 것이다.

레오 카스텔리 갤러리의 1983년 “폴리” 전시에서 나타난 폴리 유형과 특성 연구

김란수 대한건축학회 2022 대한건축학회논문집 Vol.38 No.8

This study examined the types and features of the follies presented in the 1983 exhibition of Follies: Architecture for the Late-Twentieth-Century Landscape. In this exhibition, follies were studied and presented in various ways as the landscape architecture of the late 20th century that ranged from classical follies to new types like the deconstructivist folies of Tschumi. Types related to classical follies include classical nymphs and neoclassical pavilions, Japanese tea houses, tents, grotto complexes, figurative pavilions and gazebo towers, windmills, and kinetic objects. On the other hand, this study found new folly types, such as abstract arrays, texts, digital simulations, and decompositional or deconstructive fragments. Their features include prefabricated structure, Miesian universal space, architectural prototypes, eventful performance, allegorical narrative, architectural frame containing urban landscape, kinetic experimentality, abstract objet, semiotic text, cyber simulation, topology, and deconstructionism. In particular, these deconstructivist follies were found to have influenced the Deconstructivist Architecture exhibition in 1988 and the International Garden and Greenery Exposition in 1990. 본 연구는 1983년 “폴리: 20세기 후반 랜드스케이프를 위한 건축” 전시에 나타난 폴리 유형을 연구하고, 그 특성을 파악했다. 이 전시회에서는 고전적인 폴리를 답습하는 유형부터 이것과 완전히 단절한 새로운 유형인 츄미의 해체주의 폴리까지 20세기 후반의 랜드스케이프 건축으로서 폴리가 다양하게 연구되어 발표되었다. 고전 폴리와 관계있는 유형으로는 고전적 님파에움과 신고전주의 파빌리온, 일본식 티 하우스, 텐트, 그로토 복합체, 구상적인 파빌리온과 그로토, 전망대와 풍차, 키네틱 오브제가 있었다. 반면에 고전 폴리와 연관성이 없는 새로운 폴리 유형도 등장했는데, 추상적 배열, 텍스트, 디지털 시뮬레이션과 분해된 또는 해체된 파편과 같은 폴리 유형이 여기에 해당된다. 그리고 그 특성으로는 조립식, 미스적인(Miesian) 유니버설 스페이스, 근원적인 건축원형, 이벤트적 공연, 우화적인 내러티브, 도시 풍경을 담는 건축 틀, 키네틱 실험성, 추상성, 기호학적 텍스트, 디지털 시뮬레이션, 위상 기하학 추상오브제, 그리고 해체주의가 있다. 특히 해체주의 폴리는 이후 1988년 Deconstructivist Architecture 전시회와 1990년 International Garden and Greenery Exposition에 영향을 미친 것으로 파악되었다. 결과적으로, 근대 이후 건축설계에서 거의 사라졌던 폴리 유형에 대한 관심이 1983년 카스텔리 폴리 전시를 통해서 폭넓게 부활했다고 할 수 있다. 츄미의 영향으로 1990년대까지 현대적 폴리는 해체주의 경향이 대세를 이루었으나, 1998년부터의 Young Architect's Program 파빌리온 사업과 2000년부터의 서펜타인 갤러리 파빌리온 사업을 통하여 폴리와 파빌리온의 경계가 거의 허물어졌다. 그 외에도, 행위 의식을 접목하여 이벤트성을 강조한 폴리도 있었는데, 이런 구축을 넘어선 예술, 공연, 다양한 참여를 통한 사회소통의 장으로서의 폴리와 파빌리온이 다양한 유형으로 현대에 지어졌다.

An Endless Story with Fragmented Memories: Alfred and Emily as an (Auto)biographical Fiction

박선화 한국영미어문학회 2011 영미어문학 Vol.- No.98

Doris Lessing's Alfred and Emily (2008) as a biographical fiction can be considered important due to the change in her attitude towards her parents. Considering the conflicts between Lessing and her mother as demonstrated in her writings, it is interesting to see her softened approach towards her mother. In addition, she uses a style of a novella in which she reinvents her mother and father's lives in the scenario that there had been no World War One, because their lives were shattered by the War in reality. She confesses that she wanted to give her parents a new and happy life that they did not enjoy during their real lives. Strangely, Lessing's parents are not married to each other in the imagined world and she erases herself from her parents' imagined story. In Alfred and Emily, Lessing uses some pictures which were used in her autobiography Under My Skin. These pictures are related to her fragmented memories about her family, in particular, her mother. Through repeatedly telling readers about her mother, Lessing demonstrates sympathy towards her mother, and in her old age she attempts to reconcile her feelings towards her mother. Lessing is seen to have suffered trauma from the aftermath of the War just like her unhappy parents, and is ready to understand her mother using the trauma narrative. However, she is still struggling to embrace her mother in that she shows her mother's death in a different way; in the imagined world, she gives her mother a less peaceful death. In other words, Lessing intends to show how difficult it is to accept the past and how dangerous it is to pretend to understand her mother's suffering through writing. Accordingly, her attempt to recover from the loss still continues unresolved.