동아시아 근본비유로서의 제유

구모룡 한중인문학회 2012 한중인문학연구 Vol.37 No.-

서구의 수사학은 은유와 환유 또는 은유중심주의로 축소되어 왔다. 아리스토텔레스는 모든 비유적 의미의 전이를 은유로 포괄하였는데 은유중심주의는 이러한 은유로의 환원을 강조한다. 오늘날의 환유와 제유는 모두 그의 은유에 속한다. 야콥슨은 은유와 환유의 이분법을 제시한다. 그는 시적인 것을 정의하는 가운데 이를 산문과 분리하면서 은유와 다른 환유를 부각하게 되는 것이다. 야콥슨에 있어서 은유와 환유는 시적인 것을 해명하는 일과도 연관된다. 그런데 야콥슨의 시적인 것에 대한 수사학적인 규정은 달리 제유로도 보인다. K. 버크나 H. 하이트는 야콥슨 등의 이분법 대신에 사분법을 선택한다. 옛 수사학으로 환원된 사분법에서 은유,환유, 제유, 아이러니는 대등한 비유가 된다. 그런데 은유, 환유, 제유, 아이러니 들을 대등하게 설명하는 사분법과 달리 제유를 근본비유로 이해하는 경우가 있다. 먼저 ‘그룹 뮈(μ)’의 논의를 들 수 있다. 인류학자인 T. 터너 등이 제유를 근본비유로 규정한 관점이 또한 주목된다.E. 오누키-티르니는 제유를 틈새의 속성으로 설명한다. 사분법 체계에서든 근본비유로서든 제유는 유기론과 연관되며 동아시아적 사유나 동아시아 미학과 관련하여 특별히 관심의 대상이 된다. 유기론적 사유가 바탕이 되는 동아시아 미학과 수사학에서 제유는 근본 비유이다. 뚜 웨이밍은 인간과 자연은 은유적 의미에서 일체를 이루며, 이러한 자연에 대한 인간의 감응의 기능은 정신을 환유적으로 확장시키는 과정이라 주장한다. 그는 자연에 대한 심미적 감상과 창조적 과정을 야콥슨의 용어에 따라 인접적이라 규정한다. 그는 제유를 통하여 야콥슨의 이분법을 해체하는 방안을 강구하지 못한다. 야콥슨을 그대로 원용하는 경우는 우홍에게서도 나타난다. 병풍에 은유적 기능과 환유적 기능을 모두 부과하는 우홍의 관점은 병풍을 시적 공간으로 이해하려는 그의 입장과 연관된다. 우홍의 입장도 제유를 통하여 은유와 환유를 가로지르는 방법론으로 발전하지 못한다. 여기서 우리는 야콥슨의 시적 기능이 사유의 기본이 되고 있는 동아시아 미학 전통을 떠올릴 수 있을 것이다. 아울러 이러한 전통을 해명하는 데야콥슨의 이분법이 한계가 있음을 지적할 수 있다. 이러한 점에서 줄어든 수사학에서 줄기 이전으로 돌아가 문제를 풀어가는 것이 하나의 방법이 된다. 『주역』에서 비롯하고 도가와 유가를 관류하는 유기론은 또한 동아시아 미학에 반영되어 있다. 역(易)의 원리에서 유비되는 동아시아 미학은 미적 과정, 미적 존재, 미적 가치 등에서 유기론적 사유를 드러낸다. So far, Western rhetorics has been narrowed into metaphor, metonymy or metaphor-centricism. This centralism has been a long tradition since Aristotle. Aristotle collectively defined all transfers of figurative meanings as metaphor. Return to metaphor is what is emphasized by the metaphor-centralism. Things that we call metonymy and synecdoche today all date back to the philosopher's metaphor. Jakobson proposes dichotomy between metaphor and metonymy. In defining poetic things, he discriminated them from prose things, making notable metonymy as different from metaphor. It is a problem to reduce all analogies into what is extremely incompatible with metaphor. For Jakobson, metaphor and metonymy have some things to do with the explanation of poetic things. However, his rhetorical definition of those things may be in some respect synecdochical. As supported by several patterns of analysis, it is no doubt that dichotomy between metaphor and metonymy is a very effective framework of explanation. The two rhetorics might be possible to be come across or dissolved by another rhetoric, as suggested by the definition of what is poetic. Instead of Jakobson's dichotomy, K. Burke or H. Height chooses tetrachotomy. According to tetrachotomy, which is a sort of return to the old rhetorics, metaphor, metonymy, synecdoche and irony are equal analogies to one another. Here, the notable thing is how reasoning is made in relation to each of those rhetorics. By the way, synecdoche is sometimes understood as master trope, not complying with tetrachotomy in which metaphor, metonymy, synecdoche and irony are equally treated. The first case that synecdoche was made remarkable more than the other rhetorics is so-called the argument by 'Groupe μ'. Though somewhat different from that groupe's general rhetorics, anthropologist T, Turner's definition of metonymy as master trope is notable. E. Onuki-Tyrny describes metonymy as interstitial. Whether treated under the framework of tetrachotomy or as master trope, metonymy is related to organism. And special attention is paid to metonymy from the perspective of East Asian reasoning or aesthetics. In East Asian aesthetics and rhetorics, both of which are based on organic reasoning, synecdoche is master trope. This principle of synecdoche, however, has not attracted much attention. Wei-ming Tu claims that man and nature is metaphorically united and that man's sensitivity to nature is the former's metonymical extension of his spirit. He also claims that the aesthetic appreciation and creative process of nature are contiguous to each other, in accordance with Jakobson's terms. He fails to find how to use synecdoche to dissolve Jakobson's dichotomy. Following Jakobson is found in Wuhong, too. Wuhong understands the folding screen as a poetic space. This understanding is apparent in his attempt to give both metaphoric and metonymic functions to the folding screen. This attempt complies with Jakobson's definition, providing a good explanation of the poetic meaning of the folding screen. But such understanding by Wuhong is not developed into the way of coming across between metaphor and metonymy through synecdoche. What occurs to our mind at this point is the tradition of East Asian aesthetics in which reasoning is based on Jakobson's poetic function. Notably, Jakobson's dichotomy has some limits in explaining that tradition. This problem may be solved if we return to old rhetorics that are original before reduced. Originating from 『The Book of Changes』 and developing through Taoism and Confucianism, organology is also reflected in East Asian aesthetics. Analogous to the principle of change, East Asian aesthetics reveals organic reasoning, especially in terms of aesthetic process, existence and value.

현대시에 나타난 비유의 상관성 연구

권혁웅(Kwon Hyuck-Woong) 한국시학회 2009 한국시학연구 Vol.- No.26

The purpose of this paper is to study the kinds of figures, to diagram the ontological positions of them, and to make clear the relations of them. The figures of this paper are five, that is, metaphor, metonymy, synecdoche, symbol and allegory. The diagram of these figures is called the type of ‘reverse pyramid.’ The horizontal axis of this diagram show an ability of comparison, and the vertical axis show a systematic character. Metaphor is started from a horizontal dimension, synecdoche from vertical dimension, and metonymy is created with combzontion metaphor and synecdoche. Symbol is projectile from a horizontal dimension of metaphor to systematic character, and allegory is transfomation from vertical dimension of synecdoche to comparative character. Four figures intersect at the metonymy. Therefore, metonymy is produced with crossing other figures, not the top of diagram, but bottom of diagram. If other figures are combined with metonymy, they each become dead metaphor, functional synecdoche, traditional symbol and monotonous allegory.

선시(禪詩)의 적기어법(賊機語法)과 영시(英詩)

설태수 동국대학교 동서사상연구소 2013 철학·사상·문화 Vol.0 No.16

As is well known, metaphor has a powerful and touching function as a rhetoric. Its equation is expressed like 'A=B', for instance, the phrase 'My mind is a lake, you come to me on your boat.' In this poetic sentence, the mind is compared to a lake. Therefore it is very effective to use that metaphor as a way of manifesting one's own feeling for his/her lover. But there is much more eccentric rhetoric called the 'Buddhist Synecdoche'(賊機語法). Its key point is characterized as 'A=non A' is the its key point. So very often the Zen poetry(禪詩) has abnormal sentences and non-realistic meanings. Yet we can inquire their deep and hidden meanings through the unusual sentences. This way, one wants to seek after the truth, but it is difficult to define that in one way. And there is no fixed way to realize the ultimate reality as well. Therefore the Buddhist Synecdoche can be one solution for perceiving the truth, even if it seems to be somewhat absurd and difficult. Some English poetry has a little bit similar effect like the Zen poetry. But they have much different style from the point of expressing their meanings. Most of all English poetry have normal sentences, and they are more communicative than those of Zen poetry. Anyway both of them have a common ground aiming at revealing the poetic profound truth. 잘 알려진 대로, 은유는 강력하면서도 감동적인 기능을 지닌 수사법이다. ‘A=B’로 표현되는 은유법 등식의 한 구절을 예로 들면, ‘내 마음은 호수요, 그대 배를 저어 오오’ 가 있다. 이 문장에서 마음은 호수에 비유되어 있다. 그러므로 연인에 대한 감정을 표현하는 방법으로는 은유가 아주 효과적이다. 그런데 훨씬 특이한 수사법으로 적기어법(賊機語法)이라는 것이 있다. ‘A=non A’ 라는 등식이 핵심이다. 그래서 선시(禪詩)에서는 종종 비정상적이고 비현실적인 의미를 가지는 경우가 많다. 왜냐하면 그러한 정상적이지 않은 표현법을 통하여 사물과 존재의 깊이 숨어있는 의미를 파악할 수 있기 때문이다. 사람은 진리를 추구한다. 그러나 한 가지 방식으로는 그것을 규명하는 것이 어렵다. 궁극적 실재를 깨닫는 데에는 고정된 방식이 없기 때문이다. 이런 점에서 적기어법이 진리를 간파하는 한 방편이 될 수 있다. 비록 표현방식이 다소 부조리하고 어렵게 보이더라도 말이다. 영시(英詩) 일부도 선시와 유사한 효과를 지니는 것이 있다. 그렇지만 표현방식의 관점에서는 상당히 다르다. 대부분의 영시는 정상적 문장을 갖추었기에 선시보다는 소통이 잘 된다. 어떻든 간에 선시와 영시는 둘 다 심원한 시적 진리를 드러내고자 하는 공통점을 지니고 있다.

낭만적 이상주의의 끝에서: 포스터의 『하워즈 엔드』

조희정 한국중앙영어영문학회 2008 영어영문학연구 Vol.50 No.3

Although its spiritual power does not call so much attention as that of Howards End, Wickham Place is certainly another house in Forster's Howards End that deserves careful examination. The house constitutes the origin of the Schlegels, and the Schlegel sisters' physical separation from the house betokens the novel's disavowal of Romantic idealism associated with the late Mr. Schlegel. In the earlier part of the novel, Helen's critical voice dominates, penetrating the reification of the contemporary British society and recognizing the existence of class struggle. Yet, following the sisters' move out of Wickham Place, the narrator gradually distances himself from Helen's idealistic voice and endorses the view of the novel's ultimate heroine Margaret. As a member of “the rentier class”—those who live mainly on investment income, Margaret chooses to resolve the moral dilemma of her class by reconciling with the industrial capitalists such as the Wilcoxes. In order to achieve a difficult harmony, Margaret invents a symbolistic vision of unity that can replace a reality full of problems and struggles. Thus, Howards End, which represents England as a whole, comes to function as a synecdoche. However, this use of synecdoche displaces the other parts of the whole, while cultivating the particular and polishing the fragment. This inorganic synecdoche reveals Forster's tentative solution to the problems surrounding the relationship between the aesthetic and the practical in the contemporary society.

환유의 경계설정에 관한 연구

김동환(Kim, Dong-Hwan) 미래영어영문학회 2016 영어영문학 Vol.21 No.3

The purpose of this paper is to deal with the issue of demarcation of metonymy. It is commonly stated that metonymy is more basic than metaphor. Including this idea, the opinion that metonymy is a cognitive process in which one conceptual entity, the vehicle, provides mental access to another conceptual entity, the target, within the same domain, or ICM is influential on the world of cognitive linguistics. More recent approaches to metonymy stress that metonymy is related to language as well as thought. We can say that metonymy is more basic than metaphor in many aspects. For example, it is said that the whole system of language has the metonymic basis and that metonymy is the basis of all linguistic signs. And metonymy plays a critical role in the process of inference and guides our categorization to a great extent. Generally, metonymy has been overlapped with various figurative languages such as metaphor and synecdoche. In this paper, we consider what is metonymy and what is not metonymy by defining the boundary of metonymy, realizing that the boundary of metonymy may be vague because of its basicness and ubiquity.

비주얼 리터러시를 활용한 한국어 명사합성어의 시각화 연구 - 동물ㆍ곤충류 관련 어휘를 중심으로 -

김현지 ( Kim Hyun Jee ),김령 ( Jin Ling ) 디자인융복합학회(구.한국인포디자인학회) 2020 디자인융복합연구 Vol.19 No.4

본 연구는 비주얼 리터러시 방법을 활용하여 한국어 어휘교육의 방법을 제안하고 있다. 한국어의 어휘 유형 중 비유적 의미가 확연하게 드러나는 동물·곤충류 명사합성어 14개를 선정하여 일러스트레이션의 기능성을 부각시켜 시각화하였다. 디자인 과정에서 은유, 환유, 차용 이론을 활용하여 시각이미지를 제작하였으며, 합성어의 의미를 현대인으로 의인화하여 한국의 사회·문화적 요소를 반영하고자 하였다. 시각이미지를 활용한 어휘교육 방법은 학습자의 사고력을 유도할 수 있으며, 특히 디자인 계열 외국인 학습자들의 한국어 학습효과를 향상하고 창의력을 키우는 데 도움이 된다. This paper presents a creative medium for educating the Korean language as a Foreign language based on visual literacy. Also, we visualized several Korean noun compound words, which are related to the implied meaning of fourteen kinds of animals and insects from the representative vocabulary. The way of teaching the Korean language by showing visual literacy which is a part of the function as an illustration can help foreign language learners who are majoring in design to have a visual perception and creative ideas as well. As the process of visualizing the vocabularies, we applied our thoughts and ideas to emphasize the Korean lifestyle and culture by utilizing three methods, such as metaphor, metonymy, and Synecdoche.

현대시와 비유의 모델

권혁웅 동국대학교 한국문학연구소 2022 한국문학연구 Vol.- No.68

The purpose of this study is to elucidate the status and correlation of figures in modern poetry through a three-dimensional model of figure. To this end, he pointed out the problems of the terms, the original concept (the tenor) and the auxiliary concept (the vehicle), which have been used as a unit of figure, and suggested new terms to replace them: the center-image and the world-image. The positions of the figures are designated according to the coordinates where the two images are developed. The three axes (x-axis, y-axis, and z-axis) set in this paper indicate the comparability, systematicity, and productivity of meanings, respectively. A metaphor and a synecdoche are assigned to the basic axis in two-dimensional coordinates, and the places of a symbol and an allegory are assigned through the intersection of the metaphor and the synecdoche. Whereas other figures produce meaning, metonymy is concerned with the circulation of meaning. Therefore, metonymy is located on the line of the third axis. Where metonymy marks the low point of the figure, irony marks the high point of the figure. Irony is located beyond the horizon of languages ​​and is revealed through failure or contradiction of language. In the place of irony, the reality of the world that language has not yet captured is revealed. Irony appears in the subject's speech and in his contradictory attitude toward the world. Also, irony is revealed in the contrarian of language, and it appears repeatedly in the failure of analogies. The diversity of irony can be compared to the diversity of figure, since the irony is structured. The structure of irony can be established that corresponds to the entire analogy structure. At this point, adding a structure of rhythm that is organized differently in each psalm will reveal the whole of poetry. The three-dimensional model of the figure is an important element for exploring the whole of poetry. 이 논문의 목적은 현대시에 나타난 비유들의 위상과 상관관계를 비유의 3차원 모델을 통해 해명하는 데 있다. 이를 위해 비유의 단위로 그 동안 통용되어 온 원관념, 보조관념이라는 용어의 문제점을 지적하고, 이를 대체할 새로운 용어로 중심-이미지, 세계-이미지를 제안하였다. 두 이미지들이 전개되어 나가는 좌표에 따라 비유들의 자리가 지정된다. 이 논문에서 설정한 세 개의 축(x축, y축, z축)은 각각 대상들의 비교 가능성, 체계성, 의미의 생산성을 표시한다. 은유와 제유가 2차원 좌표에서의 기본 축에 배당되며, 둘의 교차로 상징과 알레고리의 자리가 배당된다. 다른 비유들이 의미를 생산한다면, 환유는 의미의 유통과 관련되어 있으며 따라서 세 번째 축선에 위치한다. 환유가 비유의 저점을 표시한다면, 반어는 비유의 고점을 표시한다. 반어는 언어들의 지평 너머에 위치하며, 언어의 실패나 모순을 통해서 모습을 드러낸다. 반어의 자리에서 언어가 미처 포착하지 못했던 세계의 실상이 그 모습을 온전히 드러낸다. 반어는 주체의 발화에서, 세계에 대한 이중적인 태도에서, 언어의 모순어법에서, 비유의 실패에서 거듭해서 나타난다. 반어의 다양성은 비유의 다양성에 맞먹는데, 이는 반어 자체도 구조화되기 때문이다. 우리는 유비 체계 전체에 대응하는 반어의 체계를 세울 수 있다. 여기에 시편마다 다른 모습으로 조직화되는 리듬의 체계를 추가하면, 시학의 전모가 모습을 드러내게 될 것이다. 비유의 3차원 모델은 시학의 전모를 파악하기 위한 주요한 요소라 할 수 있다.

시에 있어서의 제유의 수사학

구모룡(GU Mo-ryong) 한국시학회 2007 한국시학연구 Vol.- No.20

Synecdoche is an organic reasoning of wholeness. It is a form of thinking that defines the idea of central vitality or the wholeness of circulatory order as the very principle of universe. With a metaphysical paradigm which is explained as correlations between microcosm and macrocosm or between individuality and wholeness, synecdoche is truly based on a principle that all forms of beings are connected among them in organic and continuous ways. Underlying poetics are ideas about comprehensive nature the process of life, which is developed in itself, and the continuous development of creativity. Here, no distinction is made between material and spirit. The very material of universe is not either spirit or material, but vitality that integrates both of them. In this sense, synecdoche is clearly distinct from reasoning of the modern West which is based on dichotomy between spirit and material. Poetry is an expression of universal life. The world of poetry consists of individual lives. Because the individuality of life is a synecdochical expression of universal life, the wholeness of life is naturally immanent in the individuality of life. This suggests that poet, poetry and universal life are connected on a continuum. The life nature of the poet and the universal life of universe are internally related into wholeness. Under such synecdochical association, poetry has its own internal continuity that allows it to move from individuality to universality and from partiality to wholeness, finally reaching the embodiment of the natural principle of universe. The movement starts from creating a microcosm. This means going beyond a chaotic experiential world and creating a new world of harmony and order. A piece of poem is in itself a reproduction of the harmony and order of universe. Synecdochical rhetoric does not criticize modernity as it is. From the aesthetic view, what was intended to be drawn out from negating modernity is not aesthetic modernity. In fact, the poetics of life has not developed any substantial scheme. But rather it has intended to endure the disorder and chaos of the modern times by using nature as a means. The poetic possibility of synecdoche is related with an alternative view of modernity. Synecdochical perceptions of nature and universe are now becoming an alternative to the metonymic view of world based on modern mechanism. This can be explained as eco-poetry, or the post-modern perspective of synedochical rhetoric.

시와 영화의 수사론적 비교 연구: 시집 『지하인간』과 영화 <강원도의 힘>을 중심으로

안숭범 문학과영상학회 2008 문학과영상 Vol.9 No.3

This research is a study on the rhetorical corresponding points of poem and film through Underground Men by Gang Jung-il and The Power of Kangwon Province by Hong Sang-su. Gang Jung-il and Hong Sang-su appeared in the spotlight with the similar critical discourse in the literature and the film world. Thus, it is appropriate that their works be illuminated to judge the similarity of those two genres. The method of comparison should be evident for corroborative comparison with exemplifying specific works of poems and films. Therefore this study considers poem and film as the meaning production system with different forms, and focuses on the metaphors in poem and the editing techniques in film which correspond to each other. Originally, when poetic words expand into lines and paragraphs, the meaning accumulates and becomes rich. Metaphor is the basis of poetic statement in that process. Films produce meanings by combining and colliding images in the stream between shots and scenes. Accordingly, metaphor, metonymy, and synecdoche are not only tools of literary rhetoric but also a universal rhetorical method. More specifically, The Power of Kangwon Province shows that metaphor translates into comparison-montage and metonymy and synecdoche into collision-montage. Meantime, the recording techniques, deep focus and long takes expand the meaning of film. These techniques express times of the real world and lead the audience to become active interpreters. The way metaphor in poetry leaves its meanings open is quite pertinent here. This research finds its significance in the fact that it confirms the potential of comparison between two genres which have been mentioned only theoretically by using specific examples and techniques. The two genres are expected to be studied in various theoretical backgrounds over rhetorical dimension. This research is a study on the rhetorical corresponding points of poem and film through Underground Men by Gang Jung-il and The Power of Kangwon Province by Hong Sang-su. Gang Jung-il and Hong Sang-su appeared in the spotlight with the similar critical discourse in the literature and the film world. Thus, it is appropriate that their works be illuminated to judge the similarity of those two genres. The method of comparison should be evident for corroborative comparison with exemplifying specific works of poems and films. Therefore this study considers poem and film as the meaning production system with different forms, and focuses on the metaphors in poem and the editing techniques in film which correspond to each other. Originally, when poetic words expand into lines and paragraphs, the meaning accumulates and becomes rich. Metaphor is the basis of poetic statement in that process. Films produce meanings by combining and colliding images in the stream between shots and scenes. Accordingly, metaphor, metonymy, and synecdoche are not only tools of literary rhetoric but also a universal rhetorical method. More specifically, The Power of Kangwon Province shows that metaphor translates into comparison-montage and metonymy and synecdoche into collision-montage. Meantime, the recording techniques, deep focus and long takes expand the meaning of film. These techniques express times of the real world and lead the audience to become active interpreters. The way metaphor in poetry leaves its meanings open is quite pertinent here. This research finds its significance in the fact that it confirms the potential of comparison between two genres which have been mentioned only theoretically by using specific examples and techniques. The two genres are expected to be studied in various theoretical backgrounds over rhetorical dimension.

영화 <시네도키, 뉴욕>에 나타나는 이중 구속의 양상 읽기

민현주 숙명여자대학교 교양교육연구소 2024 교양교육과 시민 Vol.10 No.-

본 연구의 목표는 영화 <시네도키, 뉴욕>에서 드러나는 이중 구속의 양상을 분석하는 것이다. 찰리 카우프만의 <시네도키, 뉴욕>은 그의 감독 데뷔작으로, 각본가로 활동하던 그의 첫 영화이다. 그의 작품은 인간 존재에 대한 철학적 사유를 촉발한다는 점에서 주목할 만하다. 본 연구는 인간의 삶 전체를 관통하는 구조적 양상으로서 <시네도키, 뉴욕>에 나타나는 이중 구속(double bind)의 관계를 분석하기를 시도할 것이다. 이중 구속이란 데리다가 즐겨 쓰는 개념으로, 대립항들의 분리 불가능성을 의미한다. 본 고에서는 구체적으로 첫째, 삶과 죽음, 둘째, 애도와 우울, 셋째, 자아와 타자라는 세 가지 측면을 중심으로 이중 구속의 양상을 읽어내고자 한다. 이 작업을 통해 <시네도키, 뉴욕>이 가진 풍부한 철학적 함의를 새로이 조명할 수 있기를 기대한다. The aim of this research is to analyze the manifestations of the double bind in the film "Synecdoche, New York". "Synecdoche, New York", directed by Charlie Kaufman, marks his debut as a director and his first film following his career as a screenwriter. Kaufman's works are distinguished for their provocation of philosophical reflections on human existence. This study endeavors to examine the double bind relationships in "Synecdoche, New York" as a structural aspect that permeates the entirety of human life. The concept of the double bind, frequently employed by Derrida, denotes the inseparability of binary oppositions. This paper will specifically analyze the manifestations of the double bind through three dimensions: first, life and death; second, mourning and melancholy; and third, self and other. It is anticipated that this examination will shed new light on the rich philosophical implications inherent in "Synecdoche, New York".