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詩의 본질과 存在의 진리 : Case by Heidgger Heidegger의 경우
이왕주 釜山大學校 1986 人文論叢 Vol.29 No.1
There may be two possible methods of expounding the essence of poetry. One is the method of literature, the other is that of ontology by which Heidegger described his theory of art in his essays. According to Heidegger, the poetry in the former sense is poesy or poetry in the narrow sense the sort of thing that poets write. But poetry in the latter sense is the fundamental and essential sense of poetry, so called ontological poetry. The purpose of this paper is tr drawing the artistic characteristics of Heideggers ontology and ontological character of his theory of art, by way of analizing the ontological essence of poetry. To begin with, we investigated the essence of poetry, and the problem of the truth of Being in the light of Heideggers view points. According to him, the essence of art should reduced to poetry because work of art is to be defined as<Sich-Setzen-in das Werk der Wahheit> and the truth <Wahrheit> comes out of Concealment, by way of <dichtende Entwurt>. (poetic project) Dichten(poetizing) is an existential project into self unconcealment of truth of Being, which exposes the whole beings in their original modes of its own. Poetizing is once more reduced to the edifice of essential language because it is to be defined to be buielding the truth of Being with essential words. Here, Heidegger ventured to define the ontological meaning of the essence of poetizing by dint of Ho¨lderlins words. It could be summerized that poetry is being poetizing with the most dangerous treasures of human being, namely words. The dangerous treasures are to inlbd the Being (das Bleibende)by way of dialogues as our human beings. The duty of poet is to mediating the gods anl his folks as a messanger. The remarkable achievements that Heideggers theory of poetry has is overcoming the phenomenal analysis and the dichotomy of traditional theories of poetry and letting us reflecting the origin and ontological meaning of art and poetry.
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이왕주 釜山大學校 師範大學 1986 교사교육연구 Vol.12 No.-
Heideggers theory of art begins with his theory of Being (Sein). But the investigation of Being that had been expected to achieve its whole system (as proclaimed in Heidegger's main work, Being and time) had faild to find its way. In this situation, the so-called transition of Heidegger's thoughts set as an important problem which Heidegger might have to struggle to escape, so that his philosophical theories might have a coherent logic of the investigations we infer from these situations that the failure of the early stage of his thought is resulted from hindrances of representational language and subjective methods of thought. So we might conclud that in order to escape from this logical dilemma, Heidgger has to find out another way to lead to searching the meanings of Being. This new ways or methods is the very aesthetic ways to Being. This way is originated from the essence of truth, namely freedom. Freedom makes it possible for us to richtigen, namely regard the truth rightly, and stand out ourselves and in the center of the unconcealment of beings. According to Heidegger, the unconcealment of whole beings is the original meaning of greek word, Aletheia In work of art, it comes alout that the truth as the unconcealment of Being, namely Aletheia is setting itself into a work of art by virtue of this freedom. The essence of work of art revealed by this reflection is 〈das Aufstellen der Welt und das Herstellen der Erde〉 and the endless fights and conflicts of them. The truth is a work of art is won through this fights. The truth won by the fight shows every Being in its unconcealment, namely in its original mode. Beauty is not a kind of subjective pleasure or objective phenomenon, but the glitter(Sheinen) of every being in its own concealment. Another aspect of the essence of the work of art is creating and keeping. The creating is not simply making something out of nothing or some plexible material, but letting something stand on its own stance in its original ground out of concealment. This original meaning of creating is implicated in the greek word 〈Techne〉. The keeping is not enjoing seeing the beauty o work of art, but make up one's mind to bear with every shock given by the work and get into the world beings revealeds by the work of art. So keeping is reduced to the matter of willing (Wollen) As a feature of late stage of Heideggers thought, his theory of art suggests that the method of investigating Being should give up existential phenomenologcal analysis of human reality (Dasein) and give itself to the grace and gift of Being. This insight involves Heidegger into inivestigating the essence of poet (Dichtung) as an essence of art.
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이왕주 대한철학회 2010 哲學硏究 Vol.114 No.-
In essential context, the modern reason of the western culture is nothing but the reason of visual subject. The main properties of this visual subject are the transparency, one-sidedness, and surveillance. Gaze is it's way of being in the horizon of life- world. It arrests the partners or objects in the perspective regime and binds them in the network of surveillance. The logo-centric communications are nohing but sharp crossings of diverse gaze in the conflicts of interest. The model of Habermas' communication thoery is not exception in this view. In order to communicate each other well, above all, we should escape from this circuit of cartesian Cogito. Our alternative we want to suggest is to caress. We could identify the bright example of caress in Sancho's look on the face of Don Quixote. I tried to recontextualize Merleau-Ponty's creative concept, the flesh in the context of Levinas' caress. My conclusion is that to communicate each other well, we should regain the capacities of the caress by way of remembering the deep trauma gotten in our lives. 근세적 이성은 그 본질에 있어서 시각주체의 이성이다. 이 시각주체는 투명성, 일방성, 감시를 특징으로 한다. 생활세계의 지평에서 드러나는 이 주체의 존재양식은 응시다. 이것은 상대를 시각장 안에서 포획하고 감시의 권력망 안에 묶어두고 마침내 그것을 (몸으로) 발가벗겨놓는다. 이성중심주의 소통양식은 본질적으로 이해득실이라는 기준에 따라 응시하는 시선들의 첨예한 교차에 지나지 않는다. 이것의 가장 정교한 모델 중 하나인 하버마스의 의사소통행위이론도 이 점에서 예외가 아니다. 먼저 데카르트적 코기토에 의해 구성된 소통 회로로부터 탈주해야 한다. 우리가 제안하는 대안적 소통양식은 애무다. 애무란 이를테면 편력의 어느 국면에서, 상처 받은 돈키호테의 슬픈 얼굴을 바라보는 산초의 시선 같은 것이다. 이 소론에서 우리는 레비나스가 숙고했던 이 타자와의 소통 조건을 퐁티의 살 개념으로 확장시켜 재맥락화 해보았다. 결론은 진정한 소통을 위해 먼저 응시적 이성의 규율권력으로부터 몸을 되찾고, 상처를 통해 우리의 치명적인 살의 얽힘을 재발견함으로써 애무하는 소통 양식을 복권시켜놓아야 한다는 것이다.
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이왕주 釜山大學校 師範大學 1992 교사교육연구 Vol.25 No.-
According to Heidegger, the Technology and the Art are originated from the greek Techn e ‾ . But as the greek deliberation of the original meaning of Techn e ‾ became faded out, so two areas became also differentiated keenly. In the long run, the production of the technology became manufacture, its product instrument, the production of the art creation, its product artwork. The technellogy developed into the modern technology which put every being as resource availaile to diverse industrial pusposes undifferentiatedly. The fact that nothing could keep its own independence in front of the modern technology has fogot very grievous results. Human being became also the available resource for some purpose. Human alienation is the unavoidable result of this situation. This is the very crisis of the modern culture and civilization. But Heidegger says the art performes the fuction of putting, itself in the work into which the truth of Being is self-revealing as being. Heidegger interpretes the essence of salvation as recovering of the essence. According to him, the crisis of the technological age is resulted from the situation that suppresses the truth allowed by Being's self-revealing. But such a crisis could be overcome by the art which keeps and reserves for the truth of Being. In that context, art could be the origin of the salvation and emancipation. But we can't help pointing out that such a logic of Heidegger is disapproved of the ethical horizont and dosn't give the concrete standard of the true and good art. So it could be criticized that Heidegger's visions fail to suggest a performative way of overcoming the crisis and fall into ontological abstration and cultural bias.
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이왕주 대한철학회 2011 哲學硏究 Vol.117 No.-
In this paper, I suggest a discourse on some delicate relations between the philosophy and the cinema, or between the visualizing philosophical reflection and the contemplating cinematic imagination. In this context, G. Deleuze is not a simple philosopher and Director Hong, not a director. Each is a kind of metonymy. Deleuzean style of philosophizing asks for Hong's nomadic style of producing cinema. and of course in the same manner, the latter asks for the former. The latter visualizes the speculative empiricism of the former, the former crystalizes the visual esthetics of the latter. To speak with Deleuzean vocabularies, it is not possible for the State Apparatus to capture the diverse works of director Hong. Because each of them is a kind of War Machine which always slips from every tackle of State Apparatus. Deleuzean key word 'genetic becomming' is a main concept of Hong's works. The point is not to dispose the theses 'becomming' of his works in the line of series but to release them in the line of rupture. My paper would show the sharp ridicules director Hong had poured on the conservative circle of the cinema in the context of Deleuzean nomadology. 큰 틀에서 이 글은 철학적 성찰이 비쥬얼로 무대화되는 극장(劇場 movie theater)과 영화적 상상력이 개념으로 결정(結晶)되는 극장(極場 extreme field)에 관한 담론이다. 들뢰즈와 홍상수는 이 극장의 환유들이다. 이 환유들은 서로 긴밀하게 내통한다. 홍상수의 영화는 들뢰즈의 경험론을 이미지로 전시해주고, 들뢰즈의 유목론은 홍상수의 카메라를 이론으로 갈무리한다. 들뢰즈의 어휘로 말하자면 <돼지가 우물에 빠진 날>에서 <하하하>에 이르는 10편의 필모그래피를 채운 홍상수의 작품들은 어떤 국가장치로도 포획될 수 없는 전쟁기계들이다. 그것들은 영화관 내부에서만이 아니라 외부에까지 ‘되기’(becomming)의 생성을 확장해나간다. 우리의 관심사는 그 작품들의 ‘되기’를 계열선 위에 배치하는 게 아니라 탈주선 위로 방면하는 것이다. 차이, 되기, 놀기 등으로 유쾌하고 발랄하게 전개되는 홍상수의 영상들이 기존의 영화문법에 보내는 통렬한 야유를 들뢰즈 유목론의 맥락에서 조명해본다.
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