아리랑의 정신분석-상실에 맞서는 애도, 우울증, 열락(jouissance)의 언어 = Special Topic : Psychoanalysis of Arirang: Resisting Loss, the Language of Mourning, Melancholy, and Jouissance

다국어 초록 (Multilingual Abstract)

As the lyrics of Arirang show, it is a song about the trauma of loss and deprivation. It expresses the heart-felt lament rising from deep inside when a person is deprived of something that had constituted the central foundation of their being, be it the loss of a loved one, of home or of nation, of un-representable ``Chose``. Historically, Arirang was the song of Koreans living in Diaspora, wandering through foreign lands after losing their homeland during the Japanese colonial occupation, a song of loss of home and also a song of healing. For the simple people, Arirang was a ``talking cure.`` This study considers Arirang as language with an emotive function focused on the first-person speaker, interpreting it as showing the three responses to loss found in Freud`s psychoanalytic theory: mourning, melancholy and jouissance. They are labeled at the Arirang of Mourning, the Arirang of Melancholy and the Arirang of Jouissance. This corresponds precisely with the three characteristics of the refrain at the heart of Arirang. According to Freud, both mourning and melancholy are responses to the loss of someone, but among various forms of sorrow, mourning accepts the loss of a beloved one, withdraws the previously committed libido from that engagement and redirects it toward another object or transforms it into vital energy. Mourning follows the principles of reality. On the other hand, melancholy fetishizes the loss of the other, places the ego in its place, then torments it. It makes one fall into a negative narcissism, dark masochism, aggressive urges, death urges, contradictory and ambivalent feelings etc. The Arirang of Mourning sublimates the loss of the beloved according to the cosmic laws of nature, strategically utilizing a rhetoric of two kinds of transcendence. The Arirang of Melancholy, exemplified by the New Arirang, reveals contradictory and ambivalent feelings, as in the love / aggression psychology of The lover who left me and went away / will have sore feet before he goes far, showing withdrawal into deep depression, sometimes even a death wish. The Arirang of Jouissance dispells the fear of mortality sensed in anticipations of loss through sexual hedonism, resolutely singing in praise of sexuality liberated from the gender attributed to women by Confucian ideology. Thus, returning to what came before the formation of the main agent, pre-oedipal energies are plentifully released and the delight experienced prior to loss is celebrated. In addition, Arirang expresses resistance to colonial modernity or anti-colonial longings. The way this one song`s form varies with time and place, constantly producing new versions, shows that it contains within itself a kind of modernity, capable of producing and maintaining its identity. Finally, since its origin in the past, whether the end of Goryeo (c.1392) or the time of Daewon-gun (c. 1865), passed down from mouth to mouth, the modernity which Arirang is reckoned to possess as the agent of its tenacious vitality is analyzed in 5.