열림과 닫힘, 신체 주체: 포스트휴머니즘 시대의 주체 변화에 대한 소고

이지현 현대미술사학회 2018 현대미술사연구 Vol.0 No.44

This paper aims to explain the body subject and the community within a dialectic transition. In affirmative dialectics, the body subject discloses the dual structure of existence: opening and disappearing. As a site that reveals the truth of the subject’s self belonging and self negation, the body subject is a disclosed other. The body subject transitions into the other by deconstructing a complete, ideal and natural body and abandoning its own privilege. For instance, today’s experimental artists embrace the otherness by using their body to the extent that it is almost not acceptable. This body subject contrasts with humanism’s perception subject, and it is a subject that is distributive, collective and heterogeneous, not autonomous, individual, and exclusive. For this reason, the body subject in post-humanism serves as a site for ethical problems. The body subject it self is a temporary site and an ethical site. The transition to the other itself is an ethical act, and the body subject that converges human, animal and machine reinvents itself as the truth body through such convergence. This truth body is trying to create some truthful change by disclosing the situation where there exist separated views. 주체는 의식의 본질인 욕망이 발원하는 신체로부터 출현한다. 무엇보다 신체주체는 시간의 심연 위에서 시간을 공간적으로 체현하는 주체이며, 타자적인 것이 드러나는 장소이다. 본 논문은 이러한 신체주체에 대한 미학적 근거를 밝히고, 신체와 관련된 몇몇 작품을 분석함으로써 포스트휴머니즘 시대의 주체의 개념 변화와 특성을 고찰해보고자 한다.

소셜 미디어에서 나타나는 신체 긍정주의와 표현 방법, 여성의 주관적 신체 사이즈 인식이 기분 상태와 외모 만족도에 미치는 영향

이민선,이현화 한국의류산업학회 2020 한국의류산업학회지 Vol.22 No.2

Body positivity has emerged among young social media users with the purpose of enhancing a positive body image. In the social media environment, body positivity is frequently presented in the forms of female models' images and/or words that represent individual attitudes toward the female body. The media effects on female viewers' body image differs based on the viewers' perceptions of their own body size. This experimental study examined how body positivity and types of expression on social media influence women's mood and appearance satisfaction by subjective body size. We randomly assigned to 415 young and middle-aged females to one of six experimental conditions which contained three images and three vignettes, each reflecting non-body positivity, body positivity, and control. We used a 3 (body positivity: non-body positivity vs body positivity vs. control) × 2 (types of body positivity expression on media: images vs vignettes) × 2 (subjective body size: under/normal weight vs overweight/obese) between-subject design. The results of MANCOVA revealed the significant main effects of subjective body size on women's mood and appearance satisfaction. There was a significant interaction effect of body positivity and subjective body size on appearance satisfaction. The stimuli representing body positivity caused positive psychological effects for women who perceive themselves being in the under/normal weight range.

운동을 통한 몸-주체로서의 몸만들기

백소하,이경숙 한국체육철학회 2023 움직임의철학 : 한국체육철학회지 Vol.31 No.3

이 연구는 ‘운동을 통한 몸-주체로서의 몸만들기’의 의미와 그 가능성을 메를로-퐁티의 현상학 관점에서 해석하였다. 그는 몸과 정신이 분리된 존재가 아닌 몸을 통해 세상을 인지하고 경험한다는 점을 강조하며, 몸-주체의 개념을 제안했다. 몸만들기는 주관적인 동시에 객관적 행위 이면의 경험을 현상학적으로 파악하여 주체성을 가진 몸과 그 움직임의 경험이 어떠한 의미와 가능성을 내포하고 있는지 탐구하였다. 그 내용을 정리하면 다음과 같다. 첫째, 운동을 통해 몸을 만드는 것은 몸과 의식이 분리된 존재가 아닌 일치된 존재라는 것을 경험한다. 그리고 몸-주체로서의 정체성을 더욱 분명하게 인식한다. 둘째, 운동을 통한 몸만들기 과정에서 몸을 통해 자기 인식이 향상된다. 이는 나만의 아름다운 몸, 건강한 습관, 건강한 삶으로 체화되는 과정이다. 셋째, 운동을 통한 몸만들기 경험이 체화되어 의식이 강화된다. 즉 운동이라는 세계-내에서 체화된 습관을 토대로 건강한 몸을 영위할 수 있다. 결론적으로 운동을 통한 몸만들기의 과정과 결과에서 나타나는 것은, 몸의 건강과 아름다움을 넘어 건강한 습관 그리고 지혜를 겸비한 삶의 방식의 태도를 갖게 된다. 그러므로 몸만들기를 단순히 쾌락적 소비 현상으로 치부하는 것이 아닌, 개인의 삶의 질이 향상되고 자아를 회복하는 경험과 기회로서 이해되어야 한다. This study interpreted the meaning and possibility of ‘Creating a Body-subject as a Knower through Exercise’ from the perspective of Merleau-Ponty’s phenomenology. He proposed the concept of body-subject by emphasizing that the body and mind are not separate entities but rather perceive and experience the world through the body. By creating a body-subject, the body phenomenologically understands the experience behind both subjective and objective actions. It explores the meaning and possibility of the experience of a body with subjectivity and its movements. The content is are summarized as follows. First, creating a body-subject through exercise allows one to experience that the body and consciousness are not separate but unified beings. Furthermore, it allows us to recognize our identity as a body-subject. Second, in creating a body-subject through exercise, self-awareness is improved through the body. This is the process of developing a beautiful body, healthy habits, and a healthy life. Third, creating a body-subject experience is embodied, and consciousness is strengthened. In other words, humans can maintain a healthy body based on habits established within the world of exercise. In conclusion, what is appeared in the process and results of creating a body-subject through exercise is not only the health and beauty of the body but also healthy habits and an attitude toward a way of life that combines wisdom. Therefore, creating a body-subject should not be dismissed as a hedonic consumption phenomenon but as an experience and opportunity to improve an individual’s quality of life and to restore the ego.

브루스 나우만의 은폐된 ‘몸’: 관람자와의 거리 두기

김의연 미술사학연구회 2009 美術史學報 Vol.- No.33

This study found that one of the key themes of Bruce Nauman(1941-)'s broad range of artworks was best expressed in the ones that used the human body as an art medium and suggested that his early works using the human body(1966-1974) in particular set a direction of his entire art world. In his body works, Nauman used the 'hiding' strategy that exposed the body and hid it at the same time. As he was conscious of the viewer when he used his own body for his artwork, he wanted to hide it in his unique ways. He also wanted to hide the body of the viewer, which became the performer, from the eyes of the other viewers. By doing so, he created a distance between the body of the artist or the viewer, and the viewer who watches that body. With this in mind, this study categorized the bodies used in Nauman’s works into the artist’s own body and the viewer’s body, and analyzed how the body’s subject in each case is hidden from the eyes of the viewer. In parallel, the study examined Nauman’s roles as the subject that takes charge of his artwork. When Nauman used his own body in his artwork, he made it anonymous and fragmented by hiding his identity. Furthermore, he used word play for the effect of confusion on the meaning of his work. He hid his body from the eyes of the viewer through art make-up, which served as another way to hide. He made the body entirely disappear or left only the trace or sound of it. As a result, the viewer feels confused and gets to keep a distance from Nauman's work rather than getting immersed in it. The distance like this also existed in his other works where the viewers participated as the performers. In the case of hiding the viewer’s body, Nauman does not make the viewer physiologically engaged in his work, but make them feel confused by distorting the viewer’s body or not showing it even, in the mirror or video monitor installed in his work. In addition, he makes the viewer get inside the installed structure to hide him/her from the eyes of the other viewers and isolate him/her in that space for extreme perceptive confusion. Nauman’s intention in keeping this physiological or physical distance via hiding was to disorient the viewer. The viewer gets to experience from subtle confusion of perception when faced with Nauman’s work to extreme synesthesiatic confusion in the dystopian environment he created. Nauman’s dystopian space can be interpreted as the symbol of the absurd reality and the repressed and controlled society of the time. As Nauman supported artists’ engagement with reality, he made the viewers vividly feel the repression of the time by making them feel repressed rather than letting them feel their free will. Nauman not only hid the body but also controlled the viewer like the Panopticon by hiding behind his work. In other words, he silently manipulated the viewer through the closely-knitted network of supervision and control. As such, Nauman recognized the existence of the viewer and created artworks that were not completed by themselves but could be completed via engagement of the viewer. Nauman’s peer artists who also used their body in their artwork were growing out of subjectivity of modernism and showed increasingly stronger interest in intersubjectivity, which is created from relationships with the viewer, who is also the object. Nauman himself recognized his body as the subject of his artwork as well as the objectified subject that is the object which the viewer sees, and demonstrated a kind of relationship where the boundary between the subject and object becomes blurry. However, the relationship between the subject and object in Nauman’s work is different from the clear patterns of intersubjectivity. The subject and object of his works can be replaced with each other only through the eyes of each other. Therefore, the level of intersubjectivity that influences both is weak. This is attributable to the fact that Nauman emphasized his own will o... This study found that one of the key themes of Bruce Nauman(1941-)'s broad range of artworks was best expressed in the ones that used the human body as an art medium and suggested that his early works using the human body(1966-1974) in particular set a direction of his entire art world. In his body works, Nauman used the 'hiding' strategy that exposed the body and hid it at the same time. As he was conscious of the viewer when he used his own body for his artwork, he wanted to hide it in his unique ways. He also wanted to hide the body of the viewer, which became the performer, from the eyes of the other viewers. By doing so, he created a distance between the body of the artist or the viewer, and the viewer who watches that body. With this in mind, this study categorized the bodies used in Nauman’s works into the artist’s own body and the viewer’s body, and analyzed how the body’s subject in each case is hidden from the eyes of the viewer. In parallel, the study examined Nauman’s roles as the subject that takes charge of his artwork. When Nauman used his own body in his artwork, he made it anonymous and fragmented by hiding his identity. Furthermore, he used word play for the effect of confusion on the meaning of his work. He hid his body from the eyes of the viewer through art make-up, which served as another way to hide. He made the body entirely disappear or left only the trace or sound of it. As a result, the viewer feels confused and gets to keep a distance from Nauman's work rather than getting immersed in it. The distance like this also existed in his other works where the viewers participated as the performers. In the case of hiding the viewer’s body, Nauman does not make the viewer physiologically engaged in his work, but make them feel confused by distorting the viewer’s body or not showing it even, in the mirror or video monitor installed in his work. In addition, he makes the viewer get inside the installed structure to hide him/her from the eyes of the other viewers and isolate him/her in that space for extreme perceptive confusion. Nauman’s intention in keeping this physiological or physical distance via hiding was to disorient the viewer. The viewer gets to experience from subtle confusion of perception when faced with Nauman’s work to extreme synesthesiatic confusion in the dystopian environment he created. Nauman’s dystopian space can be interpreted as the symbol of the absurd reality and the repressed and controlled society of the time. As Nauman supported artists’ engagement with reality, he made the viewers vividly feel the repression of the time by making them feel repressed rather than letting them feel their free will. Nauman not only hid the body but also controlled the viewer like the Panopticon by hiding behind his work. In other words, he silently manipulated the viewer through the closely-knitted network of supervision and control. As such, Nauman recognized the existence of the viewer and created artworks that were not completed by themselves but could be completed via engagement of the viewer. Nauman’s peer artists who also used their body in their artwork were growing out of subjectivity of modernism and showed increasingly stronger interest in intersubjectivity, which is created from relationships with the viewer, who is also the object. Nauman himself recognized his body as the subject of his artwork as well as the objectified subject that is the object which the viewer sees, and demonstrated a kind of relationship where the boundary between the subject and object becomes blurry. However, the relationship between the subject and object in Nauman’s work is different from the clear patterns of intersubjectivity. The subject and object of his works can be replaced with each other only through the eyes of each other. Therefore, the level of intersubjectivity that influences both is weak. This is attributable to the fact that Nauman emphasized his own will over ...

몸담론의 인식과 방법론

박선경(Park, Sun kyoung) 한국언어문학회 2015 한국언어문학 Vol.95 No.-

This essay try to investigate on a form and construt method of body discourses through research for four writers, they are Eun heekyoung, Cheon yunyoung, Jung eehyun, Back gaheum since 1990's. They have a each methods to going to writing on body discourses. Body discourses have a big features are a new idea, new representation by sensuous language of a bodily sense organ, instead of taking to pieces for an idealogical language, a symbolic code of a established discourse that is control and suppress people. This reseach present a 8 method of constructing body discourses by studies about 4 writer's method Theirs writings make up nature fitures and original figures of human in realities of life. So it enhance the value of human's primarial existence and it makes free that human's natural instinct, it dissolute a establised concepts that human being captured with a ideal, notion, moral. The new prescription of human's being shows a process of metaphysical concepts transfer phisics concepts, a ideal stationariness crash realities of existence. But that is human's being recover a essential realities. From the beginning of Body discourses, Eun heekyoung, Cheon eunyoung start and establish body discourse, they have founded it in Korea literary world. They suggest that the subject is body existence, existential subject. A existent body subject absorbe a object and world with one's six senses, is recorded a sprit, after that time a person have a conception, a dreaming, a injury. A conception for 'a body subject' of a writers compose narrative's base epistemology, also narration method and narrative method. Two authers write detailed abservation body sense and communication with a world and object, illustrate and take to pieces in body. There are only exist 'a body-subject' is communicate by body to body without a value, system, order of the existing discourse. Becoming serious process of bodily discourse, writer have conception in Buddhism's point of view on body, so they are accepted a object, a world with only body sense. From this point, authors started narrative with all sense of body, next after connected a behavier, a consciousness, a notion. The suppress and manage of power orgarnization, control to invidual subject on completely and deeply rooted. Four writeter's interest is expanding politic structure and a ideology that suppress and control in subject's body, because of being overthrown for "a fallus's established system". Body discourses and feminism discourse are based on postmodernism, disconstruct existed discours. Our body discourse started and became serious on Feminine writings. Jung eehyun continue on writing and storytelling about womans's life, experience of daily at actual environment, so she would occupied a position on ecriture feminine. Jung arrange various 'feminity' through various woman's ego and show women is achived a self identifying. In this process, her writing meet body discourses, because woman's life is full with body actives. Baek Gaheum author has constructed on body discourse rarely among man author. His heroes are proletarian on the society economy system and they don't criticize about their environment is excepted them. Heroes are showed body relations, life of body, act of body on real life, therefore expose life's real meannings in author's purpose. There are reapeted materials of violence, murther, death, so we knows that one ego is started and died only with body. This is meaning that body is grounded and established for the self, it is author's cognition about "The body subject". Furthermore a closing observate about isolation and solitude of body relationships, body subject is reprsented in a current situation being taken to pieces. The other side, through hero's relation with woman, proletaria hero exibite phallus force in the presence of a woman, repeatedly practice violence, sexual violence, murther to her. Therefore it is showed that a order Phllocentrism

주거 주체로서의 몸과 근원층으로서의 풍토

한정선(Jung-Sun Han) 한국현상학회 2015 철학과 현상학 연구 Vol.67 No.-

이 글에서 필자의 관심은 ‘거주한다는 것은 (자연적) 풍토에 닻을 내리는 것이다’ ‘풍토에 닻을 내리는 근원적인 주체는 몸이다’라는 필자의 입장을 현상학적으로 해명하면서 참된 거주의 의미를 사유하는 것이다. 이를 위해서 2장에서는 ‘왜 몸이 삶의 공간에 닻을 내리는 주체인가?’를 화두로 삼고, 몸의 지향적 능력, 신체실존적 상황에 대처하는 몸 도식(body schema), 게슈탈트로서 작동하는 몸, 운동⋅지각⋅정서⋅의미⋅상징⋅행위를 산출하는 몸, ‘현상적 몸’을 논의할 것이다. 몸은 정신 이전에 이미 세계로 나아가 세계를 열고 세계에 의해 열리고, 삶의 공간을 육화시키고, 운동⋅지각⋅정서⋅의미⋅상징⋅행위를 산출한다. 이런 의미에서 몸은 거주 주체(층)이다. 3장에서는 풍토의 개념을 정리하고, 풍토를 체험하는 몸을 기술함으로써, ‘몸이 어떻게 풍토에 닻을 내리는가?’를 해명할 것이다. 4부에서는 참된 거주의 의미를 ‘거주한다는 것은 몸과 건축물을 매개로 풍토에 닻을 내리는 것이다’라는 맥락에서, 거주의 의미를 생명적⋅풍토적⋅신체실존적 가치를 중심으로 논의할 것이다. 건축의 생명은 건축물을 매개로 우리의 몸이 풍토에 닻을 내리고, 생명적⋅풍토적⋅신체실존적 가치를 누릴 수 있게 해주는 것이다. 이런 가치들을 잘 매개하고 있는 건축물은 그 스스로도 풍토에 닻을 내리고 풍요롭게 산다. 건축가는 거주자로 하여금 참된 건축물을 매개로 풍토에 닻을 내리고, 풍토와 온 생명을 살리고 사랑할 수 있게 해주는 자이다. 인간과 온 생명의 삶의 터전을, 땅의 면적이나 도시구획 등등의 편협한 물리적⋅경제적⋅도구적 공간 개념으로만 접근하지 말고, 변화하는 지구환경⋅날씨⋅기후⋅땅⋅풍경을 포괄하는 역동적인 생명적⋅풍토적⋅신체실존적 지평에서 이해하는 감수성이 건축가⋅행정가⋅거주자 모두에게 요청된다. 필자는 인간중심적인 휴머니즘 건축에서 한 걸음 더 나아가서, 거주자의 생명력, 도시의 생명력, 지구환경의 생명력을 함께 고민하고, 온 생명을 사랑하는 건축과 주거문화를 창출해야 한다는 결론에 도달할 것이다. My thesis in this paper is to think phenomenologically the meaning of dwelling and discuss that ‘Dwelling anchors in climate’ and ‘The subject anchored in climate is body-subject’. In Chapter 2, I discuss the statement ‘Body is the subject anchored in the life space’, while examining the ability of functional intentionality in body, e.g. body dealing with the existential situation, body schema, body working as Gestalt, phenomenal body, and body bringing out motion, perception, emotion, meaning, symbol, and behavior. Body, before we address soul, goes out to the world, opens itself to the world, incarnates life space, and brings out motion, perception, emotion, meaning, symbol, and behavior. In this sense, body is the subject of dwelling. In Chapter 3, I discuss ‘climate’. I address the question ‘How does body anchor in climate?’ and describe the body experiencing climate. In Chapter 4, I discuss the meaning of dwelling with reference to biotic, climatic, and existential values. I argue the meaning of dwelling in the sense that dwelling is to anchor in climate through body-subject and architecture. Architecture serves us in our anchoring in climate und enables us to be enriched by biotic, climatic, and existential values. Architecture that imbibes these values is truly anchoring in climate. Architects serve people to anchor in climate and love all living creatures around. After all, a kind of sensitivity that respects earthly environments such as landscape, earth, weather, and climate is required for architects, furthermore for officials and managers—for all dwellers.

‘되기’의 과정으로서 몸 : 들뢰즈와 브라이도티의 ‘되기이론’을 중심으로

윤서정 ( Seojungyoon ) 이화여자대학교 도예연구소 2020 陶藝硏究 Vol.- No.29

본 연구는 고정된 사회적 기준에 따라 몸을 정의하는 관점에서 벗어나 다층적 차이를 통해 이해되는 몸을 토대로 주체성을 찾아가는 과정이다. 사회화를 거치면서 여러 문화적 코드들이 새겨지는 몸을 통해 우리는 보편적 규범을 따르는 존재가 된다. 여전히 우리는 제도에서 벗어나는 것에 두려움을 느끼고 안정된 삶을 추구한다. 그러면서 당연한 이치라고 생각하는 것들이 누구에게는 배타적으로 작용할 수 있다는 사실에 무감각해진다. 이에 따라 연구자는 하나로만 통합되지 않는 정체성의 다양한 측면을 담아낼 수 있 는 몸에 대한 연구를 실행하고, 예술로 구현될 수 있는 몸의 가능성을 고찰하고자 하였다. 이와 같은 연구 목적에 따라 본문에서는 우선 주체를 유일한 특권으로 간주하게 한 이분법적 사고를 극복하고 몸을 재해석한 후기구조주의 철학자들의 이론을 논하였다. 몸을 고정된 존재 상태가 아닌 변화하는 욕망과 배치에 따라 달라질 수 있는 것으로 해석한 들뢰즈의 이론을 고찰함으로써 예술적 실천 방법을 사유하였다. 그리고 타성에 젖은 정체성을 탈피하고 새로운 배치 안에서 신체를 탈바꿈하는 방식인 ‘되기’ 개념을 통해 차이 생성으로서의 몸에 대한 연구를 심화하고자 하였다. 나아가 연구자는 여성주의 철학자 로지 브라이도티의 관점을 따라 여성-되기의 논점을 재고하고 성차화된 몸이 견고한 이항논리를 전복시킬 수 있음을 밝히고자 하였다. 그녀의 이론은 생물학적, 사회적, 언어적인 것들의 교차 지점인 몸이 성차 자체를 본질주의로 환원시키지 않으며, 성차화된 주체를 규정하는 경계가 유동적임을 반증해준다. 따라서 욕망(섹슈얼리티), 삶의 방식, 문화적 요소가 다층적으로 체현되는 몸이 곧 되기에 열려있는 존재임을 이해하고자 하였다. 본고를 통해 연구자는 신체의 감각을 신뢰할 수 없는 불확실한 감각이 아니라, 다른 존재들에 닿아있음을 알려주고 신체의 에너지를 강화시키는 소중한 자산으로 바라보게 되었다. 이에 따라 연구자는 앞으로의 삶에 있어 그 에너지의 흐름들을 지속시키는 존재들로 거듭나길 희망한다. The purpose of this study is to discuss the process through diverse values seek their subjectivity based on the entangled body, departing from the conventional definition of the body. Through socialization, we would follow the universal norms through the body where various cultural codes are inscribed. We prefer a stable life due to the fear of departing from the norm We also would become insensitive to the fact that what is deemed natural would act as an exclusive standard for others. Hence) the researchers attempted to research on the body that can capture various aspects of identity that are not integrated into one, and to consider the possibility of the body that can be implemented as an art. For this purpose, I reviewed the theories of post-structuralist theories which overcame the dualism that made the subject to be privileged and reinterpreted the body. I figured out the practical method of art by considering Gille Deleuzes theory, which interpreted the body as something that could vary according to changing desires and arrangements, rather than a fixed presence. And through the concept of‘becoming’, which is a way to be depart from the routine identity to transform his self-ego, I wanted to deepen the study of the body which could generate differences. Furthermore; I discussed the view of feminist philosopher Rosi Braidotti to reconsider becoming-woman and reveal that a sexed-body can subvert solid binomial logic. Her theory supposes that the body which is the intersection of biological, social and linguistic things does not reduce the sex difference to essentialism, and it supposes that the boundary between sexes would be fluid. I wanted to understand that a body with a multi-layered body of desire (sexuality), lifestyle would be diversified. Through this paper, I was able to see the body not as an uncertain and faithless sense but as a valuable asset informing us of other things contacting it and reinforcing energy from the bodies. Thus I wish to be reborn into a being continuing the flow of energy.

몸적 주체: 인지과학의 체현주의를 화이트헤드적 입장에서 해석하기

박일준 한국화이트헤드학회 2012 화이트헤드 연구 Vol.0 No.24

This article is to interpret the theories of embodiment in a field of cognitive science in terms of the Whiteheadian ontology of event. For gaining some insights from the multiple disciplines like cognitive science and the whiteheadina philosophy of organism, this reflects upon a possibility for the subjectivity of the body, paying special attention to it. The subject of the body is not a common term in Whitehead and cognitive science. For Whitehead, the subject is none other than a decision for satisfaction as the final aim of the concrescence, and it becomes the superject in a form of objective immortality. All these processes are carried out on actual entity, not on a society like the body. Thus, any thematization of the subjectivity of the body is equal to doing violence against Whitehead’s philosophy and appropriating his texts. Nonetheless, Whitehead deeply acknowledges that life is always robbery. In this sense, this paper commits robbery in order to carry out its own interpretation of the texts by Whitehead. The field of cognitive science does not also take the subject of the body as its research project, although it thematizes embodiment. Rather, there is a tendency to interpret embodiment as a non-subjective process in terms of concepts like ‘cognitive unconscious.’ Our search for a possibility of the discourse of the subject in the research of cognitive science is not to recover the Cartesian subject of consciousness, but rather to pay the status of the subject back to the subaltern that is suppressed and excluded by the conscious subject. Isn’t the very role of the human subject in our age that of the spokesperson for the subaltern? This paper is an attempt to speak as its spokesperson for the subjectivity of the body, which cannot help but having been designated as the subaltern by the conscious subject under the discoursive power since the modern times. It also hopes someday when it will seek for a possibility of the human subject in an age of trans-humanism under the ecological crisis of our civilization. 본고는 인지과학의 체현주의(embodiment) 이론들을 화이트헤드의 사건적 존재론의 관점에서 해석해 보고자 한다. 그러한 인지과학과 화이트헤드의 철학 간의 접목을 위해 본고는 특별히 ‘몸’에 주목하면서, ‘몸의 주체성’이라는 가능성에 대하여 성찰할 것이다. 몸의 주체성은 사실 화이트헤드나 인지과학에서 명시적으로 언급되는 말은 아니다. 화이트헤드에게 주체란 합생의 최종목적인 만족을 향한 결정과 결단 과정으로서 정초되어있고, 모든 주체는 ‘객관적 불멸’의 형식으로 ‘초월체’(superject)가 된다. 그리고 이 모든 과정은 현실적 존재의 수준에서 이루어지는 것이지 결코 몸과 같은 사회의 차원에서 이루어지는 것은 아니었다. 따라서 화이트헤드의 철학에서 ‘몸의 주체성’을 주제화한다는 것은 화이트헤드 철학에 일정한 폭력을 휘둘러 그의 텍스트들을 전용하는 것을 의미한다. 그럼에도 불구하고, 화이트헤드는 삶 혹은 생명은 언제나 강도짓(robbery)이라는 사실을 인정했다. 따라서 본고는 우선 화이트헤드의 본문들에 본인의 해석을 관철시키기 위한 강도짓을 감행한다. 아울러 인지과학 분야에서 ‘체현’(embodiment)이 주제화되고 있기는 하지만, 그것이 주체로 해석되지는 않는다. 오히려 “인지적 무의식”같은 개념들을 통해 비주체화 과정으로 해석되는 경향이 더 많다. 그럼에도 불구하고 인지과학의 발견들을 통해 주체 담론의 가능성을 모색한다는 것은 데카르트의 의식 주체를 복구하려는 것이 아니라, 그 의식 주체로부터 억압되고 배제되었던 하위주체(the subaltern)에게 주체의 지위를 회복시키기 위함이다. 우리 시대 인간주체의 진정한 역할은 바로 그러한 하위주체들을 위한 “대변인”(the spokesperson)의 역할이라고 하지 않던가? 본고는 특별히 근대 이래의 담론에서 의식 주체에게 ‘하위주체’가 될 수밖에 없었던 ‘몸’의 주체성을 대변하고자 하는 시도이다. 이를 통해 추후 트랜스휴머니즘 시대의 생태문명적 위기 속에서 인간 주체의 가능성을 탐구할 발걸음을 모색해 보고자 한다.

몸적 주체: 인지과학의 체현주의를 화이트헤드적 입장에서 해석하기

박일준 ( Ii Joon Park ) 한국화이트헤드학회 2012 화이트헤드 연구 Vol.24 No.-

본고는 인지과학의 체현주의(embodiment) 이론들을 화이트헤드의 사건적 존재론의 관점에서 해석해 보고자 한다. 그러한 인지과학과 화이트헤드의 철학 간의 접목을 위해 본고는 특별히 ``몸``에 주목하면서, ``몸의 주체성``이라는 가능성에 대하여 성찰할 것이다. 몸의 주체성은 사실 화이트헤드나 인지과학에서 명시적으로 언급되는 말은 아니다. 화이트헤드에게 주체란 합생의 최종 목적인 만족을 향한 결정과 결단 과정으로서 정초되어있고, 모든 주체는 ``객관적 불멸``의 형식으로 ``초월체``(superject)가 된다. 그리고 이 모든 과정은 현실적 존재의 수준에서 이루어지는 것이지 결코 몸과 같은 사회의 차원에서 이루어지는 것은 아니었다. 따라서 화이트헤드의 철학에서 ``몸의 주체성``을 주제화한다는 것은 화이트헤드 철학에 일정한 폭력을 휘둘러 그의 텍스트들을 전용하는 것을 의미한다. 그럼에도 불구하고, 화이트헤드는 삶 혹은 생명은 언제나 강도짓(robbery)이라는 사실을 인정했다. 따라서 본고는 우선 화이 트헤드의 본문들에 본인의 해석을 관철시키기 위한 강도짓을 감행한다. 아울러 인지과학 분야에서 ``체현``(embodiment)이 주제화되고 있기는 하지만, 그것이 주체로 해석되지는 않는다. 오히려 "인지적 무의식" 같은 개념들을 통해 비주체화 과정으로 해석되는 경향이 더 많다. 그럼에도 불구하고 인지과학의 발견들을 통해 주체 담론의 가능성을 모색한다는 것은 데카르트의 의식 주체를 복구하려는 것이 아니라, 그 의식 주체로부터 억압되고 배제되었던 하위주체(the subaltern)에게 주체의 지위를 회복시키기 위함이다. 우리시대 인간주체의 진정한 역할은 바로 그러한 하위주체들을 위한 "대변인"(the spokesperson)의 역할이라고 하지 않던가? 본고는 특별히 근대 이래의 담론에서 의식 주체에게 ``하위주체``가 될 수밖에 없었던 ``몸``의 주체성을 대변하고자 하는 시도이다. 이를 통해 추후 트랜스휴머니즘 시대의 생태문명적 위기 속에서 인간 주체의 가능성을 탐구할 발걸음을 모색해 보고자 한다. This article is to interpret the theories of embodiment in a field of cognitive science in terms of the Whiteheadian ontology of event. For gaining some insights from the multiple disciplines like cognitive science and the whiteheadina philosophy of organism, this reflects upon a possibility for the subjectivity of the body, paying special attention to it. The subject of the body is not a common term in Whitehead and cognitive science. For Whitehead, the subject is none other than a decision for satisfaction as the final aim of the concrescence, and it becomes the superject in a form of objective immortality. All these processes are carried out on actual entity, not on a society like the body. Thus, any thematization of the subjectivity of the body is equal to doing violence against Whitehead`s philosophy and appropriating his texts. Nonetheless, Whitehead deeply acknowledges that life is always robbery. In this sense, this paper commits robbery in order to carry out its own interpretation of the texts by Whitehead. The field of cognitive science does not also take the subject of the body as its research project, although it thematizes embodiment. Rather, there is a tendency to interpret embodiment as a non-subjective process in terms of concepts like ``cognitive unconscious.`` Our search for a possibility of the discourse of the subject in the research of cognitive science is not to recover the Cartesian subject of consciousness, but rather to pay the status of the subject back to the subaltern that is suppressed and excluded by the conscious subject, Isn`t the very role of the human subject in our age that of the spokesperson for the subaltern? This paper is an attempt to speak as its spokesperson for the subjectivity of the body, which cannot help but having been designated as the subaltern by the conscious subject under the discoursive power since the modern times. It also hopes someday when it will seek for a possibility of the human subject in an age of trans-humanism under the ecological crisis of our civilization.

從主體論的角度看中國當代文學中的身體敍事 - 一個批判性的思路

王曉華(Wang Xiao-hua) 대한중국학회 2008 중국학 Vol.30 No.-

  The present paper is intended to analyse the body-narratives in the contemporary Chinese literature under the viewpoint of subjectivist-body-esthetics. The basic ideas of subjectivist-body-esthetics are: man is body, body is subject, aesthetic activities is the praxis of the body-subject. From the viewpoint of subjectivist-body-esthetics, the main weakness of body narratives in the contemporary Chinese literature is that it merely presents the objectivity of body. In 1949-1976"s, the grand revolutionary narratives defines the body as the tools which must servers for the ultimate goal of communism project. After 1976, the reforming and opening-up policy makes a Comparatively free atmosphere in which writers are allowed to show the beauty and desires of body. Some writers, such as Chang Xian Kiang, began to regard the body as the self-decisive subject. But the body narratives after 1990"s does not develop this clues. From 1990"s, Chinese body narratives differentiates itself into two trends: (1)highlights the spiritual subjectivity, insists that the body is only the impermanent house of the soul-subject; (2)reduces the body to the corporal being without head, displays the desire of the body unilaterally. Both of them deny the subjectivity of body and does"t reveal the status ,meaning, dignity of body-subject. So, the authentic subjectivist-body- narratives is still unborn in China.