“My name is Arthur Gordon Pym”

Jang.Sungjin 중앙대학교 영미언어와문화연구소 2011 영미언어와문화 Vol.2 No.1

Focusing on Pym’s dream-like experience in Edgar Allen Poe’s The Narrative of Arthur Gordon Pym Nantucket (Pym), several scholars have posited that the story is about the search for unity. However, instead of simply reading the tale as the search for unity by way of Pym’s death, it is also possible to interpret the story as the fragmented, split, and penetrated subject’s longing to return to the unified subject: “$ to S.” Lacan believes that the fragmented subject ($) appears in the world when the subject is separated from the Mother (S). For this, Lacan, following Freud’s argument, suggests that the subject’s separation from the Mother results in the birth of language. He believes that the subject is created only in the network of signifiers; however, a newly created subject disappears when one signifier is substituted for another. In other words, one subject enters the world and, at the same time, it disappears by another “signifier.” Thus, I, based on Lacan’s argument, want to suggest that Pym reveals not only the fragmented subject’s yearning for the reunion with the Mother, but also the subject’s failure to reunite with the Mother. No matter how the fragmented subject tries to reach the Mother, the fragmented subject cannot be reunited with the unified subject. Yet it would be unwise to merely say that Pym’s failure to reunite with the Mother denotes the fragmented subject’s failure to be the unified subject. Rather, I will suggest that the failure of Pym as the fragmented subject-the subject’s separation from the Mother-in fact signifies the fragmented subject’s entrance into the Symbolic represented as language. Pym’s story begins with the fragmented subject and also ends with the same fragmented subject, not with the unified subject. As Pym embarks on his first journey by taking a ship, he also finishes his journey in a boat. The ships the Ariel, the Grampus, the Jane Guy, and the ship, which rescues Pym at the end of the story are also signifiers themselves. Whenever Pym gets on those ships to continue his journey toward the Mother, he is simply on signifiers consisting of the chain of signifiers. As the signifiers are floating away on the sea of indeterminacy, the ships are always replaced by other ships and slide away without the fixed quilting point. As long as Pym continues on his journey, he is always replaced by another and deceived, and his ship is also replaced by another ship. Pym never returns to the Mother. To some degree, Pym’s survival from the near-death experience seems to emphasize Pym’s failure to be reunited with the Mother. Nevertheless, Pym’s failure should be understood as the fragmented subject’s entrance into the Symbolic represented as language. For Lacan, the reality of human beings consists of three interwoven levels: the Imaginary (pre-verbal register), the Symbolic (linguistic dimension, or, more correctly, the chain of signifiers), and the Real (beyond language, or the reality that the subject must assume but, at the same time, can never know). After returning to his home, Pym-under the condition that Mr. Poe writes the early portion of his adventures and, in turn, Pym, without revealing his true identity, takes over the rest-agrees to write a story about his adventures. Pym is the narrator of this tale, but, at the same time, Pym is not the real narrator. This double-meaning reinforces the concept of méconnaissance, the child’s misrecognition of the reflected image as his self; therefore, Pym’s use of a pseudonym connotes his entrance into the Symbolic. In this regard, Poe’s Pym shows not only the fragmented subject’s desire for the Mother but also the fragmented subject’s entrance into the Symbolic.

학교교과로서 바른 생활의 성격 고찰: 통합교과로서 바른 생활과 분과교과로서 바른 생활에 대한 해명

김현규 한국통합교육과정학회 2019 통합교육과정연구 Vol.13 No.1

본 연구에서는 바른 생활 교과가 등장한 이후 바른 생활을 도덕과 관련지어 논의하면서 드러난 쟁점을 기반으로 학교교과로서 바른 생활이 통합교과이기도 하며, 분과교과이기도 하다는 교과의 성격을 해명하였다. 먼저, 도덕 교과 교육 연구 분야에서 제기하는 문제의 핵심은 바른 생활이 통합의 원천으로 도덕 교과 하나를 가지고 있는데, 왜 통합교과라고 하는지가 주요 쟁점이었다. 이 질문에 대해, 본 연구에서는 첫째, 교과의 내용 조직 방식 측면에서 학교교과의 통합적 특성이 있다는 점, 둘째, 교과의 내용 선정 측면에서 학교교과의 분과적 특성이 있다는 점을 논의하였다. 이에 도덕이나 바른 생활이 모두 학교교과로서 동일한 역할을 하고 있음을 해명하였다. 이 결과를 기초로, 바른 생활과 도덕은 둘 다 여타의 교과들처럼 학교교육과정을 구성하는 하나의 교과이지만, 교과의 생성적 특징에 의해 교과로서 다른 교과들과 입장 차이가 있다는 점을 드러냈다. 그리고 바른 생활의 학교교과로서의 특징이 학교교과의 생성적 관점에 기여할 수 있음을 논의하였다. The purpose of this study is to clarify the characters of the Disciplined Life as a school subject that is an integrated subject and fragmented subject based on issues related to the Moral Education. First of all, the problem raised in the field of the Moral Education research is that the Disciplined Life is not a integrated subject because it has only one subject matter as a material for integration. In this regard, first, I address the integrative characters of the school subject in terms of organizing the contents of the subject matter, and second, I address the fragmental characters of the school subject in terms of selecting the contents of the subject matter. As a result, I explain that the Moral Education and the Disciplined Life are all doing the same thing as a school subject. Based on this result, both the Disciplined Life and the Moral Education are a form of the school curriculum like other subjects, but it shows that there are differences from other subjects by the unique characters of the curriculum making process. And I discuss that the characters of the Disciplined Life as a school subject could contribute to the creative perspective of the school subjects.

이상 시『烏瞰圖』에 나타난 언술 주체의 분열 양태

문흥술(Moon Heungsul) 한국현대문학회 2012 한국현대문학연구 Vol.0 No.37

이상 문학에서 한글시 『烏瞰圖』 15편은 그 내용에 따라 크게 세 계열로 나눌 수 있다. 첫 번째는 언술주체와 언술체계의 분열과 관련하여 일본어와 한글의 이중 언어가 갖는 차이점과 밀접한 관련이 있는 작품, 두 번째는 한글 언술 영역에서 언술주체의 욕망의 좌절과 내면 상태를 보여주는 작품, 세 번째는 한글언술 영역으로 담지되는 지식 세계에 대해 소모적인 비판을 가하는 작품이 그것이다. 이 글은 두 번째 계열에 해당하는 작품을 대상으로 언술주체의 분열양태를 고찰하였다. 「詩第八號 解剖」의 언술주체는 '태양광선'으로 표상되는 근대적 지식에 의해 '거울'의 수술 행위, 곧 상대적 지식에 대한 욕망을 표출하는 행위가 실패할 것임을 미리 예감하고 있다. 거울의 수술 실패로 인한 상대적 지식에 대한 욕망 좌절은 「詩第十五號」에서 거울 속의 '나'와 거울 밖의 '나'의 분열로 구체화된다. 이러한 분열은 주체의 동일화 이론에 따를 때, 상상계의 거울 단계에서의 분열에 해당한다. 곧 「詩第十五號」의 언술주체가 거울에 비친 영상이라는 '이자적 관계'에서 그 영상을 자신의 것으로 받아들이지 못하고 분열을 인식하는 것은 바로 거울 단계에서 자기동일화에 실패한 때문이다. 「詩第十號 나비」도 거울단계에서의 주체의 동일화 실패를 다루고 있다. 거울상의 단계에서 주체의 동일화 확보에 실패한 언술주체는 '조각난 몸의 고뇌'를 극복하지 못한 채 자해 행위 내지 마조히즘적 공격성을 표출한다. 이와관련있는 작품이 「詩第十一號」와 「詩第十三號」이다. 그리고 「詩第七號」, 「詩第九號 銃口」, 「詩第十四號」는 '조각난 몸의 고뇌'를 극복하지 못한 언술주체의 좌절된 욕망과 그로 인한 내면 상태를 보여주고 있다. 「詩第七號」에서 보듯, 언술주체는 '구원적거의 지'와 같은 근대적 지식이 지배하는 한글 언술 영역에서 욕망의 좌절을 겪는다. 그러나 언술주체는 실현 불가능한 그 욕망을 계속 추구함으로써 점차 형해화되어 간다. 『烏瞰圖』 이후 이상 문학의 언술주체는 한글소설 영역으로 진입하면서, '어린아이 해골'(「童骸」) →'形骸'(「失花」) → '홍안미소년의 노옹화'(「終生記」)로 더욱 형해화되어 간다. OGAMDO can be divided into three affiliation, depending on its context. The first affiliation shows the meaning on the dual structure of Korean language and Japanese language. The second affiliation shows that the desire of the subject of énoncé is frustrated in Korean énoncé. The third affiliation shows wasteful criticism on the field carried by Korean énoncé. This manuscript has paid attention to the fragment of subject of énoncé that appears in the second affiliation. The subject of énoncé in SIJEPALHO is foiled in the desire for the relative knowledge. And the subject of énoncé in SIJESIBOHO is divided into the self in the mirror and the self out the mirror. Applying the theories of 'identity of subject', this fragment of the subject of énoncé equates to the fragmentation of the stage of mirror in l'imaginaire. SIJESIBHO deals with the failure in 'identity of subject' in the stage of mirror. The subject of énoncé who is foiled in 'identity of subject' can't get over 'l'angoisse du corps morcele´' and shows aggression such as self-injury. SIJESIBILHO and SIJESIBSAMHO exemplifies this aspect. SIJECHILHO, SIJEGUHO, SIJESIBHO exemplifies the inner side of the subject of énoncé who the desire for the relative knowledge is frustrated.

이상 시 『烏瞰圖』에 나타난 언술 주체의 분열 양태

문흥술 한국현대문학회 2012 한국현대문학연구 Vol.0 No.36

OGAMDO can be divided into three affiliation, depending on its context. The first affiliation shows the meaning on the dual structure of Korean language and Japanese language. The second affiliation shows that the desire of the subject of énoncé is frustrated in Korean énoncé. The third affiliation shows wasteful criticism on the field carried by Korean énoncé. This manuscript has paid attention to the fragment of subject of énoncé that appears in the second affiliation. The subject of énoncé in SIJEPALHO is foiled in the desire for the relative knowledge. And the subject of énoncé in SIJESIBOHO is divided into the self in the mirror and the self out the mirror. Applying the theories of ‘identity of subject’, this fragment of the subject of énoncé equates to the fragmentation of the stage of mirror in l'imaginaire. SIJESIBHO deals with the failure in ‘identity of subject’ in the stage of mirror. The subject of énoncé who is foiled in ‘identity of subject’ can't get over ‘l'angoisse du corps morcele´’ and shows aggression such as self-injury. SIJESIBILHO and SIJESIBSAMHO exemplifies this aspect. SIJECHILHO, SIJEGUHO, SIJESIBHO exemplifies the inner side of the subject of énoncé who the desire for the relative knowledge is frustrated. 이상 문학에서 한글시 『烏瞰圖』 15편은 그 내용에 따라 크게 세 계열로 나눌수 있다. 첫 번째는 언술주체와 언술체계의 분열과 관련하여 일본어와 한글의이중 언어가 갖는 차이점과 밀접한 관련이 있는 작품, 두 번째는 한글 언술 영역에서 언술주체의 욕망의 좌절과 내면 상태를 보여주는 작품, 세 번째는 한글언술 영역으로 담지되는 지식 세계에 대해 소모적인 비판을 가하는 작품이 그것이다. 이 글은 두 번째 계열에 해당하는 작품을 대상으로 언술주체의 분열양태를 고찰하였다. 「詩第八號 解剖」의 언술주체는 ‘태양광선’으로 표상되는 근대적 지식에 의해‘거울’의 수술 행위, 곧 상대적 지식에 대한 욕망을 표출하는 행위가 실패할것임을 미리 예감하고 있다. 거울의 수술 실패로 인한 상대적 지식에 대한 욕망좌절은 「詩第十五號」에서 거울 속의 ‘나’와 거울 밖의 ‘나’의 분열로 구체화된다. 이러한 분열은 주체의 동일화 이론에 따를 때, 상상계의 거울 단계에서의 분열에 해당한다. 곧 「詩第十五號」의 언술주체가 거울에 비친 영상이라는 ‘이자적 관계’에서 그 영상을 자신의 것으로 받아들이지 못하고 분열을 인식하는 것은 바로 거울 단계에서 자기동일화에 실패한 때문이다. 「詩第十號 나비」도 거울단계에서의 주체의 동일화 실패를 다루고 있다. 거울상의 단계에서 주체의 동일화 확보에 실패한 언술주체는 ‘조각난 몸의고뇌’를 극복하지 못한 채 자해 행위 내지 마조히즘적 공격성을 표출한다. 이와관련있는 작품이 「詩第十一號」와 「詩第十三號」이다. 그리고 「詩第七號」, 「詩第九號 銃口」, 「詩第十四號」는 ‘조각난 몸의 고뇌’를 극복하지 못한 언술주체의좌절된 욕망과 그로 인한 내면 상태를 보여주고 있다. 「詩第七號」에서 보듯,언술주체는 ‘구원적거의 지’와 같은 근대적 지식이 지배하는 한글 언술 영역에서 욕망의 좌절을 겪는다. 그러나 언술주체는 실현 불가능한 그 욕망을 계속추구함으로써 점차 형해화되어 간다. 『鳥瞰圖』 이후 이상 문학의 언술주체는 한글소설 영역으로 진입하면서, ‘어린아이 해골’(「童骸」) →‘形骸’(「失花」) → ‘홍안미소년의 노옹화’(「終生記」)로더욱 형해화되어 간다.

關於省略與殘缺的兩種交叉說法的審視

Peng Lanyu 계명대학교 국제학연구소 2013 국제학논총 Vol.19 No.-

In the areas of language application and interpretation, there are many kinds of views about the ellipsis and fragment of subject. For example, in the “Dang” construction(namely the sentence with the preposition “Dang”) and “NP1 de NP2…, (NP1)…” like attributive sentence, the same sentences come to different conclusions. This is what we expect for, thus we cannot explain these language phenomenon using the conventional abbreviation method nor constrained by syntactic way. This research paper adopts many such methods as analogy, relevant transformation, addition and balance among quantities to explain the fragment theory of “Dang” construction unreasonable, while uses theories about topic scope of discourse statement chain and the relationship between the follow-up sentence and topics to account for the attributives conversion from topic to subject.

파편화된 시간

김희성 한국T.S.엘리엇학회 2007 T.S. 엘리엇 연구 Vol.17 No.1

This paper examines Eliot’s concept of time in his early poetry which includes Prufrock and Other Observations(1917), Poems 1920 and The Waste Land(1922). Eliot denies the sequential time which is independent of the subject’s experiences. The mechanical and linear time contorts the subject’s inconsistent experiences and impressions, each of which is limited by infinitely divisible time. Instead, Eliot shows that diverse moments are apprehended spatially, locked in a timeless unity that eliminates any feeling of sequence by the act of juxtaposition. Furthermore, he resists the oppressive concept of history and envisions the mythical time by the composition of diverse moments. This innovative concept of time serves as a means to negate the “I” which progresses causally in the objective and historical time.

분열과 통합의 역설로 본 『황무지』

이문재 한국T.S.엘리엇학회 2007 T.S. 엘리엇 연구 Vol.17 No.1

The Waste Land represents the aesthetics of extreme fragmentation. At the same time, the poem conveys an experience of unified feelings or emotions to the reader. The juxtaposition of fragmented images, the frequent use of allusions including even non-literary texts, and the introduction of multiple points of view, contribute to the rendering of the apparently chaotic world, which in turn paradoxically proves to be a unified poetic experience. It is noteworthy that this paradoxical situation in The Waste Land results from Eliot’s characteristic poetic theories: “impersonal theory” and “unification of sensibility.” The “impersonal theory” of avoidance of the poet’s personal voice in a poem must assume contradictory aspects, considering that a poetic work originally begins at the poet’s personal feelings or emotions. The uniqueness in Eliotic poetic world comes from this paradoxical poetics: the objectification of subjective material, even though Eliot does not aim for the absolute objectivity shown in the science. On the other hand, Eliot’s theory of “unification of sensibility,” which strongly suggests a monistic epistemological attitude reflected in Bradley’s “immediate experience,” gives the poet an idea of the oneness of the subject and the object, because the “immediate experience” means a state in which the subject and the object are not yet divided from each other. The presence of different voices in The Waste Land makes it impossible to identify a dominant voice in the text, contributing to the presentation of a unified poetic experience. Two or three voices can divide a poetic world, but such diverse voices as those in The Waste Land paradoxically make a unified experience, since they make the boundaries between each described experience lower. In a word, Eliot’s technical or aesthetic use of multiple voices can be said to result in the poem’ unified experience.

Left Branch Extraction in Fragment and Truncated Cleft Constructions of Korean

박명관 한국생성문법학회 2012 생성문법연구 Vol.22 No.1

This paper investigates into fragment and truncated cleft (or subjectless copular verb clause) constructions in Korean by employing the alleged diagnostics of left branch extraction (LBE). We argue that LBE in these two constructions provide compelling evidence that the fragment expression in the former is derived from Move and Delete, but the fragment-like expression in the latter is simply a base-generated predicate that takes the covert subject pro as its subject. To support this argument, we also used other syntactic tests such as tense realization,predication, and the structural restriction on fragmenting/stripping.

Left Branch Extraction in Fragment and Truncated Cleft Constructions of Korean

Myung-Kwan Park 한국생성문법학회 2012 생성문법연구 Vol.22 No.1

This paper investigates into fragment and truncated cleft (or subjectless copular verb clause) constructions in Korean by employing the alleged diagnostics of left branch extraction (LBE). We argue that LBE in these two constructions provide compelling evidence that the fragment expression in the former is derived from Move and Delete, but the fragment-like expression in the latter is simply a base-generated predicate that takes the covert subject pro as its subject. To support this argument, we also used other syntactic tests such as tense realization, predication, and the structural restriction on fragmenting/stripping.

「내가 운전을 배운 방법」에 나타난 탈주의 미학: 파편화와 통합의 대위법

신지숙(Jisook Shin) 한국영미어문학회 2015 영미어문학 Vol.- No.118

This paper examines how Paula Vogel dramatizes a new trauma paradigm in How I Learned to Drive , and suggests that this postmodern memory play demonstrates a new aesthetics of flight in pursuit of whole subjectivity. Li’l Bit’s memory and body have been fragmented since Uncle Peck’s initial molestation. However, she gradually overcomes her sexual trauma and reclaims agency through self-narrating to the audience. Vogel invites her audience to the process of integrating a fragmented self into a whole. Like Hélène Cixous, Vogel’s writing is concerned with fluidity and the process of transformation and transcendence. Li’l Bit subverts a classical survivor-perpetrator dynamic by exercising the control of narrating and reconstructing past memories and finally integrates her past and present selves by forgiving Peck and forgiving herself about complicity in the relationship. Applying Deleuze’s concept of flight to Irigaray’s attention to personal subjectivity can be a creative reading of Vogel’s counterpoint between fragmentation and integration. Vogel’s metaphor of flight means the continual becoming of self and pursuing subjectivity of wholeness and thus opening up a new, transcendent future.