The Rhetoric of the White Body and Narrative Contradiction in Jack London's Russo-Japanese War Correspondence

Kim, Jonggab(김종갑) 한국수사학회 2011 수사학 Vol.0 No.15

자동번역과 언어의 미래: 번역 교육의 (불)필요성

김종갑(Jonggab Kim) 한국영미문학교육학회 2017 영미문학교육 Vol.21 No.3

The recent remarkable development of machine translation raises our expectation that we can communicate without worrying about the language barriers. Such a dream in the past was considered absurd, but now its evolution into the one mounted with neural networks will make it come true soon. Beginning with the question what will happen to local languages if perfected machine translation does away with the language barriers, this paper ends with the conclusion that the present local languages, estimated from 2,500 to 3,500 in number, will be reduced into one, or few, standardized language(s). The death of local languages is caused by their very nature. If language is the vehicle of communication, the fact is the vehicle itself is not communicable. The raison d’ere of machine translation lies in overcoming the materiality of vehicle so that communication becomes transparent. It is needless to say that the ideal of communication is to send message without noise. What does it mean if it is not communication without language medium? Then the fact that now the most common computer language is English has an uttermost significance. The chances are English will become computer language, while losing its materiality.

독일식 선거제도의 한국적 적용방안

김종갑(Jonggab Kim) 동아대학교 독일학연구소 2009 獨逸學硏究 Vol.- No.25

Question of ethical embodiment or disembodiment in Classical Rhetoric

Kim, Jonggab(김종갑) 한국수사학회 2014 수사학 Vol.0 No.20

청중을 상대로 하는 연설에서 로고스 못지않게 중요한 요소가 에토스이다. 화자는 자신의 성격이나 명성, 신망, 권위, 외모 등을 최대한 이용함으로써 설득의 목표를 달성할 수가 있다. 그럼에도 수사학에서 에토스는 로고스와 파토스에 비해서 무시되는 경향이 강했다. 화자는 상황에 따라서 가면을 쓰고 벗듯이 다양한 에토스를 활용할 수 있기 때문에 자칫하면 가식의 수사학으로 폄하되기도 하였다. 이 점에서 아리스토텔레스는 텍스트 내적 에토스와 외적 에토스를 구별하였다. 후자가 화자의 진정한 모습이라면 전자는 연설을 통해서 드러나는 화자의 이미지, 혹은 청중이 그에 대해 갖게 되는 이미지를 뜻한다. 플라톤이 우려했던 것은 텍스트 내적 에토스였다. 화자가 자신의 본래의 모습을 감추고 선한 사람처럼 연기함으로써 청중을 미혹할 수 있기 때문이었다. 이 글에서 논자는 플라톤과 아리스토텔레스가 규정하는 의미에서 에토스를 점검한 다음, 키케로와 퀸틸리아누스가 그러한 에토스의 문제를 어떤 식으로 해결하였는지 살펴보게 될 것이다. 키케로와 퀸틸리아누스의 에토스에 대한 태도는 이중적이다. 그들에게 화자의 훌륭한 에토스는 훌륭한 연설의--충분조건은 아니지만--필요조건이다. 원칙적으로 가식의 수사학은 불가능할 수밖에 없는 것이다. 물론 이것은 희망사항에 지나지 않겠지만, 그러한 주장이 가능했던 이유는 귀족들만이 공적 연설을 하도록 허용되었던 당시의 정치적 상황이 한몫을 차지한다. 더불어서 희랍인들과 달리 로마인들은 에토스가 쉽게 변하는 것이 아니라 일평생 꾸준히 지속되는 성향이라고 생각하였다. 따라서 가식으로서 에토스에 대해 우려할 필요가 없었던 것이다.

비평의 윤리성과 정치성

김종갑(Kim Jonggab) 한국수사학회 2007 수사학 Vol.0 No.7

Hillis Miller was the most outspoken and polemical among the deconstructive critics. Though he started his career as phenomenological critic. he transformed himself into a self-acclaimed propagandist of deconstructive criticism from the moment he experienced the so-called linguistic turn. In order to advocate the cause of deconstruction and spread widely its influence. he provoked powerful critics into fights over critical hegemony by misreading their texts and employing polemical rhetoric attacking their theoretical positions. But once deconstructive criticism assumed hegemony in the realm of literary studies. he made another change of positions. form a polemic writer to an ethical writer. This paper is an attempt to explain the nature of his change of positions. based on the thrust of his Ethics of Reading. According to Miller, a critic can be ethical only insofar as he humbly submits himself to and strictly follows the imperative of language in his act of reading. But such a reading is impossible since we cannot read language as language. and it turns out that every reading, however rigorous it may be. is a misreading. The act of reading, though oriented toward a true reading, produces only a misreading. Then how does the critic become ethical? His misreading becomes ethical the moment he assumes a full responsibility for the result of his misreading as if it were a true reading, From this ethical point of view Miller's misreading, sometime blatant one as in the case of his reading of Abrams' text. can be justified ethically since he embraced. affirmed. and defended his misreading as if it were one legitimate reading. This paper ends with the argument that such a misreading posited as a true reading becomes a cornerstone of institutionalizing deconstructive criticism.

실재를 향한 열정으로서 포르노

김종갑(Jonggab Kim) 한국비평이론학회 2012 비평과이론 Vol.17 No.1

This paper is an attempt to define pornography in terms of decontextualization, which lies at the core of modernity. While sexuality in the premodern society was embedded in the social and cosmic whole, the modern sexuality was disembedded and isolated from such a context. Max Weber and Anthony Giddens defined modernity as an emergence of atomic individuals floating in the boundless ocean of freedom, without being anchored to traditional conventions or obligations. I argue in this paper that such an individualism free from social context gave rise to “the passion for the real,” which is the passion for the real sex in pornography; as sexuality is linked to pornography, modern subjectivity to atomic individuality. It goes without saying that pornography is a sexually explicit representation of the body as an object of desire, but what is in need of further explication is the nature of the sexualized body, for it is not the body as a whole, but the body fragmented into bits and pieces, resembling the status of the modern ego. Such desire for the real raises its head; since the body is represented as partial objects devoid of their bodily context, the real of the body should be restored, and as such the pornographic subject is on a journey looking for and delving into the real essence of sexuality. But such a goal cannot be attained and satisfaction is endlessly deferred. Here lies the dialectic of pornographic desire: the subject interprets the impossibility of the real as the occasion for one to continue further sexual journeys, replacing impossible satisfaction with delayed satisfaction. The pursuit becomes the very goal in a way that the desire for the real turns into a desire for the pornographic desire. Pornographic desire is the desire for unsatisfied sexuality, endlessly unachieved.

표절과 작가의 정체성, 그리고 문학공화국

김종갑(Jonggab Kim) 한국비평이론학회 2016 비평과이론 Vol.21 No.2

필자는 최근에 발생한 신경숙의 표절에 관한 논쟁에 개입하려는 의도로 이 글을 쓰게 되었다. 필자의 주장은 다음과 같이 요약될 수 있다. 표절을 단순히 문학적 절도 행위로 단죄하기 이전에 그것이 작가가 자신의 주체를 형성하기 위해 문학 전통과 갖는 관계, 즉 표절의 의미를 검토해야 한다는 것이다. 표절을 단순히 도덕성의 결여나 상상력의 결핍, 무능력 등으로 폄하하는 것은 지나친 단순화이다. 이것은 특히 콜리지나 라슨처럼 문학적 성취가 이미 증명된 작가의 경우에 더욱 그러하다. 이들은 작가로서 자신의 한계나 결함을 보완하기 위해서 표절에 의지했던 것은 아니다. 이들에게 표절은 자신이 대타자로서의 문학과 관계를 맺도록 만들어 주고 그렇지 않아도 불안한 주체성을 안정화하는 매개로서 의미를 가지고 있다. 콜리지가 문학적 자서전(Biographia Literaria)에서 언급했던 정신적 위기로서 “기운이 없는 힘”과 흑인이지만 백인처럼 살아야 했던 경험을 서술한 라슨의 패싱(Passing)에는 그와 같이 작가가 문학적으로 자신의 주체를 형성하는 과정이 잘 나타나있다. 한편에 소타자로서 개별적 문학 작품이 있다면, 다른 한편에는 대타자로서 문학이 있다. 콜리지와 라슨에게 표절은 작가가 대타자인 문학과 관계를 맺는 방식의 하나였다. 개별 작품의 관점에 서서 표절 여부를 판단하는, 즉 저작권이나 독창성, 근대적 작가론의 관점에 입각해서만 표절 여부를 판단하는 것은 태도가 잘못되었다는 것은 아니다. 다만 표절에 대한 논의가 작가와 개별 작품의 관계가 아니라 작가와 대타자인 문학의 관계라는 관점으로 확대될 필요가 있다는 것이다. What is plagiarism? The literary world of Korea in the last half of 2015 was abuzz with discussion about Sin Gyeong-suk's plagiarism. For she was one of the most exceptional writers who won both popular and critical acclaim, such an exposure of her plagiary was a big shock. But amid harsh accusations of her literary stealth, the question concerning the nature of her plagiarism was not seriously asked. It was T.S. Eliot who declared that the distinction between plagiarism and creation is impossible: "Immature poets imitate; mature poets steal. Bad poets deface what they take." The difficulty of drawing such a differentiation more increases if we consider the post-modern theories of textuality, authorship, hybridity, and so on. From such a post-modern perspective repudiating the notion of origin, I will suggest that plagiarism in the cases of Samuel Coleridge and Nella Larsen was the last resort for them to form their subjectivity in conjunction with literary tradition. Larsen, who had never been recognized by her white biological mother as daughter, found a substitute mother in the figure of Keye-Smith and sought to gain recognition by writing over her work. She entered into a kind of renewed mother daughter relationship through plagiarism Coleridge’s case presents the (un)conscious mechanism of plagiarism. For him, literature, not writer, is the real author of literature, for it unfolds itself through the medium of the writer. If the writer copies the text of literature’s self-revelation, the divorce of creation from plagiarism is not sustainable. It means that Larsen and Coleridge may not be accused of moral failure or of intellectual incompetence. We have to take precaution in order to prevent a prematurely stigmatizing a writer on the ground of plagiarism. Sometimes, though not always, the so-called plagiarism should be understood in terms of a writer’s unconscious way of self-formation as an author, which can be realized only by earning a membership in the republic of literature.

근대인의 전근대적 몸 - 드라큘라의 죽지 않는 몸

김종갑(Jonggab Kim) 19세기영어권문학회 2009 19세기 영어권 문학 Vol.13 No.1

This is an attempt to read Bram Stoker's Dracula in terms of the two bodies, “baby brain” and “adult brain.” These are the diametrically opposing terms empolyed by Van Helsing, the leader of the vampire hunters, in order to describe in a nutshell the differences between premodern Dracula and modern English men. This paper is not, however, an explication of these two terms, but a theoretical exploration into their cultural implications. Behind this bifurcation lies the evolutionary logic of the immature premodern body being transformed into mature adult body. But the question remains about why not only Lucy and Mina but all the vampire hunters are so fascinated and enthralled by vampires that they scarcely escape danger of losing their humanity. They appear to have lost something indispensible for their happiness, something that is embodied through Dracula's “undead” body. This paper argues that modern men were forced to forsake their ontological unity (unified mind body) in order to be civilized: their body was split into the mind/body binary. And they are obliged to discipline their unruly body according to the rules of the reason and morality dictated by the society. The result is their alienation from body, their experiencing their body as the other. Where their reason is, there is no body and vice versa. Dracula represents the lost unity before their mind/body split, and modern men are easily possessed by him for they have not been modernized enough: they did not peel off their premodern body completely. While compulsively attracted by him, they are forced to drive him away from their modern world. That means fighting against Dracula turns out to be fighting against themselves, their mind against their body. Like Freud's “uncanny,” the lost body (the baby brain) the modern men (the adult body) left behind for civilization returns again and again in a repulsive and horrible form in order to claim them back.

아이러니와 기계, 인간 : 휴머니즘과 포스트휴머니즘

김종갑(Jonggab Kim) 한국비평이론학회 2008 비평과이론 Vol.13 No.1

  What is man? This question has haunted the humanities for more than twenty years, along with post humanism debates. Robert Scholes chose "The Humanities in a Posthumanist World" as the topic for his MLA presidential address in 2004, reflecting some popular contention that human as a species has come to an end already. However, the division between humanism and posthumanism is not so clear as is supposed. Because the humanity of Man, which should have been taken for granted, has always been in question. As Heidegger made clear in his discussions about Dasein, "the Human" is a being questioning the meaning of existence. It follows that humanism has never achieved a coherent and seamless discourse of humanity. This paper is an attempt to think, in terms of irony, about the difference between humanism and posthumanism on the one hand, and humans and inhumans on the other. As a literary trope, irony names a split of meaning, saying one thing but meaning another. Socrates, one of the most examplary ironists in history, tried to speak truth but found himself meaning something else. Friedrich von Schlegel interpreted Socratic irony as the consequence of the inner split of his consciousness: he has two consciousnesses positing "Ⅰ" and "non-Ⅰ" at the same time. And for Beaudelaire, ironic consciousness stretches over the two extremes, of divinity and inhumanity, and of superiority and inferiority, swinging between the two. Because of such a wide range of human consciousness, Man cannot laugh at beings such as animals and machines. Only when one forgets one"s dual natures and falsely becomes identified with a higher extreme, one can afford to laugh. Bergson"s famous "falling man" in Laughter presents such an example. Observers can laugh at the falling man only when they found him machine-like, somewhat below humanity. By underestimating the other as a machine, they are pleased to recognize their proud humanity. Their laugh is the consequence of their forgetting one half of their existence. For Beaudelaire, only the wise man ironically laughs at himself, at his inhumanity in the midst of his supposed humanity. Ironic man experiences the self alternately as human and as machine, human and pre-or post-human. Irony names such a moment where humanism becomes posthumanism and vice versa. The question about the difference between human and inhuman is also a question about the non-difference between them. Man has never been fully and sufficiently human and has always been both at the end and the beginning of humanity. If so, posthumanist discourse distinguishing itself from humanism as if the two were opposing categories cannot be sustained. And an alarm about the end of man, thus, is a false one.

현행 국회의원 선거제도의 유형적 특징 및 개선방안

김종갑 ( Jonggab Kim ) 인제대학교 민주주의와자치연구소(구 비교민주주의연구센터) 2021 비교민주주의연구 Vol.17 No.1

제21대 국회의원선거에 적용된 준연동형 비례대표제(hybrid MMP)는 연동배분의 상쇄 메커니즘이 온전히 작동하지 않아 병립형의 특징을 보이는 것으로 나타난다. 따라서 준연동형은 연동형과 병립형의 혼합방식이 아니라 병립형을 이중으로 연결한 형태로 볼 수 있다. 준연동형에서 연동형의 상쇄 메커니즘이 정상적으로 작동하지 않는 이유는 ‘50% 연동배분’과 ‘30석 조정의석’ 때문이다. 준연동형의 도입취지를 살리기 위해서는 연동형과 병립형 의석배분을 분리하고 조정의석을 삭제해야 한다. 비례대표 의석배분방식은 연동형 배분에 적합한 셍뜨-라귀식으로 변경할 필요가 있다. The current hybrid MMP (Mixed Member Proportional) is not a mixed method of MMP and MMM (Mixed Member Majoritarian) due to the neutralization of the offset function, but is only a form that dual connected MMM. Due to a malfunction of seat compensation, the hybrid MMP is not a mixed system of MMP and MMM, but is only a dual MMM type. Here, the appearance of the satellite party deepened the disproportionality o f the hybrid MMP and resulted in the reinforcement of the two-party system. To ensure the proper functioning of the MMP system, the regulation of the so-called adjustment seats should be deleted, and the MMP distribution should be implemented separately from the MMM distribution. The Hair formula used to distribute proportional seats needs to be changed to the Sainte-Laguë formula for the proportional effect and convenience of seat allocation.