시와 영화의 수사학에 관한 정신분석적 일고찰 - 라캉의 '은유'와 '환유' 개념을 중심으로 = A psychoanalytic study on rhetoric depicted in poetry and films - focusing on the concept of Jacques Lacan’s metaphor and metonym

다국어 초록 (Multilingual Abstract)

This paper seeks to shed a new light on the rhetorical relationship between poetry and films through the concept of metaphor and metonym demonstrated by Jacques Lacan. To this end, a study on the linkage between diaphor, conceptualized byPhilip Wheelwright, and the collision montage that is creatively renewed by contemporary films, will be conducted first. The shock of image and the sense of disparity between the core and satellite concepts in poetry are in line with a broad range of collisions and the effects thereof between different scenes in films. The aesthetic nature inherent in this kind of literature style can be painted in a different light with Lacan’s metaphor and metonym, which displays subtle difference from the conventional definition of rhetoric.
First of all, Lacan’s metaphor differs from the comprehensive concept of metaphor, defined by the conventional rhetoric that is based on similarities of successive signifiers. However, Lacan’s metaphor becomes an appropriate conceptual tool for comprehending the “diaphor-collision montage”. Looking at the style of ambiguity that opens the door for aesthetic discussion in poetry and films, some replace signifiers to give shock to strange images, creating a whole new meaning. This is one of the methods of continuing the signifying chain, and the formula of metaphor set forth by Lacan becomes a meta-text that provides an efficient explanation of the comprehension process of readers. The “moment of endowment of meaning”, if it can be perceived as a metaphor (i.e. the effect of signifiers that come into being at the moment of choice and replacement), should then be consistent with the genuine unleashing of the “lesensobtu”stated by Barthes.
Lacan’s metonym is similar to the conventional definition of metonym, since it accepts the principle of adjacency between signifying chains. However, Lacan’s metonym puts emphasis on the ceaselessly-postponed meanings, in other words, the sliding of the signified. The signifiers that have not been expressed generates deficiency, and deficiency produces a permanent desire that seeks to find the subject matter of loss. This process is formalized by Lacan’s formula of metonym—this is a “diaphor-collision montage” based on adjacency, but when it discloses the deficiency in meanings, Lacan’s metonym becomes a useful conceptual tool. For example, if the series of meaningless signifiers that are unable to express the omitted signifiers makes an imaginative fantasy, Lacan’s metonym formula can be the framework for explicating the aesthetic form. From the syntax perspective, contemporary poetry and films have a perfect rhetorical style, while there are increasing expressions that are isolated from true meanings. In light of this, Lacan’s metonym should be studied in a more profound manner in order to identify the aesthetic form of individual poetry and films.
Poetry and films that are open to semantic structures require a more acute aesthetic sense from the reader, to which cases where people sense artistic aesthetics from individual works are closely related. Therefore, studies on the aesthetic form of “diaphor – collision montage” with Lacan’s metaphor and metonym should be conducted more widely in order to enjoy the aesthetic matter whose meaning is difficult to create.

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