한국의 초현실주의와 문화번역 - 조향의 시를 중심으로

조윤경 한국비교문학회 2009 比較文學 Vol.0 No.48

This paper examines the poetic works of Hyang Cho who enthusiastically introduced the western cultural theory of Surrealism developed mainly in France, and exerted himself to build a new version of the theory under the unique cultural terrains of the 1950's Korea. It adopts a ‘cultural translation’ approach in order to take contextual differences between western and Korean cultures into account. In other words, the article analyzes the poet Hyang Cho as an agent of cultural translation, bridging the gaps between two divergent cultures and examines the way in which his own Korean surrealist poetry came into existence. His poems reflect his pioneering efforts to depart from the war-stricken nation in the early 1950s and move ahead to see the awakening of a new cultural era in the latter part of the decade. Such aspiration is occasionally revealed in his poems when contrasting the past as “an old worn genre painting” with “a charming print of the second half of the century” of the present and future. He juxtaposed and blended foreign words, loaned words, Chinese and Korean characters in his writings; fabricated poetic texts of his predecessors home and abroad using collage technique for the purpose of the honest exposition of the chaotic modern civilization where nature/culture, sacred/secular, domestic/foreign elements, and consciousness/subconsciousness are all interwoven. He also replicated surrealistic experiments in terms of the configuration of texts in the shape of reverse triangles or a descending flight of stairs, demonstrating insecure spaces about to fall apart or the downfall of civilization. This kind of figure poems demonstrates his fuller recognition of reality and sharper awareness of cultural crisis than anyone else in his time. Despite excessive subjective artificiality found in his verses and the heaps of good and bad criticism layed on his achievements, no one can deny his accomplishment in establishing the basis of rational interpretations of surrealism and identifying its exact locus from a Korean point of view. He advocated a so-called Neo-surrealism, connected dissonant images of Surrealism with the darkness of the modern civilization and ultimately sought to raise the Korean surrealism up to the level of global standards. Although his Neo-surrealism merely revealed his pessimistic viewpoint toward the world, his attempt to overlap the unconscious world with the dark side of reality, and therefore try to understand reality from the outside and analyze and evaluate it systematically, is in itself a very creative endeavor. From the perspective of ‘cultural translation’ which lay emphasis on diversity, his poems and poetics give us a chance to appreciate the significance of Surrealistic poems. His interests were not to interpret languages but to interpret cultures, which enabled him to genuinely expose hybrid aspects of culture. Implementing acoustic and linguistic experiments of surrealists coupled with rhythms in traditional Korean poetry, Hyang Cho established a ‘Korean Surrealism’, contributing to the rich flourishment of Korean literature. This paper examines the poetic works of Hyang Cho who enthusiastically introduced the western cultural theory of Surrealism developed mainly in France, and exerted himself to build a new version of the theory under the unique cultural terrains of the 1950's Korea. It adopts a ‘cultural translation’ approach in order to take contextual differences between western and Korean cultures into account. In other words, the article analyzes the poet Hyang Cho as an agent of cultural translation, bridging the gaps between two divergent cultures and examines the way in which his own Korean surrealist poetry came into existence. His poems reflect his pioneering efforts to depart from the war-stricken nation in the early 1950s and move ahead to see the awakening of a new cultural era in the latter part of the decade. Such aspiration is occasionally revealed in his poems when contrasting the past as “an old worn genre painting” with “a charming print of the second half of the century” of the present and future. He juxtaposed and blended foreign words, loaned words, Chinese and Korean characters in his writings; fabricated poetic texts of his predecessors home and abroad using collage technique for the purpose of the honest exposition of the chaotic modern civilization where nature/culture, sacred/secular, domestic/foreign elements, and consciousness/subconsciousness are all interwoven. He also replicated surrealistic experiments in terms of the configuration of texts in the shape of reverse triangles or a descending flight of stairs, demonstrating insecure spaces about to fall apart or the downfall of civilization. This kind of figure poems demonstrates his fuller recognition of reality and sharper awareness of cultural crisis than anyone else in his time. Despite excessive subjective artificiality found in his verses and the heaps of good and bad criticism layed on his achievements, no one can deny his accomplishment in establishing the basis of rational interpretations of surrealism and identifying its exact locus from a Korean point of view. He advocated a so-called Neo-surrealism, connected dissonant images of Surrealism with the darkness of the modern civilization and ultimately sought to raise the Korean surrealism up to the level of global standards. Although his Neo-surrealism merely revealed his pessimistic viewpoint toward the world, his attempt to overlap the unconscious world with the dark side of reality, and therefore try to understand reality from the outside and analyze and evaluate it systematically, is in itself a very creative endeavor. From the perspective of ‘cultural translation’ which lay emphasis on diversity, his poems and poetics give us a chance to appreciate the significance of Surrealistic poems. His interests were not to interpret languages but to interpret cultures, which enabled him to genuinely expose hybrid aspects of culture. Implementing acoustic and linguistic experiments of surrealists coupled with rhythms in traditional Korean poetry, Hyang Cho established a ‘Korean Surrealism’, contributing to the rich flourishment of Korean literature.

옥타비오 파스의 작품에 나타난 초현실주의 이미지와 상상력

윤영순(Yun Young-sun) 한국외국어대학교 외국문학연구소 2006 외국문학연구 Vol.- No.23

The surrealism, born in the latest stage of avant-gardism in France, left many fruits in Latin America. Although it is difficult to define who are the Latin American surrealists and to specify with accuracy when the avant-gardism was introduced to this continent, we can say that Latin America knew this cultural current from the beginning of its development. In Buenos Aires, Aldo Pellegrini was the precursor of surrealism in 1926, only two years after the first manifesto(l924l. However, in Argentina this movement was considered as one of the various rhetorical renovations of avant-gardism and nobody gave attention to its revolutionary idea: surrealism was a movement of personal and social liberation. In difference to the Spanish artists: Picasso, Dali, Juan Gris, Miro and Bunuel, who contributed directly in the formation of the avant-gardism in Europe, very few Latin American artists participated in that movement. For all that, the Latin America was turned into a very important land of surrealism. In Mexico, this movement gave fruits in the plastic arts as the result of the contacts with the European surrealist writers. Frida Kahlo, Leonora Carrington and Remedies Varo stood out in the painting; Manuel Alvares Bravo, in the photograph and Bunuel, in the cinema. About the literature, it is necessary to mention los Contemporraneos, They discussed on theoretical topics of surrealism and they tried to write surrealist works applied with dream and automatic writing. However, there was not great repercussion. Stefan Baciu laments that Mexico, 'surrealistic country' according to Andre Breton, didn't have a lot of the movement with the exception of Octavio Paz, whom he considers as the most representative figure in the Latin American surrealism. The surrealist stage of Paz began in 1951 with Aguila o sol. What called attention to him was not the surrealist rhetoric as the automatic writing, but the subjects as the notion of love and the imagination without limit. He developed these subjects more deeply in Semillas para un himno(1954). The surrealism, born in the latest stage of avant-gardism in France, left many fruits in Latin America. Although it is difficult to define who are the Latin American surrealists and to specify with accuracy when the avant-gardism was introduced to this continent, we can say that Latin America knew this cultural current from the beginning of its development. In Buenos Aires, Aldo Pellegrini was the precursor of surrealism in 1926, only two years after the first manifesto(l924l. However, in Argentina this movement was considered as one of the various rhetorical renovations of avant-gardism and nobody gave attention to its revolutionary idea: surrealism was a movement of personal and social liberation. In difference to the Spanish artists: Picasso, Dali, Juan Gris, Miro and Bunuel, who contributed directly in the formation of the avant-gardism in Europe, very few Latin American artists participated in that movement. For all that, the Latin America was turned into a very important land of surrealism. In Mexico, this movement gave fruits in the plastic arts as the result of the contacts with the European surrealist writers. Frida Kahlo, Leonora Carrington and Remedies Varo stood out in the painting; Manuel Alvares Bravo, in the photograph and Bunuel, in the cinema. About the literature, it is necessary to mention los Contemporraneos, They discussed on theoretical topics of surrealism and they tried to write surrealist works applied with dream and automatic writing. However, there was not great repercussion. Stefan Baciu laments that Mexico, 'surrealistic country' according to Andre Breton, didn't have a lot of the movement with the exception of Octavio Paz, whom he considers as the most representative figure in the Latin American surrealism. The surrealist stage of Paz began in 1951 with Aguila o sol. What called attention to him was not the surrealist rhetoric as the automatic writing, but the subjects as the notion of love and the imagination without limit. He developed these subjects more deeply in Semillas para un himno(1954).

초현실주의 특징이 반영된 한국 복식 디자인 연구

장민정(Chang Min-Jung) 한복문화학회 2017 韓服文化 Vol.20 No.3

Surrealism is adopted in design as a way to create unique and distinct design deviated from ordinary things, and it serves as a means to quench contemporary persons’ thirst for novelty and individuality. Derived from surrealism, there emerged costume reflecting characteristics of surrealism, and progressive design costumes applying surrealism styles have continuously come to surfaces up to today. Such costumes resulted in diversification of expression deviated from traditional costume with formality, and they lay out unprecedented experimental and progressive design based on designer’s creativeness and imagination. Surrealism is well suited to articulating individuality in that it is differentiated from traditional artistic formality and offers to broaden the possibilities of free expression and creation, this research is focused on designing and producing Korean costume reflecting characteristics of surrealism. Among Korean costumes, “Po (a generic term referring to an outer robe)” was selected given that it involves many compositions and its long length allows various designs and styles. This also reflects on concept and developments of surrealism, and also includes analysis on the characteristics of surrealism to design and produce Korean costume reflecting it. The purpose of this research is to blend traditional Korean costume with Western artistic movement surrealism to offer broadened views on Korean costume design. In succession to Korean costume, this offers experimental and various designs in line with changing trends, and proposes a new concept meeting contemporary persons’ emotional needs and carves out Korean costume market, thereby setting the direction for Korean costume design and serving as a reference for creative research on Korean costume design down the road. These are where the values of this research lie in. Hopefully, this research could also lay a foundation for another attempt towards novel design work by mixing Korean costume with Western art trend other than surrealism which would lead to Korean costume design in line with changing trends and befitting contemporary persons’ individuality, thereby further lifting up Korean costume.

조향의 초현실주의 시론의 발현과정과 특질에 대하여

홍래성 ( Rae Seong Hong ) 서울대학교 인문학연구원 2014 人文論叢 Vol.71 No.3

This study examines Jo Hyang’s initial activity, from the Nangmanpa period to the end of the 1950s, in order to consider the formation process and features of Jo Hyang’s surrealism poetics. Nangmanpa, a publication that Jo Hyang played a lead role in, may appear to be unrelated to surrealism but an analysis of Jo Hyang’s comments in Nangmanpa suggests otherwise. The romance that Jo Hyang supported differed from the existing romance and is likely to have been connected to surrealism. Therefore, Jo Hyang’s surrealism from the 1950s appears to have originated not as a result of the conversion of literary trends but from the gradual manifestation of his internal consciousness. Criticism against the literary circles of the metropolis also played an important role in making concrete Jo Hyang’s surrealism. Jo Hyang did not produce any visible results during the ‘Hubangi’ circle period. Jo Hyang’s activities at the time can only be observed through his writings in Jugan Kukje and the ‘College Korean Language Series’. It is from this ‘Hubangi’ period that he constantly published surrealism related writings and it can be said that Jo Hyang’s surrealism poetics were established by the end of the 1950s. Unlike the surrealism of Western European, which focused on image itself, Jo Hyang’s surrealism poetics was not only limited to image; he did not give up the world of values. In other words, Jo Hyang pursued not only images but also values. Jo Hyang first made rough drawings through automatism and then attempted to produce surrealism poems by using the montage technique. The montage technique consisted of the following two kinds: one which combined rough drawings with probability to give specific value, and the other did so without probability to disclose the image itself. As such, Jo Hyang’s surrealism poetics involved the production of poems of two different kinds of systems.

외젠 앗제 작품에 나타나는 부재 이미지 - 초현실주의 관점을 중심으로 -

김명지 유럽문화예술학회 2010 유럽문화예술학논집 Vol.1 No.2

The Surrealism was an art campaign which denied throughly existing value system and focused on whole disorganization. The campaign was appeared in whole culture fields against social anxieties and sense of futility during W orld War 1. Surrealists set the automatism as their methodological principle to suggest man' s subconsciousness world and to prove the unconsciousness world. As an activity campaign combining the literature and art, to explore the unconscious mind, the surrealism was created. In this historical background, Eugène Atget was a photographer taking his pictures during a century-turing period from the late 19C and activated to early 20C. Nothing can deny Atget’s work world’s influence on 20C photo circJe: Specifically speaking, his works greatly affected on the photo methods developed by photographers at that time. Additionally, from a historical viewpoint, Atget' s article photos as a perfect record formed a new photographic genealogy in modem photo circle. His photos triggered the surrealism, so fully made the communication field between the art and the photography. In the other hand, his article photos also contained some lyrical subjects, so are currently interpreted as a pioneer creating modem documentary photo field. Atget was the photographer who gave the opportunity to new territories of surrealism photos and documentary ones. His works commonly expressed the images of 'Stillness' having almost few movements, and ' Absence’ appearing somewhat to be empty. Absence scenes record by him may be real appearances to be taken by everyone. But he tried to contain some past, historical images in Paris rather than the city’s current appearances advanced from the industralization. His photographic interests are suggested some traces of previous time and space impossible to retum as like the photo' s nature and personal traces as some absence images to us. In his photos expressed Paris' past images, the collision between real world and surreal one happens. Such collisions between existence and absence, between real world and surreal world have a similar side to surrealists' work orientation. AIso we can see a common thing in surrealism’ s work way and Atget’s seemg ’discovered object' in the juxtaposition of irrelevant things or the separation a material from its practical purpose. In his photo work, Atget expressed unrealistic reality, that is the reality beyond the dailiness that the sur-reality pursued by the surrealism becomes a reality. This reason is why his photo work has been interpreted in the surrealism trend which dominated the art world for a long time since 1920s.

靑年 批評家 김현과 超現實主義

임영봉 한국어문교육연구회 2012 어문연구(語文硏究) Vol.40 No.4

The purpose of this thesis is to clarify the relationship between Kim Hyeon, the young critic, and the literary ideology named ‘surrealism.' Critic Kim Hyeon’s younger days range from the time at which he began to write “Narcissus Poetics”(March1962), his debut criticism, to the time at which Existence and Language(July1964), his first essays in criticism, was published. Young critic Kim Hyeon refused the old literature of the older generation and aspired for his own new literature. Young critic Kim Hyeon's such aspiration led him to a series of intellectual exploration process with focus on French modern literature and philosophy. Young critic Kim Hyeon's aspiration for new literature was repre- sented by the publication(June 1962) of the essay titled “A Letter Sent by Andre Breton to Seo Jeong-ju” and the first publication of ProseTimes(散文時代, June 1962). These two events that took place at the same time clearly show the process in which young Kim Hyeon accepted surrealism literary theory. “A Letter Sent by Andre Breton to Seo Jeong-ju” contains strong critical consciousness about literary persons and literature of the older generation. In this essay, young Kim Hyeon establishes Andre Breton’s surrealism as new literary ideology to replace old literature and literary persons of the older generation. The acceptance of surrealism by young Kim Hyeon can be recognized in “Declaration” as the preface of the first issue of ProseTimes. In this, Kim Hyeon presents the new literature creation work based on the spirit of rebellion and overturn as the literary task of his generation. Surrealism that captivated young Kim Hyeon also led him to the way of writing novels. The two short stories, “Human Introduction” and “Cheoyong’s Song Lost” included in the first issue of ProseTimes appear as experimentally borrowing the writing technique of surrealism represented as ‘automatism.' These two stories are full of severed time and space consciousness and discontinuous memories, and a series of shifting images. Kim Hyeon’s under graduate studies graduation thesis, “A Study on Surrealism”(1964), means the conclusion of the series of process in which he was establishing his identity as a critic. Through this thesis, he suc- cinctly reestablishes the literary theory of surrealism in which he makes the freedom of imagination and the liberation of desire his ideology. This forms later the basis of critic Kim Hyeon’s own view of literature based on the factors of the freedom of imagination and the individual and language. 靑年期 批評家 김현의 ‘새로운 문학’에 대한 열망과 추구는 超現實主義에 대한 一連의 탐구 과정에 대응하고 있다. 「앙드레 브르통이 서정주에게 보내는 편지」에서 靑年 김현은 처음으로, 앙드레 브르통의 超現實主義를 새로운 文學的 理念型으로 提示하고 있으며, 同人誌 <散文時代>의 創刊辭 「선언」을 통해 反逆과 顚覆의 정신에 근거한 새로운 문학 창조 작업을 자기 세대의 문학적 과제로 提起했다. 청년 김현의 超現實主義에 대한 지속적 탐구는 小說 創作의 길로 그를 이끌기도 했는데 「人間序說」과 「잃어버린 處容의 노래」라는 두 편의 短篇小說은 自動記述法으로 대변되는 超現實主義의 창작 기법을 實驗的으로 借用한 것으로 나타나고 있다. 이후, 학부 졸업논문 「초현실주의 연구」에서 靑年 김현은 想像力의 自由와 慾望의 解放을 이념으로 삼고 있는 超現實主義 文學理論을 再正立함으로써 훗날 김현 固有의 文學觀을 構築하게 되는 文學的 知識 體系의 중요한 土臺를 마련하게 된다.

초현실주의 영화미학의 전개와 현재 : 루이스 브뉘엘을 중심으로

이지현 ( Lee Ji Hyun ) 부산대학교 영화연구소 2017 아시아영화연구 Vol.9 No.2

본 연구는 초현실주의가 지닌 일상성의 개념을 정확하게 파악하여, 초현실주의 사조가 어떠한 철학적 조류와 조합하여 자신의 영역을 쌓았는지를 살핀다. 초현실주의 영화 미학의 바탕에는 앙드레 브르통의 `초현실주의 선언`이 자리하고 있다. 20년대 시작된 초현실주의 선언을 바탕으로 60년대의 종료 선언까지의 과정을 통찰하며, 본고는 이후 초현실주의 미학 개념이 영화사에 끼친 영향을 살핀다. 브르통의 초현실주의 미학은 초기의 현실 초월적 성향에서 벗어나, 후기에 이르러 `일상성`에 기대어 개념적으로 연계된다. 본고는 6,70년대 발표된 루이스 브뉘엘의 작품들을 통해 초현실주의 영화의 미학적 표현 방식을 살핀 다음, 90년 이후 발표된 현대작가들의 일부 작업을 통해 초현실주의 영화미학의 개념적 발달 과정을 설명한다. 실제로 현대의 초현실주의 영화 미학은 초기의 `순수 초현실주의`와는 다른 면이 있다. 영화사 초기에 브르통이 의도했던 단어의 정의는 그 구조적 흔적만을 보인다. 본고는 그 이유를 초현실주의 영화가 심리학을 통해 논리적 영역을 포괄하는 과정을 거친 결과라고 바라보려 한다. 상징이나 도상, 지표 등의 도식으로 개념을 확장한 초현실주의 영화는 기호학의 영역에서 `경이로움`의 특질을 이어간다. 관계가 배제된 기호의 영역에서 현대적 변용을 꾀한 것이다. 초현실적 성향이 일상성의 해체를 거쳐 개념화되고, 이후 스스로를 창조하는 유연한 방식을 드러내고 있음을 현대의 초현실주의 영화는 증명한다. Through the division of the fantastic and the surrealism, the purpose of this paper is to analyze the concept of `reality of surrealist cinema`. By observation of the philosophical flow in the 1920s, this paper watch priority the development of the trend of surrealism. `Surrealism declaration (Manifeste du Surrealisme)` of Andre Breton is based on all of these studies. From the 1920s until the 1960s, Andre Breton signed by the start and end of this artistic movement of surrealism. Breton`s surrealist aesthetics does not contain the mystery of the transcendental reality. Instead it leans itself to the present reality. When referred to a `surreal` in the modern, often it finds that the deterioration is different from the meaning of a word Breton intended. In fact, the surrealist tendencies were gradually changing and evolving after the beginning of the `pure surrealism` in the 20`s. Under the influence of psychology of Freud, surrealism is accompanied by the semantic analysis of the texture representing the surface of the film. This study is called `the films on the affected surrealism` the trend of the 60`s and 70`s, and the trend of the 90`s called `the films remaining traces of surrealism`. As it did the painting of primitive art to express the faith of the painter, surrealist film encompasses a logical area through Psychology. Therefore, contemporary surrealist films extended themselves between three types of signs: icon, index and symbol. However, the area of the signs, relationship to each other is excluded. This study focused on this final part. Surrealist films share the indistributable points of the rational boundary, separated by so-called `rational and irrational` or `real and irreal`. Luis Bunuel`s films will help this work.

Surrealism 표현특성과 기호학적 적용방법을 통한 공간분석 연구

함보아(Ham, Bo-A),이찬(Lee, Chan) 한국실내디자인학회 2009 한국실내디자인학회논문집 Vol.18 No.6

Various and complex cultural phenomena have led to many changes in the space. The concept of unconsciousness, among others, and experimental expression technique and the concepts from surrealism that rather attaches great importance to contingency than intentional attempt have been employed in the space. The abstract expression as expressional characteristics of surrealism makes the space ambiguous through the concept of automatism using the approach of indeterminism and double image expression, and represents the space providing diversity through the dualism. In contrast, objective expression, which was based on depaysement, generates the tension and expresses the dramatic situation in such a way and manner which are intentional, distorted transformed, together with heterogenous meanings aligned through the reversal appeared in the techniques of collage and paranoiac-critical method. However if such space accommodating the expressional characteristics of surrealism is approached as superficial concept in analyzing the human"s inner consciousness and imaginary society, expression of the ultimate concept contained in the expressional characteristics of surrealism can hardly be achieved. Hence, the spatial analysis from the semiotic approach, instead of unilateral method aimed to convey the meaning only, which creates the signification, was adopted. The study, as effective approach to the space accommodating the expressional characteristics of surrealism, was intended systematically evaluate the concreteness of understanding and generation of meaning through the semiotic method. Greimas" semiotic square analysis to the space plays the important role in generating the spatial meaning, as well as is needed for objective analysis of the importance of various characteristics and methodology which the space contains through the expressional characteristics of surrealism.

레메디오스 바로 (Remedios Varo) 예술의 여성이미지에 관한 상징성 연구

신영래 유럽문화예술학회 2013 유럽문화예술학논집 Vol.4 No.1

In the meantime, without a name, who worked backstage at the westem 따t world, a female artist since the advent of Surrealism’s influence on Freud's theory, on the front begins to emerge. Upstage everyone who subjectively recognized firm in Surrealism would clearly establish own unique personality. Artist collective than that of any previous source of imagination, they pioneered has worked in the pioneering out. Remedios Varo is women artist who participated in the Surrealist movement began in Paris in 1930. however, unlike the male Surrealists did you want to muse, rather than subjectively expressed as the creator of the female image as the representative artist plays a leading role. Oppressive life under surveillance always there childhood at the urging of his mother, bom in Spain, was put in a Catholic monastery were forced Suffered a severe inner conflict in uniform monastic life, I’ve been craving free life to forget such pain and fear often imaginary fled. Experience the fantastic world since her own unique state of the 따t building that led to the foundation. Immediately the outbreak of the Second W orld War, became the center of a group of exiled Surrealist artists immigrated to Mexico. Went to Prague, since her work is more in the surreal world approach to go at the time, evokes the feeling of a mysterious figure in auto technology and abstract background visible motif. Surrealism through Europe including France after W orld War 11 impacted the veη homeland of Spain to stay in Mexico while the work is devoted to Surrealism. However, was the influence of Surrealism, though, even if the work of these very thoroughly figure was produced from 1935 to 1963 and other contemporary surrealist in the other direction was expressed. Directly to the surreal desperate to escape from reality and psychological substrate. Other SurreaIists generaIIy accepted as a means of approach to spiritualism or mysticism in the worId of the unconscious, one versus just did not. more the desire to escape from the present reality of their suffering and despair, agitation becomes, led to the interested and obsessed with magic, magic or mysticism and aIchemy in the worId. AIso way more original and creative than the male Surrealists of images of women represented works. Idolized by the ideaIized female figure made men worship that she was repulsed. Was because 1 realized that the images of men, made by women to cultivate creativity as an artist and he did not contribute a Just beyond the border, as granted by the male surreaIist muse to express the unique identity and such artists themselves wanted to be. Vibrant and sociable personaIity make himself acquainted with a thick smaII group of artists and their activities in the center of Paris and surrealism of Iife itseIf, recognized as the art worId, apparently. Who resisted the order of the male-dominated position against gender violence and women subjectively expressed and at the same time as in his work itself became a source of aesthetics.

디지털 타이포그라피의 초현실주의 표현 연구

김성은(주저자) ( Seong Eun Kim ) 한국정보디자인학회 2015 정보디자인학연구 Vol.25 No.-

본 연구는 초현실주의의 역사적, 사상적 배경 및 대표적인 표현특성을 고찰하고 디지털 타이포그라피 표현과의 상관관계를 분석하여, 최근 뉴미디어의 등장에 따른 초현실주의 표현기법을 바탕으로 한 새로운 실험적 디지털 타이포그라피 표현의 확장 가능성을 연구하는데 목적이 있다. 할 포스터는 초현실주의를 가장 대표하는 개념을 언캐니(uncanny)라고 보고 초현실주의의 일반적인 개념들의 핵심적인 요소라고 주장하였다. ‘낯선’, ‘두려운’, ‘놀라운’의 뜻을 가진 ‘언캐니’는 죽음, 경이, 사랑, 욕망, 트라우마, 아름다움, 시뮬라크르 등으로 세분화 될 수 있는데 프로이트의 정신분석학과 언캐니의 개념이 초현실주의에 어떠한 사상적 배경과 창작 기법으로 그 역할을 하였는지, 이를 기반으로 비언어적 기호의 기표 재현 형식의 디지털 타이포그라피에 나타나는 시각적 표현방법을 분석하였다. The purpose of this research is to consider historical and ideological background of surrealism, analyze the correlation between surrealism and digital typography which is come after de-constructivism, and study an extensibility of the digital typography expression based on surrealism representation technique by the recent advent of new media. Hal Foster argued that the ‘uncanny’ is the most essential concept representing surrealism and it is the core element among general concepts in surrealism. The uncanny which means unfamiliar, fear, and surprising can be subdivided into death, marvelous, love, desire, trauma, beauty, simulacra, etc. This research studies how the psychoanalysis of Sigmund Freud and the concept of uncanny affect to surrealism in terms of ideological background and creative techniques and analyzes the visual representation which is appeared in the digital typography as the form of the signifier reproduction of non-verbal symbols.