의미와 초문화적 의사소통의 가능성

프로이덴베르거, 실자 고려대학교 철학연구소 2004 철학연구 Vol.0 No.27

이 논문에서는 문화들에 있어서 상호문화적인 것으로부터 초문화적 관점들로 이동하는 데 있어 단지 문화라는 개념뿐만 아니라, 의미의 개념도 변화되어야 한다는 것을 보여주고자 한다. 우선 상호문화성과 초문화성의 개념들을 간략히 살펴볼 것이다. 그리고 상호 문화적 환경으로부터 의미 이론을 구성하려는 콰인의 ‘gavagai’라는 실험적 사유를 검토할 것이다. 이를 통해 초문화적 의미개념을 파악하기 위해서는 더 많은 것이 요구되며, 이것은 퍼스와 그의 기호론을 통해 찾아질 수 있을 것이다. 따라서 초문화적 관점에서 의미들은 고정될 수 없고, 의미 전개가 항상 의사소통적 과정 속에서 존재하는 개념을 선호해야 한다는 것을 주장하고자 한다. I want to present the thesis that in a shift from an intercultural to a transcultural perspective on cultures not only the concept of culture but also the concept of meaning must undergo a change. To argue for this, I will first briefly sketch the ideas of interculturality and transculturality. In a next step I will shortly review Quine's thought experiment of the 'gavagai' to construct a theory of meaning from an intercultural setting. In conclusion, I want to argue, for a transcultural concept of meaning more is needed. And this 'more' we might very well find in looking back to Peirce and his process-oriented semiotics. I hold that in such a transcultural perspective, meanings can't and should not be fixed, and therefore a conception, where the developing of meaning is always in a communicative process is to be preferred.

베르그송의 웃음 담론을 활용한 < JUMP >의 희극적 요인 분석 -transculturality에 관하여

김효 ( Hyo Kim ) 세계문학비교학회 ( 구 한국세계문학비교학회 ) 2016 世界文學比較硏究 Vol.54 No.-

코믹은 그 속성상, 문화적 국지성이 강하여 문화적 경계를 넘어 유사한 코믹 효과를 유도하는 것이 용이하지 않다. 그럼에도 불구하고 < JUMP >는 문화의 장벽을 넘어 글로벌 차원에서 효력을 발휘하는 코믹을 창출하는 데 성공하고 있다. 본 논문은 베르그송의 웃음 이론에 기대어 < JUMP >가 구현하는 코믹의 성격이 어떤 것인지 파악하고 그것이 과연 글로벌코믹을 창출하는데 어떤 효력을 발휘하는지 밝혀 보고자 했다. 결론적으로, < JUMP >는 전통코드가 갖는 문화적 국지성을 오히려 역이용 하여 어색함과 부조화 코드를 형성하는데 십분 활용함으로써 창의적이면서도, 문화적 경계를 넘어 흥미를 촉발할 수 있는 코믹물을 창조해 낼 수 있었다. Laughter is difficult to induce naturally across cultural borders, due to cultural locality. It is even more difficult when using factors of traditional cultural heritage outside its cultural borders. However, Jump makes it possible to create international comic entertainment effectively in terms of transculturality. This article reveals which comic elements of Bergson’s laughter theory the non-verbal comic performance Jump utilizes and how they create internationally recognized comic entertainment in terms of transculturality. Utilizing a strategy that transforms cultural locality within traditional cultural heritage into awkwardness and dissonance, Jump becomes creative and interesting comic entertainment that extends beyond cultural borders.

싸이의 <강남스타일>에 나타난 코믹의 특성 연구 - 모롱의 웃음 담론을 활용한 transculturality의 분석을 중심으로 -

김효 글로벌 문화콘텐츠학회 2016 글로벌문화콘텐츠 Vol.0 No.23

There are growing demands on comic entertainment as the realm of mass media art expands. However, comic entertainment has difficulty in acquiring global recognition due to strong cultural locality; a comic phenomenon in one society does not always bring about laughter in another. Therefore, it is remarkable that Psy’s music video Gangnam Style became a great international success. This success proves the possibility of creating comic entertainment that crosses over cultural borders as well as its magnificent influential power when the comic mode raises international responses. The objective of this article is to discover how Gangnam Style succeeded in creating powerful comic effects that appeal all over the world, transcending cultural locality. This article refers to the discourse on the laugher and comics that Charles Mauron developed in his book, Psychocritique Du Genre Comique(Psychocritics of The Comic Genre) to analyze the comic aspects of Gangnam Style. An analysis on the music video reveals the following three important factors. First of all, the background settings in the music video are common municipal places that are omnipresent in the world and lack the cultural locality of any one nation. This spatial anonymity undermines the conditions which can create cultural locality. Second, Gangnam Style creates a dissonance between the ordinary life displayed in the background places and Psy’s acting in his extraordinary costumes and dance style. This gap brings about laughter and magnifies the effect. Third, the sexuality code, which has universal popularity, is combined with comic codes and depicted in caricatures in Gangnam Style. The sexuality combined with the comic code increases the pleasure derived from the exposure to the sexuality alone. These three elements - spatial omnipresence, discord between the background places and the acting of Psy, and the caricatured sexuality – play crucial roles in attaining the amazing international success of Gangnam Style. 대중예술의 영역이 확대되면서 코믹물에 대한 수요도 증가하고 있다. 하지만, 웃음은 문화적 국지성이 강하기 때문에 글로벌 차원에서 큰 흥행을 이끄는 것이 용이하지 않다. 그런 점에서 싸이의 뮤직 비디오 <강남스타일>의 세계적 흥행은 각별한 의미를 지닌다. 즉, 보편적 호소력을 가진 코믹물을 창조하는 것이 충분히 가능하며 코믹 모드가 글로벌 지형에서 반향을 일으킬 경우 어떤 폭발력을 가지는지 입증해 보여 주었다. 본 연구는 <강남스타일>의 코믹 코드가 어떻게 문화적 국지성의 함정을 피하면서 강력한 코믹의 효과를 창출할 수 있었는지 규명하고자 했다. 코믹의 양상에 대한 분석을 위해서는 샤를르 모롱이 자신의 저서 『희극적 장르의 심리비평』에서 개진한 웃음의 이론을 활용하였다. 본 논문은 뮤직비디오를 시퀀스 별로 나누어 분석한 결과, 크게 세 가지 요인을 발견할 수 있었다. 첫째, 익명성이 강한 도시 공간을 배경으로 설정함으로써 문화적 국지성이 작동할 수 있는 물적 토대를 약화시켰다. 둘째, 공간과 그 속에서 일어나는 주인공 싸이의 행동 사이의 부조화를 극대화시키는 방식으로 웃음의 효과를 증폭시켰다. 셋째, 보편적 흥행 코드인 성적 코드에 코믹 모드를 결합시킴으로써 해방감을 배가시켰다.

다문화주의와 여성주의 사이의 갈등에 전제되어 있는 문화개념에 관하여 : 여성 디아스포라의 관점에서

최현덕(Choe Hyon-Dok) 사회와 철학 연구회 2010 사회와 철학 Vol.0 No.20

이 글은, 특히 전지구화(Globalisation) 과정에서 점점 더 심각성을 더해가고 있는 하나의 특정한 종류의 갈등. 즉 다문화주의와 여성주의의 갈등에 대한 검토이다. 다문화주의와 여성주의는 모두 차이가 차별로 이어지는 현실을 비판하며 차이의 인정을 통해 문화적 다양성을 이루거나 젠더 정의를 이루려는 목적을 갖고 있음으로 인해 문제의식에서 상통하는 바가 있음에도 불구하고 실제 상황에서 갈등으로 나타나는 경우가 왕왕 있다. 이 글에서는 킴리카의 다문화주의 이념과, 여성주의적 입장에서 행해진 오킨의 다문화주의 비판을 소개한 후 독일에서 일어난 “명예 살인”이라 불리는 구체적 사건의 예를, 다문화주의 대 여성주의의 갈등, 서구문화 대이슬람 문화의 갈등, 가부장제 사회 내부의 갈등 등 세 가지 측면에서 분석한다. 이 과정에서 오늘날 세계에서 모두 포기할 수 없는 문화 다양성의 존중과 젠더 정의라는 두 가지 가치가 서로 갈등을 빚는 것처럼 보이는 이유를, 이러한 논의에 전제되어 있는 본질주의적 문화개념에 있음을 밝히고, 문화를 어떻게 이해할 것인가의 근본적인 개념의 문제를 제기한다. 이어, 두 가지 가치가 공존할 수 있는 이해의 틀을 가능하게 해 줄 수 있는 문화개념의 재구성을 시도하는 과정에서 최근 유행처럼 번지고 있는 ‘트랜스 문화성’ 구상을 검토한다. 여기서 필자는 여성 디아스포라의 관점을 중점에 두었는데, 그 이유는 여성 디아스포라의 실존적 상황이 두 가치의 동시적 실현을 요구하기 때문이다. This paper deals with a serious conflict emerging in the process of globalization - the conflict between multiculturalism and feminism. Even though the multiculturalism and the feminism share a certain commonality in their problem consciousness to criticise the reality taking the ‘difference’ as a pretext for discrimination, it happens that the both are set in a conflict situation. In this paper I introduce first the idea of multiculturalism by Will Kymlicka and the feminist criticism against it done by Susan Moller Okin, then I analyze a concrete case of the so-called “honor killing” which happened in Germany in the following three aspects: (a) multiculturalism versus feminism, (b) Western-European versus Islamic culture and (c) conflict within a patriarchal society. In this analysis it becomes clear that the reason why the two values involved in the multiculturalism and the feminism appear conflicting lies in the essentialist concept of culture presupposed in the debate on the multiculturalism and feminism. It leads to the fundamental question how to understand culture. I try here to reconstruct a concept of culture which allows the co-existence of the two values and examine in this respect the fashionable concept of transculturality. In this process the perspective of a woman diaspora plays an important role, since the existential condition of a woman diaspora demands the simultaneous realization of the both values

Current Research of East Asian Art History in Germany: Transmedia and Transcultural Discourses

Jeong-hee Lee-Kalisch 동악미술사학회 2017 東岳美術史學 Vol.0 No.21

The current research projects we have in the German language areas, presenting trends predominantly within the field of East Asian Art History, are concerned with transculturality and transmediality, with a transregional focus on the whole of Asia as well as on Africa and Europe. The application of the term “Transculture” has also produced many fashionable studies in Europe, such as »Global Art History«, »World Art History«, and »Horizontal Art History« and so on. As a result, most of these already mentioned institutions now offer curricula of art histories in global and transcultural contexts. Referring to my own three research topics as an example, I will try to define in which way the theoretical and methodological approaches can be understood in terms of transculturality and transmediality, and how we apply these in practical analysis: - Case study one: Transculturality in terms of transmedia practices from painting to photography in the age of modernity - Case study two: Transcultural processes of translation, appropriation and new interpretation as well as visual misunderstandings as an example of Buddhist art - Case study three: At the limits of transcultural theoretical applications, we utilize of “the eye of parallel seeing”. The aim of this talk is the defining the terms and its practice in more compact way: I could say, that the term transculturality can be understood as a phenomena or concept of meta and basic theory of cultural history, or art history in global context. Under the terms transmediality and translation I understand the approaching methods, which are used to explain the development processes and traces of transcultural phenomena. By using these methods we should find out who translates (actors of transculturalizing) and what (objects of transculture), where (transregional analysis), when (in global-historical context) in which way or how (transcultural practice) and why (anthropological analysis in transcultural, global context). The “parallel seeing” is also one of the comparative approaching methods for anthropological cultural studies on almost visual aesthetical level.

독일에서의 동아시아 미술사 연구 현황 : 매체간 그리고 문화간 담론들

Jeong-hee Lee-Kalisch 동악미술사학회 2017 東岳美術史學 Vol.0 No.21

The current research projects we have in the German language areas, presenting trends predominantly within the field of East Asian Art History, are concerned with transculturality and transmediality, with a transregional focus on the whole of Asia as well as on Africa and Europe. The application of the term “Transculture” has also produced many fashionable studies in Europe, such as »Global Art History«, »World Art History«, and »Horizontal Art History« and so on. As a result, most of these already mentioned institutions now offer curricula of art histories in global and transcultural contexts. Referring to my own three research topics as an example, I will try to define in which way the theoretical and methodological approaches can be understood in terms of transculturality and transmediality, and how we apply these in practical analysis: - Case study one: Transculturality in terms of transmedia practices from painting to photography in the age of modernity - Case study two: Transcultural processes of translation, appropriation and new interpretation as well as visual misunderstandings as an example of Buddhist art - Case study three: At the limits of transcultural theoretical applications, we utilize of “the eye of parallel seeing”. The aim of this talk is the defining the terms and its practice in more compact way: I could say, that the term transculturality can be understood as a phenomena or concept of meta and basic theory of cultural history, or art history in global context. Under the terms transmediality and translation I understand the approaching methods, which are used to explain the development processes and traces of transcultural phenomena. By using these methods we should find out who translates (actors of transculturalizing) and what (objects of transculture), where (transregional analysis), when (in global-historical context) in which way or how (transcultural practice) and why (anthropological analysis in transcultural, global context). The “parallel seeing” is also one of the comparative approaching methods for anthropological cultural studies on almost visual aesthetical level.

Protokulturelle und transkulturelle Dimensionen der Kunst

볼프강 벨쉬 연세대학교 인문학연구원 2014 人文科學 Vol.102 No.-

Are all cultural products to be understood in cultural terms alone? The answer is no. There exists, however, a widespread trend in cultural studies and the humanities toregard everything (even nature) as culturally constructed through and through. Thisessay opposes that closure of the cultural perspective, the absolutism of culturalism. Ittries to open up our awareness towards protocultural as well as transcultural factorsinvolved in the production and understanding of art (and of other cultural phenomenatoo). To be sure, many aspects of art are culturally determined, but the full picturerequires to take also protocultural and transcultural factors into account. There exist age-old aesthetic preferences stemming from the protocultural period ofhumankind (which extended roughly from 2.5 million years ago to 40,000 years ago,when the take-off of cultural evolution occurred). They refer to certain bodily featuresand to various forms of self-similarity. Many contemporary artworks are characterized by blending different culturalpatterns thus creating transcultural features that can no longer be reduced to any singleculture. But as people today have similarily become more and more transcultural (theycombine different cultural patterns in their individual identity) such works can receiveappreciation and comprehension without further ado. In addition, humans have anextraordinary capacity to question and transcend seemingly fix cultural givens andconstraints – humans are capable of transversal acts of understanding. Altogether, and in contrast to current culturalistic restrictions, only a combination ofprotocultural, cultural and transcultural viewpoints is able to give a full account ofartistic and other cultural phenomena.

1950년대 북-소 공동제작 영화에 나타난 북한무용의 트랜스 컬처성 연구 - <사도성의 이야기>와 <형제들>을 중심으로 -

양민아(Yang, Mina) 숭실대학교 한국문학과예술연구소 2021 한국문학과 예술 Vol.38 No.-

본 연구는1950년대 북한과 소련의 영화교류의 역사를 통해 트랜스 컬처적 영향에 대해 알아보고, 북-소 공동제작 영화인 <사도성의 이야기>와 <형제들>에 등장하는 북한무용의 트랜스 컬처성과 역사적 의미를 규명하는 것이다. 발레영화 <사도성의 이야기>(1956)는 1954년 최승희가 창작한 같은 제목의 무용극을 영화한 작품으로 북한 최초의 총천연색 예술영화이다. 영화 <형제들>(1957)은 최초의 북-소 공동제작영화로 영화사적 의미가 있지만, 정치적인 이유로 그동안 북한영화사에서 평가절하 되었다. <사도성의 이야기>는 소련 발레 문화가 북한의 최승희 방식으로 형상화 된 무용극으로, 최승희가 직접 여자 주인공 금희를 맡아 열연하였다. <형제들>에서는 최승희와 그녀의 딸 안성희가 출연하여 여러 무용작품을 통해서 남한과 북한 사회가 추구하는 문화와 이데올로기를 상징적으로 보여준다. 특히 이 영화에 등장하는 한민족을 대표하는 민속무용소품들인<농악>, <부채춤>, <장고춤>은 최승희가 한민족의 독특한 춤문화를 소련의 사회주의 무용예술과 결합시켜 유럽식의 무대에 적합하도록 재창조한 트랜스 컬처의 결과물이다. 이러한 트랜스 컬처의 1차 산물인 최승희의 북한무용작품들은 다시 이 두 영화 안에서 소련의 영향을 받은 북한의 영화언어로 재탄생 된 이중적인 트랜스 컬처성을 보인다. This study examines the transcultural influence through the history of film exchange between North Korea and the Soviet Union in the 1950s and explores the transculturality and historical significance of North Korean dance in <The Story of Sado Castle> and <Brothers>, North Korean-Soviet co-produced films. The film <The Story of Sado Castle> (1956), the first North Korean full-color art film, is a film of a dance drama of the same title created by Choi Seung-hee in 1954. The film <Brothers> (1957) is the first North Korean-Soviet co-produced film, which has a historical significance but has been devalued in North Korean film history for political reasons. <The Story of Sado Castle> is a dance drama that embodies the Soviet ballet culture in North Korean Choi Seung-hee‘s style, and she plays the main character Guem-hee. In <Brothers>, Choi Seung-hee and her daughter, Ahn Sung-hee appear and symbolically show the culture and ideology pursued by South and North Korean society through various dance works. In particular, <Nongak>, <Buchaechum> and <Janggochum>, which are folk dance works representing the Korean culture, are the result of transculture that Choi Seung-hee recreated and reconstructed to fit the European stage with combining the unique Korean dance culture and Soviet socialist dance art. Choi Seung-hee"s North Korean dance works, the primary transcultural product, show a dual transculturality that was reborn in the North Korean film language influenced by the Soviet Union in these two films.

진행 중인 문화횡단 : 문화연구와 심리분석으로부터 도출된 이론적이고 방법론적 측면들 Theoretical and Methodological Aspects Drawn from Cultural Studiesand Psychoanalysis

Nadig, Maya 고려대학교 철학연구소 2004 철학연구 Vol.0 No.27

문화횡단은 전지구화로 알려진 과정의 산물이다. 지구적-국지적 영역에서 나타나는 문화적 정체성은 동질적이지도 않고 지역적이지도 않으며, 이보다 훨씬 더 복합적이며 역동적인 성질을 지니고 있다. 오늘날의 문화연구에 던져진 과제는 문화의 상이한 징후와 의미의 전 영역을 연구해야 한다는 것이다. 문화연구는 지구화와 사람들의 이동이 증가하고 있는 현상과 관련하여 문화적 정체성과 교류관계의 구성형태를 반영하는 표상들을 탐구해야 한다. 지역문화에 대한 역사적인 지구적 과정의 충격은 사회공동체의 해체를 야기했으며 관계들을 결합시키고 있는 주체들 사이의 연결점이 붕괴되었고 모든 생활세계의 과정은 점차 추상화되어갔다. 이것은 파괴의 과정임에도 불구하고 또한 재건설의 과정을 구성하기도 한다. 개인들이 문화적 상징화와 조직과정을 이해하지 않으면 안 되며, 이 과정에 자신을 위치시키지 않으면 안된다는 사실은 그들의 개인적이고도 문화적인 통합능력에 커다란 부담으로 작용한다. 개인들은 익숙해진 의미들과 규범, 방향에서 빠져 나와 이들 모두를 변화된 융합의 형식에 접합시켜야 한다. 이런 방법은 주체 자신들이 행하는 상징적 의미의 문화적 형태변화를 연구할 수 있게 해주는 다차원적인 영역을 열어준다. Transculturality is a product resulting from the process known as globalisation. The cultural identities which emerge in the global-local field are neither homogeneous nor territorial, but of a more complex and dynamic nature. Today, the cultural studies are faced with the task of researching into the whole range of different manifestations and significations of culture. Cultural studies must inquire into the representations which mirror the constructions of cultural identities and affiliations in connection with globalisation and with the increasing mobility of people. The impact of historical global processes on local cultures brings about the disintegration of social communities, leads to breakdowns in the links between subjects in binding relationships and the increasing abstraction of all life world processes. The fact that individuals are compelled to come to grips with cultural symbolization and organization processes and to position themselves within these processes presents a great strain on their personal and cultural ability to integrate. They have to let go of trusted meanings, norms and orientations and join them together in a changed and merged form. This method opens up a multidimentional area which enables research into the cultural transformation of symbolic meanings by the subjects themselves.

Special lssue : Protokulturelle und transkulturelle Dimensionen der Kunst

( Wolfgang Welsch ) 연세대학교 인문학연구원 2014 人文科學 Vol.102 No.-

Are all cultural products to be understood in cultural terms alone? The answer is no. There exists, however, a widespread trend in cultural studies and the humanities to regard everything (even nature) as culturally constructed through and through. This essay opposes that closure of the cultural perspective, the absolutism of culturalism. It tries to open up our awareness towards protocultural as well as transcultural factors involved in the production and understanding of art (and of other cultural phenomena too). To be sure, many aspects of art are culturally determined, but the full picture requires to take also protocultural and transcultural factors into account. There exist age-old aesthetic preferences stemming from the protocultural period of humankind (which extended roughly from 2.5 million years ago to 40,000 years ago, when the take-off of cultural evolution occurred). They refer to certain bodily features and to various forms of self-similarity. Many contemporary artworks are characterized by blending different cultural patterns thus creating transcultural features that can no longer be reduced to any single culture. But as people today have similarily become more and more transcultural (they combine different cultural patterns in their individual identity) such works can receive appreciation and comprehension without further ado. In addition, humans have an extraordinary capacity to question and transcend seemingly fix cultural givens and constraints - humans are capable of transversal acts of understanding. Altogether, and in contrast to current culturalistic restrictions, only a combination of protocultural, cultural and transcultural viewpoints is able to give a full account of artistic and other cultural phenomena.