식민 역사와 민족공동체의 형성

고부응 문화과학사 1997 문화과학 Vol.- No.13

에드워드 사이드의 아마추어 지식인론

고부응,김미숙 한국비교문학회 2010 比較文學 Vol.0 No.52

While the university has traditionally been the major site of the production of intellectual discourses, the disappearance of the intellectual is in parallel with the crisis of the university. This paper examines Edward Said's theory of the intellectual as presented in his Representations of the Intellectual. Said defines intellectuals as individuals with a faculty of representing a message and philosophy to, as well as for, a public. By this definition, Said distances himself from other theoreticians of the intellectual such as Gramsci, Gouldner, Foucault, and Spivak, and presents the role of the intellectual as a mediator between the intellectual himself/herself and the public. The intellectual criticizes and challenges the power for the public as well as for himself/herself. For this role, Said argues, the intellectual should do away with professionalism and take in amateurism because amateurism lets the intellectual pursue for criticism and knowledge with care and affection while professionalism restricts the freedom of the intellectual. Said himself was an amateur intellectual in that he had been trespassing the boundaries of literature professorship for the defence of the Palestine cause. Said's controversial activities had also been protected by the university authorities in the name of academic freedom. The university, when it properly functions, can be a safeguard of intellectuals. The university in Korea is in crisis and this crisis can be overcome when university professors regain the role of intellectuals because intellectual activities and the ideal of the university are mutually supportive.

기호로서의 문학 : 헤겔 미학에서의 문학의 위치

고부응 韓國比較文學會 2002 比較文學 Vol.28 No.-

Today's literary criticism can be characterized as a split between a literary work itself and its theoretical interpretation. Literary critics seem to state what is external to a literary work, rather than to reveal the inherent essence of the work. This paper tries to explain the theoretical split by reading Hegel's aesthetics, focusing on his exposition of literature as a sign. Hegel's notion of art as 'the sensory manifestation of the idea' is a statement that art is a harmonious reconciliation of the spiritual content and the material form. In this sense, the artistic ideal is a complete fusion of spirituality and materiality in the way that the material form and spiritual content in art cannot be separated. In Hegel's history of art, art has a history from the symbolic art form, e.g. architecture, through the classical art form, e.g. sculpture, to the romantic art form, e.g. literature, and the ideal art is the classical form of art in that the artistic form and content is ideally harmonized in the classical form of art. In the art's history, literature is on the highest stage in the artistic development while it violates the artistic ideal in that the spiritual content in literature overpowers the sensuous material form. Moreover, the language as the form of literature is free from the sensuous materiality in that the language as a sign system does not need materiality in its signifying process. Hence, literature transcends art itself to the realm of philosophy or thought. The art of literature is, in this sense, in the limit between art and philosophy. While literature as liminal to the philosophy, or the realm of pure thinking, does not need materiality in its representation, the signified or the content of literature, is radically independent of the signifier, the form of literature. Hence, the interpretative statement on a literary work is radically different from the form of the literary work, or the materiality of literary representation as appeared on the surface of a literary work.

제3영화로서의 <스탠들:조선남녀상열지사>

고부응 문학과영상학회 2007 문학과영상 Vol.8 No.1

Untold Scandal directed by E J-Yong is a remake of Roger Vadim’s Les Liaisons Dangereuses, Stephen Frears’ Dangerous Liaisons, Milos Forman’s Valmont, Roger Kumble’s Cruel Intentions as well as a adaptation of Pierre Choderlos de Laclos’ novel Les Liaisons Dangereuses. While taking a form of citation, plagiarism, and allusion of the original text, remake or adaptation calls the original text into a question by making a difference between them. Untold Scandal questions the dominant ideology of the aristocracy or bourgeoisie as presented in the preceding Western adaptation films of the novel Les Liaisons dangereuses and replace it with the subversive ideology of the dominated middle and lower class. We may call Untold Scandal a third cinema Solanas and Getino argued for in their essay “Towards a Third Cinema” in that Untold Scandal challenges the Western films based on the same novel of Les Liaisons Dangereuses and presents the Korean identity as distinct from those presented in the Western films. However, Untold Scandal is not strictly true of the militant third cinema from the notion of Solanas and Getino. The main concern of the film is to present a transitional Korean identity in the nineteenth century of the Korean society. Since the Korean identity presented in Untold Scandal is an anachronistic one in that the identity is formated after the Western filmic effects of the twentieth and twenty first centuries, the identity is an outcome of the age of today’s transnational cultural exchange. The thirdness of Untold Scandal is the presentation of the Korean identity different from those of the dominant Hollywood films and of the traditional Korean society, which comes from the cultural and ideological exchange with the outside worlds.

[추도/에드워드 사이드 일주기에 즈음하여]에드워드 사이드와 탈식민주의 이론

고부응 역사비평사 2004 역사비평 Vol.- No.68

노동자로서의 교수 —그람시의 지식인론의 관점에서

고부응 한국비평이론학회 2019 비평과이론 Vol.24 No.3

교수가 노동자이고 따라서 노동조합을 조직할 권리가 있다는 2018년 8월 30 일의 헌법재판소의 결정은 한국의 대학 역사에 그리고 노동운동사에 전환점으로 기록될 것이다. 이 결정은 지배 계급을 위하여 복무하여 왔던 대학의 교수들에게 그들 스스로가 속한 노동 계급을 위하여 교육과 연구를 하라는 지침에 해당되기 때문이다. 노동조합으로 조직된 교수들은 자신들이 지배 계급의 구성원이라는 허위 의식을 벗고 노동 계급의 전위대로 전환될 것이다. 이 글은 그람시의 지식인론을 바탕으로 한국의 교수 집단을 분석한다. 그람시 의 이론에 의하면 현재의 한국 대학의 교수들은 지배 계급에 의해 양성된 지배 계 급을 위한 유기적 지식인이다. 이런 교수들은 스스로 지배 계급의 구성원이라는 허 위의식을 갖고 있었다. 교수가 노동자라는 헌법재판소의 결정으로 이제 교수들은 즉자적으로 그리고 대자적으로 노동 계급으로서의 정체성을 확보할 수 있게 되었 다. 2020년 3월 이후에 공식화될 교수 노동조합은 이데올로기 생산자로서의 대학 교수들이 기존의 자본가 계급을 위한 유기적 지식인의 신분에서 그들 스스로가 속 한 노동 계급의 유기적 지식인의 신분으로 변화하게 함으로써 민주적이고 평등한 공동체 사회를 이루는 데 교수들이 이바지하는 길을 열 것이다 The Constitutional Court of Korea judged in 2018 that university professors are laborers and are thereby entitled to be organized as a trade union. This essay is an examination of the status of university professors from the perspective of Antonio Gramsci’s theory of intellectuals. Since professors have continued to provide the ruling ideology throughout history it seems they are Gramscian traditional intellectuals. However, since today’s university professors are elaborated by the dominant capitalist class for capitalism, they are organic intellectuals of the capitalist class. The Constitutional Court’s judgement reveals that Korean professors are part of the labor class and as far as they work for the capitalist class, they betray themselves in terms of class interest and identity. The legalized trade union of Korean university professors in the future would function to transform them from the organic intellectuals for the dominant capitalist class to the organic intellectuals for the dominated labor class. University professors under trade union are to educate and research for the interest of the labor class, which means that university would work to open the path to a more democratic and egalitarian communal society.

역비논단 영문학속의 식민이데올로기 -『로빈슨 크루소』에 나타난 식민주의-

고부응 역사문제연구소 1995 역사비평 Vol.- No.33

영화 <파이란>의 민족성과 초민족성

고부응 한국비교문학회 2009 比較文學 Vol.0 No.48

Collectivity is one of the crucial factors in the constitution of a film not only in its production but also in its consumption. The film Failan directed by Song Hae-sung thematizes the collectivity in the critique of the cinema's artistic individuality and the representation of the nationality and transnationality of the contemporary Korean society. Whereas the aesthetization of politics was problematized and criticized by Walter Benjamin in his “The Work of Art in the Age of Mechanical Reproduction,” the film Failan criticizes the aesthetization of the cinematic representation of women in which women are positioned as the object of male sexual desire. By presenting a pornographic film maker and his work of art as targets of criticism in the film, the director of the film self-consciously comments on the artistry of a film. Hence, the film can be considered a sort of meta or alternative cinema. Although the nationality of the film Failan is mainly Korean in that most people participating in the production of the film are Koreans, the film is also transnational in that the title character is Chinese, the film is based on a Japanese short story, and the story is about the Chinese character's intervention into the construction of the identity of the Korean national community. The film presents some aspects of transnationality of the contemporary Korean society. The significance of the film Failan is a presentation of the transformation of the Korean national community. By juxtaposing different places as filmic locations while focusing on a traveling Chinese diaspora, the spectators imagine the local communities constituting a larger national community inevitably including the diaspora character. The intervention of the diaspora in the constitution of the Korean nation transforms the hitherto homogeneous Korean nation into a heterogeneous and constantly changing national community. Collectivity is one of the crucial factors in the constitution of a film not only in its production but also in its consumption. The film Failan directed by Song Hae-sung thematizes the collectivity in the critique of the cinema's artistic individuality and the representation of the nationality and transnationality of the contemporary Korean society. Whereas the aesthetization of politics was problematized and criticized by Walter Benjamin in his “The Work of Art in the Age of Mechanical Reproduction,” the film Failan criticizes the aesthetization of the cinematic representation of women in which women are positioned as the object of male sexual desire. By presenting a pornographic film maker and his work of art as targets of criticism in the film, the director of the film self-consciously comments on the artistry of a film. Hence, the film can be considered a sort of meta or alternative cinema. Although the nationality of the film Failan is mainly Korean in that most people participating in the production of the film are Koreans, the film is also transnational in that the title character is Chinese, the film is based on a Japanese short story, and the story is about the Chinese character's intervention into the construction of the identity of the Korean national community. The film presents some aspects of transnationality of the contemporary Korean society. The significance of the film Failan is a presentation of the transformation of the Korean national community. By juxtaposing different places as filmic locations while focusing on a traveling Chinese diaspora, the spectators imagine the local communities constituting a larger national community inevitably including the diaspora character. The intervention of the diaspora in the constitution of the Korean nation transforms the hitherto homogeneous Korean nation into a heterogeneous and constantly changing national community.

『공동경비구역 JSA』에서의 민족 공동체 : 문화연구로서의 비교문학을 위하여 a case study of Joint Security Area

고부응 韓國比較文學會 2002 比較文學 Vol.29 No.-

The comparison in comparative literature is a study of difference in literature. Literature in comparative literature studies has been a general term without difference in itself in that the institution of comparative literature in academies came from the effort to overcome the differences in national literatures. Hence, the difference in the study of comparative literature is not a difference among national literatures but between literature and non-literatures such as philosophy, art, politics, etc. One of such a difference study would be that of a cultural difference, which will lead to the formation of cultural identity. Considering the widespread influence of cultural studies in today's academy, cultural difference and identity is an inevitable topic in comparative literature studies. The film Joint Security Area directed by Park Chan Wook is a good example for the study of cultural identity and difference from the perspective of comparative literature studies.. Against the state-imposed national identity, the film provides the nation formation by the people in the north and south of Korea. The Korean nation in the film rises when the soldiers share the community consciousness among them. The nation falls apart when the state intervenes in the national community of the soldiers. The imaginary nation in the film works as a difference to the real nation-states in the north and south of Korea.

『인도로 가는 길』에서 읽는 포스터의 식민 이데올로기

고부응 연세대학교 인문과학연구소 1994 人文科學 Vol.71 No.-

E. M. Forster´s A Passage to India has been considered an antidote to Kipling´s jingoism. In contrast to Kipling´s outright justification of British domination over India, Forster, it has been suggested, was critical of British imperialism. Because of this, Forster has been accorded a privileged status in the literary history of the colonial encounter between the British and the Indians. He has been praised even by Indian readers, who had suffered the British rules of India, for his courage of telling the truth. It is true that Forster overcomes the Manichean dichotomy that has traditionally divided the "civilized" West and the "evil" non-West, and the "evil" in the novel is caused not by the natives but by the colonial officialdom which treats the natives with contempt and arrogance. However, when the novel is read in the historical context around 1920´s and in juxataposition with his non-fictional proses, the novel reveals that Forster was an imperialist who firmly believed in the cause of British imperialism, i.e., the imperialism´s civilizing mission His criticism of imperialism is confined to the shortcomings of colonial officialdom and the critique should be understood as a gesture towards the ideal phases of imperialism with the implicit suggestion that the vices should and could be corrected so that the natives would accept Britain´s mission of civilizing India.