http://chineseinput.net/에서 pinyin(병음)방식으로 중국어를 변환할 수 있습니다.
변환된 중국어를 복사하여 사용하시면 됩니다.
- 中文 을 입력하시려면 zhongwen을 입력하시고 space를누르시면됩니다.
- 北京 을 입력하시려면 beijing을 입력하시고 space를 누르시면 됩니다.
RISS 인기검색어
- 검색키워드
- 저자 : 사공일(司空一) (검색결과 64 건)
- 무료
- 기관 내 무료
- 유료
-
-
사공일 동북아시아문화학회 2012 동북아 문화연구 Vol.1 No.30
Laotzu’s Power Image in the Viewpoint of Deleuze Sa, Kong-Il The aim of this paper is to study Laotzu’s Power Image in the viewpoint of Deleuze. Deleuze stresses the rhizomatic process of deterritorialization, which deconstructs the molar organization that codify rules and systems. This rhizomatic process rejects the power that control subjects oppressively. In this sense, Deleuze’s philosophy is related to the politics of creativity. This politics is comparable to the Taoist notion of we-wei, which means letting Nature take its own course. Like this, the politics dismantles the institutional and hierarchical power and embodies the positive and becoming power which flies the danger of state apparatus. That is the nomad politics or the politics of Laotzu’s Master. Deleuze’s notion of rhizome, the line of flight, and the body of without organs is comparable to the Taoist notion of water, Tao, and wu-wei respectively. Also, the notion of Master in Taoism is similar to Deleuze's notion of nomadic subject. Especially, Master positively and creatively embodies the politics of creation Deleuze stresses. In this sense, the power and politics Deleuze describes, or the nomad politics can be called Master‘s politics. Deleuze and Laotzu’s image of power similarly rejects a codification of the world according to orthodox categories and classification.
-
-
사공일 현대영미어문학회 2007 현대영미어문학 Vol.25 No.4
This paper aims to explore representation, the virtual, and politics of theater in Gilles Deleuze’s philosophical theory. Representation connotes the meaning of something copied from the original one. Through the becoming philosophy of difference and repetition, he tries to refuse the power of representation and restore the creative possibility of simulacre deprived by such representation and identity and resemblance. Also Deleuze stresses the passage of the virtual into the actual. He borrows Henry Bergson’s duration, memory, and élan vital to discuss the passage. In the passage, creative and new becoming reveals accidently. Carmelo Bene’s theater is applied well to the notions of representation, difference and repetition, and the virtual. He expresses the theater that actualizes the virtual through the subtraction of an original text and the continuous variation of language and gesture. Bene embodies politics of the theater that overthrows the power of representation by manifesting the creative appearances as well as the new variations.
-
-
-
사공일 한국중앙영어영문학회 2009 영어영문학연구 Vol.51 No.4
Language reinforces a codification of the world according to orthodox categories and classifications. The human face serves as a substance of expression for linguistic forms of expression, each speech act resonating with an accompanying facial expression. According to Gilles Deleuze, the elementary unit of language, the statement is the order-word. He insists the function of language is not to be informational and communicational, but to transmit a order-word. In this sense, Deleuze suggests that a regime of signs is divided into four general categories: a presignifying primitive regime, a signifying despotic regime, a postsignifying passional regime, and a countersignifying nomadic regime. The face plays a different role in each regime of signs. The important thing is that a regime of signs has a power structure that forms individual subjects and places them in social and political relation to one another. This is called the politics of language. Similarly, the face forms the relation of power, especially, in the signifying despotic regime and postsignifying passional regime. The former represents a frontal face and deception, the latter an averted face and betraval. Deleuze also insists the face is a politics. But each regime of sings exists in a mixed semiotic system and comes out differently in various assemblages. Certainly, the regimes of sings can be applied to Hamlet. the four regimes appear in Hamlet according to the relation and placement of characters.
-
장자 철학에 나타난 서양적 사유 : 허심, 좌망, 상존과 포월을 중심으로
사공일 동북아시아문화학회 2014 동북아 문화연구 Vol.1 No.40
This paper aims to analyze the westem thought in Zhuangzi’s philosophy, especially focusing on the concepts of xuxin, chengxin, zuowang, sangjon, and powol. According to Zhuangzi, world is a field that changes constantly as well as has unfixedness. Also, it is a complex network in which things are related to each other. In the world, things are connected and communicate with others spontaneously. In this sense, he says that each thing is different from others and has its own particularity, respecting each other. In other words, there exists the difference and equality between things. This thought appears in xuxin, chengxin, zuowang, sangjon, and powol. Chengxin, constituted mind, causes narrow-minded thought. As a result, it leads to not cognizing correctly things or humans by distorted mind. Zhuangzi proposes xuxin to escape from chengxin. Xuxin is a kind of mind or a practical act that can accept difference and be able to comrnunicate with things. Xuxin is embodied in zuowang, emptiness and forgetting. Zuowang enables to empty all of fixed idea or consciousness, to be aware of world and humans in the perspective of difference and becoming, and to communicate with things equally. It shares the meaning of sangjon and powol. Sangjon and powol is aimed at respecting things and banding together equally. They are concepts that togethemess exists. Also, they are practical thoughts able to generate communities.
-
사공일 한국시민윤리학회 2010 한국시민윤리학회보 Vol.23 No.1
푸코의 사상은 지식이 담론적으로 구성되는 구조적 원리를 다루는 고고학적 단계와 지식과 권력의 긴밀한 유착관계를 분석한 계보학적 단계, 그리고 개인이 자신을 윤리적 주체로 구성하는 문제를 집중적으로 분석하는 윤리적 단계로 구분할 수 있다. 푸코 연구의 전반적인 작업은 동일자와 타자, 이성과 광기 등의 경계선을 허무는 것이다. 푸코는 이러한 경계선에 작용하며 그것을 유지하는 권력을 드러냄으로써, 진리란 동일자 자신이 발행하는 동일자의 보증서에 불과하다는 사실을 밝힌다. 이러한 푸코의 연구는 지식과 담론, 권력, 주체화에 대한 연구로 요약될 수 있고, 이 세 주제는 지식과 담론에서의 권력, 지식-권력과 생체 권력, 권력과 자아로 분류될 수 있다는 점에서 권력이라는 중심 주제를 공유한다. 푸코의 지식과 담론에서의 권력에 대한 연구는 들뢰즈의 언어에 대한 연구, 특히 화용론 연구와 유사한 의미를 가진다. 또한 지식-권력과 생체-권력의 작동을 통해 푸코가 권력이 인간 주체 속에 침투하고 사회적 관계 배치 속에 분산되는 측면을 부각시키면서 “권력의 미시물리학”을 강조하듯이, 들뢰즈는 권력이 자신의 기능을 활성화시키면서 유연한 선분성을 드러낸다고 하면서 “권력은 다이어그램적”이라고 정의한다. 마지막으로 푸코가 제시하는 능동적인 윤리적 주체는 들뢰즈의 노마드적 주체와 그 주체가 극한으로 추구하는 지각 불가능하게-되기에 수렴되고, 긍정적이고 창조적인 활동을 지향하는 창조성의 정치학을 구현한다고 볼 수 있다.
-
KCI연관 검색어 추천
이 검색어로 많이 본 자료
활용도 높은 자료
