『에드거 헌틀리』에 나타난 국민정체성과 악몽의 역사

양석원(Seokwon Yang) 한국아메리카학회 2005 美國學論集 Vol.37 No.2

  Composed in the wake of and set around the birth of the United States, Charles Brockden Brown"s Edgar Huntly critically addresses the question of the identity of the new nation and its people. An orphan who, like his European double Clithero Edny, has to secure social and economic independence, Huntly embodies young America which had to fashion its national identity ex nihilo, and his journey symbolizes early American history.<BR>  Huntly"s journey turns into a nightmare in which he strikes down five native Americans. Huntly"s justification of his killing spree as righteous retribution for Indian hostility appears to advocate the national identity of white America as the rightful owner of the land and endorse American colonialism and imperialism. By throwing Huntly"s flagrant violence into bold relief and making Huntly the American disinherited, however, Brown"s gothic fiction presents America"s founding violence as unforgettable nightmare that haunts its history and implicitly questions the legitimacy of American nationhood and American citizenship.

텍스트와 주체: 해롤드 블룸의 문학이론과 정신분석

양석원(Seokwon Yang) 한국비평이론학회 2011 비평과이론 Vol.16 No.2

At the heart of Harold Bloom’s theory of literary influence lies the agonistic drama of text and the subject in which psychoanalysis plays a major role along with the supporting roles of deconstruction, philosophy and Gnosticism. This drama unfolds as a quest for the origin of poetic creation in the background of Romantic poetry. Bloom’s early criticism of Romantic poetry focuses on imagination as an autonomous creative power independent of nature in opposition to the previous views of Romanticism as the interaction of mind and nature. In the next phase of Bloom’s criticism the source of poetic creation morphs into an agonistic psychic conflict between the “imaginative ego” and the “selfhood ego”, and then into a face-off between creative imagination exemplified by Milton’s Satan and the Covering Cherub, a blocking agent against creative imagination. This internalized conflict develops into an Oedipal competition between the ephebe (the later poet) and the precursor (the prior poet) for priority in The Anxiety of Influence. The motive force that creates strong poems changes from imagination to the anxiety of influence of the Great Original, and poetic creation becomes the process of a strong misreading or misprison of the precursor’s poem, which Bloom elaborates as six revisionary ratios. Bloom’s theory of influence, however, is riddled with an ambiguity as to whether the competition involves poets or poems and how poetic anxiety is materialized into a poetic text. This ambiguity evolves into a contestation between textuality and subjectivity, a theoretical war provoked by the post-structuralist school of deconstruction that reduces subject into a mere function of linguistic structure. Bloom’s response to deconstruction—especially to Paul de Man’s rhetorical review of The Anxiety of Influence—engenders both his embrace of de Man’s rhetorical translation of his six ratios and his defense of the concept of the subject against the prison house of language. As a result, Bloom offers commentary on six revisionary ratios in A Map of Misreading both as rhetorical tropes and as defense mechanisms which the ego employs to protect itself from the id and the superego. Revising and tailoring Freud’s concept of the ego to fit into his theory of poetry, Bloom forges the concept of “poetic will,” a “deep subjectivity” struggling against textual surface. Bloom’s discontent with de Man’s “conceptual rhetoric” that excludes the subject from text makes him develop his own rhetoric where the trope is not produced by linguistic structure but is willed by the subject. In Bloom’s “diachronic rhetoric” the ephebe is engaged in a rhetorical battle opposing his own trope against the precursor’s trope, thereby “lying against time” and pursuing “poetic immortality”. Troping against prior tropes embodies the poet’s will to life and immortality by resisting the compulsive repetition of the literal meaning of the prior poem. The final phase of Bloom’s theory stages a war against the lethal power of language that characterizes Lacanian theory, a confrontation of figurative Eros against the Thanatos of linguistic death. Though Bloom privileges Gnostic “pneuma” over psychoanalytic “psyche” at the end of his quest for the source of poetic creativity, this quest is indelibly marked by the influence of psychoanalysis.

두보이스의 범아프리카주의와 아프리카 민족해방운동

양석원(Seokwon Yang) 한국비평이론학회 2004 비평과이론 Vol.9 No.1

W.E.B. Du Bois is of unprecedented and unequaled importance to the development of Pan-African political thought, the Pan-African movement. and the African national liberation movement. Born and educated in the North during Reconstruction and its aftermath. Du Bois came to identify himself as African after experiencing the black slave culture of the South and understanding its origins in Africa. Du Bois's intellectual and political efforts to confront the issue of race in the United States compelled him to explore the world historical dimension of race and formulate his view that the most significant problem of the twentieth century was the problem of the color-line. Indicting the political subjugation, economic exploitation, cultural impoverishment, and depreciation of African history that European imperialism had spawned in colonial Africa. Du Bois propagated the perspective that Africa was the central driving force of modern world history. In a series of Pan-African congresses, which he organized, Du Bois tried to unify native Africans and the peoples of African descent world-wide and empower them to combat colonial imperialism and fight for liberation. Du Bois's contribution to Pan-Africanism resides in his uncompromIsing endeavor to eradicate racism. his abiding commitment to expose and resist the imperial exploitation of colonized Africans. and his Afro-centric outlook that Africa has the primary cultural and historical resources required for African independence and post-colonial development.

정신적 상처의 원인과 치유의 탐구

양석원(Seokwon Yang) 한국비평이론학회 2022 비평과이론 Vol.27 No.2

이 글은 트라우마의 발생과 치료에 대한 프로이트 이론의 변화와 연속성을 추적하여 트라우마에 대한 그의 통찰과 의의를 밝힌다. 프로이트는 히스테리의 원인을 외상에서 찾으며 트라우마를 외부에서 침입해 정신에 지속적인 영향을 미치는정신적 상처로 정의하고 망각된 기억의 회복과 그 기억에 동반된 정동의 해소를트라우마 치료로 제시한다. 그는 트라우마의 메커니즘을 분리가 아닌 억압으로 설명하는 이론적 선회의 과정에서 주체가 저항을 극복하고 억압된 기억과 대면하는극복작업을 정신분석 치료의 핵심으로 파악한다. 전쟁신경증 연구를 통해 그는 반복강박을 발견하고 이를 설명하는 과정에서 그의 트라우마 이론은 죽음욕동 개념과 만난다. 그리고 트라우마는 자아에 위협을 가하는 내적, 외적 위험에 대한 방어로 다시 정의된다. 프로이트는 트라우마가 위험상황에 대비하게 하는 불안의 부재로 인해 발생했다고 파악하고 외상꿈을 불안을 갖추고 외상 상황으로 회귀해 트라우마를 통제하려는 반복적 시도로 해석한다. 불안의 치료효과에 대한 그의 암시는자아의 강화에 의한 치료의 논의로 발전한다. 트라우마 치료의 맥락에서 자아의 강화는 경제적인 의미에서 트라우마를 야기한 과도한 자극을 통제하고 구속하는 능력의 향상으로 해석할 수 있다. 그러나 프로이트는 자아가 위험뿐 아니라 회복에도방어할 수 있으며 회복에 대한 저항의 근원에서 죽음욕동을 발견하고 치유의 점근선적 과정과 미완성을 전망한다. 트라우마에 대한 프로이트의 사유는 몇 가지 중요한 점을 제시한다. 첫째, 자아의 강화에 대한 주장은 과학적 심리학 초고 에서 불쾌의 원인을 자아 억제력의부재에서 찾았던 그의 초기이론과 일맥상통하며, 이는 장기간에 걸친 프로이트의트라우마 이론에서 연속성을 보여준다. 둘째, 극복작업에 대한 강조는 회복의 과정에 필요한 주체의 능동적인 역할의 중요성을 보여주며, 이는 비의식적 신체를 강조하는 신경과학적 트라우마 이론에서 주체의 능동성을 간과하는 경향에 대한 비판적 성찰을 제공한다. 셋째, 극복작업은 사회적 트라우마에 관한 역사적 서사의 장에서 지속적으로 개인적 상처의 진실을 기록하는 열린 치유과정의 개념으로 확장되어 중요하게 활용될 수 있다. 넷째, 분석가와 환자의 협업에 대한 프로이트의 논의는 공감적 청자가 외상적 주체의 증언에 대한 증인이 되는 “사회적 공간”의 모델이 될 수 있다. 마지막으로 프로이트가 회복에 대한 자아의 저항에서 발견하는죽음욕동은 자아에게 가장 궁극적인 위험인 죽음 즉 인간 주체가 트라우마 경험에서 대면하는 사멸성을 환기한다. 외상신경증에 대한 프로이트의 사유는 그가 정신적 상처를 탐구하며 이룬 트라우마 발생과 치유에 대한 심층적인 분석을 증언한다. This essay aims to weave together Freud’s seemingly disparate discussions of the causes of and cures for trauma and attempts to unravel the significance of his contribution to the literature on trauma. Investigating the aetiology of hysteria, Freud discovers trauma, characterizing it as a psychic wound that persistently impacts the structure of the mind and explains the cure as the recovery of forgotten memory—along with the abreaction of the affect attached to it. Freud’s theoretical shift from “dissociation” to “repression” makes him underscore the idea of “working-through” as a pivotal part of psychoanalytic therapy, one that enables the subject to come to terms with repressed memory. War neuroses brought the concept of the repetition compulsion to his notice, leading him to develop the theory of the death drive, and he defines trauma as the ego’s defense against both endo- and exo-psychic dangers. He interprets the traumatic dream as a repeated attempt to master the traumatic situation with anxiety—a signal that prepares the subject for danger—the absence of which triggers traumatic neurosis. Later, this idea evolves into his suggestion that strengthening the patient’s ego empowers him to master the trauma that had previously overpowered him. Observing, however, that the ego defends itself against the process of recovery, just as it does against the threat of dangers, Freud uncovers the death drive underneath this resistance to recovery and envisages the asymptotic and incomplete process of the cure. Freud’s engagement with the issue of trauma presents several important points. The idea of strengthening the ego for therapeutic purposes echoes his early view of unpleasure as resulting from the ego’s lack of inhibition in the Project of Scientific Psychology, thus providing a thread of consistency in the seemingly discontinuous trajectory of his trauma theory. His emphasis on working-through highlights the importance of the subject’s active role in recovery, which may be disregarded in neuroscientific trauma studies. In historiography, the concept of working-through connotes the therapeutic process of persistently witnessing the truth of wounded individuals without closure. Freud’s account of the cooperation of the analyst and the patient may serve as a model for the “social space” in which a sympathetic listener bears witness to the testimony of the traumatized subject. Finally, the death drive that Freud excavates beneath the ego’s resistance to recovery evokes the concept of death as the ultimate danger to the ego, the mortality that the subject encounters in the course of his traumatic experience. Freud’s reflections on traumatic neurosis testify to his unflinching commitment to discerning the mechanisms and cures of trauma in the process of probing the psychic wounds of his patients.

거울과 창문 - 벨라스케스의 『궁정의 시녀들』에 대한 푸코와 라캉의 주체와 재현 이론 : 거울과 창문

양석원(Seokwon Yang) 한국비평이론학회 2007 비평과이론 Vol.12 No.2

An indisputable masterpiece of Western art, Vel?zquez"s Las Meninas has triggered a plethora of critical interpretations and debates on its meaning and artistic appeal. The critical debate mainly concerns the question of the subject and representation. Art historians acclaimed the painting as an accurate and even photographic representation of reality while explaining its meaning as an expression of the artist’s aspirations for personal nobility and his desire to ennoble the social status of painting from a manual craft to one of the liberal arts. They make a seemingly contradictory claim that the painting is at once a realistic representation of the outer world and a manifestation of the painter’s inner desire, paying little attention to the relationship between the two. Michel Foucault’s provocative analysis of the painting in The Order of Things has the virtue of teasing out and elaborating upon the question of the subject and representation on a theoretical level. Foucault, however, privileges representation over the subject. He singles out Las Meninas as a pictorial exemplification of the Classical episteme that elided the subject and its representing act in the world of representation. Las Meninas only represents the three functions of representation―the painter, the model, and the spectator―in the dispersed figures in the painting, without representing the subject who remains invisible outside the picture plane. Las Meninas is a representation of representation, and its central focus is the mirror because it is a medium of pure representation without the subject, making visible what is invisible. Jacques Lacan argues against Foucault that a picture involves the subject out of the structural necessity of the scopic drive. Drawing upon projective geometry that posits a vanishing point and a distance point, Lacan translates these two points respectively into the eye as the viewing subject and the gaze as the object a, the lost object of the subject. A picture contains these two points, doubly inscribing the split subject. In Las Meninas, the gaze or the gazing subject appears in Vel?zquez the painter while the eye appears in Nieto Vel?zquez, the painter’s namesake and duplication. The gaze or object a also appears in the interval between the painter and the canvas, and in the princess Margarita, whose skirt hides that sign of castration which betokens the primary loss of the subject. Las Meninas does not display a mirror of representation, but stages a window of fantasy in which the subject of the drive makes a circular movement around the object a. It is a Vorstellungsrepr?sentanz, a representative of representation that represents the lost-and thus unrepresentable-subject of the real.

편지는 왜 어떻게 목적지에 도착하는가?

양석원(Seokwon Yang) 한국비평이론학회 2010 비평과이론 Vol.15 No.2

Jacques Lacan's "Seminar on 'The Purloined Letter'" published early in his career, placed at the head of Écrits, and including later addenda, invites a reinterpretation from the perspective of his later theory. His famous conclusion to this seminar that the letter always arrives at its destination needs to be reread accordingly. This essay examines this seminar in the context of his theoretical development, critically referring to Jacques Derrida, who deconstructed Lacan's argument without considering its analytic context and regarded Lacan's interpretation of the tale as a similar and even inferior version of Marie Bonaparte's interpretation, missing crucial differences between them. Bonaparte's psycho-biographical reading renders "The Purloined Letter" an expression of Poe's unconscious infantile desire to retrieve the maternal penis deprived by his (foster) father. The letter is none other than the maternal penis while the queen is Poe's mother, the minister her mysterious lover and his foster father John Allan, and Dupin Poe himself. While Bonaparte is concerned with finding the final signified of the letter, Lacan, reading the tale as an illustration of his psychoanalytic theory, sees the letter as an unconscious signifier, and its circulation among the characters as the unconscious signifier's movement along the signifying chain. This insistence of the unconscious signifier in the subject induces "repetition automatism," which compels the subject to repeat even a traumatic event despite his resistance, demonstrating that the subject is determined by the symbolic order.The seminar, however, insinuates later Lacanian emphasis on the real object a that the subject misses in the symbolic order. In "Freud and the Scene of Writing," Derrida claims that Freud, in Project for a Scientific Psychology, explained how unconscious memory traces are produced by the differences of bahnung (facilitation or breaching) among contact-barriers of ψ neurons, thus revealing différance as the source of memory and writing. Yet Derrida leaves the compulsive nature of unconscious memory traces unaccounted for. Lacan, in contrast, is keenly aware of Freud's account in Project for a Scientific Psychology of how the repetition compulsion of an unconscious signifier is initiated by the loss of an object. Lacan's attention to the process of refinding a fundamentally lost object in this seminar leads to an alternative interpretation of the letter. What the analyst discerns in the speech of the analysand (the subject) and returns to him is not the unconscious signifier that repeats itself without the analysand's awareness as the standard interpretation suggests, but the object a the analysand originally lost. In this interpretation, the letter always arrives at its destination, the subject, as the real object a.

욕망의 탄생과 존재의 역설

양석원(Seokwon Yang) 한국비평이론학회 2009 비평과이론 Vol.14 No.1

This essay arms to examine closely the process through which Jacques Lacan makes a breakthrough in the psychoanalytic theory of desire in his reading of Hamlet Lacan's interpretation of Hamlet is as original and innovative as Freud's interpretation of Oedipus Rex. Just as Freud discovers in Sophocles's tragedy that man has Oedipal desire for his mother and antagonism toward his father, Lacan discovers in Shakespeare's tragedy that man is destined to face the question "to be or not to be" and his desire is desire of the (m)Other. If Freud reveals what a man desires at the depths of his being, Lacan shows how a man becomes a desiring being in the first place. Unlike Freud and his successors, Lacan argues that the central meaning of tragedy hinges not on the question of revenge but on the question of being Lacan translates Hamlet's famous question "to be or not to be" into the question "to be or not to be the phallus." Man should give up being the imaginary phallus, the phallus as a signifier. Hamlet dramatizes this process of human evolution from the imaginary to the symbolic order. The question "to be or not to be the phallus" is also the question "to have or not to have desire" since giving up the imaginary phallus and entering the symbolic order involves the acquisition of one's own desire. The dialectic of desire forces man to acquire his own desire through the interpretation of the (m)Other's desire, that is her lack. Hamlet's drama fleshes out this dialectic. Man becomes a desiring subject only through the interpretation of the (m)Other's desire and only by bring deprived of and mourning his phallus. Gertrude, however, reveals neither lack nor mourning since she indulges in the enjoyment of Claudius's real phallus, thus preventing Hamlet from being born as a desiring subject. Loss, symbolic castration, and mourning pave the way for the birth of desire. Only by losing and mourning the phallus does man take his position as a barred subject deprived of part of his being the symbolic order this is the paradox of being. Being dead and becoming the impossible object of Hamlet, Ophelia recovers her position as objet a, the object cause of desire in Hamlet's fantasy. It is her death that makes Hamlet confront and mourn the inevitable loss and become a desiring subject. Hamlet's mourning and subsequent death complete his tragedy as the drama of the linguistic animal who is inevitably subject to symbolic loss and castration. Lacan's reading of Hamlet at once developes and subverts Freud's Oedipal interpretation of Hamlet and explores the universal fate of the human being as a desiring subject in the symbolic order. Lacan's emphasis on the lack the Other and the nothingness of the phallus, however, makes him ultimately move beyond the symbolic order. A unique psychoanalytic account of Hamlet's tragedy as the birth and death of the subject of desire in the symbolic order, Lacan's seminar also marks his theoretical shift from the symbolic to the real, a shift that appears more clearly in his next seminar on Antigone.

영상통화 서비스의 지속적인 사용 요인에 관한 연구

양석원(Seokwon Yang),황재훈(Jaehoon Whang) 한국데이타베이스학회 2010 Journal of information technology applications & m Vol.17 No.1

The purpose of this research is to identify the critical factors influencing on the continuous use of video telephony service for mobile devices. An empirical analysis has been performed by using service quality, brand image, price, fun as influencing factors, and satisfaction and commitment as mediating factors. The partial least squares(PLS) methodology with 228 questionnaires has been conducted. The results indicated that brand image, price, and fun were mediated by satisfaction and commitment to have a statistically significant influence on continuous use of video telephony service. Service quality showed a significant effect on continuous use mediated by satisfaction while it did not show any influence through commitment. Based on the results, companies in the communication service industry should consider and focus on the improved brand image, appropriate fees, and individual preferences for fun for the successful marketing activities, and should also maintain amicable relations with their customers.

수부 골절

양석원 ( Seokwon Yang ),김종필 ( Jong-pil Kim ) 대한골절학회 2018 대한골절학회지 Vol.31 No.2

수부 골절은 상지 골절 중 원위 요골 골절 다음으로 흔한 골절이며, 수부외과 임상 경험에서 수부 손상을 가진 다양한 환자들을 접할 수 있다. 하지만 수부 골절의 치료 시 수부의 복잡한 기능과 뼈, 연부조직 등 손상의 크기가 작아 치료가 쉽지 않고 합병증이 잘 발생할 수 있다. 본 종설은 수부 골절의 발생 기전 및 진단을 포함한 치료 원칙 및 최신 지견에 대해 다루고자 하였다. 지골 및 중수골 등 여러 형태의 수부 골절에서 합병증을 감소시키기 위하여 수술 후 조기 관절 운동이 중요하며, 이를 위해 최소 침습적으로 수술하는 방법들에 대해 주목하였다. Hand fractures are the second most common fracture in the upper extremities after the distal radius, and patients with these injuries may be experienced in hand surgery clinics. On the other hand, during the treatment of hand fractures, complications can occur due to complex functions of the hand and small-sized injuries to the bone and soft tissues. This review focused on the principles of management of these fractures, including injury mechanism, evaluations and recent treatment options. Minimally invasive surgery in various types of hand fractures, including the phalanx and metacarpal bone, is preferred because early mobilization after surgery has been emphasized to reduce complications, such as stiffness.

송전선에의 전기장을 이용한 에너지 스케빈징에 대한 연구

양석원(Seokwon Yang),강성묵(Sungmuk Kang),김호성(Hoseong Kim) 대한전기학회 2016 대한전기학회 학술대회 논문집 Vol.2016 No.7