AI의 영화적 재현의 계보: 포스트휴먼의 감정, 기억, 데이터

한광택 문학과영상학회 2025 문학과영상 Vol.26 No.1

This study analyzes the representational evolution of artificial intelligence thematized in science fiction cinema from the 1960s to the 2020s, tracing a shift from antagonistic otherness to symbiotic coexistence. By closely examining HAL 9000 in 2001: A Space Odyssey, Ash in Alien, the replicants in Blade Runner, David and Ava in Prometheus and Ex Machina, and the cooperative AIs in Creatorand Atlas, it foregrounds key philosophical—epstemological, ontological, and ethical—concerns of personhood, moral agency, and technological enframing. The narrative trajectory emerges from early techno-determinism toward more complicated explorations of value alignment, transparency, and co-creative ethics. Recent films, in particular, model collaborative AI paradigms that simultaneously acknowledge both the risks and opportunities of human–machine partnership. These findings underscore science fiction cinema’s role as an active cultural mechanism shaping AI governance frameworks, ethical guidelines, and public perceptions in the post-human era.

도래할 미래와 학문의 현재시제

한광택 한국비평이론학회 2017 비평과이론 Vol.22 No.2

에드거 앨런 포, 뉴욕, 대중 민주주의:「군중 속의 남자」를 중심으로

한광택 한국외국어대학교 영미연구소 2018 영미연구 Vol.42 No.-

Few studies have thoroughly examined the biographical and aesthetic relations between Edgar Allan Poe and a particular American city indicated in his short story “The Man of the Crowd,” which centers on an individual’s spatial and temporal experience of a metropolitan city. Such critical lacunae result from the fact that the work is set in London, though it is characterized by Poe’s singular sense of a modern city. This essay proposes that the fiction is actually set in New York, where Poe lived from 1837 to 1838 to ambitiously pursue a more successful literary career, but in vain due to the unexpected outbreak of the 1837 Great Panic and its devastating aftermath. Unemployed and impoverished in the city, however, Poe had a possible chance to observe a variety of individuals of diverse occupations and economic conditions, especially the destitute, which can correspond with what the narrator describes vividly in the story. Moreover, the historical scenes of New York that can be identified in “The Man of the Crowd” help provide a new understanding of Poe’s view of American democracy by shedding new light on the fact that Poe, rather than criticizing American popular democracy as mainly argued by most of Poe scholars, recognizes a diversity of individualities that are formative of the variegated metropolitan crowd as its central principle. 에드거 앨런 포의 단편소설인 「군중 속의 남자」는 대도시에서 개인이 겪는 시공적 체험을 주제로 구현한 작품임에도 불구하고 작품에서 드러난 포와 특정한 미국도시와의 전기적, 미학적 관계들을 면밀하게 고찰한 연구는 지금까지 찾아보기 어려웠다. 이러한 비평적 공백은 작품에서 미국의 대도시에 대한 포의 독자적인 감각과 인식이 특징적으로 나타났음에도 배경이 런던인 까닭에 미국도시와의 연관관계를 고찰하지 않았던 일반적인 경향에 기인한 현상이었다. 본고에서는 「군중 속의 남자」의 실제 배경이 뉴욕이라고 주장하는데, 포는 이전보다 성공적인 문학적 경력을 추구하기 위해 뉴욕에서 1837년부터 이듬해까지 거주하는 동안 1837년 경제대공황과 그 참담한 여파를 직접 겪은 바 있었다. 하지만 뉴욕에서 극빈 상태의 실업자로 살았던 포는 다채로운 직업군과 경제적 조건들에 속한 다양한 부류의 개인들을, 특히 「군중 속의 남자」의 화자가 생생하게 묘사하고 있는 극빈층을 가까이 목격할 기회를 가질 수 있었다. 더욱이, 작품 속에서 확인할 수 있는 뉴욕의 구체적인 역사적 장면들은 미국의 대중 민주주의에 관한 포의 견해를 새롭게 이해하는 데 도움을 제공한다는 점에서 중요하다. 기존의 연구에서 대다수의 학자들이 주로 주장하듯이 포는 미국의 대중 민주주의를 비판한 것이 아니라 다채로운 구성원들로 이루어진 대도시의 대중을 구성하는 다양한 개인성들을 미국의 대중 민주주의의 핵심적 원리로서 인식했다는 것이 본고의 주장이다.

Morbid Reason, or the Shadow of the Enlightenment

한광택 한국동서비교문학학회 2022 동서 비교문학저널 Vol.- No.59

Unlike the commonplace understanding of the Enlightenment as the epistemological and ontological construction of a rationality that is necessarily devoid of passion, Enlightenment reason, this essay claims, not only cannot be divorced from the workings of passion, but is also, in effect, constituted by its passionate sources. In order to complicate and challenge the long-held, conventional dualism of reason and passion, I argue that nineteenth-century European aestheticism fashioned a new model of the reason-passion relationship, a pathological reason coupled with morbid passions. To investigate this problematic monistic attribute and its significance, I examine first the general structure, functions, and characteristics of Enlightenment reason and then discuss significant literary examples of aestheticist characters—Johannes of “The Seducer’s Diary” in Either/Or Part I written by Søren Kierkegaard; Des Esseintes, the protagonist of Joris-Karl Huysmans’s Against Nature; Lord Henry and Dorian Gray in Oscar Wilde’s The Picture of Dorian Gray—in terms of the new emergence of morbidly “passionate reason.” I also discuss the significance of a rare example of a literary critique of the morbid reason that had appeared on the other side of the North Atlantic in 1850: Nathaniel Hawthorne’s romance, The Scarlet Letter. My new reading of Hollingsworth, who is depicted by Hawthorne as the stereotypical mad scientist, is intended to shed new light on how Hawthorne critiques a pathological reason, coupled with morbid passions, as the necessary consequence of Enlightenment reason.

캐나다의 다문화주의와 캐나다 아동문학: 물신주의적 맹신과 부인을 넘어서

한광택 한국영미문학교육학회 2022 영미문학교육 Vol.26 No.1

Multiculturalism has been the guiding political and cultural principle of Canadian government since the 1970s, which has contributed to the formation and reinforcement of Canadian national identity as a multicultural mosaic. However, the idea of official multiculturalism has also intertwined with the veiled history of cultural oppressions of native Canadians. This essay examines the particular ways in which such ambivalent multiculturalism characterizes and influences the thematic diversity and expansion of Canadian Children’s literature. Since its historical process of nation building, Canadian Children’s literature has served as a vehicle for the ideological conceptualization of Canadian identity and autonomy. As Canada began to embrace and encompass a diversity of ethnic, racial, and cultural groups as a key part of nationhood, it became increasingly necessary for Canadian Children’s literature to assume the role of defining and justifying the foundational principles of particularly Canadian multiculturalism. This essay investigates how Canadian multiculturalism is formative and formed by Canadian children’s literature by focusing on its new vision, horizon, and possibility.

“국내 우수 웹사이트 세계적으로 널리 알리는 계기”

한광택 한국인터넷전문가협회 2005 Web Korea Annual Vol.2005 No.-

흄의 경험론과 호손의 『웨이크필드』

한광택 한국비평이론학회 2019 비평과이론 Vol.24 No.3

The science of man theorized by David Hume was not understood and recognized by his contemporaries. His original science of man aims to examine the fact that our perception of and belief in the identity and certainty of self are in effect falsely grounded and the conception of substance is not objective and substantially provable but nothing but a correlative formed by the working of particular psychological mechanism operating in our mind. In particular, Hume defines us as “a bundle or collections of different perceptions” and stresses their discontinuity and fluidity. He also denies the Cartesian divide between the subject and the object and highlights the important materialistic relations between the subject and the external world. Therefore, for Hume the subject’s passions and belief are also based on the custom and habit of the external material conditions, to those variations the subject are subject. Nathaniel Hawthorne’s “Wakefield” shows the representation of Humean notions and theories of humanity. The aim of this essay is to investigate the philosophical homology between Human’s philosophical writings and Hawthorne’s “Wakefield.” 영국의 경험론 철학자인 데이비드 흄의 인간론은 동시대인들로부터 이해와 인정을 받지 못하였다. 흄의 독창적인 인간론의 목적은 자아의 동일성과 확실성에 관한 인식과 믿음이 근본적으로 허구라는 사실을 밝히려는 것으로 그는 실체라는 개념은 객관적이거나 실증 가능한 것이 아니라 관념들이 인간의 정신 속에서 결합되는 특정한 심리적 기제의 작용에 의해 형성되는 상관물에 불과하다고 주장한다. 특히, 흄은 인간을 “서로 다른 지각들의 다발 또는 집합”(a bundle or collection of different perceptions)으로 정의하고 이 지각들의 단속성과 유동성을 강조하였으며 주체와 객체라는 데카르트의 이분법을 부정하고 오히려 주체에게 중요한 구성요소는 외부세계와 갖는 유물론적 관계임을 강조한다. 따라서 주체의 정념과 신념 역시 외부의 물적 조건의 관습과 습관에 근거하며 외부조건의 변화에 따라 주체성 역시 변화를 겪을 수밖에 없다. 호손의 「웨이크필드」(“Wakefield”)는 이와 같은 흄의 인간론을 그대로 재현한 듯한 설정과 주제를 보여준다. 본고에서는 흄의 주요 개념들과 인간성에 관한 논의와 유사한 설정과 주제를 「웨이크필드」에서 확인함으로써 둘 사이의 철학적 동질성의 의미를 고찰한다.

소설의 머뭇거림과 비평의 머뭇거림

한광택 오늘의 문예비평 2018 오늘의 문예비평 Vol.- No.109

칸트와 멜빌의 코스모폴리타니즘 비교 연구

한광택 한국동서비교문학학회 2023 동서 비교문학저널 Vol.- No.65

The aim of this essay is to examine Herman Melville’s exploration of the Kantian concept of cosmopolitanism, deeply embedded within his seminal work Moby-Dick. In particular, it seeks to unravel the multifaceted ways in which Melville not only engages with but also disrupts and questions the Kantian philosophical notion of cosmopolitanism by immersing Ishmael in a series of situations that revolve around the intricate interplay of multiculturalism and cosmopolitanism. At the heart of this analysis lies the investigation into how Melville skillfully crafts Ishmael’s evolving understanding of diverse ethnic and cultural identities. These identities, in turn, exert a reciprocal influence, molding and being molded by Ishmael’s deeply ingrained racial and cultural ideologies. By peeling back the layers of Ishmael’s perceptual journey, Melville lays bare the latent intricacies that underpin the contemporary interpretation of cosmopolitanism, which finds its roots in the philosophical tenets of Kant. This essay delves into Melville’s deliberate thematic and narrative treatment of Ishmael’s transformations across the realms of epistemology, ontology, and ethics. Moreover, it endeavors to elucidate the inherent limitations that accompany these transformative processes, advancing the argument that Melville strategically employs Ishmael’s character as a narrative device to establish a critical distance, compelling readers to recognize the chasm that separates Ishmael’s cosmopolitanism from Melville’s cosmopolitan perspective. I argue that Melville’s cosmopolitanism deviates markedly from the Kantian paradigm, and this divergence challenges and contests the idealistic and theoretical foundations upon which Kantian formulation of cosmopolitanism is erected, rooted in the principles of the nineteenth-century humanism and liberalism. Melville’s critical insights, I claim, shed light on his profound engagement with the Kantian cosmopolitan ideal and the significant implications this engagement holds for the contemporary understanding of cosmopolitanism.

The Angst of the Homo Oeconomicus: Capitalism and Contrition in Daniel Defoe’s Roxana

한광택 한국18세기영문학회 2014 18세기영문학 Vol.11 No.2

By focusing on how Defoe represents and critiques Roxana’s thorough capitalistic rationality which fabricates a convincing self-defensive narrative in Roxana, I argue that the novel reveals the author’s deep angst of a new mode of self-fashioning of homo oeconomicus. The authenticity of Roxana’s confessional but specious autobiographical narrative remains a critical conundrum due to its salient incongruity with the typical Protestant introspective self-discipline predicated on Christian instruction. Roxana’s seemingly remorseful remarks and confessions, which appear with a suspicious frequency in the novel, contradict themselves, as her peculiar narrative structure and strategy are indicative of a surreptitious intention of weaving her past nefarious acts into a feigned repentance to the aim of camouflaging her unvarying immorality and unceasing sexual and material desire. In Roxana Defoe captures and delves into the increasing tension between Protestant and material values in the newly emergent modern capitalism of his age, as well as its effect on the way in which the modern individual concocts a plausible narrative for herself. Moralism and materialism are, for Defoe, to be concatenated into a fabricated self-defensive narrative in the age of new homo oeconomicus.