Earticle

본 논문은 메를로-퐁티(Merleau-Ponty)의 신체현상학 이론을 토대로 초서(草書) 창작의 분석을 통해 전통 서예이론에서 이른바 "뜻이 붓보다 먼저 있다[意在筆 先]."는 이성적 관점을 재성찰한 글이었다. 즉, 메를로-퐁티의 신체현상학을 도입하여 신체도식을 사전반성적 지각의 주체로 설정함으로써, 동작이 사고와 결정에 의존하지 않고 동작도식이 공간적 쓰기 안에서 외화될 수 있음을 제시하였다. 이로써 신체는 더 이상 심지(心智)의 객체로 환원되지 않고 이를 넘어섰다. 구체적으로, 역대 중국 서론 의 지배적인 관점인 "뜻이 붓보다 먼저 있다."는 강조는 대뇌의 이성적 통제가 쓰기 동 작을 지배한다고 보았다. 그러나 폭발적인 발현성과 속도를 중시하는 초서 창작에서, 대뇌의 사전 예설(豫設)에 전적으로 의존하는 과도한 이성화는 오히려 신체와 붓·먹 사이의 지각적 연결을 단절시키는 결과를 초래했다. 이를 실증하기 위해 본 논문은 『제질문고(祭姪文稿)』사례 분석을 시도하였다. 기필(起筆) 단계의 엄정한 자형(字 形) 구성에서 출발하여,"부친은 사로잡히고, 아들은 죽었다[父陷子死]."와 같은 참혹한 대목에 이르러 비통한 정서가 신체의 본능을 통해 쓰기를 접수하면서 자형 공간이 극 단적으로 압축되고 필법이 변이되는 양상을 드러냈다. 이는 초서 창작이 의식적 통제 에서 신체 본능의 구동으로 도약하는 '체화된 지각(embodied perception)'의 행위 구조임을 보여주었으며, 이러한 시각은 동시대 서예 창작과 이론 연구에 새로운 차원 을 제공하였다.

Taking Maurice Merleau-Ponty’s phenomenology of the body as its point of departure, this article re-examines the rationalist stance of “intent precedes the brush” embedded in traditional calligraphy theory through the creative practice of cursive script (caoshu). By introducing Merleau-Ponty’s embodied phenomenology, it proposes “intent precedes the brush,” treating the body schema as the pre-reflective subject of perception: movement need not depend on thought or decision-making, but can allow the motor schema to be externalized through spatial inscription, thereby enabling the body to surpass its reduction to an object of the mind. Classical Chinese calligraphy has long emphasized “intent precedes the brush,” assuming that the brain rationally governs writing movements; yet cursive creation is an explosive, speed-intensive mode of writing, and an exclusive reliance on advance mental pre-programming and command results in an over-rationalization that severs perceptual continuity between the body and brush-and-ink. The paper’s case analysis of the Draft of a Requiem for My Nephew traces a progression from the rigorous structure of the characters at the initial strokes to the moment of writing such heartbreaking words as “the father was captured, and the son died / was killed,” when grief enables bodily instinct to take over the act of writing, producing an extreme compression of spatial character-forms and mutations of brushwork. This, more profoundly, reveals the behavioral structure of embodied perception in cursive creation —where writing moves beyond conscious control and crosses over into bodily, instinct-driven propulsion—thereby opening a new dimension for contemporary calligraphic practice and theoretical inquiry.

This paper focuses on the aesthetic ideology and aesthetic style embodied in the work of ‘Blue is the Warmest Color’ to dissect it and examine the identity and construction of identity as a minority group in a postmodern context. Blue is the Warmest Color is a film that focuses on homosexual emotions in adolescent development, showing the budding love and emotional orientation of a 15-year-old girl’s adolescence, and the ecstsy and torment that comes with an awakened consciousness. The evolutionary process of the characters' emotional orientations is dissected, pointing out that the central theme of the film is the concern for fluid identity and self-identity. Through the narrative and the setting of the characters' emotional patterns and the "Body Writing" of women, this paper further examine the typical variability and fragmentation of postmodern identity, and interpret in detail the content, messages and effects of the characters' dialogues in the film to illustrate the way in which the work expresses class and identity differences. The research method is based on textual analysis and theoretical research.

In recent years, Vietnamese literature has seen the rise of women writers in a genre traditionally dominated by men— travel writing. Phuong Mai, Huyen Chip, Dinh Hang, among others, are just a few who have introduced innovations to this genre. This paper investigates the practice of contemporary Vietnamese women travel-writers and how they differ in perception compared to their male counterparts. One of the most crucial differences is that women perform cultural embodiment, employing their bodies instead of their minds. An encounter of the woman writer with other cultures is, therefore, an encounter between the body and the very physical conditions of culture, which leads to a will to change, to transform, more than a desire to conquer, to penetrate the other. Utilizing the concept deterritorialization developed by Gilles Deleuze and Felix Guattari, this paper argues that despite being deemed fragile and without protection, women’s bodies are in fact fluid and able to open new possibilities of land and culture often stripped away by masculinist ideology.

In recent years, Vietnamese literature has seen the rise of women writers in a genre traditionally dominated by men? travel writing. Phuong Mai, Huyen Chip, Dinh Hang, among others, are just a few who have introduced innovations to this genre. This paper investigates the practice of contemporary Vietnamese women travel-writers and how they differ in perception compared to their male counterparts. One of the most crucial differences is that women perform cultural embodiment, employing their bodies instead of their minds. An encounter of the woman writer with other cultures is, therefore, an encounter between the body and the very physical conditions of culture, which leads to a will to change, to transform, more than a desire to conquer, to penetrate the other. Utilizing the concept deterritorialization developed by Gilles Deleuze and Felix Guattari, this paper argues that despite being deemed fragile and without protection, women’s bodies are in fact fluid and able to open new possibilities of land and culture often stripped away by masculinist ideology.

'Body Writing' and Sex― Focusing on Wei Hui's 『Shanghai Baby』 ＆ Jiu Dan's 『Crow』

목적 본 연구는 신체 불만족 수준이 높은 대학(원)생 여성을 대상으로, 신체와 관련된 부정적인 경험을 회상한 후 신체 수치심이증가한 상태에서 자기자비 글쓰기를 통해 신체 수용이 증가하고 신체 수치심이 감소하는지 그 효과를 검증하고자 하였다. 이를 위해주의분산 글쓰기 처치 조건을 비교집단으로 설정하였다. 방법 실험 전 신체상 만족도 척도(BES: Body Image Esteem Scale)에 응답한 517명의 대학(원)생 여성 중 신체 불만족 수준이상위 30%인 참가자를 선별하였다. 참가자들을 자기자비 글쓰기 처치 집단, 주의분산 글쓰기 처치 집단에 무선할당한 후 온라인 실험 링크를 배부했으며, 최종적으로 자기자비 처치 집단 18명, 주의 분산 처치 집단 22명의 자료가 분석에 사용되었다. 처치집단별로상태 자기자비, 신체 수치심, 신체 수용의 정도를 신체와 관련된 부정적인 경험의 회상 전(기저선), 회상 후(처치 전), 글쓰기 처치후에 각각 측정하였다. 결과 상태 자기자비와 신체 수용은 자기자비 글쓰기 처치 집단이 주의분산 글쓰기 처치 집단에 비해 더 유의하게 증가하였다. 신체수치심은 자기자비 글쓰기 처치 집단이 주의분산 글쓰기 처치 집단에 비해 더 유의하게 감소하였다. 처치 후의 상태 자기자비, 신체수용, 신체 수치심에 대한 집단 간 차이는 통계적으로 유의하였다. 결론 자기자비 글쓰기가 신체 불만족을 경험하고 있는 여성의 상태 자기자비와 신체 수용 함양 및 신체 수치심의 감소에 효과적이며그 효과가 주의분산 글쓰기보다 우수함을 시사한다. 끝으로, 본 연구의 제한점과 의의에 관해 논의하였다.

Objectives The present study examined the effects of self-compassion writing treatment on body shame and body appreciation in comparison with distraction writing treatment for women (under) graduate students. Methods Among 517 undergraduate and graduate students completing BES(Body image Esteem Scale) prior to the experiment, participants with high level of body dissatisfaction were selected. They were randomly assigned to the self-compassion writing group and the distraction writing group. After they recalled and wrote about personally negative body experiences, then they wrote self-compassionately or objectively describing the facts about their experiences. Participants were asked to complete the self-report scales of state self-compassion, body shame, and body appreciation before and after recall, and after writing. Results The results showed that participants in the self-compassion writing condition reported more improvement in state self-compassion, body shame and body appreciation in comparison with participants in the distraction writing condition. There were statistically significant differences between groups. Conclusions These results suggest that self-compassion writing treatment can be a useful intervention to improve body appreciation and to reduce body shame.

As a critical dystopian novel, Nineteen Eighty-Four by George Owell and The Handmaid’s Tale by Margaret Atwood warn us of future dystopian society. Although both Oceania and Gilead are imagined communities, they resemble our modern society in many respects. Citizens in those totalitarian systems can not use language and body at their own disposal. Big Brother-style surveillance system watch an individual’s every moves and regulate their emotion as well. But protagonists in these novels try to write their own story confidentially and have a genuine relation with others. To be a human, their body and sexuality function against a social control and repression. And their desire of narrating stories and forbidden sexuality trigger desperate attempts to restore their lost past and identities through language and body. Although appropriation of language and body is means of totalitarian control of citizen, it could be a route for freedom and liberation from their dystopian reality. Even in dystopian novels, utopian impulse still exists and provokes in readers a determination to prevent nightmare future and to cherish what must not be lost.

Text, Female Body, and Writing:Doris Lessing’s The Golden NotebookJowa, Jong-Hwa The purpose of this study is to examine the relationship between the experimental writing and awareness of female body in Doris Lessing’s The Golden Notebook. The realistic writing is considered to be based on the belief that it is always possible to represent reality in writing. Lessing started her writing career as a realist. But she realized that the realistic novel does not accommodate her multi-layered version of reality. Moreover, she realized she had tried to conform to the androcentric understanding of life. By writing this book, Lessing totally recognizes her female body and her experiences, and The Golden Notebook concretizes this awareness.The Golden Notebook, Lessing’s most well-known novel, is a starting point for her to be away from realism. Anna, the protagonist of this book, experiences the disintegration and chaos of the modern society. Having experienced merging into other people and madness, Anna accepts the multiplicity and heterogeneity in her self-identity. For her, mental breakdown is not a sign that she is mad, but she goes beyond the existing logocentric society. This awareness comes from experiences as a woman and she realizes she perceives things in a continuum, rather than in fixed boundaries or hierarchical system. The boundaries between self and other become mobilized and flexible by realizing and accepting the power of her female experiences on her identity and view of life. This might be the critique of the systems of representation that govern the western thought.

This article reads Jean-Luc Nancy's Corpus and examines the ‘writing of the body' inDecoding Movement, an interdisciplinary art work by Eun-Jin Choi, from theperspective of Nancy's Corpus theory. The main themes of the article are writing of thebody, touching, and post-deconstructive realism. Jean-Luc Nancy's discourse of ‘writing of the body' is to find in the interdisciplinaryartistic formation in Decoding Movement. Nancy's writing of the body is accomplishedin the way of ‘excription', that is ‘writing-outside' toward the others and the self. Theperformers in Decoding Movement ‘write' their own body-movements at their verymoments through their own voices. This writing is toward the audience and at the sametime also to the performers themselves. These ‘adressing’ and ‘sending’ of the body make ‘touch’. In the writing of the body,touch occurs and in the touch, the bodies are coming and going. ‘Coming and going' ofthe bodies can make the possibility of the community in the meaning of Jean-LucNancy: Every body remains as singular and at the same time becomes plural with theothers through being with the others in the touch, the writing of the body. This process can be considered as post-deconstructive realist way. DecodingMovement doesn't make any plot or episode with bodies through the expression, asmany classical dance artworks do. In Decoding Movement the body itself is addressed. The dancers/performers write their own bodies at the lots of very tiny moments, inwhich the fragmentation occurs. Writing of the body is the fragmented writing, whichexcribes the senses of the body at every moment. This deconstructive aspect of thewriting of the body goes beyond the deconstructivism at the same time, while itsucceeds in addressing the one's reality to the others and to the one oneself. It is becausethe body is corpus-ego, not because ego possesses the body, that writing of the bodycan address the reality. Decoding Movement takes this way of excription and touch inthe post-deconstructive realist mode in the sense of Nancy's discourse of corpus.

이 글은 프랑스의 철학자 장-뤽 낭시(Jean-Luc Nancy)의 몸에 관한 사유에 주목한다. 낭시는 영혼과 몸의 이원론적 대립구조에서 벗어나 있으면서도 영혼과의 관계 속에서 재정립된 몸의 세계에 대해 말하고자 한다. 그 결과 도출되는 것은 몸이 영혼에 의해, 혹은 영혼이 몸에 의해 인수되는 방식에 의해서가 아니라, 하나가 다른 하나에 대해 가지는 감응성과 접촉의 관계로서의 코르푸스 에고(corpus ego)이다. 코르푸스 에고는 매 순간의 발화 속에서 국지적으로 존재하는 것으로서, 불변하는 실체가 아니라 매번 여기와 저기로 도래하면서 창조되는 몸이자 하나의 의미로 수렴되지 않는 낯선 몸이다. 그러한 실존으로서의 코르푸스 에고는 그 근본에서부터 낯선 타자와의 접촉을, 나아가서는 공동체의 가능성을 함축하고 있다. 이 글은 그러한 몸의 윤리정치적 가능성이 글쓰기를 통해 물질화되고, 사랑의 관계에서 경험된다는 것을 보이고자 한다.

This paper takes as is its point of departure Jean-Luc Nancy's problematics that body should be reconsidered in the way of non-dualism of body and soul. According to Nancy, body and soul do not belong to the exclusive category just as argued in the traditional philosophy. Instead, Nancy reinscribes the meaning of the body: Psyche(or soul) is the body("Psyche ist ausgedehnt."). This formula takes its meaning from the interpretation of Descartes' idea of a union of soul and body. From this troubling point of view, Nancy proposes the world of the Corpus ego, which is the relation between bodies as finite existences, the mode of susceptibility and touching. In this regard, the Corpus ego is not an immutable substance, but the instant mode of existence made through the enunciation which could be varied in every time and place. In other words, there is no ego in general, but only strange bodies that do not converge in one meaning. This implies that at the bottom of the Corpus ego, it presupposes the touch(ing) of the others and embodies the possibility of community. In my opinion, the Corpus ego could be materialized through the act of writing, but also experienced in love which is the ontological relationship between finite bodies.

The film "The Pillow Book(1996)" directed by Peter Greenaway displays various points of connecting and crossing the three dimensions such as human bodies, characters, and visuals. It creates an unique manner of writing, in a sense, a kind of 'writing of body,' in which human body, calligraphy, and eroticism are combined, and where visual images and characters are intersected, giving us an opportunity to contemplate on the coexistence of and communication among the different mediums in this digital era. The director Greenaway attempts to present a new way to show calligraphy, the Eastern art of beautiful handwriting, 'frame' which is one of the salient features that films have, and physicality or nudity which is an essential aspect of human existence. This paper pursues the features, possibilities, and implications this sort of writing carries with itself. The film "The Pillow Book" deals with the meaning and codical beauty of characters, the dynamics of visuals, the sensuality as the ultimatum of physicality, and unconscious desires of human beings. In this cinema, human bodies, books, and films become of metaphorical identification. While the traditional technique of blason conjures up the mystery of human bodies visually, the 'visual blason' technique in this film exhibits a writing of 'striptease' to unclothe the prohibitions and conventional thinking around human bodies and to draw the meaning of sense and sensuality. Greenaway reforms images and produces strong expressive visual languages by using high-definition technologies. He displays how the traditional mediums can be harmonious with a newcomer, digital technology. And he also examines the directionality regarding reading and writing letters, the relationships among writers, mediums and readers, and the significance of distinctions like chapters and sections, through multi-frames, mirrors to show all the directions and with a flexible narrative structure. The three realms of writings, that is, writing on the paper, writing on the film, and writing on the bodies, are overlapped and penetrate one another, resulting in an erotic writing. Parallels, distributions, and combinations of holiness and vulgarity, sensuality and violence, Eros and Thanatos are symbolized by love acts in which men and women are in perfect harmony in this film. The whole story achieves the 'open' repetitive structure which begins with generation, goes through death and decay, and finally ends in regeneration and creation. Thus, this cinema raises a question about the statement that the language with sounds and symbols is the original system of communication. In other words, the human body as a language suggested in this film makes issues of literacy for paper books, literacy for visuals and literacy for human mind, sexuality, and unconsciousness, letting the audience think about a new ideology, a new way of seeing and reading the world.

기형도 시에서 육체 혐오는 미학적 구성과 존재론적 사유를 이끄는 정동으로 작용한다. 본고는 이러한 육체 혐오가 시 안에서 어떻게 형상화되는지를 세 층위로 고찰하였다. 첫째, '동물적 육체성과 그 왜곡된 재현'에서는 기형도 시의 혐오가 육체의 동물성에 대한 예민한 인식에서 비롯된다는 전제 아래, 육체가 시 안에서 타자화되고 사물화되며 기형적 이미지로 변형되는 과정을 분석하였다. 이는 ‘인간성과 동물성’, ‘생명과 물질’의 경계를 흐리게 함으로써, 시적 긴장과 존재의 불완전성을 드러낸다. 둘째, ‘오염의 불안과 혐오의 전이 구조’에서는 ‘기침–침–혀’로 이어지는 감각적 연쇄를 따라, 오염의 불안이 자아 내부로 침투하며 혐오가 심화되는 과정을 조명하였다. 이러한 긴장은 감각적 불쾌를 그로테스크한 이미지로 형상화함으로써, 기형도 시 특유의 파열적 미학을 구현한다. 셋째, ‘육체의 유전적 징표와 자기 낙인의 정동’에서는 상속된 취약한 육체가 자기혐오를 유발함으로써, 자아가 존재의 한계를 낙인처럼 새겨 넣는 과정을 살폈다. 기형도 시는 이 과정을 통해 숙명적 조건에 대한 인식을 독특한 형상으로 구체화하는 독자적 미학을 직조한다. 요컨대 육체 혐오와 그 형상화 방식은 기형도 시의 내적 긴장과 표현 양식의 고유성을 형성하는 방편으로 나타난다. 이는 존재의 근원적 조건을 사유하고, 독창적인 시적 미학을 구축하는 전략이라 할 수 있다.

In the poetry of Gi Hyeong-do, disgust toward the body functions not merely as an emotional aversion, but as an affect that drives aesthetic composition and ontological reflection. This paper examines how such bodily disgust is thematically and formally embodied in his poetry across three layers. First, the section ‘Animalistic Corporeality and Its Distorted Representation’ analyzes how disgust, arising from a heightened awareness of the body’s animality, leads to the othering and objectification of the body, which is eventually transformed into grotesque imagery. This process blurs the he boundary between ‘humanity and animality,’ ‘life and matter,’ thereby intensifying poetic tension and exposing existential vulnerability. Second, the section ‘The Anxiety of Contamination and the Transference Structure of Disgust’ explores how disgust deepens as the anxiety of contamination, conveyed through the sensory chain of ‘cough?saliva?tongue,’ penetrates the inner self. This tension is expressed through grotesque imagery of sensory unpleasantness, revealing Gi Hyeong-do’s distinctive aesthetics of rupture. Third, the section ‘Inherited Bodily Marks and the Affect of Self-Stigmatization’ investigates how an inherited and fragile body incites self-disgust and imprints existential limits like a stigma. Through this process, Gi Hyeong-do’s poetry constructs a unique aesthetic that transforms the awareness of fatal conditions into poetic form. In sum, bodily disgust and its modes of representation function as key mechanisms that shape the internal tension and aesthetic uniqueness of Gi Hyeong-do’s poetic style. They operate as a strategic means of contemplating the fundamental conditions of existence and constructing an original poetic aesthetics.

This research's goal is examine that Body-discourse bring forth what new some -thing are and what forms of writing is. Yunyoung-Chon's writings don't present a existing concepts of human which is captured with a deal, notion, moral. His writings make up nature fitures and original figures of human in realities of life. So it enhance the value of human's primarial existence and it makes free that human's natural instinct. Which is the new prescription of human's being that shows metaphysical concepts transfer phisics concepts, ideal stationariness crash realities of existence. But that is human's being recover essential realities.

이 논문은 김윤식의 주요 저작을 대상으로 하여, 삶을 통해 그가 보여준 글쓰기의 윤리를 규명하고자 하는 취지에서 작성되었다. 2백여 권에 달하는 저작을 통해 김윤식은 문학사가이자 문학비평가로서 거대한 활자의 산을 쌓았다. 그의 작업 전체를 바라보기 위해 세 가지 좌표를 기준으로 삼는다. 첫째, 근대성과 문학의 복합체가 지닌 윤리적 역설, 둘째, 한국의 전후 세대가 감당해야 했던 정신사적 특수성, 셋째, 문학적 글쓰기를 선택하는 일 자체가 지닌 실존적 고유성이다. 이 논문은 이런 좌표를 통해 김윤식의 텍스트에 접근함으로써, 다음 네 가지 항목에 대해 기술하고자 했다. 김윤식의 글쓰기 작업이 지닌 두 가지 특성으로서, 문학사 없는 문학사, 평가 없는 문학 비평의 양상과 의미에 대해 쓴다. 그리고 『이광수와 그의 시대』 및 『내가 살아온 20세기 문학과 사상』에 등장하는 두 개의 특이한 지점에 대해 증상적 읽기의 방식으로 접근하여 그것의 의미를 밝힌다. 이런 분석을 통해 궁극적으로 규명하고자 하는 것은 김윤식의 매우 예외적인 형태의 글쓰기가 지닌 윤리적 의미이다.

This paper was written with the intention of examining the ethics of writing that Kim Yoon-shik showed through his life, focusing on his major works. With more than two hundred works, he built a huge mountain of letters as a literary historian and critic. Three coordinates are used to see the whole of his work. Firstly, the ethical paradox in the complex of modernity and literature, secondly, the psychological conditions that Korean postwar generation had to cope with, and thirdly, the existential uniqueness of a choosing literary writing as a way of life. In this paper I attempts to describe the following four items by accessing Kim's text through these coordinates. I write about two characteristics of Kim's works: researching literary history without writing literary history, and literary criticism without evaluation. In addition, I analyze the meaning of two special points in his works through the symptomatic reading of two unusual points in his two books, Yi Kwang-soo and his Era, and The 20th century literature and thoughts that I have lived. What I ultimately intend to clarify through this analysis is the ethical meaning of Kim Yoon-shik’s very exceptional form of writings.

The Ocean, Representation of the affinity between the body and the writing―on the literary principle of Seungwon Han in Kijogae. Dongnam Journal of Korean Language & Literature 30. Kijogae, written by Seungwon Han, falls into the category so-called Novels about novelists, as it pores upon the theory of world-formation, existence of novelists and novel writings, which are originated from the convergence where the discourses on the writer's own body and writings meet. This guarantees the metaphor of the ocean to preoccupy the very center of literary philosophy of Han from the early works. The ocean in Kijogae closely relates to the inquiries into which pursuit the very existence of the writer (or his/her body) and the essence of the world, searching for what contributes to retrieving them. Throughout the story, 'Sora Huh' represents the writer, suggesting the emptiness of universe and herself by "Huhbang", the area she lives, and liquidity as her characteristic. This emptied body is directly related to “Tadhuh”, a Taoist concept which explains the principle of universe. Furthermore, this concept of the ocean approaches the universe to the coalition of visible world and invisible one. Han tailors the writer who effectively reveals the convergence at which the dichotomous concept converse and the writing process in which all these events take place. The vague boundaries between the ocean, the body and the writing process engender the disposition of the writer and writing process in Kijogae. Han enlarges the metaphor of the ocean, his unique concept for an extended period, into mythical imagination, Buddhist and Taoist thoughts, so that he can explore the alternative rendering as the combination of ecology and writing process essentially on the basis of eastern philosophy. Han achieves outstanding esthetic value in Kijogae by arranging of the metaphor of the ocean and characters effectively. Thorough studies on Kijogae kindle the desire to ponder other historic character fictions such as Heuksando Hanulkil, Wonhyo, Chusa and Dasan which establish extraordinary formations and this article will be the ground-breaking work for them.

This paper shows Jeanette Winterson’s boundaries of writing and re-writing in Written on the Body and Weight. The point is that there are no boundaries in her writing; if they are, she is trying to be beyond them by re-writing and repetition. Her re-writing and repetition express desire by keeping language in motion and rushing it forward. She believes the power of stories to shape our desire, to defend us against the weight of loss, to move us to love. So she realizes that love demands expression in Written on the Body, and desire demands expression in Weight. In Written on the Body, the narrator we can not make sure his or her gender explores his/her lover, Louise. Louise, the loss Winterson represents, is the incitement for narrative, for the language based on the desire to replace loss. In Weight, Atlas, who assumes the impossible burden of the world with infinite gentleness, abandons it. Atlas is Winterson herself, and the burden of the world is the weight of her writing. But Atlas realizes that the boundaries of writing are in his inner mind, he can make decisions, and he can be free far from the limitation of language. To fill up for the loss of lover and the lack of language, Winterson uses the repetition and the reiteration. Written on the body has ‘It’s the cliches that cause the trouble’ and Weight has ‘I want to tell the story again’. Both texts also have ‘Written on the body is a secret code, only visible in certain lights.’ This reiteration compulsion is so ubiquitous in Winterson’s texts. Winterson experiments language variously. Weight is retelling the myth of Atlas and Heracles and Written on the body translates medical language into lyric one. Her language revives Louise, and then we can ‘feel’ the text Written on the body. As a writer, she seeks to find a new language that is reworked as reiterations of desire.

90년대 이후 우리 문학에서 몸은 디지털과 아날로그적인 것의 흔적이 동시에 드러난다. 그 몸은 빠름과 느림, 인공과 자연, 환상과 현실, 불연속과 연속, 억압과 해방 등이 끊임없이 교차하는 존재의 장인 것이다. 탈관념의 시쓰기를 실천하는 김기택의 작품들은 자본주의 사회의 내재적인 비판을 수행하는 동시에 어떤 변화와 생성의 힘을 내포한 실천적인 텍스트로 이해될 수 있다. 그러나 이성의 억압을 깨고 나오는 몸은 그 자체로 중립적인 것이 아니다. 몸은 다양한 문화적 서사와 담론에 의해 재구성되며 지배담론에 의해 식민화되고 허구화된 구성물로 존재하는 것이다. 인터넷으로 표상되는 가상현실 기술은 인간이 몸에서 상상할 수 있는 능력마저 빼앗아가는 것인지도 모른다. 인간이 몸담고 있는 사회적 시공간은 과학 기술을 정점으로 해서 기술의 위력을 검증하고 찬양하며, 또 과학기술의 정점을 향해 수축하고 폭주한다. 김기택 시의 새로움과 한계는 여전히 몸에 있다. 몸은 단순히 생물학적 차원에서만 존재하지는 않는다. 몸과 욕망이 만나면 욕망은 욕망으로만 존재할 수 없게 된다. 욕망은 결핍과 보완을 통해 몸화되는 것이다. 욕망의 몸화란 욕망이 몸과의 살아있는 접촉을 통해 몸이 담고 있는 인간의 내우주(Endokosmos)의 구조, 즉 인간이 단지 몸과의 접촉을 통해 체험하는 우리 몸적 조직의 무한 복합체인 내우주를 밝힌다고 할 수 있다. 90년대 이후 활발한 작품 활동을 하고 있는 김기택은 인간의 몸에 대한 새로운 발견을 통해 탈관념적 시쓰기를 밀고 나간다. 그것은 추상화 과정에 의해 사물이나 현상의 본질을 놓치는 개념적 사유와는 달리 타자 가까이 다가갈 수 있는 원초적 인식 방법이기도 하다. 그의 독창적인 시쓰기 방식과 새로 인식하여 보여주는 세계는 거부할 수 없는 진실을 새로 인식하게 하기에 충분하다고 할 수 있을 것이다. 다시 말해 그의 시쓰기는 기존의 상징체계와 관념체계를 벗어난 곳에서 자기 몸으로 체험하는 세계를 받아들이며, 감관(感官)으로 이를 인식하고 새로운 세계의 의미를 생성해나가는 글쓰기 방식을 취하고 있었다. 이러한 사유가 가능했기에 김기택은 소재주의적인 몸을 넘어서는 생생한 시의 이미지와 시의 형식을 발견한다. 삶과 죽음, 현상과 본질, 개방과 폐쇄, 수축과 이완같은 대립항들은 모두 몸을 구현하는 역동적 언어에 의해 가능하다. 시인은 이러한 대립항들을 개념적 언어로 표현하는 것이 아니라 탈관념적․탈형이상학적 시쓰기에 의해 비로소 전유(專有)하게 된다. 김기택이 그동안 발간한 네 권의 시집을 관통하는 시적 주제는 큰 편차를 보이지 않지만, 관찰과 묘사에서 시작한 그의 시선은 생명의 흔적과 근원에 대한 성찰로 확대됨을 알 수 있었다. 더 나아가 계몽이성의 시선에 의해 허구화된 몸의 이데올로기에 대한 거부와 일상성에 대한 미세한 통찰, 몸의 감각을 포착하는 뛰어난 감성과 언어화의 방식은 우리 시에 새롭게 열린 지평이라는 점에서 주목받아야 한다. 이러한 언어화의 방식과 감성으로 인해 김기택은 몸이 갖는 실체의 모습을 보여주어 탈근대적 사회의 모순을 직시하고 나아가 우리 시가 나아갈 한 가능성을 제시하고자 하는 것으로 풀이된다.

This paper aims at analyze Kim Gi-Taek′s poetry. In this paper I attempt to discuss the body-discourse represented in Kim Gi-Taek′s poetry. He pursues an elaborate dynamic imagination, a delicate observation and a careful expression. Kim Gi-Taek receives all living-things and phenomeon from the recursion structure base on an organic view of world. Kim Gi-Taek′s writings don't present a existing concepts of human which is captured with a deal, notion, moral. His poetry make up nature features and original figures of human in realities of life. So it enhance the value of human's primarial existence and it makes free that human's natural instinct. The new prescription of human beings that shows metaphysical concepts transfer phisics images, concepts crash realities of existence. His insight about world doesn't stay viable phenomenon and spreads out internal structure and abyss. The body discourse, incorporated in the clear phenomeonology body, is the contrasting world represented by all most his text. Kim Gi-Taek elastically construct the vital world by his insight, images, and mutual interaction.

A Barbary captivity narrative modeled upon American captives in Algiers in the post-Revolutionary America, Royall Tyler’s The Algerine Captive both conforms and runs counter to the dominant American ideology that endeavored to establish an American identity clearly distinguished from racial and cultural others. On the one hand, the novel recounts the journey of Updike Underhill as a national narrative in which he aspires to build an American identity by learning the Puritan spirit of freedom and Enlightenment ideas of independence and modernity. Underhill’s journey also embodies American racial hegemony because he sees Muslim Algerines as other from an imperial, colonialist, and orientalist perspective, depreciating them as “ferocious” and “tyrannical” barbarians, and priding himself on his spiritual freedom despite his bodily servitude. On the other hand, however, the novel demystifies American liberty and independence, debunks the assumptions of American racial discourse, and renders Underhill’s journey not as a process of solidifying American identity but as a process of remolding it as a hybrid one. The Puritan spirit of freedom is drastically undercut since John Underhill, the hero’s Puritan ancestor, is revealed to have been involved in the genocide of Native Americans. American enlightenment is also severely vitiated by those self-professing enlightened Southerners who tyrannically exploit African slaves. More important, Underhill’s experience in Algerine society undermines the supposed American superiority over Algerine barbarity. Underhill is even attracted to and shares the view of a mullah, thus speaking, though momentarily, from the perspective of the racial and religious other he formerly condemned as infidel and barbarous. Despite his concluding assertion of an American ideological cliche, Underhill’s journey evidences that his American identity is a hybrid one, unavoidably shaped and transformed by the racial and cultural other. And his narrative is a double-writing, giving voice to the other’s position, which discerns a “black soul” in his “white body,” as well as displaying official white American ideology.