Earticle

이 연구는 정치적, 이데올로기적 경계선의 이동이 문화예술에 미치는 영향을 조사하기 위해 춤과 국경의 문제를 다루어보고자 한다. 먼저 탈영토화와 재영토화라는 개념·용어의 의미와 문화예술 관점에서 그것의 시사점을 살펴본다. 다음으로 분단과 통일을 경험한 독일의 사례를 살펴보고 우리나라 무용사의 경우를 전망할 때 참고할 논점들을 고찰한다. 여기에서는 통일 후 서방의 우세로 말미암아 사그라지는 동독예술의 역사를 되돌아보기, 나와 다른 상대를 타자 화하지 않기 위해 내가 서있는 토대를 질문하기, 공식적 서사가 놓칠 수 있는 개인사의 복잡성 을 포용하는 균형잡힌 시각으로 기억하기, 분단의 국경 뿐 아니라 통일의 국경 너머를 폭넓게 조망하기의 내용을 중심으로 한다.

This study aims to address the issues of dance and national borders focusing on the impact of political and ideological border movements on art and culture. First, I examine the concepts of deterritorialization and reterritorialization and discuss their implications on art and culture. Next, I review the case of German Reunification, to draw parallels with its experience with division and reunification to Korean dance history. Here, I explore the historiography of East German art that faded due to the predominance of the West after reunification. I suggest that it is important to ask questions about the foundation on which I stand in order not to otherize myself and others. A balanced perspective shall be sought to embrace the complexity of personal history that an official narrative may miss. I finally propose to have a broad view that goes beyond not only the borders of division but also the borders of unification.

본 연구는 들뢰즈의 신체 미학을 바탕으로 탈영토화의 관점에서 분석하고 현대 패션디자인의 작품 속에 내재 되어있는 시각화특징이 히스테리, 형상화. 신체분해, 동물-되기 등 4가지 특성으로 신체 개조, 즉 패션조형화, 예술화 됨을 심층적으로 검토하였다. 첫째, 히스테리는 패션 디자인에서 의상의 변형과 과장이 주는 강렬한 시각적인 효과를 보여준다. 둘째, 형상화가 패션에서의 표현은 가면이 얼굴을 제거하거나 의상구조 등은 얼굴을 희미하게 해주는 두 가지 분야다. 이는 신원의 약화와 의상 및 신체를 돋보이게 한다. 셋째, 신체 분화는 의상의 구조 해체와 재구성을 의미하며 새로운 사고방식을 표현한다. 넷째, 동물-되기는 동물 그림의 활용과 사람과 동물 사이의 이질적인 연결에 따른 형체 돌연변이를 보여줌으로써 신체를 다시 생각할 수 있는 가능성을 보여준다.

Based on Deleuze's body aesthetics and from the perspective of 'deterritoraliazation', this study makes an in-depth discussion on the modern fashion design modeling by four visual characteristics: hysteria, visualization, body segmentation and becoming animals. First, hysteria embodies the strong visual effect brought by the deformation and exaggeration of clothing. Second, visualization in fashion shows the elimination or ambiguity of faces, representing the weakening of identity and the prominence of clothing and body. Third, body segmentation represents the deconstruction and reorganization of clothing, and a new way of thinking, as well. Fourth, becoming-animals are manifested in the physical mutation caused by the heterogeneous connection between humans and animals, which brings about the possibility of rethinking the body.

이 글은 최승자 후기시에 나타난 탈존재로 나아가는 ‘무화(無化)-되기’의 과 정을 탐색하는 것을 목적으로 한다. 본고는 1999년에 발표된 『연인들』을 후기 작품세계의 기점으로 상정하고 이후 발표된 『쓸쓸해서 머나먼』, 『물 위에 씌어 진』, 『빈 배처럼 텅 비어』를 중심으로 논의를 전개하였다. 최승자의 후기 시편 은 고정된 정체성에서 벗어나 끊임없는 생성과 차이의 흐름을 보여주는 탈영토화를 드러낸다. 2장에서는 최승자 작품 세계의 시기적 구분과 후기시의 의미에 대해 탐색하였다. 최승자의 후기 시편들은 다양한 철학적 사유를 기반으로 하여 평생 고민해온 존재와 죽음의 문제를 관념의 언어가 아닌 일상의 언어로 풀어 내고 있음이 확인된다. 3장에서는 부정성의 정서가 짙게 드러나는 초기 시 몇 편과, ‘–되기’의 양상이 두드러지게 나타나는 「연인들 1 – 빛의 혼인」, 「태어나 는 것도 아니고」, 「나 쓸쓸히」 등을 중심으로 분석하였다. 최승자의 초기시가 고통의 시대를 혐오의 언어를 통해 존재를 부정하는 방식으로 형상화하였다면, 후기시의 경우는 ‘견딤’과 ‘수용’의 인식론을 여백의 언어로 전환하는 시적 변화 를 보인다. 특히, 후기시에 나타나는 ‘–되기’의 양상은 문명의 허위성과 다수의 논리를 교란하며 생명의 역량을 확장하는 방향으로 나아간다는 점에서 유목적 정체성과 깊은 관련성을 지닌다. 4장에서는 고정된 동일성의 거부와 저항, 탈경 계적 존재 방식을 강조하는 텍스트를 살펴보았다. 최승자의 후기시는 다양한– 되기의 과정을 거쳐 궁극적으로 ‘무화–되기’의 지점으로 나아가는데 이러한 시 적 전회의 토대는 노장사상의 무(無)와 허(虛), 그리고 하이데거의 탈존의 개념 이라 할 수 있다. 결국 최승자의 후기시는 존재 그 자체로부터 자유로워지고자 했던 시인의 진정한 지향을 담은 일련의 텍스트라고 정의 가능하다. 본고는 그 간 최승자 연구에서 후기 저작에 대한 논의가 부분적이거나 소략하게 다루어져 왔다는 점에 주목하여, 최승자 후기 시편을 집중적으로 분석하였으며 나아가 후 기시를 새롭게 접근하는 방안을 마련해보고자 하였다.

This study aims to explore the process of becoming-nothingness as a mode of ontological destitution that emerges in Choi Seung-ja’s later poetry. Positioning The Lovers (1999) as the inaugural text of her late poetic phase, the analysis centers on subsequent collections including Lonely and Faraway, Written on Water, and Empty Like an Empty Boat. Choi’s later poems reveal a trajectory of deterritorialization that resists fixed identity and instead gestures toward continuous becoming and the flow of difference. Chapter II outlines the periodization of Choi’s poetic career and examines the philosophical significance of her later works. These texts, grounded in various philosophical reflections, articulate enduring questions of existence and death not through abstract language but through the idiom of everyday life. Chapter III investigates the transformation of the poetic subject from negation to questioning and ultimately to acceptance, interpreting this movement in resonance with Rosi Braidotti’s concept of the nomadic subject. The analysis focuses on selected poems such as The Lovers 1: Wedding of Light, Neither Being Born, and I, in Loneliness, in which the becoming process becomes evident. Here, becoming operates as both a critique of the illusions of civilization and a mode of expanding the vitality of life. Chapter IV further examines how Choi’s later texts articulate resistance to fixed sameness and promote a transboundary mode of existence by engaging with Daoist thought and Martin Heidegger’s notion of ek-sistence (trans-propriation). The recurrent invocation of Daoist metaphysics and Heideggerian ontology suggests a vision of being not as static substance but as continuous generation, flow, and potentiality. This study seeks to reinterpret the driving forces of Choi’s later poetry—xu(虛) and wu(無), along with the Heideggerian ek-sistence— through the lens of Deleuzian becoming. Noting the relative neglect of her later works in existing scholarship, this paper offers a close reading of key texts and proposes new theoretical pathways for engaging with Choi Seung-ja’s poetics in its late phase.

본 논문은 ‘세계화’(globalization)와 ‘탈영토화’(deterritorialization)의 개 념 중심으로 본 ‘한국현대미술의 정체성’에 관한 담론을 통하여 한국현대미술의 방향성 을 알고자 하는 것을 목적으로 한다. 한국사회는 1990년대부터 세계화와 다문화의 급 류를 탄 이후 고유의 문화, 민족, 영토에 대한 개념의 경계가 빠르게 허물어지고 있으 며, 인터넷과 매스 커뮤니케이션(mass communication)의 급진적인 발달로 매 시 각 세계 각국의 소식과 문화를 접하는 것이 보편적인 시대를 맞고 있다. 이러한 가운데 ‘한국현대미술’의 정체성에 대한 규정을 하고자 하는 것은 쉽지 않은 문제일 것이나 정 체성에 대한 물음을 가지는 것은 존재의 근원에 대한 사유를 하는 것으로 존재하는 것 의 본능적인 물음이라고 할 수 있다. 그러므로 ‘한국현대미술’이 존재한다고 한다면, 그 정체성에 대한 물음을 가지는 것은 존재의 핵심 사안이며 필수적인 것이다. 이 논문은 ‘한국현대미술’의 ‘정체성’을 명확하게 규정하는 것에 목적을 두지 않 는다. 그 대신에 그 ‘정체성’에 대한 존재론적 담론과 현재의 ‘한국현대미술’을 대표하고 있는 미술가들인 이우환, 김수자, 서도호의 사상과 작품 활동의 사례들을 통하여, 그들 이 예술가로서의 ‘정체성’을 어떻게 형성하고 그것을 발판으로 한 예술작업을 어떻게 하고 있는지, 그 현상들을 고찰하여 한국현대미술의 중요한 측면을 알고자한다. 본문 에서는 첫째, ‘한국미술’의 정체성 담론이 어떻게 시작되었으며, 어떻게 한국의 현대미 술의 정체성에 관한 담론으로 이어지게 되었는지 알아본다. 또한 현재의 ‘한국현대미술’ 의 정체성에 관한 담론을 위하여 ‘세계화’와 ‘탈영토화’의 두 가지 개념을 알아보고, 현 재 미술계의 상황에 투영하여 분석한다. 본문의 마지막 절에서는 앞선 연구들을 토대 로 한국현대미술을 이끌고 있는 이우환, 김수자, 서도호의 사례를 통하여 한국현대미 술의 추동력의 방향성을 알아본다.

This paper aims to understand the direction of ‘Korean contemporary art’ through the discourse on ‘the identity of Korean contemporary art’ based on the concepts of ‘globalization’ and ‘deterritorialization’. Since the 1990s, the boundaries of the concepts of Korean culture, ethnicity and territory have been rapidly disintegrating, due to ‘globalization’ and ‘multiculturalism’. With the radical development of the Internet and mass communication, Korean society is facing the era of instant universal access to news and culture from all over the world. In this situation, it is not easy to define the identity of Korean contemporary art, but questioning the identity is instinctive and essential. If ‘Korean contemporary art’ exists, it is essential to have a question about its identity. This paper does not focus on defining the identity of ‘Korean contemporary art’. Instead, through looking at the existential discourse on ‘identity’ in the thoughts and artistic activities of the artists U-fan Lee, Soo-ja Kim and Do-ho Seo, the paper contemplates how they form their identity as artists, and how they are working on their art works based on it. Through this, ultimately, this study discovers an important direction of Korean contemporary art. First, the paper explores how discourses on the identity of ‘Korean art’ began, and how it led to the discourse on the identity of Korean contemporary art. In addition, the two concepts ‘globalization’ and ‘deterritorialization’ are explored in order to discuss the identity of ‘Korean contemporary art’, and this is used to analyse the current situation of the Korean art world. The final section of the paper examines the cases of U-fan Lee, Soo-ja Kim and Do-ho Seo based on the previous analysis, in order to comprehend the impetus behind the current direction of Korean contemporary art.

박완서 대하 소설 『미망』은 박완서의 전무후무한 대하소설로서 소재와 인물, 서술과 서사 면에서 집약적이고 총체적인 작품이다. 『미망』에는 봉건 시대와 근대 개화기와 일제 합방, 그리고 한국 전쟁의 전후 상황 등이 당대를 살아간 인물들의 형상화에 반영되어 있다. 즉 미망에는 봉건적 가 부장의식을 비롯하여 조선 말의 민족주의, 일제 제국주의와 탈근대적 인식 등이 등장 인물들과 길항하여 형상화되고 있다. 본고는 박완서의 소설 『미망』에 등장하는 인물들의 시대와 타자를 반영하는 ‘관계성’에 초점을 두어 ‘관계적 주체들’의 형상화를 분석하였다. 이에 따라 들뢰즈와 브라이 도티의 유목적 주체, 여성-되기, 탈영토화 등의 이론을 방법론으로 삼는다. 소설 속 시대를 반영하는 남성 주체들은 ‘견고한 정체성’과 ‘이분법적 권력 구도’의 근대적 한계들을 넘어서지 못한 주체로 분석한다. 전처만은 ‘가부장적 남성성’을, 이종상은 ‘민족주의적 남성성’을, 박승재는 ‘제국주의 적 남성성’을 전형화한다. 이들은 주인공 태임과의 상호 관계를 통해 유목 적 주체로의 잠재성을 보이지만 한계를 드러내며, 태임은 이들과의 관계 형성을 토대로 변화하는 과정 중인 ‘다양체적 주체’가 된다. 다음으로, 이러한 이분법적 권력 구도에 저항하는 ‘유목적 정체성’을 지닌 주체들을 고찰한다. ‘머릿방 아씨’는 가부장적 억압에 육체성과 물질성 으로 저항하는 ‘유체적 여성성’을 가지고 있다. 그들의 자녀인 태임과 태남 역시 어머니의 육체성과 저항성을 가지고 정동적 이동성을 보인다. 마지막으로 주인공 전태임은 ‘절대적 탈정체성’을 획득하며 ‘일원론적 (탈)근대 주체’로 거듭나는 과정을 분석한다. 태임은 할아버지의 가부장적 책임의 윤리와 어머니인 머릿방 아씨의 모계적 저항성과 육체성을 한몸 으로 체현한다. 태임은 또한 소년 시절 이종상의 역동적인 기개를 기억하 고 끝까지 이를 체현하며, 박승재의 제국주의적 횡포와 시선을 무화시켜 재전유한다. 가모장적 가족 공동체를 확장하였으나 ‘여성-되기’의 정동, ‘탈영토화’하는 주체성, 도주선을 실천하는 탈근대적 유목성을 가지고 있 는 ‘복합적 다양체로서의 주체’이다. 결론적으로 『미망』은 각 시대를 반영하는 이분법적 남성 권력 주체와 어머니의 육체적 물질성과 정동을 체현한 복합적이고 관계적인 유목적 주체로서 근대를 관통하여 탈근대의 해법을 제시하는 작품으로 평가할 수 있다.

This paper analyzes the figuration of ‘relational subjects’ in Park Wan-suh’s epic novel, 『Mimang』. As Park’s most comprehensive work, the novel depicts characters who embody the spirits of their respective eras, from feudalism and Japanese imperialism to the post-war period. Adopting the theoretical frameworks of Deleuze and Braidotti—specifically the nomadic subject, woman-becoming, and deterritorialization—this study examines how these subjects are formed through their relationships. First, the study analyzes the male subjects as figures trapped within the modern limitations of ‘fixed identity’ and ‘dichotomous power’. Jeon Cheo-man represents ‘patriarchal masculinity,’ Lee Jong-sang embodies ‘nationalistic masculinity,’ and Park Seung-jae typifies ‘imperialistic masculinity’. Second, the paper explores subjects with a ‘nomadic identity’ who resist this dichotomous power. ‘Meoritbang Assi’ (the first daughter-in-law) demonstrates a ‘fluid femininity’ that resists patriarchal oppression through her corporeality and materiality. Her children, Tae-im and Tae-nam, inherit this resistance and affective mobility. Finally, the study focuses on the protagonist, Jeon Tae-im, as she achieves ‘de-identification’ and is reborn as a ‘monistic (post)modern subject’. Tae-im simultaneously embodies her grandfather's patriarchal ethics of responsibility and her mother's matrilineal resistance. She neutralizes Park Seung-jae’s imperialistic gaze and, while expanding a matriarchal community , ultimately remains a complex subject who practices the postmodern nomadism of ‘woman-becoming’ and ‘deterritorialization’. In conclusion, 『Mimang』 contrasts modern male power subjects with a relational, nomadic protagonist, thereby presenting a postmodern solution that moves through and beyond the modern era.

이 논문은 전후 일본 영화에서 재현된 재일코리안의 이미지가 어떻게 시대별로 변용되었는가를 살펴보았다. 전후 일본사회가 ‘단일민족주의’를 주장하며 국가 정비에 들어가자 재일코리안도 스스로 정체성과 역사의식을 고취시켰다. 당시 영화에서는 재일코리안의 이미지는 ‘차별’적인 존재로 부각 되면서 일본인 감독들에 의해서 제작되었다. 1980년대 이후에는 세계화로 인한 다문화주의가 확산되자 재일코리안은 일본인과 동등한 권리를 주장하기 시작하였다. 영화에서는 재일코리안은 일본인과 ‘구별’되는 존재로서 일본 사회를 비판하면서 자기 주체적으로 살아가고자 한다. 그리고 1990년대 후반을 넘어서 2000년대에 들어서자 우파 여론들이 힘을 이끌며 재일코리안을 비판하기 시작하자 재일코리안은 인간의 ‘보편’적 가치에 의미를 찾는다. 영화적 재현은 마이너리티의 삶을 주류와 공생하면서 살아가는 이야기, 파괴된 가정을 이해하며 보살피는 이야기로 재일코리안이 아닌 보편적 삶에 초점을 맞추고 있다. 최근 일본사회에서 우익 단체의 소리가 높아지면서 정치적 성향도 과거로의 회귀가 이루어지고 있는 듯하다. 또한 재일코리안의 영화도 과거로의 회귀적 모습을 보여준다. 하지만 일본 사회의 회귀는 제국주의에 대한 그리움에 대한 회귀라면, 역사적 고통을 겪었던 재일코리안의 경우는 일본사회가 행했던 기억의 망각 즉, 역사를 기반으로 한 현실 인식에 대한 반동의 경고로서의 회귀라고 할 수 있겠다.

This study speculated on how ‘zainichi’ images reproduced were changed in Japanese movies after wars according to times. As Japanese society began to refurbish national systems, asserting ‘homogenous nationalism, zainichi were inspired to promote identity and historical awareness. The zainichi images were produced as discriminative beings by Japanese directors in movies of that time. As multiculturalism has spread over due to globaliszation since 1980s, zainichi began to insist the equal rights with Japanese people. In the movies, zainichi intended to independently live while criticizing Japanese society as discriminative beings. Between the late 1990s and the early 2000s, the right-wing party began to criticize zainichi, they were provoked to search for the universal value of human in the movies. The movies reproduced gave a focus on universal life including stories on living together between the non-mainstream and the mainstream, and care of destroyed families, not those on zainichi, As right-wing groups’ chorus of concern is growing, it seems that politics is returning to the past trend. It seems that the zainichi movies are also returning to the past. However, if Japanese society’e return is towards imperialism, zainichi’s return is oriented as as alarm against oblivion of Japanese society, that is, oblivion of reality based on historical suffering.

The purpose of this paper is to review Jane Eyre in terms of nomadic thoughts. Charlotte Bronte shows a dynamic life-long movement of Jane whose react is against the Victorian social norms in Jane Eyre. Bronte describes Jane as a progressive woman while trying to seek her identity. Jane has spiritual relationship with other people and leads to making harmony with others through nomadism which includes deterritorialization, vegabondage & connection, and rhisome. First of all, the paper analyzed the ideologies and social norms which Jane faces, and focused on Jane’s controversial words and deeds through Deleuze’s nomadism. Bronte offers an idea of androgyny as a way for the sexes to harmonize so that Jane can experience life to the fullest. Jane also experiences ‘becoming-woman’, ‘becoming- minoritarian’, and ‘becoming-everyone’ by leading a life as a nomad and following the way of thinking to move to a new domain continually. However, she tends to contradict herself by going back to the image of a traditional woman in the end. Therefore, we should consider positive vision on the 21st century woman’s self identity through this work.

The first half of this paper is put to the general introduction of Deleuze-Guattari's conception of historical development from the primitive encoding machine to the nationalistic overcoding machine to the capitalistic decoding machine. The age of nationalism is ruled by the principle of paranoiac territorialization represented by centripetal arborescent model, and the age of capitalism is ruled by the principle of schizophrenic deterritorialization represented by centrifugal rhizome model. They advocate nomadic view of life, which suggests that we Korean people should outgrow nationalistic view of life, especially in our language life, now that the rigid conception of national boundary has bocome unfounded at least in the cultural sphere in the prevailing globalization flow. According to their theory of desiring machine, our ideology of globalization corresponds to desire-production, whereas our communication media of language to code-machine. The age of globalized capitalism damands us to forfeit the linguistic patriotism which was worthwhile when the territorial independence was an absolute principle of nation-building. Such updated view of world leads us to accept foreign languages as useful, or even inevitable, elements of renovating our own language. Purity of language cannot be a merit of international communication in the period when cultural purity based on national identity cannot exist any more.

이 논문은 가람본 <별토가>를 대상으로 <토끼전> 등장인물들의 욕망의 배치 와 그 이면에 작동하는 헤게모니의 이중성을 살펴본 것이다. 용왕과 별주부, 토끼 는 접속과 배치에 따라 욕망이 생성되고, 권력 구조의 변화에 따라 ‘욕망의 배치’가 변화한다. 이들의 권력 구조 변화는 들뢰즈의 ‘영토화-탈영토화-재영토화’ 과정에 대응된다. 용왕과 별주부, 토끼는 봉건 체제의 헤게모니 속에서 각각의 ‘욕망의 배치’에 따 라 다층적 성격을 드러내는 인물이다. <토끼전>에 나타나는 인물의 성격과 갈등 에는 욕망의 배치에 따른 헤게모니의 변화가 나타난다. 헤게모니의 변화는 기존 배치의 탈영토화를 작동시키고, 탈영토화와 동시에 재영토화도 함께 이루어진다. 이러한 권력의 재배치는 욕망의 배치에 따른 등장인물의 다층적 면모를 드러나게 한다. 즉, <토끼전>은 욕망과 권력의 속성을 통해 인간의 실체를 드러낸 작품인 것이다.

This study set out to examine the placement of characters’ desire and the duality of hegemony working behind it in Tokkijeon, based on the Garam version of Byeoltoga. Desire emerges in the Dragon King of the Sea, Byeoljubu, and the Hare, according to their connection and placement, and there are changes to the “placement of their desire” according to the changing power structure. These changes to the power structure correspond to the process of “territorialization-deterritorialization-reterritorialization” proposed by Deleuze. The Dragon King of the Sea, Byeoljubu, and the Hare reveal their multi-layered personalities according to their own “placement of desire” in the hegemony of the feudal system. Changes happen to hegemony according to the placement of desire in the characters’ personalities and conflicts in Tokkijeon. Changes in hegemony operate the deterritorialization of the old placement, and reterritorialization takes places simultaneously with deterritorialization. Such replacement of power demonstrates the multi-faceted personalities of the characters, according to the placement of their desire. In other words, then, Tokkijeon sheds light on the true nature of people through the lens of desire and power.

Language enforces a codification of the world according to orthodox categories and classifications, and the world comes to people already organized and structured through networks of visual clichés. The human face serves as a substance of expression for linguistic forms of expression, each speech act resonating with an accompanying facial expression. An abstract machine of signification and subjectification coordinates the interaction of linguistic signs and facial expressions. The face that combines the despotic regime and the passional regime is white wall-black hole system, which brings together a despotic wall of interconnected signifiers and passional black holes of subjective absorption. The abstract machine of faciality converts the face into a structuring grid that interacts with signs without resembling them. While despotic-passional encodings may be reinforced by producing facialized compositions, those encodings may also be undermined by deterritorializing the face and its extended facializations. Through the deterritorialization of the face what Deleuze seeks is the development of probe-heads, which corresponds to cosmic lines of flight that open territories to the outside. Also, this deterritorialization of the face is an active flight, a positive deterritorialization, a face’s becoming-other, and a probe head’s movement toward regions of the asignifying, the asubjective, and the faceless.

본고는 조선 후기에서 현대 한국에 이르는 장례문화 변화를 문화사회학적 관점에서 재해석함으로써, 근대화 속에서 공동체를 중심에 두는 전통적 상례 양식과 죽음 관념이 어떻게 변화되어 갔는지, 현대사회에서 죽음과 관련된 어 떤 사회문화적 공백과 결핍이 생겼는지, 죽음이 어떤 의미를 가질 수 있는지를 종합적으로 성찰하는 계기를 제공하고, 지역의 상례의 보존의 필요성을 탐구한다. 이를 위해, 근대화가 촉발한 세 가지 분화—의료 시스템의 분화, 직업의 분 화, 개인의 분화—를 거시적 배경으로, 그리고 다양한 지역의 장례 실천의 해 체를 결과로 두고 분석한다. 특히, 경험적 정당화를 위해 거시적 배경은 재차 미시적 범주(주체·관계, 공간·장소, 사상·문화)로 세분하여 전통 의례서와 민속기록, 제도·정책 문서, 그리고 보조 통계 등을 활용하여 구체적으로 탐구 한다. 그 결과는 다음과 같다. 의료 시스템의 분화는 죽음의 의료화/생물학화와 사망 판정·처리의 표준 절차화를 낳아, 해석의 중심을 종교·의례에서 의료- 행정 체계로 이동시켰다. 또한, 직업의 분화는 장례지도사 등 전문가 체제의 정착을 통해 염습·입관·발인 등 전 과정을 서비스화·외주화하고, 애도의 시 간·행위를 운영 프로세스에 종속시켰다. 그리고, 개인의 분화는 죽음을 개인 화·익명화하고, 공동체적 감정 수행을 축소시켰다. 결과적으로 죽음은 공동체 적·관계적 사건에서 제도-절차적 이벤트로 재구성되었다. 이 세 흐름의 귀결로 장례실천의 탈지역화가 진행되어, 상여길·굿·지역별 상례 등 지역 고유의 기억 실천이 약화되었다.

This study reinterprets the transformation of funerary culture from the late Chosŏn period to contemporary Korea from a cultural-sociological perspective, examining how traditional mortuary practices and conceptions of death were reshaped in the course of modernization. To this end, the analysis situates three differentiations triggered by modernization—those of the medical system, the occupational system, and the individual—as the macro-level background, while taking the disintegration of diverse regional funerary practices as the resulting outcome. For empirical grounding, these macro processes are further specified through micro-level categories—actors and relations, spaces and places, ideas and culture—drawing upon ritual manuals, folkloric records, institutional and policy documents, and supplementary statistics. The findings indicate that the differentiation of the medical system engendered the medicalization/biologization of death and the standardization of death certification and treatment, shifting interpretive authority from religious-ritual frameworks to medical-administrative systems. Occupational differentiation fostered the professionalization of funeral directors, transforming the entire sequence of mortuary procedures—washing, encoffining, and burial—into commodified and outsourced services, while subordinating mourning time and practices to operational protocols. Individual differentiation produced the personalization and anonymization of death, diminishing collective performances of grief. As a result, death was reconstructed from a communal and relational event into an institutionalized, procedural event. The convergence of these three trajectories has further advanced deterritorialization, eroding locally embedded commemorative practices such as funeral processions, shamanic rites, and region-specific mortuary customs. By comprehensively tracing the dissolution of traditional conceptions of death and mortuary forms centered on community, this study reflects on the sociocultural voids and deficiencies that emerge in modern society, contemplates the meanings death may hold in contemporary contexts, and briefly discusses the necessity and possible approaches to preserving mortuary practices as regional cultural resources.

히니의 시학은 영국 식민지하의 공간이었던 아일랜드의 긍정적 혹은 부정적 생산성의 주체인 농촌의 전통으로부터 시작된다. 그의 말처럼, 그의 글쓰기가 시학적이든 아니면 정치적이든 간에 그의 글쓰기의 목적은 아카데미 안에서의 기술적 영역이 아니라 언어와 문화의 진정성에서 획득된 힘이라고 볼 수 있다. 그의 글쓰기를 통한 탈식민적 저항은 서구 식민주의의 환원주의가 아니라 공간에 대한 수용성에 있다. 식민 경험에 대한 시인의 수용성은 바로 그의 조국에 대한 현실적인 공간의식에 있다.

Seamus Heaney’s poetics is derived from a farming tradition which involved affirmative or negative productivity in a sheltered area, feeding them on a minimum diet under British colonial domination. As he commented, the power -whether poetic or political- is achieved through linguistic and cultural authenticity of poetry rather than through an academic skill. His resistance through writing is not from his reductionism but from his receptivity of a rich tradition, the so-called bog culture. Finally, this poetic reception of his colonial experiences in poor conditions is deeply rooted in his realistic consciousness and it is represented through his motherland or bog land.

This paper aims to look afresh at Michael Ondaatje’s The English Patient (1992) and reassess the novel from a Deleuzian perspective. I argue that the book is a kind of counter discourse against nationalism, Eurocentrism, racism, and war. Particularly, such Deleuzian terms as deterritorialization and nomadism are quite relevant and valid to my discussion. The English Patient, a Hungarian count whose real name is Ladislau de Almásy, is a nationless nomad who wants to “erase [his] name and the place [he] had come from.” This is a clear indication that he metaphorically wages a war against the State apparatus. Namely, to borrow a Deleuzian term, the war machine is working effectively. To substantiate my points, I borrow such key terms from Gilles Deleuze and Félix Guattari as nomadism, deterritorialization, the State apparatus, the war machine, capture, the line of flight, and affect and apply them to analyzing the text under consideration. My main argument is that The English Patient falls into what Deleuze calls a ‘minor’ literature which questions and challenges the supremacy of Western powers. Another strand of argument is that the various acts of betrayal are ethical in that the private will exercised by such individuals as Kip, Hana, Madox, and the English patient actually confronts the public will, which not only legitimizes nationalism but also contains or captures the private will. Also, the so-called war machine, or machine désirante, is appropriated or captured by the State apparatus. Ondaatje emerges as a formidable writer who strongly denounces any form of ownership and creates a ‘minor’ literature which is bound to be deterritorialized and political.

미디어의 발전은 세계화를 가속화 시키며, 사회 시스템의 변화를 촉구하고, 전통적인 경계를 허물며, 문화, 경 제, 지역사회에 걸친 유동적인 정체성 창출을 요구한다. 따라서 미디어는 여러 방면에서 변화의 필요성을 제시하는데, 애니메이션 영화 또한 예외가 아니다. 이러한 현상은 질 들뢰즈의 영토화 개념으로 해석될 수 있다. 이에 본 연구에 서는 애니메이션 영화 <엘리멘탈>의 내러티브 분석으로, 영화에 내포되어 있는 영토화 개념을 탐구한다. 이를 위해, 들뢰즈의 탈영토화와 재영토화를 이론적 배경으로 고찰하고, 이를 바탕으로 영화의 서사와 4개의 원소를 상징하는 주 요 등장인물들을 해석한다. 그 결과 영화는 등장인물 각각의 개별적 서사에 탈영토화와 재영토화를 내포하고 있으며, 이 것이 합쳐져 하나의 거대 서사가 형성된다. 들뢰즈의 관점을 통해 영화를 분석함으로써 현대 사회 문제를 해결하 기 위한 매체로서 애니메이션 영화의 유용성을 강조하고, 세계화된 사회에서 정체성 형성의 복잡한 과정을 더 잘 이 해하기 위해 문화적 내러티브 분석의 중요성을 부각시킬 수 있는 연구라 사료된다.

The development of the media accelerates globalization, urges changes in social systems, breaks down traditional boundaries, and demands the creation of a fluid identity across culture, economy, and local communities. In this context, animation films play a crucial role in reflecting and even instigating social change. This phenomenon can be interpreted in Gilles Deleuze's territorialization. Therefore, this study explored the concept of territorialization contained in the film as a narrative analysis of the animated film "Elemental." Deleuze's de-territorialization and re-territorialization became a theoretical background, and based on this, the film's narrative and the four main characters representing the four elements were analyzed. As a result, the film contains de-territorialization and re-territorialization in each character's narrative, which are combined to form a single metanarrative. The study is significant in that it emphasizes the urgency of analyzing animation as a medium to suggest social matters by analyzing the movie through Deleuze's perspective and highlighting the importance of cultural narrative analysis to understand better the complex process of identity formation in a globalized society.

The MBC documentary, The Tears of the Amazon, aired early in the year 2010 and which has received much attention from audiences and Karen Tei Yamashita’s Through the Arc of the Rain Forest both have as their background the Amazon, taken over and destroyed by globalization powers. The present tragic situation of the 7 Amazon Indios tribes who have become environmental refugees of the disappearing jungle becomes the background knowledge of Yamashita’s novel and offers a deep understanding of the Amazon nature and the Indios. The two great works makes us reflect on the timely themes of globalization and deterritorialization in the worldwide chaos of present day 21st century. The two works of The Tears of the Amazon and Through the Arc of the Rain Forest compare in several aspects. They both deal with the process of deterritorialization which globalization impacts the peripheral regions. However, the documentary and the novel differ in portraying the degree of deterritorialization’s process. The Tears of the Amazon focuses on the Amazon as an area where the affinity their lives have had with their region becomes eliminated. Through the Arc of the Rain Forest starts at a point in which the deterritorization has already occurred. The novel focuses on the inequality of deterritorization. The Amazon Indios experience deterritorization most acutely as they are positioned as marginal in the unequal processes of globalization. It is impossible to embody in the ordinary realism novel the impacts of globalization powers which transform the Amazon jungle into the land of harmful toxic minerals and later destroys it. If the amazing and vulnerable Indios life which adhered to the prototypical human life had seems to us as magic realism in The Tears of the Amazon, what brings about the uncanny of magic realism in Through the Arc of the Rain Forest is not the Amazon Indio but are the postmodern powers that invade into the Amazon to extort them to the full. The developed and then mutated figures of those with transnational capital and technology who swarmed to the Amazon in order to extort human and material resources are expressed through magic realism. Despite shocking upheaval, Through the Arc of the Rain dreams of reterritorialization, in which characters search for ways to adapt to the transformed reality. If it had been the inflow of transnational cultural powers which had instilled uncanniness into the naïve life experiences of the third world regional society, the social changes and restructuring of locality is developed through the melodrama form in Through the Arc of the Rain Forest.

This study is to examine the meanings of deterritorialization of the body in William Faulkner’s novel, Light in August. Human bodies can be interpreted as organic matter containing their own confined realms in the physical world of phenomenon. However, the body of Joe Christmas in the text can be noticed to cross the boarders between the other and the subject, center and margin. His identity also sways between the black and the white without taking its own stable realm of being. His bloodline is not clearly revealed due to his unclear ancestry. But this ambiguousness of him can be positively interpreted as the mechanism to dismantle the establishment of center and margin, and the realms of the other and the subject. Joe’s castration by Percy Grimm is quite notable in the sense that his severed body symbolizes the deconstructed torso trespassing the line between normality and abnormality, reason and unreason. Joe’s body clearly seems to transgress the boundary of distinction or the differentiated realms of center and margin. The emasculation of his organ also signifies “the body without organs” which freely roams the chasm of borderlines. It is quite true that the fluid corpse of Joe Christmas comes and goes over the confirmed and confined spheres while subverting and deterritorializing settled recognitive frame of modern reasoning and consciousness.

Using the post-qualitative research methodology (Jackson & Mazzei, 2012), in this study, we explore the experiments and movements of getting out of the dogmatic images of early childhood pre-service teacher education and access to early childhood science education in new ways. For this, we use Deleuze and Guattaris’ concepts, such as territorialization, deterritorialization and reterritorialization. The instructor who meets Deleuze and Guattari, and 11 students who take her early childhood science education course are participated in. Data generation is done from the first week of September in 2017 to the second week of December in 2017. Using Deleuze and Guattari’s rhizomatic thinking, a professor tried to not only deconstruct habits or code for teaching, but actually connect them together in new and unexpected ways. There are some experiments and movements toward an active currere; beginning with the image of reactive currere, serendipity and leaking with the lines of flight, tracing the mapping, and being in reactive currere or becoming in active currere?

Dionne Brand provides the reader with vivid representations of the dilemmas and agonies from which people excluded in the history of belonging have been suffering. One of her latest novels Love Enough (2014) deals with the protagonists’ unceasing trial and error in the process of surviving in Toronto. In this paper, I analyze how Da’uud, Bedri, and Ghost’s process of drifting in Toronto causes a rupture with the monolithic sense of belonging in order to argue that they succeed in developing their own sense of belonging and connection and then reach in-between space, based on a link between Brand’s ideation of drifting and Gilles Deleuze and Felix Guattari’s conceptualization of deterritorialization. It would be meaningful to elucidate how Da’uud, Bedri, and Ghost’s everyday lives develop the possibility of loving themselves and each other enough, ultimately shedding light on the very beginning of the rupture with the history of belonging.

The MBC documentary, The Tears of the Amazon, aired early in the year 2010 and which has received much attention from audiences and Karen Tei Yamashita’s Through the Arc of the Rain Forest both have as their background the Amazon, taken over and destroyed by globalization powers. The present tragic situation of the 7 Amazon Indios tribes who have become environmental refugees of the disappearing jungle becomes the background knowledge of Yamashita’s novel and offers a deep understanding of the Amazon nature and the Indios. The two great works makes us reflect on the timely themes of globalization and deterritorialization in the worldwide chaos of present day 21st century. The two works of The Tears of the Amazon and Through the Arc of the Rain Forest compare in several aspects. They both deal with the process of deterritorialization which globalization impacts the peripheral regions. However, the documentary and the novel differ in portraying the degree of deterritorialization’s process. The Tears of the Amazon focuses on the Amazon as an area where the affinity their lives have had with their region becomes eliminated. Through the Arc of the Rain Forest starts at a point in which the deterritorization has already occurred. The novel focuses on the inequality of deterritorization. The Amazon Indios experience deterritorization most acutely as they are positioned as marginal in the unequal processes of globalization. It is impossible to embody in the ordinary realism novel the impacts of globalization powers which transform the Amazon jungle into the land of harmful toxic minerals and later destroys it. If the amazing and vulnerable Indios life which adhered to the prototypical human life had seems to us as magic realism in The Tears of the Amazon, what brings about the uncanny of magic realism in Through the Arc of the Rain Forest is not the Amazon Indio but are the postmodern powers that invade into the Amazon to extort them to the full. The developed and then mutated figures of those with transnational capital and technology who swarmed to the Amazon in order to extort human and material resources are expressed through magic realism. Despite shocking upheaval, Through the Arc of the Rain dreams of reterritorialization, in which characters search for ways to adapt to the transformed reality. If it had been the inflow of transnational cultural powers which had instilled uncanniness into the naive life experiences of the third world regional society, the social changes and restructuring of locality is developed through the melodrama form in Through the Arc of the Rain Forest.