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This study seeks to examine Harold Pinter’s A Slight Ache through Freud’s Oedipus complex. We will see Edward as a neurotic who is mother-fixated which suggests his Oedipus complex has not been resolved. His motherly wife, Flora, becomes a catalyst who summons up his mother to him, unleashes his regression to infancy and provokes him into projecting his mother onto her. He again unconsciously feels the most primitive desire for her forbidden by his father and accordingly has competitive spirit upon him. However, he also feels guilty about his resentment against his loving father and fears that he will be punished by him for these feelings which Freud termed ‘castration anxiety’. Edward’s phobia of the Matchseller is related to this anxiety and he sees the old man as his father figure who has come back to castrate him and take his wife and his place back. To keep his place, Edward tries to emasculate his father but with the eye problems which symbolizes his destruction he gets weaker and through his weakened eyesight he finds out his father has become a big bullock. Admitting his inadequacy, he gives up desiring his mother to save his penis. To conclude, the play could be read as Edward’s process of resolving Oedipus complex and possibilities of forming an healthy adult personality.

In the 1990s Korean novels formed the new paradigm about individual dailiness and internal desire that Korean novelists ignored before then. 1990’s novels emphasized the method of embracing and healing inner injury hidden in individual everyday life. In other words, it aims to understand and analyse how childhood injury oppressed in unconsciousness comes to emerge as psychological trauma. In this light, writer Kim Sojin discovered individual dailiness beyond grand discourse of 1980. He opened a new horizon of revealing and curing inner injuries. His novels is curing writing that tries to reveal and overcome injury about Oedipus Complex that works as psychological trauma in unconsciousness. His novels’ characteristics is summarized as follows. First, his novels try to cure the unconscious trauma by revealing oppression and gaze about individual desire. Second, he intends to curing the problems of family break-up and social alienation resulting from industrialization in 1970s and 80s by rediscovering the problems in individual dailiness. Finally, he tries to overcome pains from poverty and social alienation by showing person’s inner life of petite bourgeoisie not grand discourse of national literature. In conclusion, Kim Sojin’s novels have value in the history of Korean literature. He tries not to cover the injure of 1970s and 1980s by showing personal inner life of 1990s. He has determination to overcome his times by revealing and curing the injury in personal inner life.

This article examines the juvenile desiring mechanism of Light Novel centered on the analysis of Isin Nisio’s works. Given the prolific Light Novel creating almost 20 years, Nisio’s works are emblematic of Light Novel and its mechanism. Light Novel, one of the representative genres of Otaku subculture, is operated by two desire in regard to juveniles: one is the desire to stay the position of juvenile as a subject and the other is to posses the other juveniles as objects. What’s important here is that the gender identity of juvenile subject of Otaku subculture is male, in other words, they desire to be boys to obtain girls. Even if they are no longer juveniles in actual ages, they would like to stay the position of boys as ever. Within the mechanism in regard to juveniles, Otaku subculture has secured their contents users almost 40 years. From the psychoanalytical point of view, especially in terms of the Melanie Klein’s theory, Light Novel may be viewed that they stay the early stage of Oedipus, to be concrete, between the paranoid-schizoid position and the depressive position. The juvenile subjects repeat the progress and the regression between those two positions. In Nisio’s Light Novel, the progress to the depressive position is presented by misogyny: the cliché sexualising of girls, which is a sort of literacy of Otaku subculture, reproduces at Nisio’s works. Meanwhile, the regression towards the paranoid-schizoid position is expressed as desire for degrowth and they show solidarity in their Otaku community. At the same time, however, they express anxiety about being adults and being influenced by their older generation, especially the influence by their senior writers. That anxious identity revels the position of Light Novel as a new form of Literature.

Kang, Jun-soo. “Gender and Power through Salome.” Studies in English Language and Literature. 39.4 (2013): 21-37. The purpose of this paper is to study Salome’s sexual desire, and her challenge against Iokanaan’s words which symbolize male power. Jacques Lacan explains the birth of the subject by using the three order: the imagery, the symbolic and the real. According to Lacan, becoming the subject is a process of overcoming Oedipus Complex by accepting his father’s name and symbolic castration. Oscar Wilde describes Salome as a very attractive subject for expressing duality of aestheticism. In Salome, Wilde not only highlights the conflict between Salome and Iokanaan but embodies the superiority of Wilde’s aesthetics to the religious world from the point of view of power game. Salome experiences ‘the mirror stage’ in that she can’t percept the object as a human or subject who has personality and subjectivity. Salome who represents Wilde’s aesthetic world is fascinated by Iokanaan’s face which involves ugliness and beauty. Wilde’s dual-sided ideas about art—beauty or ugliness, and good or evil—are always inter-dependent. The Christian world rejects good and evil, that is, there is only one side which involves good. From this point of view, in Salome, the conflict between Salome’s artistic world and Iokanaan’s religious world is very natural. After Iokanaan’s beheading which symbolizes Salome’s castration, the trouble between the artistic world and the religious world is temporarily resolved, concluding with the victory of Wilde’s aesthetics over Christianity. (Anyang University)

This paper was written for the purpose of examining the sociological meaning of effeminate-writing tendencies in literati poetry including gongti-shi(宮體詩) and guiyuan-shi(閨怨詩) in medieval China. Gongti-shi(宮體詩) of Southern Dynasties is generally regarded as the fruit of cultural power by high literary circles. To this point I try to find out what gave birth to noble-formal poetry like gongti-shi(宮體詩) from out of the literary environment in Wei-Jin(魏晉) Dynasties. I also discuss the literatis' creative aspirations, requiring them to strike a careful balance between collectivizied and individual styles. Based on the above-mentioned topics, I hope that further study on the following problems will be possible. First, it is necessary that we make a discreet approach to the canon[正典]. To this day, many canons are regarded as the bases of establishing a literati's identity, but when they were creating poetry, they did not rely upon canons only, due to newly emerging social factors. I think literati in medieval China payed special attention to many variables that canons could not deal with, and these functioned as new paradigms to literati whose social positions were precarious in the political chaos of the times. Gongti-shi(宮體詩) written by high literary circles in the latter half of the Southern Dynasties[南朝] is a product of seeking sensual pleasures that the canon prohibited, which has been criticized severely as a hotbed of decadence by the existing major theoreticians. But I interpreted this literary prodigalism[文章放蕩論], asserted by Liang's[梁] Emperor Jian-wen[簡文帝]; Xiao Gang[蕭綱], as a new attempt to overcome existing 'canon-centripetalism'[宗經] to allow for a creative environment dissimilar to the canon for poetry. So the literati's desire to be against, as well as off the canon brought on the birth of this effeminate-writing tendency. This brought the literati to a new horizon of free imagination rather than creative restraint. The next problem is a matter of writing style. Gongti-shi(宮體詩) and guiyuan-shi(閨怨詩) of Southern Dynasties[南朝] and Tang Dynasty[唐] have always been criticized because of their luxurious form. As a matter of fact, numerous historians of Chinese literature do not concentrate their attention on the poetry and prose of Southern Dynasties[南朝]. On the other hand, they overestimate the Movement of Classical Prose[古文運動] of Tang[唐] without exception. But if the poetry and prose of Southern Dynasties[南朝] are really so useless to literary tradition, we cannot help but ask repeatedly whether the acclaimed writers also have no worth at all, and ask which literary nutrition the masterpieces of posterity have absorbed in themselves. I think that in the middle Tang[唐], the emergence of extraordinary poets, like Li Bai[李白] and Du Fu[杜甫], owed a great deal to the writing styles of the previous period, and that the rhetorical devices elaborate made by gongti-shi(宮體詩) and guiyuan-shi(閨怨詩) considerably contributed to the development of poetic form in the following period.

The essay analyses the male characters mainly Nick-Hemingway’s short stories through the prism of psychoanalytic theories. It demonstrates how Hemingway’s male characters fail to serve their role as a man, and eventually come to lose their masculinity in terms of relationship with a woman and father. I, thereby, aim to challenge the established literary interpretation of Hemingway’s hero or masculinity in his fiction. In this critiquing, I focus on the theories of Freud and Lacan. Hemingway’s men, especially the recurring Nick in the fiction appear to be very controlling and even violent, through which is defined by active, outdoor activities such as fishing, hunting, and womanizing. Yet, this power exists only on the surface. They are, on the contrary, confused, venerable and incomplete. I attempt to reconstruct masculinity of Hemingway’s short fiction in the light of the characters’ employment of language and psychic minds. I will primarily use Freud’s theories of id, ego, super-ego, and Oedipus Complex, and Lacan’s theories of mirror stage and unconscious in the analysis. We, henceforth, would witness Hemingway’s men are no longer the icons of masculinity as it has always been believed to be.

The play Long Day’s Journey into Night is considered by Eugene O’Neill himself as a semi-autobiographical play. Therefore, an interpretation of the play in the light of the Freudian theory of Oedipus complex, is meaningful and reasonable. Although Oedipus complex is not a fresh topic, Edmund’s Oedipus complex has never been named, let alone been analyzed before, which is also what this paper can contribute. Besides, what makes my paper distinguished is that by mingling the experiences of O’Neil’s himself with his characterization of Edmund in the play, both his and Edmund’s Oedipus complex come out in the wash. Therefore, it makes good sense to conclude that O’Neil suffers a lot from the Oedipus complex, which in reverse is reflected in his characterization of the Tyrone brothers in this play. What’s more, the desperate living condition of these two brothers manifests the tragic existence of the Oedipus complex sufferers in general.

Complex systems theory addresses systems where multiple components interact to generate emergent patterns and behaviors, offering new perspectives for narrative interpretation. This study applies Marie-Laure Ryan's complex systems narrative analysis methodology to Sophocles' Oedipus the King, exploring new interpretive possibilities for traditional classical narratives. The research methodology employs character network analysis, situation-event causal structure analysis, and analysis of relationships between temporal order and causal logic to measure eight quantitative complexity indicators. The analysis reveals that Oedipus exhibits a paradoxical structure: while classified as a Mount Fuji-type landscape, it demonstrates high emergent potential (0.617). The perfect temporal-causal convergence (0.000 divergence) reflects Sophocles' classical dramatic technique, while achieving cognitive complexity through high revelation density (0.417). Four major existing interpretative theories?Aristotle's catharsis, Freud's unconscious desire, Propp's social order conflict, and Levi-Strauss's structural repetition?are found to capture different dimensions of complexity (emotional, psychological, social, and structural, respectively). This demonstrates that previously considered mutually exclusive interpretations are actually complementary, illuminating the multilayered characteristics of a single complex system. This study extends the application of complex systems theory to traditional classics and presents new methodological possibilities for digital humanities.

The Graeco-Roman thinkers and dramatists played a significant role in Europe, providing an important source of raw material for modern arts, science, and literature. Their influence in modern appropriation continued developing and postulating comparative relationships between the original, pre-existing objects and the newly adopted forms either in the same area or in an interdisciplinary one. In this article, I try to show a case which created distorted perceptions of comparative relationship in terms of appropriation: the Freudian theoretical formulation of the “Oedipus complex” based on Sophocles’s Oedipus the King within the framework of family relationships. Firstly, I examine how Freud formulated the metaphoric nature of oedipal concepts from a Greek tragedy to assume that his scientific field will have its ‘universal’ interpretive framework with respect to the “Oedipus complex” occurrence conditions of in-family relationships. Secondly, I’ll examine how Freud’s premise of the theory is misplaced in light of the Greek tragedy to demonstrate the analogy between the plot of Oedipus the King and his theoretical framework of psychoanalysis as inappropriate to be defined as scientifically “universal.” Finally, I’d argue that how this intercultural, interdisciplinary appropriation can be read as false analogy in which Freudian claims, defined as scientifically “universal,” are presented in an inappropriate context. Thus, a conclusion may be obtained for further possible arguments in the interpretation of the theory by looking at another facet of the problem: we discuss how the act of a Freudian formulation of the “Oedipus complex” may be observed in terms of human desire (“machines desirantes”).

글은 라캉의 정신분석학적 통찰을 통해 법의 가장 근원적인 구조로서 금지의특성과 그러한 금지의 구조적 효과로서 법의 힘과 권위의 생성 및 인간 존재의 법적주체로의 재탄생을 살펴보고, 그러한 법의 모습을 상징적으로 보여주는 형법 제16조에 대한 법정신분석학적 이해를 시도한다. 라캉은 프로이트의 오이디푸스 콤플렉스를 자신만의 언어철학으로 재해석하여 무의식을 하나의 언어적 구조로 이해한다. 부성 은유는 이러한 이해를 공식화한 것으로, 주체가 아버지-의-이름이라는 금지를 내면화하고 존재의 결여에 상징적 팔루스라는 부재하는 시니피앙을 설치함으로써 욕망의 순환이 유도되는 과정을 보여준다. 금지라는 구조의 설정, 즉 법이 갖는 기능은 불가능의 가능화로서 불법화로, 이는 상징계에 진입함으로써 자기 존재와 세계로부터 분리되어 소외된 인간 주체가 그러한삶을 견뎌내기 위해 상징적 거세가 만든 틈을 메우고 봉합하는 것, 환상이라는 스크린을 구성하는 것이다. 죽음충동으로부터 보호하는 쾌락원칙으로서 법이 지닌 양가성은 대타자의 결여를 의미하는 법의 무지와, 이러한 대타자의 결여를 자신의 결여로 받아들이는 신경증적인 주체가 그 결여에 베일을 덮는 방식으로 대응하는 법에대한 무지로 이해할 수 있다. 법정신분석학적 윤리의 실천이란 바로 이러한 베일을잠시 들춰봄으로써 금지라는 구조의 총체성을 인식하는 것이다. 형법 제16조의 원칙-예외 구조는 아버지-의-이름이 정면에 부상하고 그 이면에상징적 팔루스가 생성되는 부성 은유의 구조와 동일하다. 그렇다면 제16조의 원칙부분은 금지의 내면화를 선언하는 것이기 때문에 엄격하게 적용될 필요가 있고, 예외 부분은 법정신분석학적 윤리의 실천 장소가 될 필요가 있다. 이러한 제16조에대한 법정신분석학적 이해는 법의 힘과 권위가 언어적 금지라는 구조의 효과라는점과 책임의 본질이 개별적인 행위가능성이 아닌 타자와의 관계 속에 있다는 점을보여준다.

This article is trying to understand a feature of the interdiction as the most fundamental structure of the law through Lacanian psychoanalytic insight and its structural effect of generating the power and authority of the law and of provoking the rebirth of a human being into the legal subject. Also, this article will apply legal psychoanalytic understanding to Article 16 of the Criminal Law as the symbol of such a structural effect. Lacan reinterpreted Freudian Oedipus Complex with his own language philosophy and understood the unconscious as a linguistic structure. The paternal metaphor which formalizes this reinterpretation shows that the subject induces the cycle of desire by internalizing the interdiction as Name-of-the-Father and establishing the symbolic Phallus as the absent signifier right at the absence of existence. The function of the law as the establishment of the structural interdiction can be said as the illegalization as the enablement of the impossible. It means the formation of fantasy as a screen to cover or suture the gap made from symbolic castration or to endure a life of the alienated human being because of entering the Symbolic and departing from its own existence and the world. The ambivalent law as the pleasure principle which protects the subject from death drive can be understood as the ignorance of the law ? the lack of the Other - and as the ignorance for the law ? concealment of his own lack, which is a mirroring reflection of the lack of the Other, by the neurotic subject. The legal psychoanalytic ethical practice refers to the recognition of the structural totality of the interdiction through a momentary glancing at underneath of such concealment. The principle-exception structure of Article 16 of the Criminal Law is identical to that of the paternal metaphor, in which the Name-of-the-Father emerges on the front and the symbolic Phallus behind it. As the principle part of Article 16 refers to a declaration of the internalization of the interdiction, it needs to be strictly applied. And its exception part needs to be the place for the practice of legal psychoanalytical ethics. Such legal psychoanalytical understanding of the Article shows that the power and authority of the law is the structural effect of the linguistic interdiction and that the nature of criminal responsibility is in relation to the other, not in the individual freedom.

대중적인 통속소설의 문법이나 코드에 충실한 작품임에도 불구하고 ≪삼부녀≫는 손창섭 소설의 기원으로 기능하는 오이디푸스 콤플렉스와 그연장선에서 접근가능한 근대적인 가족제도에 대한 손창섭의 무의식을 선명한 형태로 보여주고 있다. 오이디푸스 콤플렉스를 고백하고 있는 <신의 희작> 이후에 발표된 다른 장편들에서와 마찬가지로 ≪삼부녀≫에서도 오이디푸스 콤플렉스의 모티프가 흔적의 형태를 띠고서 반복적으로 변주되고있다. 도덕적 결손과 결핍의 표지를 부여하는 타락한 욕망들 가운데 특히성적인 욕망에 대해 혐오에 가까운 민감한 정서적 태도를 보이던 다른 장편들의 서술자나 초점인물들과 마찬가지로 ≪삼부녀≫의 초점화자로 기능하는 강인구 씨 또한 성적 리비도의 타자화 전략을 동원하고 있기 때문이다. 그러한 타자화 전략의 핵심은, 이 작품의 서사 주체로 기능하는 두 인물인 강인구 씨와 그의 전처 영실을 각각 ‘윤리적 근본주의자’와 ‘성적 욕망의 화신’으로 형상화하는 이분법적 대립 구도를 서사의 핵심 축으로 동원하는 방식이다. 오이디푸스 콤플렉스 모티프를 흔적의 형태로 드러내는 수준에서 그치고 마는 다른 장편들과 달리 이 작품은 오이디푸스 콤플렉스의 연장선에서해석 가능한 근대적인 가족제도에 대한 발본적 성찰을 탐색하고 있다. 이작품을 통해 손창섭은 ‘혈연의 공유’와 ‘공동의 거주’를 두 축으로 해서 성립하는 전통적인 근대 가족제도에 대한 대안적인 모델을 제시하고 있다. 혈연의 공유에 바탕을 둔 생물학적 가족을 대체하는 대안적인 가족으로 손창섭이 모색하는 모델은 구성원들 사이의 유대와 연대, 소통과 배려, 이해와 공감 등과 같은 친밀성의 공유에 기초한 정서의 공동체이다. 친밀성의공유를 토대로 한 손창섭의 대안 가족 모델은 그 자체로서 충분히 의미 있는 성찰이라고 할 수 있다. 이 소설을 단순히 대중적인 통속소설로 폄하하거나 절하할 수 없는 이유가 바로 여기에 있다.

This treatise started with important critical mind. Although ≪Three father and daughter≫ is the faithful text to the grammar and code of popular novel, the text showed distinctly Son chang seoup's unconsciousness to the oedipus complex and modern family system which functioned origin of Son chang seoup's novels. This treatise confirmed that ≪Three father and daughter≫ played a variation on a oedipus complex repeatedly. This treatise conclueded that those narrative aspects was projecred criminal consciousness and grudge to the his mother. In addition to, this treatise confirmed that this text searched fundamental reflection to the modern family system which is the traces of oedipus complex. This treatise confirmed that Son chang seoup presented alternative model to modern family system through this text. The core of alternative family model was community of emotion which was based on common ownership of intimacy such as relationship and solidarity, and understanding and consideration, and comprehension and sympathy among social members. To be sure, this search to the modern family system unconsciousness and the oedipus complex which functioned origin of Son chang seoup's novels had denunciation to the possibility of realization and potential risk of it. Nevertheless, Son chang seoup's alternative model to modern family system through this text was significant reflection in itself.

This study aimed to find out and analyze oedipus complex symbols and metaphors appeared in <Muwangjo>, Volume II of 『Samgukyusa』 and to open up the possibility of curing or educating the oedipus complex through the fairy tale, Korean classic literature. Furthermore, the study attempted to suggest that Korean classic literature, the fairy tale, would be studied and utilized in various therapeutic situations with the aid of this study. The study of <Muwangjo>, Volume II of 『Samgukyusa』 acknowledged that its content was based on real persons and stories, and narrative content was added to enrich its story and took a developed epic aspects. Therefore, this study considered it as a fairy tale and discussed it from the narrative perspective. In addition, the study dealt with the entire part of <Muwangjo>, Volume II of 『Samgukyusa』and it did not separate the Yeongidam about Mireuksa foundation from other parts in the rear section of <Muwangjo> because <Muwangjo>, Volume II of 『Samgukyusa』 has expanded the width of life and the depth of thought in today's life as well as in the contemporary life even if several centuries have passed. It has been believed that it would enable one to widen and deepen one's understanding and appreciation through its psychological understanding so that one could discover small materials or guidelines and lessons for our lives, which would be meaningful. Compared to 『Beauty and the Beast』 that was rich with romantic and fantastic expressions, <Muwangjo>, Volume II of 『Samgukyusa』 could be considered original, and there were the differences in weight between beast and Seodong in their identification and works. However, the researcher of this study attempted to find out oedipus complex-oriented symbols and metaphors shown in 『Beauty and the Beast』 starting from the assumption of a fairy tale based on the existing studies and to analyze them. Then, the study interpreted them shown in <Muwangjo>, Volume II of 『Samgukyusa』 based on 『Beauty and the Beast』. Based on this interpretation, the study attempted to find out the methods of applying the education of classic literature as its literature-therapeutic implication, that is, human being who bestowed love with mature consciousness about sex, and a healing for the recognition of mature life. * 연기(담)- Yeongi-dam: a fairy tale about the origin (history) of founding a Buddhist temple * 삼국유사- Samgukyusa: Korea's oldest remaining history book on the Three Kingdoms era written in the late 13th century and compiled by Buddhist monk

<같은 속옷을 입는 두 여자>에서 엄마는 남성에게 사랑받기를 원하며, 딸은 여성과의 관계를 통해 존재를 확인받고자한다. 하지만 두 사람이 열망하는 각각의 이성애적, 동성애적 코드는 계속 튕겨져 나가고 거부된다. 그 거부되는 요인은 남성중심주의와 가부장제 등으로 묘사되는 관습적인 시스템이다. 여기에서 남성은 시스템에 존재하는 다소 온순한 인물들로 그려진다. 이와는 반대로 사회 시스템에 안정적으로 진입하지 못하는 여성은 공격적이고 분열적이다. 그리고 두 명의 모녀는 그 시스템에서 거부될 때마다 다시 집에서 서로를 마주한다. 영화는 그들의 좌절되는 욕망과 관계에 집중하면서 모성에 대한 문제, 어머니의 세계, 그리고 여성들의 관계를 보여준다. 영화는 남근적 사회에 대한 여성의 권력 대체를 이야기하려고 하는 것이 아니라, 수경과 이정의 애증적 감정의 바탕에 어머니와의 관계가 자리 잡고 있다는 것을 드러낸다. 주인공들이 회귀하는 곳이 모녀관계라는 점에 있어서 영화는 남성과의 관계가 아닌 여성들 간의 관계에 주목한다는 것을 명확히 한다. 그리고 이것은 서사의 지배담론에서 변방이었던 어머니의 세계를 중심으로 위치시킨다. 여성의 섹슈얼리티와 젠더를 이야기하기 위해 남근적 세계와 그 세계의 억압을 보여주는 것에 주력한다기 보다, 젖가슴으로 상징화되는 어머니 세계에서의 갈등과 양가성을 드러내고 있다는 점에서 여성서사는 확장된다. 본 연구에서는 어린 아이를 중심으로 정신분석 연구를 하였던 멜라니 클라인과 클라인에 주목하였던 줄리아 크리스테바를 살펴본다. 이러한 이론적 근거들은 영화에서의 여성과 모성재현에 대해 서술하는 카자 실버만에 이르러 구체성을 띈다. 클라인, 크리스테바, 실버만은 모두 지배적 담론으로 형성되어왔던 남근적 아버지의 세계에 문제를 제기하고 여성과 어머니의 세계에 대해 분석과 주장을 펼쳐나간다. 실버만은 크리스테바를 비판적으로 수용하고, 상징계가 아버지의 세계로서 전유되는 것이 아니라 어머니의 세계가 양가적으로 공존하는 세계임을 이야기하며 ‘부정적 오이디푸스 콤플렉스’(negative Oedipus complex)와 ‘동성애적-모성적 환상’(homosexual-maternal fantasmatic)을 제시한다.

The Apartment with Two Women, the mother longs to be loved by a man, while the daughter seeks validation of her existence through relationships with women. However, the respective heterosexual and homosexual codes they desire are continuously rejected and deflected. These rejections are caused by the conventional system portrayed as male-centered and patriarchal. Within this system, men are depicted as relatively mild figures. In contrast, the women?unable to integrate stably into this societal system?are portrayed as aggressive and fragmented. Each time the mother and daughter are rejected by the system, they return home to confront each other. By focusing on their frustrated desires and strained relationship, the film highlights issues surrounding motherhood, the maternal world, and the relationships between women.* This work was supported by the Ministry of Education of the Republic of Korea and the National Research Foundation of Korea (NRF-2022S1A5B5A17047713) Rather than proposing a substitution of patriarchal power with female power, the film reveals that the ambivalent emotions between Sookyung and Leejung are fundamentally rooted in the mother-daughter relationship. By positioning the place to which the protagonists return as that relationship, the film clearly shifts its focus from male-female dynamics to those between women. In doing so, it re-centers the maternal world?long marginalized in dominant narrative discourse?at the heart of the story. Rather than centering on the phallic order and its oppressive mechanisms to explore female sexuality and gender, the narrative of women is further expanded by illuminating the conflicts and ambivalence inherent in the maternal realm, symbolized by the breast. This study draws upon Melanie Klein, who focused her psychoanalytic research on children, and Julia Kristeva, who engaged deeply with Klein’s theories. These theoretical foundations become more concrete in the work of Kaja Silverman, who writes on the cinematic representation of women and motherhood. Klein, Kristeva, and Silverman all critique the dominant phallic and paternal order, and develop analyses centered on women and the maternal world. Silverman, in particular, critically adopts Kristeva’s ideas, arguing that the symbolic order is not solely the domain of the father. Instead, she suggests that the maternal world coexists ambivalently within the symbolic, and introduces the concepts of the 'negative Oedipus complex' and the 'homosexual-maternal fantasmatic' to deepen our understanding of female subjectivity.

레비나스와 정신분석의 관계에 대한 기존의 연구들은 서로 상충하는 경향들로 갈라지면서 난맥상을 보여 왔다. 이 혼란을 극복하기 위해 필요한 기본 통찰은 정신분석과 레비나스 모두가 가족 관계를 타자와의 관계의 원형으로 간주한다는 점, 그런데 이 관계를 서로 다른 방식으로 이해하고 있다는 점을 간파하는 데 있다. 이 관점에서 보면 레비나스가 정신분석과 벌이는 대결의 요체는 오이디푸스 콤플렉스를 해체하여 유대교적으로 포섭하는데 있음이 드러난다. 본 논문은 이 해체적 재전유의 과정이 ＜욥 인트리그＞라 부를 만한 것이 성립되는 과정과 일치함을 보이고자 한다. 인류 역사의 플롯으로 이해되는 가족 드라마의 주인공을 오이디푸스에서 욥으로 바꾸어나가는 과정을 통해 레비나스는 새로운 무의식론을 전개할 수 있게 된다. 오이디푸스에서 욥으로의 이행은, 무의식 차원에서 들리는 타자의 부름에 의해, 한 주체가 그리스 전통의 영웅적 남성성에 입각한 지배의지를 버리고 유대적 전통의 모성과 부성을 회복하여 형제애를 실천하는 자로 변모함을 뜻한다. 그런데 이 유대적 변모에는 불교에 고유한 통찰과 영감이 숨은 역할을 하고 있다. 이를 보이는 것이 본 논문의 또 다른 목표이다.

The preexisting studies on the relation between Levinas and Psychoanalysis are so divergent that on becomes bewildered at this disorder. The basic intuition necessary for overcoming this difficulty consists in realizing that Levinas and Psychoanalysis understand differently the familial relation which serves for both of them as prototype of relation to the other. From this perspective, it becomes clear that Levinas’ confrontation with the Psychoanalysis resides in deconstructing Oedipus Complex in order to subsume it under the judaism. This paper aims to show that this deconstructive appropriation coincides with the formation of what I call “Job Intrigue”. By replacing Oedipus with Job as protagonist of family-drama understood as plot of the universal history, Levinas is in position to develop a new theory of the unconscious. This passage from Oedipus to Job means that, guided by an unconscious call of the Other, a subject gives up his will to matery based on virility illustrated by greek tragedy heros and recovers judaic maternity and paternity in order to practice brotherhood. However, in this judaic transformation, intutions and inspirations proper to the buddhism play a hidden role. To reveal this is an another objective of this paper.

This paper is an attempt to approach and interpret the parents’ changed relation to their children in terms of “reversed Oedipus complex,” which is also called Laius complex. According to Freud’s classical Oedipus complex, the children experience loving and hostile wishes towards their parents: their emotion of love and hate is directed upwardly to their parents. But in Laius complex the relation is reversed: parents are placed in childlike situation in which their love and hate is directed downwardly to their children. If children in the midst of Oedipus complex envy and imitate the parent of the opposite sex, now it is parents who envy and imitate the child of the opposite sex. This paper argues that the transformation from one to the other is the consequence of the descent of parental authority(or of Lacan’s Name of the Father) and the corresponding ascent of the youth culture in the so-called “somatic society.” The decline of the parental authority makes aging parents’ body visible, which previously remained invisible due to its symbolic status. Parents have two bodies: one is symbolic, and the other, imaginary. In the symbolic order children tend to see their parents (and older generations) not as body, but as authorities or meanings. But the collapse of the symbolic order rendered the relation between parents and children imaginary. Consequently parents now begin to experience themselves as bodies. That explains why parents in the somatic society try to be and look younger, imitating the youthful and handsome body of the younger generations. The term “reversed Oedipus complex” is suggested to explain such a reversal in the relationship between the parents and the children.

Though criticized for the apparently eccentric ideas quite different from those of Western scientific minds, D. H. Lawrence’s two psychological books, Psychology and the Unconscious and Fantasia of the Unconscious, remain central to understanding psychology in general as well as the novelist’s ethics and philosophy of life. For Lawrence, the unconscious of Freudian psychoanalysis has no positive meaning because the whole body of our repressions makes up our unconscious; it all along the line fails to determine the nature of the pristine unconscious in man. He points out that the incest motive is just a logical deduction of the human reason, which has recourse to this last extremity to save itself. Rather, the true unconscious is the spontaneous life-motive in every single living creature. It is underivable and inconceivable as a general thing or a mathematical unit because it exists only in living creatures. Furthermore, the baby’s first consciousness develops not from the brain, but from the solar plexus in the belly, which indicates the psychical to Lawrence is inseparable from the physical in its nature. In Anti-Oedipus published in 1972, Gille Deleuze and Felix Gattari find in Lawrence the poignant critic of Freudian psychoanalysis. They argue that Oedipus is not a real repressing representative, but a factitious product of the displaced psychic repression. So the desiring-machine, which is neither the living nor the machine, can escape the Oedipal codes which force the individuals to adjust to a unified whole. Also, “the body without organs” can provide the way out of the psychological framework of capitalism by preferring differences over uniformity, flows over unities, and the nomadic over the sedentary. However, having little regard for the life that is only in the living individuals, they ultimately fail to escape the idealistic nature of Western philosophy and determine the nature of true unconscious.

어린 시절 부모의 관심과 애정은 아이의 성장에 꼭 필요하다. 하지만 성장하면서 아이는 부모에 대한 애착에서 벗어나야만 한다. 알을 깨고 나오는 것이 고통스럽고 힘들지만, 반드시 두꺼운 벽을 깨고 나와야만 자신만의 새로운 세상을 만날 수 있다. 그래야만 그는 영웅으로 탄생할 수 있는 것이다. 아직 외디푸스 콤플렉스에 고착되어 내적으로 성장하지 못한 피터는 모든 것을 파국으로 이끌게 된다. 모든 것이 파국으로 치닫는 지경에 이르게 되자, 그때서야 피터는 자신의 집착이 잘못되었음을 깨닫게 된다. 엄마의 사랑을 독점하겠다는 마음에서 벗어나 아버지를 받아들이게 된다. 사랑은 나눔으로써 더 풍요로워질 수 있음을 알게 된 것이다. 성장과정에 있어 아이의 성숙과 독립은 반드시 필요하며, 이는 엄마, 아빠 모두로부터 정신적 육체적으로 독립, 성숙하는 것을 의미한다. 부모에게서 독립해야 그는 한 인간으로서 홀로 설 수 있으며, 새로운 영웅으로 탄생할 수 있다. 이제 외디푸스 콤플렉스에서 벗어난 피터는 성숙한 영웅으로 재탄생한 것이다.

Parents' interest and affection during childhood is essential to the growth of their child. But as the child grows he must escape his attachment to his parents. Only then he can be born a hero. With the idea that only the mother's love will be gained, removing Thomas is the greatest goal for Peter. When everything went to a catastrophe, Peter realized that his obsession was wrong. Maturity and independence of a child are essential in the process of growth, which means mental and physical independence and maturity from both mother and father. To be independent from his parents, he can stand alone as a human being and can be born as a new hero. Peter, now out of the oedipus complex, is reborn as a mature hero.