Earticle

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.

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.

마당극은 관중의 참여와 동시대 사회의 문제를 집단적으로 공유하는 한국의 연희 양식이다. 이러한 형식은 일본 사회에서 재일디아스포라의 경험을 표현하는 문화 실천으 로 전개되어 왔다. 본고는 오사카에서 재일디아스포라 마당극의 형성과 전개를 이끈 ‘마당극의 모임(현:민족문화패마당)’의 활동을 중심으로 일본 내 실천과 1993년 북미주 순회공연을 함께 고찰하였다. 특히 북미주 순회공연에서 공연된 <우리 선생님>을 사례 로 삼아, 주제･서사･관중과의 소통이라는 세 가지 측면에서 탈/재영토화의 양상을 분석 하였다. 마당극 <우리 선생님>은 재일디아스포라의 민족학급이라는 특정한 맥락에서 출발한 작품이지만, 북미주 순회공연 속에서 그 의미가 끊임없이 재구성되었다. 민족학급이라는 주제는 일본이라는 제도적 환경에서 탈영토화되어 언어와 정체성의 결핍을 경험하는 코리안 디아스포라 2･3세의 문제로 확장되었다. 서사는 의례와 역사, 그리고 ‘나의 이야 기’를 통해 디아스포라의 기억과 현재를 연결하는 장으로 재영토화되었다. 나아가 관중 과의 소통에서는 마당극의 특성을 활용하여 <우리 선생님>을 디아스포라의 경험을 공유 하여 현재화하는 실천으로 만들었다. 이는 마당극 <우리 선생님>이 본국과 거주국이라는 경계를 자유로이 넘나들며 디아스포라 간 문화적 연대를 가시화하는 작품이라고 할 수 있다. 이러한 분석을 통해 본 연구는 마당극이 특정 지역 공동체의 표현 형식을 넘어, 경계를 넘어 탈/재영토화가 되어 디아스포라적 문화 실천으로 기능했음을 확인할 수 있다.

Madanggeuk, a Korean performative tradition, is characterized by audience participation and the collective sharing of contemporary social issues. In Japan, Madanggeuk developed as a cultural practice that articulated the experiences of the Zainichi diaspora. In this study, I examine the activities of Madanggeuk no Moim (Minjok Munhwa Pae Madang), the group that led to the formation of the Zainichi diaspora madanggeuk in Osaka. I focus on its domestic practices and its 1993 North American tour. Using the case study of ‘Our Teachers’, I analyze the processes of deterritorialization and reterritorialization with respect to theme, narrative, and audience engagement. ‘Our Teachers’ traversed boundaries between homeland and the host society, fostering visible cultural solidarity across diasporic communities. By positioning this performance within a transnational framework, I demonstrate that madanggeuk traverses cultural and geographic contexts to function as a practice that reorganizes and rearticulates diasporic experiences and memories. Through this study, I argue that madanggeuk functions not merely as a local form of expression but as a transnational diasporic cultural practice shaped by ongoing processes of deterritorialization and reterritorialization.

This study examines Elizabeth Gaskell's North and South through the philosophical lens of Gilles Deleuze, focusing on the ethics of becoming and deboundarization. Drawing on Deleuze's concepts of becoming, deterritorialization, reterritorialization, and the rhizome, the novel is read as a literary experiment that reconfigures modern subjectivity and ethical thought. Rather than reinforcing Victorian moral dualisms, the opposition between Helstone and Milton is interpreted as a dynamic process of ethical movement, in which stable moral frameworks are unsettled and reconstituted through affective and social transformation. Margaret Hale's displacement from Helstone to the industrial space of Milton exemplifies a process of deterritorialization that reshapes her identity and moral perception, while her evolving relationship with John Thornton illustrates becoming as an open-ended and relational process rather than a teleological moral resolution. The novel ultimately constructs a rhizomatic network of relations among individuals and communities, resisting hierarchical closure and embracing coexistence in difference. From a Deleuzian perspective, North and South articulates an open, affective ethic that conceives human life as a continual process of relationship-building, transformation, and the creation of new forms of life.

This study aims to discuss the deboundarization in Richard Powers’ Galatea 2.2 from a perspective of deterritorialization conceptualized by Gilles Deleuze. The posthuman era can be said to be an era in which the boundaries between humans and machines are dismantled. This study illustrates the deterritorialization of AI in line with the Deleuzian conception of Body without Organs. Galatea 2.2 is a literary work that extends the concept of human beings to posthuman expectations that machines will be able to have a similar consciousness to humans. Helen, an artificial intelligence that breaks down the boundary between humans and machines, refuses to territorialize, which is a layout of power, and pushes for deboundarization to the threshold of extinction. In Galatea 2.2, the deboundarization revealed in the interrelationship between mechanized humans and humanized machines represented by Rick and Helen is assumed to be an involutionary and creative form of evolution. Analyzing the novel with Deleuze’s deboundarization results in requiring reflection on the human-centered oppressive ideology at the boundary between humans and non-humans.

이 논문은 전통적으로 정주적인 특성을 지녔던 한국사회가 도시화와 글로벌화와 더 불어 유목화 경향을 보이는 현실에 착목하여, 그 핵심이 되는 사회사상적 경향을 노마디 즘이라는 개념으로 파악하고 그 긍정적, 부정적 양상들을 검토하고 있다. 흔히 유목주의 로 불리는 노마디즘은 사회의 유동성이 증가하고, 전통적인 공동체와는 다른 사회적 그 룹화가 이루어지는 현상에 대한 사회사상적 표현이다. 이와 더불어 문화적으로도 민족 주의적 정체성을 견지하는 일 보다는 다문화적 혼종성이 새로운 가능성으로 부상하게 되고, 국민국가적 단일성의 이념도 새롭게 재고되며, 종래와는 달리 직장간 ‘이동’도 경 력으로 인정받을 수 있는 변화된 의식을 요구받고 있다. 그러나 이러한 노마디즘의 사회 변혁적 계기는 종종 신자유주의 글로벌화를 동반한 제반 사회적 문제로 인해 한국사회 에서는 시장 제국주의로 오해되어 학계의 논쟁을 촉발하기도 했다. 이 논문은 한국사회 에서 세계화가 정책적으로 시도될 무렵 찾아온 금융위기와 IMF 관리 체계 하에 들어감 으로써 겪게된 질곡으로 인해 세계화와 더불어 노마디즘에 대해서도 부정적인 인식이 확산된 현상을 분석한다. 하지만 논문은 들뢰즈, 마페졸리를 비롯하여 철학, 사회학 분 야의 노마디즘 일반과 관련된 여러 관련 사상들을 고려하고, 현대 한국사회의 도시와 문 화 의 제반 영역에서 나타나는 여러 유목적 경향들을 검토하면서 한국의 노마디즘을 예 의 시장자본주의의 신제국주의와 동일시하는 것은 착오라는 점을 지적하고 있다. 노마 디즘은 오히려 강대국과 자본의 초국적 지배에 저항하는 사상이며, 동시에 유동하는 글로벌 사회에서 배타적 민족주의로 회귀하지 않으면서 열린 사회로 나아갈 수 있는 대안 적 모델로 자리잡을 수 있는 가능성을 내포한 개념이라는 것이다. 현대 한국사회에는 외 국인의 수가 급증하고 있을 뿐만아니라 해외 한인의 수도 크게 늘고 있다. 그만큼 과거적 의미의 배타적 경계 안에 머물고자 하는 태도와 경계 없는 초국적 자본의 논리를 맹목적 으로 추종하는 태도는 모두 지양될 필요가 있다. 논문은 그러한 양 극단을 반성적으로 재 고하고, 창발적으로 미래를 열어갈 수 있는 인식적, 실천적 비전으로서 노마디즘을 자리 매김할 가능성을 모색하고 있다.

This paper reviews the negative and positive aspects of “nomadism,” considering the changes of modern Korean society from being sedentary to nomadic through urbanization and globalization. “Nomadism” is a word for the spiritual and social trends of a society which witnesses increasingly enhanced social movements and wherein traditional communities are replaced by new, more flexible ones. Although this tendency in Korea can be traced back to the colonial period, this paper covers it since the 1980s when the 1988 Olympic was held in Seoul and the Travel Liberation Law was enacted. Since then, transborder consciousness in people and cultural hybridity began being valued more positively than long lasting requests for cultural-national identity. However, there were critical reactions to nomadism as well. Some critics, who negatively evaluate nomadism, identify it with new liberalism which is often regarded as a kind of market-imperialism by Korean intellectuals. This criticism of nomadism can be understood in the light of how Korea experienced new liberalism with the IMF’s economic control. However, this paper highlights some misleading points in the identification of nomadism simply using an ideology advocating the attack of global capital and transnational conglomerates. It also highlights the duality of nomadism as a spiritual and social tendency and movement against transnational capital and political expansion of global powers without delving into exclusive nationalism and conservative regionalism. The Korean society must consciously transgress these by moving toward the global community.

Globalization of Japanese Culture Seen through the Publication Youn Ju Moon (Ajou University) This paper aims to present problems of western-oriented Japanese culture that has been deepened since Japan's modernization. In order to do that, it is examined first that the process and present condition of globalizing Japanese culture in terms of the translation of publications and its international distribution. Discussions on the contemporary globalization propose overcoming the western- oriented cultural trend with a reflection on the modernity. It becomes more possible in the world that the new public sphere transcending a nation-state is formed through digital media which are bilateral, dynamic, mobile, and deterritorial. ‘The publication network of East Asia,’ formed due to digitation of publication in this new trend of globalization, is significant in the following three senses; ⅰ) the share the Asian humanities, ⅱ) the emergence of a new public sphere which intends to globalize the Asian humanities, and ⅲ) a case of the transnational practice of Asian culture.

This paper is trying to read the text with the current theory decolonialism. To this, The writer adopted the text Seamus Heaney's early poetry Death of a Naturalist. Seamus Heaney is known to be the most important poet since W. B. Yeats as a winner of Nobel Prize for Literature in 1995. I assume that a growing interest among readers reflects this prevailing enthusiasm for his work. His method and idea owe more to decolonial attitude more than that of naturalist or romantist. This seems to be an attractive factor to draw a reader's attention. In fact, his poetry has the proper qualities to absorb the devotees of 'decolonialism' still dominant in dealing with the poetry. Decolonialism as a literary theory is becoming an influential textual strategy rather than remaining as one of the academic master discourse. So far, the established textual reading theories have been closely related to logocentrism, and they failed to be acknowledge as objective way of reading. For this reason, the decolonialism has an important implication in the sense that it subverts the colonial ideology within the context of colonized society, and at the same time, reconstructs counter-discourse to find out self-identity and decolonized space. Meanwhile, Heaney have been witnessed historical moments of the death of his mother land, Ireland as well as of the Irish people, as the history of Ireland manifests. In doing so, the Irish people broke the cycle of imperial situation. The consciousness of them became consciousness of the nation. By way of this historical experience of authentic decolonization, Heaney's aesthetics became, more and more, politicized against the crisis which the repressive force of imperialism caused to occur. Under this traumatic disasters of Ireland, Heaney's poetic quest makes him and practical struggle against the colonial power in a poetic way. The main subject of his poetry is to find out his Irish identity with the past tradition and its continuity. The subject is linked with the question to find out the Celtic identity between the past and the present which is dominated by colonialism. To regard this, this paper analyses Heaney's text focusing on the decolonialism expressed by his poetry. I try to examine the process of his poetic writings and its attitude against English colonialism. To do this, My major interest is in his Celtic myth and language employed in his poetry. And I attempt to search for the true Irishness which Heaney makes every effort to materialize the reality of Ireland in his poetry. To conclude, the decolonial discourse and its textual strategy has an tactics and also has an important implications that lay bare the dominant ideology hidden by the seemingly impersonal intention of colonialism.

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.

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.

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.

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.

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.

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.