Earticle

『에머의 유일한 질투』에서 나타나는 고스트를 통해 예이츠가 만드는 분 위기는 귀괴하고 섬뜩한데, 이것은 르네상스시대 때에 고스트 이야기를 하는 방법으로 획기적으로 여겨졌던 셰익스피어의『햄릿』에서와 유사하다. 이 논문은 『에머의 유일한 질투』에서 예이츠의 고스트의 사용을 논하고 이제는 고전이 되어버린 『햄릿』의 기법 과 비교하고자 한다.

The mood Yeats creates through the ghost in The Only Jealousy of Emer is uncanny and eerie and is similar to what Shakespeare does in his play, Hamlet, which was considered to be an innovative way of telling a ghost story at the time of its composition in the Renaisance. In this paper, I will discuss Yeats’s use of ghost in The Only Jealousy of Emer and compare it with Shakespeare’s use of ghost in Hamlet, the technique of which has now become classical.

This paper discusses Heinz Insu Fenkl’s Memories of My Ghost Brother, a memoir and autobiographical novel of his childhood, which is set in the Kijichon in Bupyong of South Korea during the late 1960s and the 1970s. The purpose of this paper is to explore how the history of Korea-U.S relations created postcolonial shadows that hover over Fenkl’s memoir. I read haunting appearance of ghosts in Fenkl’s memoir as a metaphor to reveal what’s been concealed is very much alive and present based on Avery F. Gordon’s theorization of ghostliness as the remnant in the presence of the ”unrememberable past” (Gordon 4). In particular, I read the misfortune of western princesses and mixed-race children in Fenkl’s narrative as the embodiment of the unacknowledged and accumulated grief and losses as well as reminders of America’s protracted military presence, violence and the dominance of South Korea since 1945. This paper also explores how Fenkl in his narrative serves as a shaman to mourn for his ghost brother and other lonely ghosts as the historical traumas that haunt the present and give voices, names, and histories to those who have been lost, adopted, and disavowed to make post-World War II Korean migration to America possible.

작금의 급격한 기술발전은 인간 신체의 한계를 극복하려는 트랜스휴먼의 등장을 예고하고 있다. 이러한 트랜스휴먼에 대한 과학기술계의 투자와 연구가 활발한 만큼, 인간의 고유한 존재를 넘어서는 포스트휴먼에 대한 인문학적 성찰이 함께 이루어져야 함은 불필재언이다. 이에 본고는 포스트휴먼을 재현한 영상콘텐츠의 텍스트분석을 통해, 전통적 휴머니즘을해체하는 포스트휴먼의 존재론적 양상을 고찰하고자 한다. 분석대상은 일본의 오시이 마모루(Mamoru Oshii) 감독이 제작한 <공각 기동대>(Ghost in the Shell, 1995), <이노센스>(Innocence: Ghost In The Shell 2, 2004), <아바론>(Avalon, 2001)이다. 이전의 SF 영화들이 그러했듯, 인간 상상력의 결과물 속에 나타난 인간과 기계의 결합은 분명 그들의 실존을 예측할만한 근거를 제시한다. 또한 세 작품은 트랜스휴머니즘이 지향하는 과학기술에 의한 신체 능력의 개조만을 다루지 않는다. 따라서 본고는 작품 속 포스트휴먼과 연관된 구성요소로 ‘신체’, ‘영혼’, ‘세계’를 설정하고, 이들이 어떠한 양상으로 재현되는지 살펴보고자 한다. 주제를 미리요약하면, <공각기동대>는 탈신체화에 의한 영혼의 합일을 통해 포스트휴먼의 존재론적 정체성에 관한 질문을 던진다. 이어 <이노센스>는 안드로이드가 인간을 공격하는 사건을 바탕으로, 인간 존재와 포스트휴먼의 관계에 관한 질문을 심도 있게 다룬다. <아바론>은 여기서 나아가 포스트휴먼이 살아갈 외적 공간의 확장을 다루면서, 시뮬라크르로 재현되는 여러층위의 가상세계를 선보인다. 이와 같이 포스트휴먼의 존재론적 정체성과그들이 살아갈 세계를 조명한 세 편의 작품은 휴먼과 포스트휴먼이 공존하면서 발생 가능한 문제점을 미리 예견케 하며, 이에 관한 다각적 논의의 필요성을 제기한다. 영상콘텐츠에서 재현되는 포스트휴먼에 주목해야하는 이유가 바로 이러한 지점에 있다.

Recently, the radical technological development expects an appearance of trans-human that overcomes the limit of human body. While the investment and research of trans-human in sciences technologies, the reflection of post-human beyond human's own ontological identity in human sciences should be conducted. Thus this article explores the ontological representation of post-human through an analysis of post-human in visual contents which are Ghost in the Shell (1995), Innocence: Ghost In The Shell 2 (2004), Avalon (2001) mede by Mamoru Oshii, a Japanese animation director. As we have seen from a lot of scientific films, they show the meaningful root to expect post-human with combination of human and technology. Also, three films do not treat only the change of human body by scientific technology to which trans-humanism aims. So this study focuses on body, ghost, world as elements relating post-human in three works. To make a short story in advance, Ghost in the shell gives the questions regarding post-human's ontological identity by the union of two ghosts being free from body. Innocence: Ghost in the shell 2 deals with the relationships about human and post-human based on an attack of sex-android. Avalon shows various worlds as simulacre treating the expansion of external spaces where post-human lives. Three films focusing on ontological identity and world of post-human make us think about the problems when human lives with post-human, and pose the need of various discussions to solve them beforehand. That is not only meaningful significance of this study but also the reason why we pay attention to them.

Fen is the most documentary play among Caryl Churchill’s feminist plays. The title of this play is historically and geographically related to “the Fens” in England, a place where the women labourers have been imprisoned under poor labour conditions and gender roles. Fen illuminates a capitalist and patriarchal social system that is oppressively closed by showing how labour and female gender role have exploited women. Without men's economic support and care, women labourers get involved in doubled labour conditions. One is the manual labour required for financially supporting a family, and the other is household labour that includes rearing children. Low wages, unpaid house chores, and gender roles which the women labourers have faced historically kept their lives confined. Psychological bonds to the absent husband and imposed motherhood derived from the gender roles of women prevent women labourers from escaping the community in Fen. The relationship between the residents in Fen is violently revealed due to anger and frustration derived from their powerless conditions from which they can not escape. The women labourers in particular are positioned at the lowest level in terms of class and gender, which makes them most oppressed; so much so that one of them chooses death as the only way to escape. Confined in the lowest class and oppressive gender roles, the female labourers’ painful experience can not be expressed without violence. In Fen Churchill tries to rewrite the history of women labourers—through the strategic theatrical technique of relating the ghost to capitalist and patriarchal oppression of women. A 19th century ghost functions as a representative explosion of the women labourers’ anger and frustration that has accumulated and oppressed them through time because it has not been expressed. Furthermore, the process of transformation from a woman labourer to a ghost creates a space of possibility by breaking the binary boundaries such as those that separate reality and surrealism, life and death, and materialistic limitation and transcendence. In this theatrical space it is possible to imagine that the women labourers can transcend the oppressive limitations of both class and gender roles. Therefore, the theatrical space of the ghost in Fen can show a new way to see the patriarchal and capitalist social system as a closed frame that has exploited the powerless like women labourers and should be overcome.

This study examines death in James Joyce’s Ulysses. Death in Ulysses implies the contexts of Irish history of colonial occupation, the Great Famine, and Irish nationalist martyrdom. Joyce describes Irish society enshrouded in death, juxtaposing the death of Stephen’s mother and Bloom’s family. The Irish are fixated upon Catholic mortuary culture, and are paralysed by the memories of the dead. The Irishman Stephen Dedalus is obsessed with his mother’s death. The death of Stephen’s mother, who is nothing more than a victim of the traumatic colonial conditions, represents Irish history. Joyce criticizes this through the character of Leopold Bloom, who has a modern perspective of death and accepts death as an affirmation of life. While the Irish are preoccupied with memories of death, Bloom thinks as a way to obtain the vitality to live. His attitude toward death is life-oriented. Ultimately, Joyce emphasizes the mutuality of life and death and presents the need for the Irish to rethink attitudes towards death under the colonial rule in the early twentieth century.

This paper studies how James Joyce represents lifeless Ireland, and explores the significance of Gabriel’s self-awareness as the protagonist of “The Dead.” Joyce employs death imagery to describe the Irish colonized conditions. Death imagery can be said to represent death-in-life and traumatic memories rooted in Irish history. Death is personified by Mr. Browne, and is omnipresent in the novel. Joyce uses Mr. Browne as the figure of death. Mr. Browne implies the religious and political resonances in British-Irish history, and he evokes traumatic Irish events. Ultimately, Joyce presents the hope to establish an alternative future through the self-awareness of Gabriel, a central everyman in Dublin, enshrouded by spiritual death. Joyce seeks the relationship of mutual dependence and coexistence between the dead and the living through the relationship between Gabriel and Michael Furey, the ghost who influences Gabriel’s self-awareness.

본 연구는 기형도의 텍스트가 모순된 현실을 전복하는 수단으로써, 혹은 억압된 내면으로의 회귀와 욕망의 표출 방식으로써 환상이라는 프리즘을 통과한다고 보았다. 기형도의 시에서 유령, 소리, 거울에 주목하게 되는 것은 반복되는 삶의 구조들이 이러한 표상들에 의해 나타나고 있기 때문이다. 이러한 표상들은 현실과 환상의 경계를 넘나들고, 초자연적 질서 또는 마술적 사고방식 내에서 삶과 죽음의 경계를 무너뜨린다. 초자연적이고 비가시적인 요소들, 그리고 반사상으로 기능하는 모티프들은 욕망의 여러 변이형태로 나타난다. 이러한 요소들은 ‘나’와 ‘세계’, 그리고 그것들의 상호관계에 대한 의미론적 요소의 변이체들로서 자아와 세계 사이의 구별 자체를 제거하고, 삶과 죽음의 통합성을 보여준다. 세계는 보는 것만으로 쉽게 전유되지 않는다는 그의 ‘불가시성’에 대한 사유는 ‘보는 것’을 마치 ‘이해한다’와 동의어로 인식하게 하는 체계에 대한 전복이라고 볼 수 있다. 주어진 것을 변화시키고 현실을 넘어서려는 환상 충동은 상투적인 삶의 권태로부터의 탈출이자 놀이이다. 이는 신화적 분위기 · 마법 세계의 이미지들 · 불가시성의 영역 · 반사상의 모티프들 속에서 발현된다. 현실과 상상의 세계를 연결하는 환상은 결핍된 것에 대한 갈망이자 욕망의 결과물로서 일상의 현실에 비일상의 자리를 마련한다. 기형도의 시쓰기는 환상(幻想)을 통해 현실과 정면대결하여 절망을 극복하는 힘을 얻고, 억압된 내면으로의 회귀를 꿈꾼다. 그의 이러한 시적 표현 방식은 개인과 공동체의 관계 속에 잠재되어있는 억압된 족쇄의 일부를 풀어내는 무의식의 발화이며, 개인과 공동체의 관계 속에 잠재되어있는 섬세한 징후들을 포착한다는 점에서 기형도 시의 다양한 독해는 현시점에서 여전히 유효하다.

The study recognized that deformed text passes through the illusion of prisms as a means of destroying contradictory reality, or as a way of expressing regression and desire into the oppressed inside. The ghosts, sounds, and mirrors can be found in his poems, because the repeated structures of life are represented with various fantasy images. These expressions transcend the boundaries of life and death with supernatural order or magical thinking beyond the boundaries of reality and fantasy. The subject of self embraces consciousness, the problem of vision and perception, the subject of the other implies the problem of unconsciousness, and the relationship of self and others is mediated through desire. The supernatural and invisible elements, and the motifs that function as reflections, appear as variants of desire. These elements are variants of the semantic elements of 'I' and 'non-existence', and their interrelationships, which remove the distinction between self and others and show the unity of life and death. The reason for his 'invisibility' that the world is not easily justified by seeing can be regarded as an overthrow of the system which makes 'seeing' as synonymous with 'understand'. The fantasy urge to change what is given and to transcend reality is an escape from playful boredom and play, and can be found in the mythical atmosphere, the images of the magical world, the domains of invisibility, the motifs of reflection. These illusions provide an unexpected place in everyday reality as a result of desire and desire for lack. Ki Hyungdo passes reality through fantasy. He also gains the power to overcome despair and the dream to return to the oppressed inner self. The methods of his poetic expression are presently meaningful in that they represent a universal sensitivity of modern people.

이 글은 그간 학계에서 통용되었던 <설공찬전>에 대한 장르 설정에 대한 의문에서 기획되었다. 필기와 전기는 유사한 문예의식에서 비롯된 장르이지만, 필기가 사실성을 지향한다는 점에서 허구성을 바탕으로 하는 전기와는 분명한 차이가 있다. 필기 속의 귀신은 사실을 전제로 한 것이라면, 전기의 귀신은 우의를 위해 사용된 것이다. 그러므로 작품 속에 귀신의 등장 유무만으로 전기와 필기를 나눌 수는 없다. 더구나 귀신은 반드시 허구라고만 볼 수 없어서, 그것을 사실로 믿는 사람에게는 사실로 인식된다. 필기의 편자들은 귀신 이야기를 사실로 인지하였고, 귀신이 등장하는 흥미로운 이야기를 수집하고 전달하기 위해 귀신 이야기를 수록했다고 볼 수 있다. <설공찬전> 역시 이러한 맥락에서 보자면 필기로 이해할 수 있다. 그간 소설적 갈등으로 인식되었던 여러 장면들은 재고의 여지가 있다. 설공찬이 설충란이나 설공침과 대결에는 필연적인 이유가 보이지 않는다. 염라대왕과 성화황제의 갈등이나 주전충을 통한 우의는 이것이 일반적인 권선징악의 구도라는 점에서 설득력이 부족하다. 오히려 어숙권의 말대로 설공찬의 원한과 저승에서 들은 것을 채수가 수집했다고 보는 편이 자연스럽다. <설공찬전>의 산만한 구조는 전해들은 설공찬의 말을 그대로 적느라 생긴 것으로 추정되며, 주인공이 귀신을 만나 존재론적인 변화를 보이는 전기의 문법과 다른 점 역시 <설공찬전>이 전기가 아닌 필기로 볼 수 있게 하는 요소이다. <설공찬전>이 소설이라는 전제는 근대성의 논의와 연관된다. <설공찬전>을 소설로 규정함으로써 한글소설의 기원을 끌어올리려는 시도로 인해 과잉된 의미 부여가 있어 온 것은 아닌가 싶다. 그렇다고 해서 <설공찬전>이 소설사에서 의미가 없는 것은 아니다. 소설과 필기는 유사한 향유층과 향유 방식을 갖고 있으며, 이는 두 장르가 서로 영향을 주고받았음을 의미한다. <설공찬전>의 유행은 소설의 흥미성과 관련되며, 한글로 번역된 <설공찬전>의 유행은 이후 한글소설의 유행을 예견한다는 점에서 문학사적 의의가 있다.

This study was planned in question about the genre setting for <Seolgongchan-jeon> which was used in the academic world. Pilgi and novel(Jeon-gi) are genres derived from similar literary consciousness. Pilgi, which is oriented toward reality, is different from Jeon-gi, which pursues fiction. The ghost in the Pilgi is based on facts, and the ghost in the novel is used for the allegory. Therefore, it is not possible to divide a novel and Pilgi with the appearance of ghosts in the works. Also, the ghost can not be seen as a fiction, so it is recognized as a fact by those who believe it to be true. So they gathered stories of ghosts to collect and pass on interesting stories about ghosts. In the context of this, <Seolgongchan-jeon> can understand Pilgi. The scenes that have been recognized as novel conflicts can be rethought. There is no reason for seolgongchan to confront seolchoongran or seolgongchim. The conflict between the king of the underworld and the emperor Seonghwa or allegory through Chujeon choong is insufficient in that it is a normal didactic composition. Rather, it is natural to see that Chaesoo has collected Seolgongchan's grudge and what he heard from underworld as recorded by Eosook kwon. The unorganized structure of <Seolgongchan-jeon> is presumed to have originated from taking the words of Seolgongchan as it was. <Seolgongchan-jeon> differs from Jeon-gi's grammar in that the main character meets ghosts and shows ontological changes. This is the element that allows <Seolgongchan-jeon> to be recognized as Pilgi, not Jeon-gi. The premise that <Seolgongchan-jeon> is a novel seems to be related to the discussion of modernity. <Seolgongchan-jeon> is defined as a novel, and it seems that there is an overriding meaning given the attempt to raise the origin of Hangul novel. However, <Seolgongchan- jeon> is not meaningless in the history of Korean novels. The novel and Pilgi have similar readership and enjoyment methods. This means that the two genres are influenced by each other. The fashion of <Seolgongchan-jeon> is related to the interest of the novel. The fashion of <Seolgongchan-jeon> translated into Hangul has significance for literature history since it predicts the fashion of Hangul novels.

Clothes have not only a practical use for protecting human body but also a magical meaning. Cultural anthropologists have assumed that the origin of clothing was ligature and its purpose is to bind flippable soul from the master's body to the flesh. Because clothes directly rub against human skin, they are regarded to hold the master's features. This phenomenon can be confirmed with the homeopathic magic. On that account, the minority race in southwestern China has used clothes when having one's fortune told or laying departed souls(ghosts). Since Baikuyaos has lived an isolated lives only by themselves due to the historical reason, their clothes haven't been influenced much in clothing by the external civilization. There has been, historically, only one kind of clothing, which has the history and culture of Baikuyaos. They have considered clothes as things presented to them by God, so they still think the clothes sacred and worship them as God's clothing. Clothes are made in a holy season, kept clean, and not given to others. Clothes have two major functions; symbolic and repulsive function. Some kinds of historical symbols on clothes mean the symbolic function, and other symbolic signs related with a sword, clothes of fowls' features, and fowls are associated with the repulsive function. In the Baikuyao's society, fowls have been regarded as the ‘Solar Bird’ because people believed they called out the sun in the beginning of the world. They were also used as devination forecasting God's will, a cosmo-tree(a rod used by a shaman) presented by God, ceremony to lay ghosts, and guide for the souls of the dead. Without any developed medical science, souls were easily left from their bodies, which people thought was caused by ghosts. At the time of darkness from two to three o'clock in the morning, people thought they might have often seen ghosts and needed to call the sun out in order to kick them out. Accordingly, they made trousers in white which is the color of the sun and clothes in fowls' shapes with its printing in order to prevent harms from ghosts. That's why fowls are the solar birds. It happened in the New Stone Age that fowls considered as the solar birds were used as a repulsive function. We can find its clues and proofs in the culture of Dawenkou, Hemudu, and Liangzhu in China.

본 논문은 임흥순의 작업 방법론으로 은유 되는 ‘장의’ 개념에 주목한다. 다중적 의 미의 사후(事後/死後)적 실천을 함의하는 이 개념은 작가가 실제 사건과 연계된 비주 류 집단의 역사를 다루는 기존 작업의 방법론에 대한 은유적 측면으로 해석되어 왔다. 한편 작가의 연작 제목이자 전시명인 <고스트 가이드/Ghost Guide>(2019-2020)는 작가의 기존 맥락에서의 측면 중 하나였던 장의 개념이 주제, 소재, 실천의 구성을 견 인할 뿐만 아니라 전시의 구성으로 확장된다는 점에서 변별적인 의미를 지닌다. 본 논 문은 <고스트 가이드/Ghost Guide>에서 임흥순이 전략적으로 활용한 다큐멘터리 형 식의 작업과 그 전시의 구성에서 작동하는 관객과 기억의 상호관계적 기능을 분석한 다. 그 안에서 특정한 사건에 대한 관객의 기억이 ‘회상’으로서가 아닌 상상적 투사, 반영, 그리고 창조에 의해서 매개되는 과정을 마리안느 허쉬의 포스트메모리 개념을 경유하여 설명할 것이다. 이어 임흥순이 관객 개개인에게 이전 세대의 기억과 접속하 여 자발적인 기억을 작동시키는 방식과 규정된 집단 기억을 그 포스트메모리적 전이 로 해체하여 각각의 주체로 되돌리려는 역기념비적 의도를 살펴볼 것이다. 나아가 특 정 작가의 비평적 텍스트가 그 작업의 구성과 중첩되는 지점을 모형으로 제시함으로 써 비-순수적 미술을 이해하는 하나의 관점을 형성하고자 한다.

This study focuses on the term “funeral” used in Im Heung-soon’s work, which encompasses both posthumous and post-event practices. It is interpreted as a metaphorical aspect that describes how Im engages with the history of marginalized communities in relation to actual events. Additionally, the title Ghost Guide (2019-2020), representing the artist’s series and solo exhibition, holds significant meaning as it not only shapes the composition and practice of the subject matter but also extends to the exhibition’s structure. The study analyzes the interrelationship between the audience, memory function, and the strategic use of the documentary format in Ghost Guide and its exhibition. Marianne Hirsch’s concept of postmemory is employed to understand how viewers' recollection of specific events is influenced by imaginative projection, reflection, and creation. The study also examines Im’s intention to deconstruct prescribed collective memory through his countermonument approach, which returns the practice to the individual subject through postmemorial transference. Overall, the aim is to propose a perspective for comprehending non-fine art by establishing a model that aligns a specific artist’s critical terminology with the composition of his work.

본 논문은 예이츠와 셰익스피어가 문학적 도구로서 ‘유령’을 사용함에 있어 서로 다른 입장과 목적을 갖고 있었음을 전제로 그들이 극작품에서 ‘유령’이라는 도구를 어떻게 사용하는지에 대하여 살펴보고자 한다. 셰익스피어 유령극의 전형적인 특징은 유령을 마주하게 되는 인물이 대부분 죄를 지은 인물이라는 점인데, 특정 유령을 사용함으로써 캐릭터의 심리에 대해 많은 것을 드러내고, 이를 통하여 관객들의 공감적 반응을 이끌어낸다. 반면, 예이츠는 유령을 마주하는 인물보다는 유령 그 자체가 목적이었기 때문에 셰익스피어와는 유령에 대한 사용방식이 다를 수밖에 없었다. 예이츠는 극작가로서 그 자신만의 가치를 갖고 있었다.

This paper explores the use of the ghost as a literary device in the plays of Yeats and Shakespeare to appreciate their different attitudes and goals. The typical trait in Shakespeare’s ghost plays is that the characters haunted by ghosts are mostly the guilty ones who committed a sin. Shakespeare’s use of the ghost is to reveal much about a character’s psychology, which leads to an empathetic reaction from the audience whereas Yeats’s does not necessarily achieve this as he had a different aim. Yeats must use the supernatural agent differently because he intends to make it more prominent than the characters who encounter it. Yeats had his own value as a dramatist.

이 논문은 베케트의 문화적 상상력에서 예이츠가 차지하는 지위와 그 함의를 논의한다. 일반적으로 알려진 문화민족주의에 기반하는 특수성을 담보하는 예 이츠의 문학과 이에 대항하는 세계주의적 모더니즘의 보편성을 지향하는 베케트의 문 학이라는 이분법을 해체하고 두 작가의 관계를 재구성하는 방식으로 이 논문은 두 작 가가 공유했던 20세기 초 아일랜드 개신교 공동체가 경험했던 문화 및 정치적 변화에 주목한다. 더불어 1930년대, 50년대, 70년대를 대표하는 베케트의 작품에서 드러나는 예이츠의 영향을 분석함으로써 베케트와 예이츠의 관계를 조명한다. 베케트가 아일랜 드와의 관계를 양가적으로 형성하는데 있어서 예이츠는 중요한 매개로 작동한다. 궁극 적으로 베케트에게 아일랜드는 유령화된 예이츠의 나라로 표상된다.

This paper examines Beckett’s engagement with Ireland in terms of his creative responses to Yeats at three distinctive stages of Beckett’s literary career: his early critique of Yeats in “Recent Irish Poetry” (1934), All That Fall (1957), a radio play that recreates the Protestant landscape of 1920s’ Dublin, and . . . but the clouds . . . (1977), a teleplay that murmurs a phrase from Yeats’s poem. “The Tower” is the poetic nexus that holds together tenuous threads of Beckett’s relationship with and perception of Ireland. What emerges from this study is that Beckett’s complex relationship with Ireland is significantly mediated by Yeats’s spectral presence. Yeats’s presence in Beckett takes a spectral form because Yeats is a spiritual medium and cultural intermediary through which Beckett finds his fragile affiliation with Ireland. For Beckett, Ireland was Yeats’s ghost land.

This article addresses image and narrative production during 1920s and 1930s colonial Korea. This question encompasses the symbolic order at the intersection of antiquity and the modern; in other words, image culture under emergent print capitalism and the changing constellation of representations in a new social symbolic. Specifically, I will address this new image culture through the rematerialization and repackaging of the agwi (the starving ghost) in mass-centered images and narratives: specifically, readersubmitted cartoons (tokchamanhwa), reportage and colonial literary representations of the starving ghost. An apparition called forth in representations of poverty and starvation, the starving ghost captures the material realities of the Korean lower classes.

This article aims to examine kijichon women as homo sacers Heinz Insu Fenkl’s Memories of My Ghost Brother and Nora Okja Keller’s Fox Girl from an Agambenian viewpoint, considering the thesis of Encyclopedia of Korean Culture which defines heroines as homo sacers in the Korean kijichon novels in the mid-1990s. In these texts, the women become prostitutes for their poverty-stricken families and nation after the Korean War, but are insulted and abused without legal and moral punishment. In addition, the frequent and atrocious sexual abuse and insults by sadistic American soldiers. In fact, the women undoubtedly resemble actual kijichon prostitutes who were expatriated from their communities as dirty women and abandoned without legal protection and compensation from their nation. From Giorgio Agamben’s point of view, the reason that kijichons are in “anomie” states and women there live as homo sacers in the texts is due to the Korean government, which suspended the existing anti-prostitution laws and applied the absurdly biased administrative laws over-examining and isolating prostitutes in order to control venereal diseases. This analysis could help establish an important basis that would push the Korean government to improve the former kijichon women’s poor living conditions with adequate compensation, as well as to improve negative perceptions of them.

Since the middle of the 20th century, the continent of Africa has greeted many “returnees,” the diasporic descendants who moved in or visited in search of their “root.” As the number of returnees increased, marriages between Ghanaians and immigrants increased as well. The Dilemma of a Ghost (1965), written by Ama Ata Aidoo from Ghana, presents one of the rather unsuccessful marriages between a Ghanaian man and an African American woman. This paper analyzes Aidoo’s text based on the social and cultural understanding of Ghanaian society in the 1960s. I draw on early and later writings of W. E. B DuBois’s writing to bring in critical perspectives. Showing how Ato, Eulalie, and Ato’s family deal with the conflicts, Aidoo questions the conceptual “root” of the returnees and the dilemma of both Ghanaians and the diasporic Blacks. Through the portrayal of Ato and Eulalie’s failure to settle in, the play spotlights the easily neglected gap between Africans and diasporic Africans under the vague cover of Black solidarity; further, it suggests a potential solution by letting the uneducated, indigenous, and feminine rather than the empowered masculine elite offer hope by facing and embracing the problems.

Because of the modern rationalism introduced to Japan by the Meiji Restoration, ghost stories and strange stories transmitted from the Edo period were excluded as ‘superstition’. However, ghost stories appeared in popular media as a strange story of new era categorized as psychology, ethnography and psychiatry. And the expansion of territory by japan made these ghost stories cross the frontier to Korean colonies. Likewise, a new strange story by modern science, such as hysteria and telepathy can be seen in the ghost stories posted in the Japanese magazine which is published by Japanese living in the colonial korea. These ghost stories were emphasized on ‘real story’, and the frame was used for giving a reality of when, where, and to who experienced it. This real story emphasis was sort of modern literary techniques, and people enjoyed stimulation from the reality that the stories were real. In addition, the word ‘spirit’ that appears in ghost stories was used by psychologically meaning, and at the time was used by ‘Japan spirit’ repeatedly. The territory of using the word ‘spirit’ was spread out to the identity of Japanese nationals in the political space of colonies. The Japanese ghost stories in colonial Korea were a new thing following the Japanese traditional ghost stories, and, at the same time, were a political expression related in the colonial situation.

이 글은 그간 의미와 해석 중심으로 연구가 진행되었던 오시이 마모루와『공각기동대』를 이야기를 배제한 ‘애니메이션=철학’ 및 존재의 관점에서새로 읽을 것을 제안한다. 우선 질 들뢰즈의 영화론을 바탕으로 오시이가움직이는 그림이라는 애니메이션의 본질을 추출하는 과정을 살펴보고, 이를통해 그의 작품이 철학적 사유의 토대를 견지하고 있음을 논증한다. 이어서하이데거의 존재론과 유사한 문제의식이 오시이의 사상 전반을 관통하고있을 뿐만 아니라, 그의 작품이 존재 그 자체를 표현하는 일에 중점을 두고있다는 사실을 검토한다. 이와 같은 오시이 ‘애니메이션=철학’의 집대성으로서『공각기동대』를 분석하고, 특히 유령, 응시, 총괄, 죽음이라는 개념이 어떻게 표현되는지를 소개한다. 이를 통해 로봇의 존재론이라고 할 수 있는 새로운 존재론을 사유할 수 있는 지렛대로 삼는다.

This paper proposes to reread Mamoru Oshii and “GHOST IN THE SHELL,” which have been studied mainly in terms of meaning and interpretation, from the perspective of “anime = philosophy” and existence without a story. First, based on Gilles Deleuze’s discussion of cinema, I will discuss how Oshii’s work was underpinned by a foundation of philosophical thought by capturing the process of discovering the essence of animation in the form of moving pictures. I will also examine how Oshii’s thought in general was informed by a problematic consciousness similar to that of Martin Heidegger’s ontology, and how his works were dedicated to the depiction of existence itself. This paper analyzes Ghost in the Shell as a synthesis of Oshii’s “anime=philosophy” and introduces how the concepts of ghosts, gazing, totality, and death are represented. Through such work, I will provide clues to consider a new ontology, an robotics ontology.

本稿はいままで意味や解釈を中心として研究されてきた押井守 と『攻殻機動隊』に対して、物語を排除した「アニメ＝哲学」、そして 存在の観点から読み直すことを提案するものである。まずはジル· ドゥルーズの映画に関する議論に基づいて、押井が動く絵という アニメの本質を炙り出していく過程を捉えることで、かれの作品 が哲学的な思惟の土台に裏付けられていたことを論ずる。またマ ルティン· ハイデッガーの存在論と類似した問題意識が、押井の思 想全般を貫いていただけでなく、かれの作品は存在そのものを描 き出すことに尽力したいたことを検討する。このような押井「アニ メ＝哲学」の集大成として『攻殻機動隊』を分析し、とりわけ幽霊· 凝視· 総括· 死という概念がどのように描かれているのかを紹介す る。こうした作業を通じて、ロボットの存在論とも言うべき新たな 存在論を考えてみる手がかりとする。

This paper interprets Shame, a film directed by Steve McQueen and starring Michael Fassbender and Carey Mulligan, through a lens of psychoanalysis. The film has been quite controversial in terms of the incest motif even though the director and the main actors do not explicitly admit it. Some viewers who are familiar with liberal western family culture agree with them. However, this paper, focusing on the implicit contents of the film and scrutinizing them within Sigmund Freud’s and his followers’ psychoanalytic theories, argues that Brandon and Sissy are victims of (covert) incest and that this traumatic experience actually engenders Brandon’s sex addiction and Sissy’s psychological instability and depression. To specify this argument, the analysis begins with a common question of whether or not Shame is just an obscene film, as a majority of viewers have asserted, and moves on to discussing the significance of sex to Brandon, the origins of the “self-reproach” of the siblings. and the possibility of their reconciliation with the traumatic past.