Earticle

캐리어는 크라우스의 후기구조주의 조각비평의 시발점을 미니멀리즘 조각의 직역주의적 특성인 연극성 개념을 비판했던 프리드의 관점에 두었다. 그것은 조각의 대상성을 주장했던 방식에 대한 이의제기로서 직역주의는 관람자를 초월적인 방식이 아니라 연극적인 방식으로 지각하도록 유도함으로써 저급한 단계로 강등시킨다고 보았기 때문이다. 따라서 그는 작품의 대상성보다는 형상의 구현이 초점을 맞추었는데, 그것이 바로 그 작품이 지니고 있는 본래의 모습으로 되돌아가는 것이라고 믿었기 때문이다. 그는 미니멀리즘 조각이 추구했던 대상성이 현전성을 추구함으로써 미술작품의 본래적 특질과 가치 개념의 중요성을 상실했다고 보았지만, 다른 한편으로는 현전성의 특징도 거론함으로써 자신의 논지를 흐리게 했다. 크라우스는 바로 이러한 프리드의 연극성 개념 비판에 대하여 반론을 제기했다. 그녀는 오히려 현재성을 신의 은총으로 간주하면서 개개의 작품들은 미술사 속에서 위치가 설정되어야만 한다는 확신 아래서 구조주의라는 하나의 틀을 제시했다. 그레마스 도해와 같은 구조주의 방식을 제시함으로써 미술작품의 시간적 발전을 공간적 구조로 전환시키고자 했다. 그 결과 미술의 역사적 발전은 용인할 수 있었지만, 그 이유를 역사적으로 보충 설명해야만 하는 딜레마에 빠졌다. 그런데 그레마스 도해는 텍스트의 구조에 호소하는 것으로서 비개성화의 상태에 빠지기 때문에 그녀는 그 설명의 과정에서 예술가의 창작 욕구와 마찰을 빚을 수밖에 없었다. 아울러 그녀는 역사적인 화술만큼 구조주의 분석도 임의성을 띨 위험성이 있다는 판단 아래서, 미술의 역사적인 정의를 거부하고 비역사적인 정의를 제시하기에 이르렀다. 그녀가 구조주의 이론의 대안으로서 기호학과 무형식성 이론을 제시했던 이유이다. 그것은 예술가의 창작 욕구에 대한 호소를 피할 수 있게 했으며, 그러한 후기구조주의 미술비평의 전개를 통하여 1990년대 조각작품을 평가할 수 있는 근거를 마련했다. 특히 그녀는 바타이유의 무형식성 이론을 수용하여 당대 조각작품의 특성을 텍스트와 콘텍스트의 연관성 속에서 고찰할 수 있게 되었으며, 그의 물질주의 개념을 추종하여 이원론을 극복할 수 있었다. 그러한 시도는 현대에 이르러 포스트모더니즘 문화의 다양성을 적극적으로 수용함으로써 조각의 영역을 그 확장된 문화 속으로 투영하는 새로운 접근방식을 전개하게 된 것이다.

I argued that Krauss's post-structuralist sculpture critique was begun with the criticism of the concept of theatricality. For both her and Fried, the criticism of that concept was on the literal characteristics of minimalist sculpture. It was to criticize that literalism induces the audience to recognize sculptures not by a transcendental way, but by a theatrical way. At first, Fried observed the literalist artworks from the viewpoint of contrast between shape and objecthood. Here his argument was that it has to lay stress upon the concept of theatricality by protecting the objecthood. Thus he said that the way that the artwork recovers the original feature is to return to the original shape the artwork has. And he said about the difference between presence and presentness in the process of discussing the objecthood of minimalist sculpture. Presence is related to theatricality, a self-consciousness to require for attending to the situations of contemplation, whereas presentness is connected with the constant present, a condition that art has to aspire for. Thus he argued minimalist sculpture pursued for presence so that it lost the importance of original quality and concept of value of the artwork. But on the other hand, he equivocated the point of his argument by saying that such an ideal presence also discloses the characteristic of minimalism. Krauss took on a sceptic attitude for such Fried's criticism of the concept of theatricality. She raised an objection against the concept of presentness that Fried suggested as the characteristic of modernist sculpture. She regarded presence as the grace of God rather than him, and suggested a frame, structuralism, as its alternative. By suggesting a structuralistic method such as Greimas's diagram, she rejected the autonomy of artwork, and attempted to transform its temporal development into spatial structure. She saw that it would be possible for translating the vocabulary of art history into the structuralist term. She admitted the historical development of art through that diagram, but was put into a dilemma that she has to supplementarily explain the reason in a historical way. She could not help causing a friction with the artist's desire to create in the course of explanation. For the Greimas's diagram appeals to the structure of a text, and comes to be fallen into the state of impersonalization. It was to negate an appeal to the artist's desire to create that has been traditionally protected. She indicates it as inaccurate when raising the arbitrariness of this tradition. In addition, she rejected a historical definition of art and suggested an ahistorical one, judging that there is a danger that the structuralist analysis can be as arbitrary as historical narratives. Therefore she, as an alternative of the structuralist theory, came to suggest the semantics and the formless theory. She tried to stand away from an appeal to the artist's desire to create through a suggestion of art history to accept the level that the sign and social structure excel the capture of the individual. Through a development of such poststructuralist art criticism, she prepared a basis enough to criticize the sculptures in the 1990s. In particular, she advised to observe the characteristics of the contemporary sculptures under the connection of text with context by accepting G. Bataille's formless theory, and attempted to overcome dualism with a pursuit of the concept of materialism. In recent times, such an attempt got results in developing a new approaching method to project the boundary of sculpture into that expanded culture, by positively accepting diversity of the postmodern culture.

This paper provides a focused overview and critique of Feminist Linguistics including Conversation Analysis(CA) based on discourse and gender identity. CA presupposes that the social world is a pervasively conversational one in which an overwhelming proportion of the world’s business is conducted through the medium of social interaction. CA, however, has some restrictions not to micro-analyze the exigencies of talk-in-interaction for gender identity. Feminist Poststructuralism Discourse Analysis(FPDA) with a ‘variable and effects’ analysis and interaction framework is an alternative means of describing, analysing and interpreting an aspect of spoken interaction overlooked by CA. FPDA can apply to a variety of settings where discourses interact with each other to construct unequal power relations within texts or talk, whether domestic, social, public or institutional by representing the complexities and ambiguities of female experience and by giving space to female voices that are being silenced and peripheralized by masculinised discourses.

Richard Powers’ Poststructuralism: A Paradigm Shift in the Science of Life Taejeong Song (Daebul University) This essay illustrates how Richard Powers' novels like Gold Bug Variations (1991), Three Farmers on Their Way to a Dance (1985), Prisoner's Dilemma (1988), Operation Wandering Soul (1993), Galatea 2.2 (1995), and Gain (1998) recreate the discourse of the “life science,” and connects this to other fragmentary objects to create new forms of the “metaphor of human genome.” While others have examined the novel's relationship to aesthetics, I focus on Richard Powers' poststructural writing techniques and a paradigm shift in the science of life to explain the development of the human genome as an interdisciplinary study. I explain how scientific theories and their modes of articulation have evolved so that one scientist's theory or hypothesis will be solved and decoded by the next generation. This causes a consistent movement of the center of scientific focus as each new discovery is made. Powers wants to explore the genome and the history of genomic study within the archaeological standpoint of knowledge, and more importantly, the current historical moment, in which the infinity of the genome is articulated through the cybernetic metaphor. By weaving multiple discourses on biology, genetics, computer science, medical science, neurophysiology, and neuro-linguistics, he shows the development of biology from modern to postmodern through cybernetic metaphors and advanced technologies. Consequently, in the unstoppable advances of the art of decoding the genome, GBV interrelates the inter-disciplinary approaches through the rhetorical tropes that unfold the complex discursive world of the genome. Powers shows that the complex mechanisms of the genome in the microworld of every cell can be designed and written as the plot of the “text of life,” using DNA language. At the same time, his genomic reading and writing demonstrate the historical processes of the shifting center of new genomic development and inter-pretation.

소쉬르-탈구조주의 요하네스 페르 이 글은 소쉬르의 텍스트에 나타난 언어의 양면성의 본질을 지적하면서, 소쉬르가 제네바에서 행한 일반언어학 강의에 나타난, 랑그 시스템에 있어서 ‘차이’ 개념을 고찰한다. 랑그에서 ‘상태’와 ‘변화’는 ‘사건’이라는 개념을 낳고, 랑그가 이 사건을 서술한다. 또 언어의 문제로서 기호 개념을 환기하면서, 단어의 의미는 사건 자체가 아니라, 상태를 서술하는 것으로 ‘의미’하는 힘을 가진다. 랑그에 관한 논의에서, 문제는 ‘차이’라는 것의 존재가 무엇이고, 어떻게 존재하고 있는지를 먼저 해명하여야 한다. 랑그에는 오직 차이만이 존재한다는 소쉬르의 명제는, 언어 과학의 온전한 대상인 ‘랑그’ 그 자체가 관계성의 차원에서 발견된다는 뜻이며, 그리고 ‘관계성’을 통해 우리가 이해하는 것 이상으로 초월하는 차이가 존재한다는 것을 의미한다.

이 글은 구술서사가 갖는 일반적 논리를 설명하기 위해 필요한 여러 서사학의 관점들을 소개하여, 미래의 구술서사학을 위한 토대를 마련하고자 한다. 서사학의 출발이 구조주의에서 비롯되었다는 전제를 토대로, 가장 고전적인 구조주의 서사학에서의 구술서사의 논의를 소개하고, 이러한 구조주의 서사학이 갖는 문제점을 바탕으로 생겨난 여러 탈구조주의 서사학의 새로운 가능성들을 검토하려 한다. 이에 따라 이 글은 구술서사에 적합한 탈구조주의 서사학으로 인지서사학, 연행서사학, 매체서사학을 제시한다. 인지서사학은 인간의 마음에서 일어나는 서사의 발생, 구성, 수용에 개입하는 논리를 다룬다. 연행서사학은 연행이 이루어지는 현장에 개입하는 여러 우발적 요소들이 서사의 형성에 미치는 영향을 다룬다. 매체서사학은 매체 자체에 초점을 맞추어 매체들 간의 전이나 결합을 통해 생성되는 서사에 대해 다룬다. 이들 이론들은 각각 야콥슨의 소통모델에서, 발신자와 수신자, 콘텍스트, 접촉에 해당하는 것으로, 이들 모두가 소환되어 기술되어야만, 구술서사는 그것의 특성에 적합한 논리로 기술될 수 있다. 이 글은 이러한 통합의 논리를 기호학에서 찾고자 한다.

This article aims to introduce several narratological perspectives on oral narrative in order to create the productive theory of oral narratology in future. Assuming that narratology had begun from structuralist trend, first of all, I’ll introduce some theories of oral narrative from classical structuralist narratology, and then, on the basis of some problems drawn from this description, I’ll suggest new theoretical possibilities of poststructuralist narratologies. In this article, I’ll suggest three narratologies most proper to oral narrative, that is, cognitive narratology, performative narratology, and media narratology. Cognitive narratology deals with generation, composition and reception of narrative in human mind. Performative narratology deals with the effect of various incidental performative elements on narrative meaning-making. Media narratology deals with various operations of media, including transition and combination among them. These are respectively connected to sender/receiver, context, contact in Jakobson’s communication model. In order to design the complete theory of oral narratology, all of these elements have to be considered integrally, so, I’ll cautiously suggest the semiotic theory as a matrix of methodological possibilities for such integration.

In this paper I, from a poststructuralist perspective, tried to investigate how the poststruturalist's view unclose the practice and research aspects of teaching and learning in mathematics. For this purpose, I tried to explore how mathematical knowledge and learner's identities are produced in teaching and learning interactions through the discoursive activities occurring among the teachers and students in mathematics classroom. This postmodernist's perspective is not yet broadly accepted as methodology for the practice and research among mathematics educational society, but I think it comes to explore the meaningful and new possibilities that present themselves at least when we dissolute and revise the taken for granted assumptions of a rational, freely choosing humanist subject.

Its thought and aesthetic principle can be said to be above itself, though. As Seon is reflection of mind, which cannot expose its substance certainly with reason or reasonal understanding and judging, it becomes the theme inspiring infinitely. Seon, itself may be the alternative to overcome the crisis as exhaustion of materials in modern poetry, in that creativity and avant-garde. The recent increase of interest at the Seon in Korean poetry is caused by the needs of alternative in crisis of exhaustion rather than by understanding oriental traditional sense and thought. In that point modern poetry needs to accept sense and principle of Seon and practice it asthetically. First Seon should be understood in order to unite and connect the Seon and modern poetry. The historical context and meaning of Seon is to be studied, and then on that foundation Seon should be understood and interpreted from Western poststructuralism and deconstruction. If oriental ideology and western one are simply compared and adapted, it can bring about losing both important elements. Uniting and connecting Oriental Seon and Western poststructuralism, or deconstruction means that they should be understood as changing, creating, and evolving total outflow activity, with non separated organic and constant change of dimension, recognizing each independence. From this point of view it can be said, that uniting and connecting both ideologies has complex layered or multi layered conception, not single layer. The features of those are converged into prospect of modern poetry and the matter of its identity. It will place the modern poetry on the connection network to unite and connect the oriental and western ideology by Seon. If Seon is meaningful in the modern poetry, that's why it includes the very prospect of poetry and matter of its identity.

본 연구는『헨리 4세 1부와 2부』에서 왕을 신의 대리인으로 신비화하는 튜더 신화와 질서관과 같은 지배이데올로기가 헨리 4세에게 작용하여 그의 무의식에서 사고 작용과 욕망을 구성하고 생산하는 기제로서 작동하는 메커니즘을 분석하여 탈구조주의적 관점에서 헨리 4세의 욕망을 읽는 것을 목적으로 한다. 탈구조주의자들은 욕망을 이해하기위해 언어에 대한 유물론적 관점으로 언어의 실천, 변형, 의미화 과정을 집중적으로 조명한다. 이를 통해 주체의 욕망이 언어 속에서 어떻게구성되고 각인되는가에 관심을 가지면서 무의식에 각인된 욕망에 작동하는 이데올로기의 작용을 주시한다. 탈구조주의적 인식에서 볼 때, 지배이데올로기의 가치와 원칙들을 조롱하고 멸시하기 보다는 그러한 가치와 원칙들을 지키지 못한 것에양심의 가책과 죄의식을 느끼는 헨리 4세의 사고뿐만 아니라, 성취 불가능한 타고난 정당한 왕권을 구축하려는 것에 집착하는 헨리 4세는 지배이데올로기가 제시하는 허구적 논리에 함몰되어 지배이데올로기, 즉 대타자의 욕망을 수행한다는 점에서, 지배이데올로기를 합법화하고 지배이데올로기의 유지와 영속화에 기여하는 이데올로기의 욕망을 추구하는 수동적 주체로 볼 수 있다. 결국 헨리 4세의 양심의 가책이나 죄의식으로 인한 타율적 모습은 어떠한 개인도 이데올로기를 벗어날 수 없으며, 이데올로기로부터 초연한 초월적 자아란 존재하지 않는다고 주장하는 탈구조주의자들의 논의를 입증해주고 있다. 주제어: 탈구조주의, 욕망, 상징계, 실재계, 이데올로기, 지배 담론, 주체, 튜더 신화, 무의식

This essay aims at analyzing Henry 's desire from the perspective of poststructuralism. from which the unconsciousness of Henry , main character in Henry , Part 1 & Part 2 consists of the ideology of the ruling class such as Tutor Myth and the order of the hierarchy. Henry is considered to subvert the values and principles of the dominant ideology on which the state is based from historicist critics' perspective. But according to the theory of ideology and desire of poststructuralism, he is obsessed with accomplishing the ideal kingship and its legitimacy which the ruling class legitimatizes. Henry 's discourse shows that he suffers from fear, anxiety, and a pang of conscience resulting from the dominant ideology which forces him to pursue the ideal kingship and its legitimacy and continues to desire to legitimatize his reign stained with usurpation of Richard . He is also obsessed with bequeathing kingship to his son, Hal legitimately, regarding the ideology, divine right of kings as a truth in his unconsciousness, And also his discourse shows that he desires to achieve the ideal kingship by making the most of betray, trick, and theatricality regarded as Machiavellian nature by sacrificing all the relations with his son and his friends, which means that the dominant ideology makes HenryIV learn to desire in the way that Tudor Myth indicates how to desire, and produces his unconscious desire by making it oedipal and interpellated as a subject in the Elizabethan time successively.