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 31

C. , . - . , 2007.
G. -, . - 9 .
, 2007.
J. , . - . , 2008.
M. , . - . , 2008.
M. , . . , 2006.

32 37

Abstract
A Study on bisexual images in the Painter of Wind
Jung, Yeo - ul*

5)

Shin Yunbok is one of the most beloved painters among Korean people.

The Painter of wind is a popular faction to celebrate this painter whose

life story is so veiled and mystic. In this novel, Shin Yunbok decided to
disguise herself as a man to be a real painter of the Royal Court of
Chosun Dynasty.(It is not obvious that Shin was a woman. This is
fictional assumption.) Kim Hongdo was the most noticeable painter at
that time. In this novel, Kim is described as Shin's teacher.(This is also
sort of fictional imagination.) In Chosun Dynasty, women could never
approach the world of art, especially in Dowhaseo(-It was a
state-run organization which was in charge of all kinds of painting in
Royal Court). Shin is described as a beautiful girl masquerading as a man
to be a powerful painter. At first, the male attire was a tragedy for this
talented young woman. However, as time goes by, she became used to
acquit herself well in this complicated situation. Kim Hongdo fell in love
with Shin without noticing her real sexuality. At the same time, Jung
-hyang who is the most gorgeous gisaeng(a singing and dancing girl) in
Hanyang had a crush on Shin. Kim loved Shin as a girl, while Junghyang
took Shin for a boy. Shin got more and more accustomed to this double
play. Kim was an excellent teacher of painting to Shin, while Junghyang
is an outstanding model for Shin's painting. Shin's bisexual identinfication
was an inevitable force to make Shin a great painter. However, Shin's
double play finally made him more prominent painter and more profound
character.

* Korea National University of Arts

 33

Key words : Shin Yunbok Kim Hongdo, Anima, Animus, Lee Jungmyong, The painter of
wind, bisexuality, male attire

< >
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:
: 6-29 202
: 010-3064-5439
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6)

1.
2.
3.
4.
5.
6.

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1920 :
1920 :
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1930 :

,
,
,

<>

20 .
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. .
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.

. (1909)
.
, 1912 1914 .
(Amy Rowell) 1915 1917
, .

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* .

36 37

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 41

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 55

Abstract
The Imagism and The Oriental Discourse
Oh, Moon- seok*

24)

The poetic literature of 20th century was began with the discovery of
the 'image'. The imagism, swept England and America in early 20th,
directly demonstrates the statement as a fact. However, the appearance
of imagism set the other discovery forth as a premise; the discovery of the
'the Orient'. The Occident found the way to the modern poetry by
growing out of their own traditional verse form thanks to the discovery
of the Chinese poetry and Japanese Haiku. The modern poetry makes
great account of images since the contact between the Occident and the
Orient. Therefore, we have to chase chronologically the process of the
formation of the imagism. It was molded by T. E. Hulme in 1909 in
England and reached the acme by participating of Ezra Pound from
America. This former imagism lasted from 1912 to 1914. Then Amy
Rowell also from America leaded the publication of the illustrated imagist
poetry journals(Some Imagist Poets), this period corresponded to the
latter imagism. About the time when the latter imagism was begun,
Pound had separated from imagism, was translating the Chinese poetry,
and leaded the Vorticism. According to this chronological division, the
imagism divides into 3 phases; 19091912 leaded by T. E. Hulme, 191
51917 leaded by Amy Rowell, 19151917 leaded by Ezra Pound. Each
phase has different character. The latter imagism had been introduced
into Chosun around 1920's, then the former imagism was little bit lately
introduced in 1930's by Kim Ki-rim. In 1920's, the former imagism,
which regarded the orient(China and Japan) as an important source of
new poetry movement, did not affect Chosun, so the imagism in those

* Chosun University.

56 37

days was just a newest 'Occidental' poetry movement. After the former
imagism became known in 1930's, the imagism was no more only the
newest 'Occidental' poetry movement but also the beginning of the
rediscovery the Orient which informed the end of the occidental
modernity.
key words : imagism, modernity, orient, Ezra Pound, Amy Rowell, Chinese poetry,
Japanese Haiku, Kim Ki-rim.

< >
:
:
: 375
: 011-9771-5913
: oms65@chosun.ac.kr


- -

25)

<>

,
. 19

.

.
.

,
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.

.
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,
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.
* .

58 37

.
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: , , (), (), ,

I
:
PNB .
(Khaki Dockers) .
.
.
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.

.
.
.

.
.
.
( (Eric Liu), (The Accidental Asian))

 59

B+

(, (Native Speaker))

: (1998)
(Eric Liu)
(accident)
,
,
.

. , (
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, .
1960
.
(Americanness) (whiteness)

60 37

,
.
.
,
(symbolic capital) .

, .
(, , )

. (1995)
, (Lelia)
(Henry Park)

(alien) .
,
(traitor),
.
.
(gaze)
.

.
,
/ .
,
/
.

 61

,
,

,

,

.

. , BET(Black Entertain
-ment Television) (1997 7 20

) 60
(Dick Gregory), 1990
,
.

.

,
,
(illusion) .

.


.
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62 37

, .

.
(eugenics) 18
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(Negro Problem)
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B. (Charles B. Davenport)
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(Samuel George Morton) . 1839

(Crania Americana)

 63

, (Blumenbach)
(, , , ,
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(Banton 5051).

(Banton 51). ,
,
.

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W.E.B. (DuBois) 1897
(The Conversation of Races) .
.

.

64 37

.
--,
, -- (816).


(817).
.
.
.

. ,
(Pan-Negroism)
(820).

(Spivak) .
,

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 65

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1982 < >(Susie

66 37

Phipps) . 1977 44

(colored)
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. 1/32
, 18

.

,
.
(Michael Omi and Howard
Winant) 1960 1990

(Racial Formation in the United States from the 1960s to the 1990s)
. ,

,
(,
)
, .

:

 55

Abstract
The Imagism and The Oriental Discourse
Oh, Moon- seok*

24)

The poetic literature of 20th century was began with the discovery of
the 'image'. The imagism, swept England and America in early 20th,
directly demonstrates the statement as a fact. However, the appearance
of imagism set the other discovery forth as a premise; the discovery of the
'the Orient'. The Occident found the way to the modern poetry by
growing out of their own traditional verse form thanks to the discovery
of the Chinese poetry and Japanese Haiku. The modern poetry makes
great account of images since the contact between the Occident and the
Orient. Therefore, we have to chase chronologically the process of the
formation of the imagism. It was molded by T. E. Hulme in 1909 in
England and reached the acme by participating of Ezra Pound from
America. This former imagism lasted from 1912 to 1914. Then Amy
Rowell also from America leaded the publication of the illustrated imagist
poetry journals(Some Imagist Poets), this period corresponded to the
latter imagism. About the time when the latter imagism was begun,
Pound had separated from imagism, was translating the Chinese poetry,
and leaded the Vorticism. According to this chronological division, the
imagism divides into 3 phases; 19091912 leaded by T. E. Hulme, 191
51917 leaded by Amy Rowell, 19151917 leaded by Ezra Pound. Each
phase has different character. The latter imagism had been introduced
into Chosun around 1920's, then the former imagism was little bit lately
introduced in 1930's by Kim Ki-rim. In 1920's, the former imagism,
which regarded the orient(China and Japan) as an important source of
new poetry movement, did not affect Chosun, so the imagism in those

* Chosun University.

56 37

days was just a newest 'Occidental' poetry movement. After the former
imagism became known in 1930's, the imagism was no more only the
newest 'Occidental' poetry movement but also the beginning of the
rediscovery the Orient which informed the end of the occidental
modernity.
key words : imagism, modernity, orient, Ezra Pound, Amy Rowell, Chinese poetry,
Japanese Haiku, Kim Ki-rim.

< >
:
:
: 375
: 011-9771-5913
: oms65@chosun.ac.kr


- -

25)

<>

,
. 19

.

.
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,
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.
.

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58 37

.
,
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: , , (), (), ,

I
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PNB .
(Khaki Dockers) .
.
.
.
.

.
.
.

.
.
.
( (Eric Liu), (The Accidental Asian))

 59

B+

(, (Native Speaker))

: (1998)
(Eric Liu)
(accident)
,
,
.

. , (
) ,
, .
1960
.
(Americanness) (whiteness)

60 37

,
.
.
,
(symbolic capital) .

, .
(, , )

. (1995)
, (Lelia)
(Henry Park)

(alien) .
,
(traitor),
.
.
(gaze)
.

.
,
/ .
,
/
.

 61

,
,

,

,

.

. , BET(Black Entertain
-ment Television) (1997 7 20

) 60
(Dick Gregory), 1990
,
.

.

,
,
(illusion) .

.


.
,

62 37

, .

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(eugenics) 18
,
(Negro Problem)
.
B. (Charles B. Davenport)
(1). ,


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IQ ,
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(Samuel George Morton) . 1839

(Crania Americana)

 63

, (Blumenbach)
(, , , ,
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(Banton 5051).

(Banton 51). ,
,
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,
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W.E.B. (DuBois) 1897
(The Conversation of Races) .
.

.

64 37

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--,
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(817).
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(Pan-Negroism)
(820).

(Spivak) .
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 65

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1982 < >(Susie

66 37

Phipps) . 1977 44

(colored)
. 44
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. 1/32
, 18

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,
.
(Michael Omi and Howard
Winant) 1960 1990

(Racial Formation in the United States from the 1960s to the 1990s)
. ,

,
(,
)
, .

:

 67

. [ ]
.
:

.
The effort must be made to understand race as an unstable and
decentered complex of social meanings constantly being transformed by
political struggle. With this in mind, let us propose a definition: race is
a concept which signifies and symbolizes social conflict and interests by
referring to different types of human bodies. (55, italics in original)

.

. ,
W. (George W. Stocking) , 19
,
(accumulated cultural diff
-erences carried somehow in the blood) (6).

. 20
19 (ethnic)
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68 37

,
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(racial formation)
.
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(a process of historically situated projects in
which human bodies and social structures are represented and organized)

,
(the evolution of hegemony, in which a society is organized
and ruled) (5556). ,

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(common sense) (norm) ,

 69

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70 37

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 71

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(performativity) .
(Walter Benn Michaels)

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72 37

, .
If race really were culture, people could change their racial identity,
siblings could belongs to different races, people who were as genetically
unlike each other as its possible for two humans to be could nonetheless
belong to the same race. None of these things is possible in the US today.
And, were they to become possible, we would think not that we had
finally succeeded in developing an anti-essentialist account of race but
that we had given up the idea of race altogether. (No-Drop Rule 768)

,
.

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. :
. (769). ,
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 73

.

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,

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(willed)
:

1) :
The quality and the fecundity of a discourse are perhaps measured by the critical
rigor with which this relationship to the history of metaphysics and to inherited
concepts is thought. Here it is a question of critical relationship to the language
of the human sciences and a question of a critical responsibility of the discourse.
It is a question of putting expressly and systematically the problem of the status
of a discourse which borrows from a heritage the resources necessary for the
deconstruction of that heritage itself. A problem of economy and strategy.(252)

74 37

.

.

, .
It is worth recalling the frequent affirmation made by Marx on the
solidarity of popular beliefs as a necessary element of a specific situat
-ion. What he says more or less is when this way of conceiving things
has the force of popular beliefs, etc. Another proposition of Marx is that
a popular conviction often has the same energy as a material force or
something of the kind, which is extremely significant.(100)

(
) ,

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.

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,
, (one-drop rule)
.

 75

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1992 LA (Rodney King)
. LA
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10 .

76 37

4
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! .

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Look, a Negro! It was an external stimulus that flicked over me as
I passed by. I made a tight smile.
Look, a Negro! It was true. It amused me.

 77

Look, a Negro! The circle was drawing a bit tighter. I made no secret
of my amusement.
Mama, see the Negro! I'm frightened! Frightened! Frightened! Now
they were beginning to be afraid of me. I made up my mind to laugh
myself to tears, but laughter had become impossible.(Fanon 112)

.
(Negro)

,
.
.
,

.

.
(aftereffect) .

, .

.
,

.

78 37

,
.

. (Laura
Mulvey) ,

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.
(10). ,

.



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(10). .

, (misrecognition)
,
.

 79

.
,
. ,
,
.

.
,
.

Banton, Michael. Racial Theory. Cambridge: Cambridge UP, 1998.

Davenport, Charles B. Heredity in Relation to Eugenics. New York: henry
Holt, 1911.
Derrida, Jacques. Structure, Sign and Play in the Discourse of the Human
Sciences. The Structuralist Controversy: The Languages of Criticism
and the Sciences of Man. Ed. Richard Macksey. Baltimore: Johns
Hopkins UP, 1972: 247272.
Du Bois, W. E. B. The Conservation of Races, W.E.B. DuBois: Writings.
New York: The Library of America, 1986.
Fanon, Frantz. Black Skins, White Masks. Trans. Charles Lam Markmann.
New York: Grove Press, 1967.
Gramsci, Antonio. The Prison Notebooks. Eds. and Trans. Quintin Hoareand
Geoffrey Nowell Smith. New York: International Publishers, 1971.
Lee, Chang Rae. Native Speaker. New York: Riverhead, 1995.
Liu, Eric. The Accidental Asian: Notes of a Native Speaker. New York: Vintage
Books, 1998.
Michaels, Walter Benn. Critical Response II: No Drop Rule. Critical Inquiry
18 (1994): 758769.

80 37

Mulvey, Laura. Visual Pleasure and Narrative Cinema. Screen 163 (1975):
618.
Omi, Michael and Howard Winant. Racial Formation in the United States from
the 1960s to the 1990s, 2nd ed. New York: Routledge, 1994.
Stocking, George W. The Turn-of-the-Century Concept of Race, Modernism/
Modernity 11 (1993): 416.

 81

Abstract
Is Race Essence or Illusion?
- Validity of Race as an Analytic Category in American Culture Studies Im, Kyeong-kyu*

2)

This essay insists that race is still crucial as an analytic category in

American cultural studies, on the premise that race is not so much a
timeless essence as a social construct that has been constructed his
-torically and ideologically. In doing so, I will delineate the genealogy of
race from the late 19th century to the present with brief critical
reflections on several important debates on race that have been social
issues.
Race has indeed become a very problematic notion in this postmodern
era, and critical debates are still going on. A brief examination of the
genealogy of race tells us that the debates have been focused on whether
race is "essence" or "illusion." Until quite recent years, the so-called
eugenic discourse had been dominant in race study to the extent that
biological factors were considered an ahistorical essence constituting
one's identity. Yet such biologism has been systematically challenged by
many cultural critics because it possibly justifies and even perpetuates
the racial hierarchy in American society. Those critics instead attempted
to reconceptualize race in a non-essentialist way, arguing that race is a
cultural or performative notion which has nothing to do with biological
factors. Other critics, however, suggest that we should totally abandon
race as an analytical category since it is nothing but an illusion or a lie
unless it is an essence.
My position is rather closer to the second argument. However, I would
argue that although race is but an illusion or a lie, it still has some value

* Chosun univ.

82 37

as an analytical category in American cultural studies. It is not only

because American society is still organized based on race, but also
because it has some material force in shaping American way of doing and
thinking.
Key Words: race, eugenics, essence/essentialism, illusion/ideology, racial identification,
popculture

< >
:
:
: 375
: 010-9913-6857
: mobydick77@chosun.ac.kr

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84 37

Muselmann--
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- , .
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,
.
,

. ,
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, homo sacer
la communit che viene .
: , , , -,
, , , /-.

1.
,

. .
, ? ,
?

. .

 , 85

.
,

. .

Muselmann .


, , .


,
.

.

2. ,
1) ?
,
, ,
.
.

86 37

.
.
.(Vogt, 81) Felman
. ( ,
, (Felman & Laub, 1992, 3)1)
( )
(

) .
.
.
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/ .
, 3 ,
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.
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1)
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 , 87

,
?
- ?
( , 82) ?

. , ,

.
.
.(Amry, 1980. 9)

--
(Amry, Bettelheim), (mori vivi; living dead),

uomini mummia(Carpi),
(Levi).
-,
. .

,
.

. . ()
terzo regno, .

88 37

figura senza nome.

compimento
.(Sofsky, 294)

-- , ,
, -- .
l'umanit non-umanit ,

, .
terzo regno cifra prtfetta
-non-luego.(QA, 43)
,
.
(Levi ) .
. ,

. ()
,
.
. .(QA, 31)

.
. , .

. .( )2)
2) ,
Muselmnner ,

 , 89

Levi (Muselmann: ) ,

veri testimoni testimoni integrale

.
(Vogt, 83)
. --
--
.
. (

,
.(Carpi, 1993, 17)
,
.
.
.
.
.(Ryn & Klodzinski, 1987, 127)
. , ,
. ()
1/3 . ()
.
.
. , .
, . .
. .
.
. ()
. .

. 98.7
. .

.( , 94)

90 37

,
Hurbinek .)
. (

) l'impossibilit di testimoniare
- .
non significa pi non significare
senza lingua .(QA, 356)

( )
. l'uomo -il non-uomo
. , -
la soglia .(QA, 42)

.
(
)
.

.

.
,
kernel

 , 91

. (Zizek, 2001, 77)

, ,
, -
.
, nuda vita

2) -

.
potenza ,
.
potenza .
,
.

-- modi effettivi della sua
esistenza.(Agamben, 1995, 52; Geulen, 2005, 45)3)

3) , , /
/ Impotenz . ,

.
, .(Geulen, 2005, 456)
-
,
.( , 46)

92 37

dynamia adynamia
.
, , ,
. (Geulen, )
non passare all'atto
. ( ) potenza di non
(fare o essere), (impotenza; adynama) .(Agamben,
1995, 52)4)

?
( adynama) .
( alloiosis )
,
.( , 53)
conservarsi della
potenza "donarsi a se stessa" della potenza

.(Aristoteles, De Anima, 417 b 116; Agamben, 1995, 53; 1999, 184)5)

. , , -,
, - existence of non-Being,

4) potenza .
Avicenna porenza perfetta
.(Agamben, 1995, 52)
5) .

.(QA, 1995, 53)

 , 93

. . (
hypostasis ) .( , 179)

m energein .
.
( , 179) (

) potenza 'di non', .

.
, .
to skotos , .
, possibilty of privation
.(Agamben, 1999, 181)6)
,
potentiality for darkness .
.
.(
.
.
.( )
impotentiality .
6) Themistius , notBeing-actual ,
. anonia
amorphon, , aneidon
.( )

94 37

adynamia .

, tou auto kai kat to aut

psa dnamis adynama (Aristoteles, Metaphysica, 1046 a 302; Agamben,
1975, 52; 1999, 1812)

, dynamis
strsis, - .
to be potential
, -incapacity .
- ,
. -
.(Agamben, 1999, 182)
, ,
.

dynatos endketai

. , .
, to
aut ara dnaton enai endketai ka enai ka m enai (Aristoteles,
Metaphysica, 1050 b 1213)

- dekhomai
( )
. - .
(Agamben, 1999, 182)

. ( ) .7)

 , 95

(
/operatori ontologoci . possibilit(

poter essere) ( poter non essere)

operatori
, , --non (poter essere)-- (
non (poter non essere) , .(QA, 137)8))

-
? ,
.
l'esistenza dell'impossibile,

.
,

disarticolare.(QA, 1378)
-

7) / .
.
. -
.(Agamben, 1999, 182)
.

. - to be capable of one's own impotent
-iality .
.( , 1823)
8) , .
contingit .
compatezza,
. .

96 37

, ,
.

3. ,
1) Muselmann , ?
.
,
.
,
.
,
- .
- Selektion,
. (
) .(QA, 467)


. ( 50 )
? ?
/ (
) .
, - ,
. /

 , 97

.(QA, 47)
. Levi
?
.
. -
antifaccia

. -
.(Frontisi-Ducroux, 68; QA, 48)
/
non si pu non vedere .
,
.
,

- .
/ vedere l'impossibilit di vedere
.
ha tocato il fondo
- . (

) . ,
impossibilit di vedere'
. ?
- .
non umana impossibilit di vedere
l'apostrofe .(QA, 489)
.

98 37

. ,

. .
.
(Sofsky, 328 n 2)

presenza senza volto

. (Ryn & Klodzinsky)(A, 4950)

-
.
-(Levi, 1986, 82),

, ,
.(Bettelheim, 1960, 152)

,
, .
?

un'umanit dell'uomo ?(QA, 4950)

?
?
.

2)
Bettelheim ( ) ,

 , 99

.
.
() .
, , ,
.

.(QA, 501)9)

.
(
) (QA, 52),
restare uomo ?
( )
.
.
?
(Levi, 1989, 70) ?
degrdazione comune necessit
(QA, 534),
, ?

9)
. ,
.
( ) ( )
. (Bettelheim, 58)

100 37

testimoni integrali

.(Levi, 84; QA, 54)

, peggiori
. (
)
.

,
.(QA, 545)
, .
una figura-limite ,
limite etico .(QA,
57)

.

. ?
( )
.
. non vedere
.(QA, 57)

. ,
,
.(QA, 578)

 , 101

.
commun
-icazione obbligatoria .

.

? ?
(QA, 589)

( )
.
?
(
) .
ogni possibile confutazione confutazione radicale
. negando le loro
negazione

.(QA, 5960)
Entwrdigen
( ) . /Wrde

. simplicemente
uomo. -non-uomo.(QA, 60)10)

?
10)
.

. . .(QA,
63)

102 37

/
, degradazione pi estrema
.
.
. ,
.

3) ?

.
,
.
? ?
,
. , ?

? ? Levi
. ,

.
Figuren .
.(QA, 64)
( , )
. (
) .

 , 103

.11) the fabrication of corpses
,
.
non si moriva,
veniamo prodotti cadaveri. cadaveri
senza morte, -

?
.(QA, 656)

.(QA, 689)
, .
.
,
.

, ,
. ,
.
11) . . .
. ?
. .
. . , the
fabrication of corpses .
. .
. .(Arendt, 1993,
134)

104 37

.
,
. ,
.(QA, 69)
,
, ?
,
.
improprio ,
.

appropria
quotidianamente e anonimamente .
appropriazione dell'improprio ,

.(QA, 6970)
,
l'essere liquidati . Amry ,

.
angosciati dal morire .(Amry,
18) . ( --

, --
)
materialmente , ,
(Levi, 1989, 148) .
(QA, 70)

 , 105

( )
,
( ) .
--
Politik ist die Kunst, das unmglich Scheiende mglich
zu machen:-- .

--
, -- ineffettuale
. .(QA, 71)

4) -

.12)
.
.
,
.(QA, 756)

lacuna .
larva,
l'incongedabile . nonvivo , . (
12) (
) . (

(Adorno, 1979, 184; 2634) .

106 37

.)(QA, 756)
umanit dell'uomo.
legame,
. -.
.(QA, 756)
testimone integrale
? - ,
?
?
Levi
.
?(QA, 76)

. ,
. 17 ,
,
. .
faire morir ou de laisser vivre
faire vivre ou rejeter dans le mort .
(Foucault, 1976, 178. 181; QA, 767)

far vivere
far morire
tanatopolitica .
.

 , 107

1976
csure , far vivere
.
,

.
.
.(Foucault,
1997, 227)13)

cesura
-- , --
. popolo
popolazione . democratico
demografico .

1933
.
, Volljuden Mischlinge
(

) .
Entwrdigung degradazionee
, .
(QA, 789)
13)
, espce, , massifs de population
.(Foucault, 1976, 180)

108 37

, (umgesi
-edelt, ausgesiedelt), Hftling

.
.

.
inassegnabile
incesurable una sostanza biopolitica
assoluta .(QA, 7879)

. .
,
.(QA, 79)14)

4.
1)
Levi
14) 1937 .
Volksloser Raum; una spazio privo di
popolo .
intensit ,

,
.
Lebensraum Todesraum
.
.

 , 109

. ( ) ,
.(1989, 73) Bettelheim
.

.(Bettelheim, 1979, 2978)

Wiesel .

, ,
. .(QA, 823)

. ( ) .
,
.

.(QA, 8990)
--
. (
) Befehlnotstand .
colpa innocente
.
.(Levi, 1989, 59)
.(QA, 92)
20
. .

110 37

, ,

. -
.
amor
fati .

.
.
? ,
,
? ,
?(QA, 92)
.
.

. ,

inassumibile .
( ) ,
senza pi tempo .(QA, 945)
Antelme

, .
morire al posto di un altro
,
.

 , 111

. ()
.(QA, 956)15)

.

, .

. impossibilit di evasione

.
.(QA, 97)
, .

. ()
.(Levinas, 1982, 86 f.)

essere con
-segna a un inassumibile .

. (
) .
sus stessa passivt, sensibilit pi
propria . espropriato
desoggettivato
15) K()
"Wie ein Hund" sagte er, es war, als sollte die Scham ihn berleben.(Kafka,
193) .

112 37

. desoggettivazione
. ,
.
.(QA, 97)

- .
,
,
.16)(QA, 99100)
- ,
, .
-
disciplina,
, .
,

.
----
. , ,
.
indiscernibilit di disciplina e godimento
.(QA, 1001)

16)
proprio inassumibile piacere
.

 , 113

auto affezione .
. ,

.(Kant, B 153) Selbstaffektion
.
Wir uns gegen uns selbst als leidend verhalten mussten.( )
?
?
,
.
.
. gegen
uns selbst .

,
appassiona .(QA, 1012)
.

un se stesso .

, --
.
,
. ,
.(Heidegger, 1951, 34 172)

114 37

-
. tonalit
. ( ) --
-- ----

. intimit

.(QA, 1023)

2) :

. -
.
discorso in atto
. ,
. langue (, ,
, , , , )

.(QA, 107) .
.

, hiatus
.(Benveniste, 1974, 65)

, , , ,

 , 115

.(Agamben, 1982/1997, 4760 )

? ralit
du discours , .

locution .
.(Benveniste,
1966, 252)

l'enunciazione
. ( )
.
appropriarsi della lingua
?
- . psicosomatico

--
-- .
.(QA, 108)
( )
impossibilit di parlare .

. , , , ,
realt referenziale
.
.
non pu dire

116 37

nulla non pu parlare.(QA, 108)17)

Levi ,
, - .
.
.
.
? ?(QA, 111)
, -, .
( )

.
. mandatario ,
.
. parlare,
testimoniare ,
( ) .(QA, 111)
,

.
, una zona d'indistinzione

17) Io parlo .
altro -io-altro
. ( puro evento di
linguagio ) - ,
impossibilit di parlare, di dire qualcosa . istanza di
discorso
.(QA, 1089)

 , 117

, , sostenza
sognata .(QA, 112)

.
.( )18)
,
.
? (
) una realt puramente discorsiva
. ,
.
.
,
. .(Benveniste, 1971, 226)

.
,
presenza a se stesso
--
-- .19)
18) ,

. .
.(QA, 112)
19)
,
.

118 37

consistenza ,
un'ombra della lingua,
. ( )
l'evento di parola
.(QA, 113)20)

3)
, zon
logon echn.

. echn,
. avere il linguaggio?
?(QA, 120)
,
,
.
,
appropria

.

.

.
, .(QA, 1134)
20) , QA, 117120
. Kimura Bin
. post festum, ante festum, intra
festum .

 , 119

in un'espropriazione integrale,

.( )21)
. , ,
. -
nel non-luogo dell' articolazione . -
( ) .
( -)
scarto
.
inassegnabile

l'unica possibile consistenza di un soggetto.(QA, 121)

? sopravvivere
cesura .
nuda vita
.
- sopravvivssuto all'inumano
.(QA, 124)
.
pu sopravvivere all'uomo.
, l'inumana capacit
. . ,
.

21) , - lo statuto esistenziale del

vivente-parlante glossolalia,
, diceria .(QA, 120)

120 37

.
. (Levi ) , ,
.
,
.(QA, 1245)
,

, .
Il testimonie quel resto.(QA, 125)
.
l'indestructtibile.(Blanchot, 1969,
200) l'indistruttibile

, .
, ,
.
,
, ,
frattura .
- ,

mancata articolazione .
, erranza . ()
. un essere di potenza,


.(QA, 1256)

 , 121

. ,
, , (
) .
.
.(QA, 126)
. (
) ?
?

5. -
1)
.

.

.
,
,
.(QA, 135) una possibilit di dire
una impossibilit .(QA,
135) ,

( , un poter non essere

122 37

) . poter avere
lingua poter non avere lingua .

,
.(QA, 135)
/ una impotenza di dire
una potenza.
possibilit di parlare una
impossibilit.

indisgiugibile intimit.(QA, 136)

Levi .

-, .
, .(QA, 1401)
.
, ,
. .
sconnessione scarto .
,
.(QA, 141)
/ .
, , coestensivi,
. indivisi
-bile partizione, ,

.(QA, 141)
unit-differenza
.(QA, 138)

 , 123

. ?
.
.

,
, . , ,
,
.

.()
.(Levi, 1989, 112)(QA, 146)

.

, ( )
()
arcanum imperii
.(QA, 146)
,
, indisgiungibile
divisione .
impotenza di dire potenza di dire

, . ,

124 37

,
, .
un non poter dire

poter parlare, .(QA, 147)

archive
inarchiviabilit,
.
una impossibilit di dire .

.
.(QA, 147)
.
resto. (hypostasis ) (
)
.22)
? ( corpus
, , , , , ,
.) .
inenunciable, inarchiviable
/ incapacit di parlare .
Levi
22) . Was bleibt, stiften die Dichter"
,
. ( , )
---- , ,
.(QA, 1512)

 , 125

.
,
assoliuta impossibilit di testimoniare
. , impossibilit
di parlare

.(QA, 153)
.
( )
. ( )
, una impossibilit di parlare
.(QA, 153)23)

.
,
.
2) ,

,
.
,
. -

23) , testimone integrale.

, , ( ) .
attraverso una impossibilit una possibilit di
dire evento di una soggetivit
l'aver luogo di una linguai .(QA, 153)

126 37

, , - la soglia
X .

? X
.
.
, , , (
) .
,
?

.
.
.

,
.

.
(

,
, --
-- ,
.24) (

24) Agamben(1995) ; (2008) .

 , 127

)
. ,
,
.)
3)

, , /
,
? ,

?
/ il resto
- ,
.
, , -
.25)
, , , ,
.
homo sacer ,
- .
,
25) il resto , .
.
, ,
.
scarto. ----
, . .(QA, 1523)

128 37

.
,
.

. :
. 36. , 2008.
Adorno,Th.,W., Minima Moralia, Gesammelte Schriften, Bd, 4. Suhrkamp. 1979.
Adorno,Th.,W., Negative Dialektik,Frankfurt/M.1975.
Agamben, G.(1978/2001), Infanzia e storia: Distruzione dell'esperienzia e
origine della storia, Einaudi.
Agamben, G., (1982) Il linguaggio e la mort (tr. Le Langage et la Mort,
Bourgois, 1997)
Agamben, G., (1995), Homo Sacer 1 : Il Potere sovrano e la nuda vita, Einaudi.
Agamben, G., (2003), Stato di eccezione (Etat d'exception (tr, J. Gayraud,
2003), Seuil.
Agamben, G., (1998), Quel che resta di Auschwitz: L'archivo e il testimone.
(QA. ) Bollati Boringhieri.
Amry, J. (1980), At the Mind's Limits, (tr) Rosenfeld. S. & Rosenfeld. P.,
Indiana Univ. Press.
Arendt, H. (1979), The Origins of Totalitarianism, New York.
Arendt, H. (1963), On Revolution, New York.
Arendt, H. (1993), Essays in Understanding, New York.
Aristoteles, De Anima, in: The Loeb Classical Library, On The Soul, 1936
1964.
Arendt, H., Metaphysica, The Loeb Classical Library, Aristoteles, v. XVII
Harvard, 1933/1968.
Benveniste, E., Problms de linguistique gnrale, v. 1, 1966 ; v. 2, 1974.
Bettelheim, B. (1979), Surviving and Other Essays, N.Y. Knopf.
Blanchot, M. (1969), L'Entretien infini, Gallimard.

 , 129

Carpi (1993), Diario di Gusen, Turin, Einaudi.

Felman, S. & Laub, D. (1992), Testimony: Crises of Witnessing in Literature,
Psychoanalysis, and History, N. Y. Routledge.
Foucault, M. (1976), Histoire de la sexualit. I La volont de savoir, Gallimard.
Foucault, M. (1994), Dits et crits (19541988) III. 19761977. Gallimard.
Frontisi-Ducroux, F. (1995), Du masque au visage, Flammarion.
Geulen, E., (2005), Gorgio Agamben: Zur Einfuerung, Junius.
Heidegger, Kant und das Problem der Metaphysik, Frankfurt, 1951
Kant, I., Kritik der reinen Vernunft, in: Kant's gesammelte Schriften. (hrg)
Kniglich Preuischen Akademie der Wissenschaften. Berlin.
Lamb, D. (1985), Death, Brain and Ethics, Albany.
Lanzman, C. Shoah, 1, 2, 3, 4.
Levi, P. (1986), Survival in Auschwitz and The Reawakening (tr: Woolf, S.)
N.Y. Summit Books, 1986.
Levi, P. (1989), The Drowned and the Saved (tr: Rosenthal, R.) N.Y. Random
House.
Levinas, E. (1982), De l'vasion, Fata Morgana, Montpellier.
Norris, A (ed) (2005), Politics, Metaphysics, and Death: Essays on Giorgio
Agamben's <Homo Sacer>. Duke University Press.
Ryn & Klodzinski, An der Grenze zwischen Leben und Tod, Eine Studie
ueber die Erscheinung des "Muselmanns" im Konzentrazionslager.
Auschwitz-Hefte. v.1, Weinheim & Basel, 1987. pp.89154.
Sofsky, W. (1993), Die Ordnung des Terrors, Fischer Verlag, Frankfurt.
Vogt, E. (2005), S/Citing the Camp, in : Norris, A. 2005, pp.74106.
Zizek, S.(2001), Did Somebody Say Totalitarianism?, Verso.

130 37

Abstract
Testimony in silence: Is it (im)possibile to bear witness to Auschwitz?
Yang, Woon- deok*

26)

Th. Adorno declared that all post-Auschwitz culture was worthless. If

so, how can one think after Auschwitz? In reviewing aporias regarding
testimony of Auschwitz, Giorgio Agamben questions the ontological
position of humanity, post-Auschwitz ethics, and linguistic desubjecti
-fication.
He subjectifies the Muselmannan inhuman figure" called the walking
corpse", or "living dead--as the cipher of concentration camps, which
reveals the impossibility of testimony. The Muselmann is positioned on the
threshold (la soglia) of a locus where it is impossible to distinguish
between humanity and inhumanity, life and death. Agamben questions,
as a way of thinking about the potentiality not to do(:adynamia), seeing
the unseeable in concentration camps, the impossibility of human values
and essence, and the impossibility of death. In addition, viewing shame,
from which no one in concentration camps could be free, as the "potentia
passiva", the hidden structure of all subjectivities and consciousnesses.
Agamban links the unspeakable position of humanity in language with
the impossibility of speaking" of the Muselmann. Because the structure of
impossibility of testimony is embedded in the heart of experience, it is
possible to think of the possibility of speaking solely based on
unspeakability in linguistic reality. Although testimony of Auschwitz is
impossible, bearing witness to this impossibility is to challenge stances
that justify such impossibility. Reexamining the sacrifice of homo sacer,
which has been erased by biopolitics, and remnants of Auschwitz,
Agamben deliberates on the possibility of the coming community(la

* Korea univ.

 , 131

communit che viene).

Keywords : Muselmann(Muslim), impossibility of testimony and testimony of impossibility,
impossibility of speaking, the human and the in-human, possibility of death,
shame, Auschwitz, potentiality/impotentiality (adynamia)

< >
:
:
: 4 97-7 201
: 016-231-2427
: amamus0813@hanmail.net


- -

27)

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* HK.

134 37

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156 37

. - . , 2007. 8292.
. . , 1999.
. . , 1993. 93140.
, . . , 2003. 44.
. . , 2000. 205206.
, . , . , 2008.
, . . , 1998. 7576.
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 157

Abstract
Bronzed Branchial Brush
- On the deathbed of Vincent Van Gogh Han, Soon - mi*

27)

This study is on the general attitude toward artist, being led by

Vincent Van Gogh's deathbed as a clue for investigation. Van Gogh is a
startpoint to examine the prior studies on artist as a myth of genius and
insanity.
As widely accepted, genius and insanity is a sort of archetype for an
artist. In the mould, the real pain that the artists must have gone
through consequently osmosed into the layer of discourse, omitting their
vivid experiences.
To consider the artists with a sensitive feature, which is basically
unable to be generalized or homogenized, this study places a viewpoint
mediated by prior scrutinies of Antonin Artaud. In order to elucidate the
emotional sphere, this study is narrated by quite subjective "I". It is out
of capacity that this study tries to scrutinize with systematic theories or
suggest specific method to analyze artistic sphere. It is a modest
approach to sensitivity of Van Gogh, whose life left painful trace onto us.
Key Words: Artist, Genius, Insanity, Pain, Vincent Van Gogh, Gi Hyung-do, Antonin Artaud.
< >
:
: HK
: 106 1404
: 011-9606-6553
: specialcloud@naver.com

* Chonnam national univ.

28)

1.
2.
1)
2)
3.
4.

<>

.
,

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68 .
,

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* .

160 37

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1.

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. (1946)

, (1964)
(, 2002).

 161

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(Faber Birren,
, 1996: 181) .
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(Faber Birren, ,
1991: 221).

162 37

.
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. (1982)
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(1984)
.
, (, 2000; ,
2002; , 2004).

(Garai, 1973; Simon, 1998),

(Omizo & Omizo, 1989).

(Judith, 1999).

.

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2.
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 163

. 1961 (Bulletin
of Art therapy) .

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164 37

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(Art as therapy) .


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 165

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176 37

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 177

.
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. . : , 1979.
. . : , 2002.
.
. , 2002.
. .
, 2000.
. .
, 2004.
. . 15. 1996. 307332.

178 37

. . : , 1997.
, . . : , 1991.
, . . : , 1996.
, . . : , 2008.
Arnheim, . . : , 1988.
Cohen, E. P. & Gainer, R. S. Art: another language for learning. New York. :
Schocken Books, 1984. .
. : , 1996.
David, E. Art therapy. California : SAGE, 2004.
Lowenfeld, W. & Brittain, W. L. Creative and mental growth. 1982.
. . : , 2001.
Judith, A. R. Art therapy an introduction. 1999. . .
: , 2006.
Omizo, M. M. & Omizo, S. A.. Art activities to improve self-esteem among
native Hawaiian children. Journal of Humanistic and Development, 27,
1998. pp.167176.
Simon. L. S. Finding a voice: art therapy used to promote emotional and
social development in children. MA dissertation. Ursuline College,
1998.

 179

Abstract
Art Therapy and Children's Color Images
You, Bong- ja*

4)

The purpose of this study was to examine children's color images

during art therapy activities in an effort to get a profound understanding
of children's emotional state. Art therapy and color psychology are part
of psychotherapy that aims at getting an extensive grip on children's
inner experience and emotional conflicts by interpreting the meaning and
symbol of their art expressions and making a systematic analysis of their
color images. The subjects in this study were five children aged 6 to 8.
An art therapy case study was conducted to check into their color images
during art therapy activities. emotion pie technique was utilized when
the art therapy activities were performed. This technique made it
possible to understand the children's emotional state by having them
represent their feelings by using colors and in the form of emotion pie.
The finding of the study preview that the children's color images
during the art therapy activities had a close correlation to their emotion.
It suggested that in art therapy, the use of colors serves to provide
information on children's inner experiences and conflict situations and
thereby produces therapeutic effects.
Keywords: art therapy, color psychology, color image.
< >
:
:
: 2 29-19
: 010-5613-1392
: bong-ja09@hanmail.net
* Chosun univ.

5)

1.
2.
1)
2)
3.
1)
2)
4.

<>

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* .

182 37

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 183

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1) (res extensa)
,
(,
, 23, , 2008, 94 ).

184 37

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(, 2002), 3738 .

 185

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186 37

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 187

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190 37

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3.


. (my own's
body)

.15)

1)
5 Leib Krper
.

16)

Leib , , Krper

()

14) , , 94.
15) (Maine
de Biran) ( , 106110).
16) , , ( , 1993), 163.

 191

.
, ,
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(Orientierungs-zentrum) ,

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.

(Willensorgan)
,
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18) , , ( ,

192 37

-
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19) .


.

20)

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(body image) . ,
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, .21) ,
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.

22)

2000), 51 .
19) -
. , -
, 20(2003), 141 .
20) -, , ( , 2002), 131 .
21) Merleau-Ponty, Phenomenology of Perception( PP ), trans. C. Smith.
London, and New York, 2001 ; , ( , 2002),
130, 166 .
22) , - ,
29(2006), 6 .

 193

.
.
-

.

,

.
, ,
, .
-
. ,
,
,

(arc intentionnel, intentional arc)

.23) ,
.
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23) , 217.

194 37

.

.24)


, , , , .

.


.

2)
-

.
(), (),
()
. 3


24) Dreyfus H. L. & Dreyfus S. E., The challenge of Merleau-Pontys Phenomenology
of embodiment for cognitive science. In: Perspective of Embodiment: The
Intersections of Nature and Culture (eds G. Weiss & H. F. Habor),pp. 103120.
Routledge, New York, 1999 : ,
, 31(, 2006), 93.

 195

.25)
.

.26)
,
. ,

.27)

, .

. ,
. ()
.
, .

.28)

.

25) F. Dastur, Das Problem des Anfangs. Willen und Freiheit bei Paul Ricoeur, in: S.
Orth (Hrg.), Faccettenreiche Anthropologie, Muenchen 2004, 40 .
, , II( , 1992), 179.
26) , ( , 2004), 19 .
27) , , 48(, 2008), 332.
28) , 28 .

196 37

, ,
, .29)
.

.


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(consentment) .30)

.31)
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29) F. Dastur, 179 .

30) , , 180.
31) , , 38 .

 197

(suffering).32) ,


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198 37

.
, , , ,
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DNA
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33)
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 199

-

. -
.

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.34)

.


.

.35)
, ,
, .
. , 312 .
34) P. Benner & J. Wrubel, Benner. P, Wrubel, J., The Primacy of caring, Stress and
Coping in Health and Illness, CA: Addiso-Wesley, 1989, 7879.
35) P. Benner & J. Wrubel, , 92. (H.Gadamer)

,
. , ,
( , 2002), 127.

200 37

.

,
.36)
,
,
, .
,

.
,
,

.

. , . , 2007.
. .
31. , 2006.
. . 48. , 2008.
-, . . , 2002.
, - ,
20. 2003.
36) , , 48(, 2008), 333 .

 201

. . .
, 2000.
. . , 2004.
. , 23.
, 2008.
, . . , 1993.
, . .
, 2002,
. - .
29. 2006.
, . . , 2002.
, . . , 1992.
Benner. P, Wrubel, J., The primacy of caring, Stress and Coping in Health and
Illness, CA: Addiso-Wesley, 1989.
Dastur, F., Das Problem des Anfangs. Willen und Freiheit bei Paul Ricoeur,
in: S. Orth (Hrg.), Faccettenreiche Anthropologie, Mnchen 2004.
Dreyfus H. L. & Dreyfus S. E., The challenge of Merleau-Pontys Pheno
-menonlogy of embodiment for cognitive science. In: Perspective of
Emboiment: The Intersections of Nature and Culture (eds G. Weiss &
H. F. Habor),pp. 103120. Routledge, New York, 1999.
Merleau-Ponty M., Phenomenology of Perception. Routledge, New York, 2001.

202 37

Abstract
Das phnomenologische Verstehen des Leibs in der modernen
medizinischen Praxis
Kong, Byung- hye*

37)

In dieser Arbeit stelle ich die Aufgabe, den menschlichen Leib als
Gegenstand der medizinischen Behandlung und seine theoretische Basis
kritisch interpretieren und dann aufgrund der Leib-phnomenologie eine
neue Beschreibung des menschlischen Leibs gewinnen zu knnen.
Zuerst mchte ich darvon aus, die naturwissenschafltliche Grundlage
des Leibs kritisch argumentieren, der sich nach bio-medizinischen Modell
als eine Maschine versteht. Denn die hoch entwicklten Medizin mag also
den ganzen Leib des Patienten als Objekt, Organismus behandelt, technisch
kontrolliert und ihm das Selbst des Ichs, nmlich das existenzielle
Vermgen des Subjetes entzieht.
Aufgrund Merleu-ponty's and Ricoeur's Phnomenologie kann man das
neue Verstndniss des Leibs in der medizinischen Behandlung gewinnen.
Sie kritizieren das naturwissenschaftliche, bio-medizinische Model des
Leibs und begreifen den Leib als inkaniertes Subjekt begreifen. So kann
diese phnomenologische Beschreibung den kritischen Punkt gegen die
Gegenstndlichung und Entpersnlichung des menschlichen Leibs erwecken
und das leibliche Selbst als das existenzielle Subjektes in der klinischen
Bereich aufgenommen werden.
Folglich mag das Verstehen des Leibe als inkanierten Sujektes den
Mediziner und Pflegenen einen Aspekt ins Licht bringen, die den Leib des
Patienten als das existentielle Subjekt in der Lebenswelt beachten und
behandeln mssen.
* Chosun Universitt.

 203

Hauptbegriff: Leib, Phnomenologie, Medizin, Merleu-ponty, Ricoeur

< >
:
:
: 375
: 011-9602-8784
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1) Karl Jaspers, Arzt und Patient 77, in ; Wahrheit und Bewhrung Philoso

-phieren fr die Praxis, 5978, R. Piper Verlag, Mnchen 1983 .

206 37

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208 37

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8) St. Thomas Aquinas, , q.75, a25, a6 q75, a3, a6 .
9)
20 .

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214 37

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19) Karl Jaspers, Allgemeine Psychopatologie(1913), Berlin 1946, 150 .
20) , 464 .

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22) Victor von Weizscker, Wert und Unwert der Psychoanalyse, in: Schweizer
Rundschau 8/9(1949), 723, 732 .
23) Victor von Weizscker, Psychotherapie und Klinik, in: Bericht ber den 1.
Allgemeinen rztlichen Kongre fr Psychotheraphie in Baden-Baden, 1719
April 1926, Halle, 1927, 170 .
24) Victor von Weizscker, Psychosomatische Medizin, in: Psyche 3 (1949), 331341
.

216 37

(Psychosomatik)
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26) , 567 .
27) Karl Jaspers, Zur Kritik der Psychoanalyse, in: Der Nervenarzt 31 (1950),
465-468; K. Jaspers, Arzt und Patient, in: Studium Generale 6(1953), 1938
.
28) ganz unverletzt( ).
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29) Wolfgang Blankenburg, Unausgeschpftes in der Psychopathologie von Karl
Jaspers, in: Karl Jaspers: Philosoph, Arzt, politischer Denker, 135 .

 , , 217

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334 .
31) Wolfram Schmitt, Die Psychopathologie von Karl Jaspers in der modernen
Psychiatrie, 47 in: Uwe Hendrick Peters (Hrsg.), Kindlers Psychologie des 20.
Jahrhunderts Bd. 10, 4662.
32) Mathias Bormuth, Lebensfhrung in der Moderne, Stuttgart-Bad Cannstatt, 2002,
46 .

218 37

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fr die Praxis, 5978, R. Piper Verlag, Mnchen 1983 . [ ]
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36) Karl Jaspers, Allgemeine Psychopatologie (1913), Berlin 1946, 649.

220 37

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Bewhrung Philosophieren fr die Praxis, 7998, R. Piper Verlag, Mnchen
1983 .

222 37

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 , , 223

. , . , 2007.
. .
17 6. 1996. 408414.
J. , . .
, 2002.
. : . 16. 2006.
13.
Edward O. Wilson, Sociobiology : The New Synthesis, Cambridge, MA :
Havard Unversity Press, 1975.
Karl Jaspers, Allgemeine Psychopatologie, Berlin 1946, 1913.
Karl Jaspers, Arzt und Patient in ; Wahrheit und Bewhrung Philosophieren
fr die Praxis, R. Piper Verlag, Mnchen 1983 .
Karl Jaspers, Zur Kritik der Psychoanalyse, in: Der Nervenarzt 31 (1950),
465468; K. Jaspers, Arzt und Patient, in: Studium Generale
6(1953).
David Hume, A Treatise of Human Nature, edited by T. H. Green and T. H.
Grose, bk, 1
H. Arendt , . 1-. , 2004.
John Lantos, Do We Still Need Doctors?; , .
-, , . , 2005.
Mathias Bormuth, Lebensfhrung in der Moderne, Stuttgart-Bad Cannstatt,
2002.
Michal Foucaut , . . , 2003.
St. Augustinuns, Confessiones, 12.
St. Thomas Aquinas, Summa Theologica. I
Victor von Weizscker, Psychotherapie und Klinik, in: Bericht ber den 1.
Allgemeinen rztlichen Kongre fr Psychotheraphie in BadenBaden, 1719 April 1926, Halle, 1927.
Victor von Weizscker, Wert und Unwert der Psychoanalyse, in: Schweizer
Rundschau 8/9, 1949.

224 37

Victor von Weizscker, Psychosomatische Medizin, in: Psyche 3, 1949.

Wolfgang Blankenburg, Unausgeschpftes in der Psychopathologie von Karl
Jaspers, in: Karl Jaspers: Philosoph, Arzt, politischer Denker.
Wolfram Schmitt, Die Psychopathologie von Karl Jaspers in der modernen
Psychiatrie, in: Uwe Hendrick Peters (Hrsg.), Kindlers Psychologie
des 20. Jahrhunderts Bd. 10

 , , 225

Abstract
Krper, Imago und Macht in der Klinik
Lee, Jin- oh*

41)

Es gibt Kluft zwischen Imago und Realitt. Imago und Symoble spielen
die grosse Rolle in der Klinik. In der szientifisch orientiereten Gegenwart
erweitert der Machtbereich des Arztes sich schnell in die anderen
Gebieten, wo frher Philosoph oder Seelesorger ttgig waren. Diese
Erweiterung passiert heute automatisch und systematisch, ohne Kritik
an seine Potenz in anderen neuen Gebieten, weil sich Arzt als Szientist,
der scheinbar Allmacht hat, zeigt. In dieser vorliegenden Arbeit will ich
darstellen, wie sich der Begriff des Krpers und Geistes in der Geschichte
verndert, wie Arzt seine heutige machtvolle Position gewonnen hat, und
wie sich der Machtbereich des Arztes in die anderen Gebieten als
Klinikum erstreckt ist. Dabei soll Jaspers Kriktik an die psysomatische
Psychoanalyse bei Freund behandelt werden. Diese Kritik bt Jaspers in
der Allgemeinen Psychopathologie 1913 aus. Jaspers als Existenzphilosoph
glaubt an die Unabhnigkeit der Geisitesphnomenen vom Krper, whrend
er als Arzt Somatiker war. Fr Jaspers ist die psysomatische Psychoanalyse
von Freudianer wie Weizscker, Mitscherlich, Mayer und Alexander, eine
Anmaung. Denn in Befrufung auf den materialischen Monismus verlegen
sie die Unabhnigkeit der Geisitesphnomenen vom Krper flschlich und
erlaubt es statt Philosoph oder Seelsorger dem Arzt als Szientist, Leben
zu fhren.
key words : Klinik, Krper, hyle, Imago, Bild, Macht, psyche, Psychosomatische
Psychoanalyse, Existenzphilosophie, Freud, Jaspers

* Seoul national univ.

226 37

< >
:
:
: 1 27 204
: 010-3194-6551
: sein30@hanmail.net

<>

//

Lee, Hyub

Reification in Charles Dickenss The Old Curiosity

Shop and Great Expectations

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University Press, 1976), p. 158.

246 37

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22) Ibid., p. 87.

 247

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 251

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252 37

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 253

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 255

. . , 1999.
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. . , 1997.
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. . , 2002.
. . . , 2001.
. . , 2001.
. . , 1998.
. . , 2007.
Jacques Derrida. Of Grammatology. trans. G. C. Spivak. The Johns Hopkins
University Press, 1976.
Jrgen Habermas. Wahrheit und Rechtfertigung. Suhrkamp Verlag, 1999.
Richard Rorty. Deconstruction and circumvention. Essays on Heidegger and
Others. Cambridge University Press, 1991.
Richard Rorty. Philosophy and Social Hope. Penguin Books, 1999.

256 37

Abstract
Writing and Philosophical Discourses
Lee, Yu - sun*

29)

I have just tried to find out for what purposes the writing education in
university should be practiced. For doing that, I have reviewed three
philosophical discourses on writing such as Habermas', which make a
distinction between literary writing and scientific writing, Derrida's,
which blurs the boundary between philosophy and literary, and Rorty's,
which suggests some pragmatic alternatives.
From Habermas' viewpoint, we can still hope to reach at the universal
truth through the communicative reason. This let us divide two kinds of
writings. One is the writing which makes it possible for us to explain
objective facts of the world. And the other is one that just aesthetically
express emotive feelings of the author. It seems to me that current
division of writings in korea's universities would reflect Habermas' point
of view.
On the other hand, post-modernists, who regard the assertion of
scientific truth itself as something that should be justified by the other
narratives, raise questions on the ground of that kind of division.
According to Derrida, the philosopher's dream that he or she could find
final answer for the old philosophical question on truth, will never be
realized and philosophical writing can be thought as a kind of literary
writings.
Rorty, as a pragmatist, thinks that there is no one big philosophical
tradition like onto-theology that Heidegger and Derrida has assumed. He
suggests that it would be better to ask little and pragmatic questions
rather than try to overcome the assumed tradition. From his point of

* Korea University.

 257

view, we should not make a distinctions between writings according to

the object and form of writings but to our purpose or aim.
I guess, Derrida and Rorty's perspective, that regards truth not as a
representation of something but as a never ending redescription of
redescription, would be more useful for the writing education of korea's
universities which has to bring up creative intelligentsia who could
produce practical alternatives in this rapid changing world.
Key words; writing, philosophical discourse, truth, deconstruction, autonomy, pragmatism
< >
:
:
: 2 37 501
: 011-9748-0300
: yusunlee@hanmail.net

: 2008 12 31
: 2009 1 31
: 2009 2 4

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288 37

Abstract

The Evolvement of Labor Movement and the Emergence of the

National Council of Trade Unions during the Rhee Syngman Regime
Shin, Chi- ho*

65)

The labor movement in the 1950s has not received much attention for
a long time. The Federation of Korean Trade Unions (Daehan nochong)
organized by right-wingers under the U.S. Occupational Government and
manipulated as a political tool by the government had fundamental
limits. However, when the National Council of Joseon Labor Unions
(Cheonpyeong) was dismissed after the launch of the first government of
the ROK, Daehan nochong became the only legitimacy organization of the
same kind.
In its nature, Daehan nochong was very politically oriented, and
fiercely involved in anti-communism activities and/or activities attempting
to subdue Cheonpyeong rather than engaging struggles against the
entrepreneurs, which resulted in the overall recession of the labor
movement in the 1950s. President Rhee Syngman and his Liberal Party
then took a control over laborers by using the strong ruling agenda of
McCarthyism, which was firmly established throughout the Korean War
and the following armistice of the peninsula.
Despite all the above-mentioned unfavorable circumstances, the
Koreas labor movement continued its slow yet gradual advances.
Particularly, the laborers struggle over the Joseon Texile Co. in 1952
initiated a strong motivation to draft the Labor Relation Law. The
enactment of the Labor Relation Law in 1953 provided the legal ground
for protecting the laborers right to the democratic labor movement, but
there also found many restrictions when implementing thereof.

* The Truth and Reconciliation Commission, the Republic of Korea.

 289

Factional conflicts within Daehan nochong were routinely witnessed

and lasted until its dismantlement. The factional conflicts of Daehan
nochong raised the necessity of an alternative labor organization such as
the National Council of Trade Unions (Jeonkook nohyeop) and paved the
road to the formation thereof.
Key Words : Labor Movement, the Federation of Korean Trade Unions, Rhee Syngman,
the Liberal Party, the laborers struggle of Joseon Texile Co., the National
Council of Trade Unions

< >
:
:
: 1 30-1 2
: 016-656-6098
: shancho@hanmail.net

: 2008 12 31
: 2009 1 31
: 2009 2 18

66)

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294 37

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academia, and had a possibility fall into the Japanese theory of common
ancestor of Japan and Korea. But he relieved korean mythology and
history from the distortions and defamations.
key words : Tangun(), Myth of Tangun, Tangun research, Choi Namseon(),
Naka Michiyo(), Siratori Kurakichi(), Imanishi Ryu(),
Ota Shogo()

< >
: ()
:
: 126
: 011-9747-6268
: yoonsj@dankook.ac.kr

: 2008 12 31
: 2009 1 31
: 2009 2 4

79)

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328 37

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 329

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330 37

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 357

Abstract
The Characteristic in content and writer's consciousness in Dasan's
letter-writing during exile period
Tak, Hyun-sook*

46)

Dasan mentioned his thought and philosophy in the form of

letter-writing for 18 year exile period to his two sons, his second eldest
brother, and several pupils. In the letter for his two sons, he mainly dealt
with some entreaty for life and education. He showed interdependence
and consultation each other in another letter for his second eldest
brother. He also emphasized the importance of making their living and
building character through reading to live vigorously.
His letter writing contained learning, reading, and literary writing as
well as one's reason and principle, which was his literary ideology and
literary viewpoint. He explained in detail the methodology of conduct in
life and living conditions, which reveals development-oriented view of a
practical scientist who overcomes his hopelessness even in the difficult
situation.
Dasan defined human as moral being to practice humanity, mind to
love the general public, not as being to live like an animal. Also, he took
aim at fostering ethical human being, emphasizing human dignity and
equality. He cultivated virtue in thrift and frugality, but warned selfis
-hness pursuing only materialistic profit. Instead, he sought society
which realize morality. He tried to attain his ideal in the society where
each individual could display his ability, and then live in free and equal
way.
Dasan is a practical scientist with a progressive viewpoint hoping that
all things in the universe will prosper and develop like a natural law. He
* Honam Univ.

358 37

asserted that education is an absolute value for human being to develop

and prosper and suggested reading and learning for nourishment of life.
His literary spirit filled with creativity and reformation will is a litera
-ture of sympathy which orients human's true life and an expression of
open mind toward world and human being.
key words : Dasan, letter writing during exile period, an idea of practical science, humanity,
ethnic consciousness, morality, equality consciousness, creativity, development
-orientated, economy

< >
: ()
:
: 2 A 101 1203(506-777)
: 062-953-0567. 018-624-5727
: tak2538@hanmail.net

: 2008 12 31
: 2009 1 31
: 2009 2 18

 <>

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Abdul R. JanMohamed. Worldiness-without-World, Homelessness-as-Home
: Toward a Definition of the Specular Border Intellectual. Edward
Said-a Critical Reader, ed. Michael Sprinker, Blackwell, 1992.

386 37

Abstract
A Study on the Choi In-hoon's Typhon with Post-Colonial Thory
Bae, Kyeong-yeol*

23)

Typhoon, written by Choi Inhoon, set up the time and space

reminding of World War , shows the true meaning of Post-Colonialism
through the process that a colonist became an imperialist, and then
trunked to be a post-colonist.
In Chapter , a gap of dissociation by hybridity is found in the process
of showing binarity when NAPAJ has control of AISENODIN. NAPAJ
deprived AISENODIN of all the profitable things and then got the same
colonist viewpoint as NIBRITA, In this circumstances, Otomenak, in
spite of a citizen of AEROK, had become a soldier of NAPAJ, making a
living in contributing to the expansion of NAPAJ's power.
In Chapter , It is seen that Otomenak's consciousness changed from
colonialism to alterity. Otomenak felt disturbed in his consciousness
through meeting, talking, and loving with many people, and seeing the
very oppressive way of NAPAJ dominating AISENODIN, he realized the
meaning of what he was doing. In this guilty conscience, he faced the fear
of death. Otomenak, who always had seen the world with the ideology of
NAPAJ, finally got consciousness of the alterity which made him think of
what others might judge him. He also realized that AEROK was not a
country in the confederation with NAPAJ but a colony like AISENODIN
under the oppressive control of NAPAJ. He thought his whole life had
been abused by the NAPAJ's deceitful policy, then got away from NAPAJ.
In Chapter , the author's idea of post-colonialism is seen through the
use of virtual reality and alternative history. Choi Inhoon suggests a
prospect for the future and an alternative for the present in specific time

* Korea cyber univ.

 <> 387

and space set up through the use of virtual reality, and then shows them
through the use of alternative history. Naming unfamiliar countries such
as AEROK, NAPAJ, ANIHC, ACIREMA, and NIBRITA as well as real
countries and regions such as the South Pacific, Germany, Germania,
Rome, and India, he creates the world which seems real but virtual. Both
Banya Kim who overthrew the power of the symbolic deterritorialized
space. Otomenak neither went back to AEROK which he realized as his
mother country, nor became a nationalist who had the identity as a
citizen of AEROK, and didn't stay as a person subordinate to NAPAJ,
either, ROPAGNIS, a city in AISENODIN, is also a place not dominated
by nationalism of imperialism. In AISENODIN, which achieved indepen
-dence from NAPAJ, Banya Kim contributed to AEROK's independence,
and participated in international politics in the attitude of not oppressing
difference or prevailing over anybody, It means making the third new
history, new identity, as independent life not imperialistic or colonial. In
that meaning, the viewpoint of alternative history which the author
suggests works as an important point. Banya Kim's error that he lost his
mother land and trampled on his native land on the side of NAPAJ makes
a sacrifice for a better world by bringing back his memory.
The ultimate aim of post-colonialism is not to abhor the empire revenge
oneself on the empire, but to dissolve and overcome confrontation and
sameness between empire and colony, and then obtain a prospect for the
future. Typhoonis the trace of worry about how to present that, and the
author's insight is revealed through it.
This research can illuminate literary value of Typhoonand be an
opportunity for reflection and self-examination for colonialism which is
inherent in our consciousness and unconsciousness.
Key Words : Choi In-hoon, Typhoon, De-Colonialism, binarity, identification, virtualreality, alternative-history

388 37

< >
:
:
: 9 238-5 309
: 010-4492-3237
: bae4707@hanmail.net

: 2008 12 31
: 2009 1 31
: 2009 2 18


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. 1. , 2008.

 // 409

. (). : , 1997.
. . 15. , 1998.
. .
102, 1999.
. . 2728. , 1994.
. . 10, 1996.
. . 13. , 1991.
. . : , 1999.
. 1. , 2006.
.
. . , 2002.
. - . 2. 1996.
. 1.
, 2008.
. . 20.
, 2002.
. .
, 2008.
. . . 2
, 2001.
. // . . , 2000.
. . : , 1985.

410 37

Abstract
A teaching study on Korean fulcrum // of Chinese language learners
Fang, Xiang-yu*

12)

This essay is based on the Chinese students' pronunciation mistakes

when they are enunciating Korean fulcrum //. The second chapter is a
discussion about the fulcrum // contents in Korean language text books
for Chinese learners. In the fourth chapter, I analyzed the error, which
the senior Korean learners made, by 4 types of fulcrum //. At last I
found a program to avoid the error to the Chinese learners with effect.
key words: Korean fulcrum // pronunciation training, error analysis, program presentation

< >
:
:
: 521-2 306
: 010-2413-6999
: xy-fang@hanmail.net

: 2008 12 31
: 2009 1 31
: 2009 2 18

* China qiqihar university Associate professor.

Reification in Charles Dickenss The Old

Curiosity Shop and Great Expectations

Lee, Hyub*

13)

1.
2.
3.
4.

Introduction
Reification of Commodities in The Old Curiosity Shop
Domesticity under the Influence of Reification in Great Expectations
Conclusion

Abstract
In many works by Charles Dickens, material objects are described to
possess human nature and human beings are depicted as mater -ialized.
The transgression of the boundary, which reflects the characters
psychological operation, can be explained by the concept of reification by
Georg Lukacs. In The Old Curiosity Shop, commodities placed at the
nexus of trade are reified in the capitalistic world. Nell loses subjectivity
in her response to the visual image of commodities, and comes to death
in the end. Mr. Quilp representative of greedy capitalist dies with a stake
in his heart, which is intended to satirize reification. Human
identification with machinery for industrial produc -tion can be found in
Black Country. The Victorian domesticity is under the sway of reification
in Great Expectations. Pip's responses to the material objects, often in
the illusionary states, disclose the way reification has impact upon him
at the unconscious level. Human identification with a house is a trait of
* Hansei University.

412 37

Dickens. Miss. Havisham, who resides surrounded by the material things

in the house, is assimilated to the house. That she is in the ironically
miserable state satirizes reification. The change of Pips response to the
material in the end reflects Dickenss judgment on reification.
Key word : reification, capitalism, commodity, image, domesticity

1. Introduction
In many works by Charles Dickens, material objects are described to
possess human nature and human beings are depicted as materialized.
This reciprocity is one of the conspicuous features of the novelist. Many
critics including Dorothy Van Ghent indicate the trait of reification:
"The course of things demonically possessed is to imitate the human,
while the course of human possession is to imitate the inhumanthe
principle of relationship between things and people in the novels of
Dickens" (The Dickens World 419). As for the critical trend, Hisup Shin
recently explains that "This confusing, odd mixture of human attributes
and those of 'insensate' objects is a cause of bewilderment for many
critics to this day." Such features may seem to be merely childish
imagination or creation often found in fairy tales. They are also one
aspect of popular novels. However, Dickenss personification or vice
versa is unlike that found in popular literature. The objects of
personification in Dickens are mainly artificial objects rather than
natural objects. The relation between human beings and artifacts is
different from the emotional response to nature. Various social factors
are embedded in the artificial objects presented in his works. They are
the medium through which psychological response to socio-economic
undercurrents is implicitly activated.
The transgression of the boundary between the animate and the

Reification in Charles Dickenss The Old Curiosity 413

Shop and Great Expectations

inanimate reflects the characters psychological operation at the

conscious or unconscious level. As Van Ghent makes a remark upon "the
projection of human impulses and feelings upon the nonhuman" (The

English Novel 129), the characters psychological states are projected

upon the outer material objects. This psychological process operates at
multiple levels. Human psychological projection can be activated by the
visual images of the tangible objects watched by a character.
The characters psychological response to the visual structures, in
some cases, might seem to proceed at a surface level. This psychological
process is not heavily laden with social implications. For instance, a
personified kettle seems to be socially neutral: "Now it was that the
kettle, growing mellow and musical, began to have irrepressible
gurglings in its throat, and to indulge in short vocal snorts, which it
checked in the bud, as if it hadnt quite made up its mind yet to be good
company" (Christmas Books 161).
However, such a case, though not much permeated with social
factors, cannot be entirely free from social influences. No human
psychology can be entirely emancipated from the network of social
forces. The operation of human psychology, conscious or unconscious,
is posited against the social mechanism.
Some cases of psychological projection are fundamentally motivated
by the social situations in which the characters are placed. Reification
reflects underlying forces that operate through individuals tethered to
society. The term 'reification' etymologically derived from the Latin
'res' means transforming some object into matter lexically. I employ the
term defined by the Marxist tradition, in which the concept received the
greatest attention. The basic idea of the Lukacian reification is that "a
relation between people takes on the character of a thing and thus
acquires a phantom objectivity, an autonomy that seems so strictly
rational and all-embracing as to conceal every trace of its fundamental
nature: the relation between people" (83). This underlying mechanism

414 37

motivates an individuals illusionary vision of material circumstances.

The concept of Lukacian reification is partly applicable to Dickens. As
Georg Lukacs was born after Dickenss death, Dickenss corpus was not
influenced by Lukacss socio-political theory. But his novels bear
elements compatible with Lukacss theory.
Reification reveals how individuals are subordinated to the
socio-economic system, psychologically as well as physically. The social
forces manipulate the psychology of an individual responding to the
visual images of the material circumstances. The relation between
human beings and material objects is mediated by the psychological
process.
Reification offers an insight into the Victorian society. Without
explicating the change of material environment, the condition of the
Victorian times cannot be comprehended. The personification of com
-modities is a modern phenomenon, as Lukacs indicates that "Com
-modity fetishism is a specific problem of our age, the age of modern
capitalism" (84). The fetishism of commodities is still being intensified.
Among Dickenss many works, I shall focus on The Old Curiosity Shop
and Great Expectations,1) which display the various aspects of
reification. I will have an ideological approach to The Old Curiosity

Shop, and deal with domesticity in relation to reification in Great

Expectations. To comprehend the significance of reification in Dickens,
I shall refer to his other works in comparison with the two main works.
The reification forms the nucleus of the main themes of the two texts.
They share common elements related to reification in various aspects.
In both works, the main characters are posited in the material world.
The material forces pervading the world keep the main characters under
the sway of the industrialized capitalism. The analysis of the paths of

1) The Old Curiosity Shop and Great Expectations are abbreviated OCS and GE
respectively in quotations hereafter.

Reification in Charles Dickenss The Old Curiosity 415

Shop and Great Expectations

their lives will demonstrate how material condition governs human

beings, especially Victorians.

2. Reification of Commodities in The Old Curiosity Shop

The Old Curiosity Shop traces the tragic life of young Nell, who flees
with her grand father from the old curiosity shop in London to the
country. Her path of life is steered by the economic situation. The old
curiosity shop placed in the labyrinth of the metropolis is the nodal
point of commodity exchange. By contrast, the country represents the
counter pole to the constraint of capitalism dominating the city.
Although she escapes from the bondage of money, she dies in the refugee
in the end, falling a prey to capitalism. The main characters
psychological processes are bound to capitalism.
Through Master Humphrey the narrator, Dickens explains the visual
images' influence upon the psychological states of the characters:

We are so much in the habit of allowing impressions to be made upon

us by external objects, which should be produced by reflection alone,
but which, without such visible aids, often escape us; that I am not
sure I should have been so thoroughly possessed by this one subject,
but for the heaps of fantastic things I had seen huddled together in
the curiosity-dealers ware house. (OCS 19)

He perceives that the visual images of the outer objects can activate
inner psychological operation. The visual images are the linking point
between human inner psychology and the outer world. Although he is
aware of the significance of the logical judgment, he acknowledges the
necessity of the peripheral images. The visual images allure him into
the self-deception. His attitude to the visual images determines his

416 37

attitude to the material environment. The mechanism of visual images

is crucial in the process of reification. The visual images' mesmerization
of the characters is a marked trait of the work. Nell as a victim to the
capitalistic economy system is captivated by the superficial images of
material objects:
while other portions of the old building, which had crumbled away
and fallen down, were mingled with the churchyard earth and
overgrown with grass, as if they too claimed a burying-place and
sought to mix their ashes with the dust of menUpon these
tenements, the attention of the child became exclusively riveted. She
knew not why. The church, the ruin, the antiquated graves, had equal
claims at least upon a strangers thoughts, but from the moment when
her eyes first rested on these two dwellings, she could turn to nothing
else. Even when she had made the circuit of the enclosure, and,
returning to the porch, sat pensively waiting for their friend, she took
her station where she could still look upon them, and felt as if
fascinated towards that spot. (OCS 3634)

In her response to the visual image of the tenements, Nell loses

subjectivity. She does not try to exert her self-will upon the visualized
object. Her immature attitude to the object is generalized as her
response to commodities. Nave to the capitalistic social system, she
cannot establish her self-identity in the material world. Her death can
be attributed to her failure of establishing subjectivity in the mechanism
of materialized social forces. Especially women and children were
socio-economically powerless in the Victorian society.
The old curiosity shop, as one pole of the axis of the plot, discloses
that the visual images are intertwined with the psychological
mechanism of reification. The narrator feels as if the collected old quaint
things are personified in the enclosed place:

Reification in Charles Dickenss The Old Curiosity 417

Shop and Great Expectations

The place through which he made his way at leisure was one of those
receptacles for old and curious things which seem to crouch in odd
corners of this town and to hide their musty treasures from the public
eye in jealousy and distrust. There were suits of mail standing like
ghosts in armour here and there, fantastic carvings brought from
monkish cloisters, rusty weapons of various kinds, distorted figures in
china and wood and iron and ivory: tapestry and strange furniture
that might have been designed in dreams There was nothing in the
whole collection but was in keeping with himself nothing that looked
older or more worn than he. (OCS 910)

As the usage of the illusionary curiosities is rather ornamental than

practical, they mark human desire in the capitalized society. Consumers
psychological drive is mirrored in these quaint things. There is
ambivalence in the features of the curiosities. As the constituents of the
material world, they are suggestive of the bounce from the fixed given
structure. Belonging to the materialized socio-economic system, the
fantastic objects represent human impulse to deviate and be
emancipated from the suppression of society. By symbolically distorting
the fixed material structure of society, they relieve individuals
constraint. Fantasy reflects human desire to impose autonomous
psychological mechanism upon material objects. The fantastic objects as
commodities, by concealing and relieving the dehumanization of reification,
subdue human impulse to subvert the capitalistic system. Capitalism
is equipped with the mechanism of self-defense. It is ironical to wish
to recover humanity through commodities. For humanity is wrecked in
the process of manufacturing commodities. The commodities substitute
humanity sacrificed for generating commodities. This ten -dency
intensifies the commodities mediation of human relationships. The
operation of human psychology is centered around commodities.
The fantastic images of the commodities that captivate the characters
hint at the illusion of capitalism. The observers are induced not to be

418 37

aware of the discrepancy between the superficial images and the

substantial significance of them. It is taken for granted that the images
represent reality. The images take over the real values of the
commodities. Richard A. Andretta properly argues that "Dickenss
society has substituted fantasy for reality. The people of this society are
guilty of a "fetishistic inversion" (28). The strategy of replacing reality
with such images can be free from suspicion. Through the control of
superficial images, the masses can be manipulated. The masses as the
consumers and producers of the commodities are incorporated into and
thus subordinated to the economic system underlying the images of
commodities. The images of the over-valuated commodities are
systemized. Capitalism exploits human tendency to rest on visual
images.
The closure of the inner space implies the pursuit of individuality
isolated from human relations through contact with material objects. In
open spaces, individuality cannot be easily pursued. In this light, V.S.
Pritchett mentions that "The solitariness of people is paralleled by the
solitariness of things" (88). The isolation of an individual runs parallel
to the arrangement of material objects, as Karl Marx remarks that
"Private property alienates not only the individuality of men, but also
of things" (Capital 363). Material replacement of human function
enables an individual to avoid rest on others. Commodities spread
individuation, which is a social phenomenon. Individuality allows
emancipation from imposed collectivity.
The tendency toward individuality may be degraded into the
avoidance of social relation. The enclosed space can be a temporary
refugee from the matrix of materialized social forces. Theodor Adorno
contemplates about the interior: "as the helplessness of the independent
subject grew more pronounced, inwardness became a blatant ideology,
a mock image of an inner realm in which the silent majority tries to get
compensation for what it misses out on in society" (169). But it cannot

Reification in Charles Dickenss The Old Curiosity 419

Shop and Great Expectations

fundamentally resolve the problem of human subordination to socio

-economic system. One exemplary case is Nell, who has fled from the
city, yet dies in an enclosed space in the end. There is ambivalence in
the inner space. It can represent an individual excluded from a main
stream.
The shop is the material nodal point to which the main characters
are linked. Material objects are the medium through which human
relationships are set up in the capitalized society. As Lukacs argues
that "Reification requires that a society should learn to satisfy all its
needs in terms of commodity exchange" (91), their inter-relations are
mediated by the law of material interest. Human social relations are
bound to the organization of material objects.
A dust-pile in Our Mutual Friend, as a place for storing old material,
is comparable to the old curiosity shop:
The man, Mortimer goes on, addressing Eugene, whose name is
Harmon, was only son of a tremendous old rascal who made his money
by DustAnd a ladder and basket if you like. By which means, or by
others, he grew rich as a Dust Contractor, and lived in a hollow in a
hilly country entirely composed of Dust. On his own small estate the
growling old vagabond threw up his own mountain range, like an old
volcano, and its geological formation was Dust. Coal-dust, vegetable
-dust, bone-dust, crockery dust, rough dust and sifted dust,-all
manner of Dust. (Our Mutual Friend 14)

The dust symbolizes the corruption of capitalistic system. Dickens

has antipathy to the process of accumulating wealth. The dust, as the
cost of industrialization, is at the nadir of economic system in which
commodities are exchanged. A variety of things turned into the dust
exhibits that commodities cannot escape from the economic mechanism.
The dust contractor himself, as a case similar to Mrs. Jarley, is a hollow

420 37

figure whose humanity is displaced by materiality. The reified charac

-ters lose self-identities.
Mr. Silas Wegg is a manager who collects things from the heap for
profit. He is a figure representative of the reification of a laboring class:
Wegg was a knotty man, and a close-grained, with a face carved out
of very hard material, that had just as much play of expression as a
watchman's rattle. When he laughed, certain jerks occurred in it, and
the rattle sprung. Sooth to say, he was so wooden a man that he
seemed to have taken his wooden leg naturally, and rather suggested
to the fanciful observer, that he might be expected -if his development
received no untimely check-to be completely set up with a pair of
wooden legs in about six months. (Our Mutual Friend 43)
The laboring classes in the industrial society are assimilated to the
material in quality. As human labor is reified, they are the mechanical
assets in economic system. Although he sticks to material wealth, like
Mrs. Jarley, Mr. Quilp and Mr. Harmon, his reification cannot be
identified with those of them belonging to the upper classes. The
"rattle" implies that the logic of machinery incompatible with
humanity causes his disintegration. Dickenss satire is effective in
describing human characteristics. The characters with material
attributes are usually described from a negative perspective in
Dickens. Wegg's wooden leg implies that the process of reification is
still continuing and being intensified. Artificial objects are naturalized
and natural human beings are abnormalized. The reversed image is
the consequence of ideological operation for the purpose of facilitating
mechanical production. The reification marks bourgeois classes
strategy. The values of human beings are determined by their
economic values.
Marx gives an account for the degradation of humans caused by
reification:

Reification in Charles Dickenss The Old Curiosity 421

Shop and Great Expectations

On the basis of political economy itself, in its own words, we have

shown that the worker sinks to the level of a commodity and becomes
indeed the most wretched of commoditiesWith the increasing value
of the world of things proceeds in direct proportion the devaluation of
the world of men. Labor produces not only commodities: it produces
itself and the worker as commodity(Economic and Philosophic

Manuscripts of 1844 106107).

In the frame of capitalistic production system, the process of

reification is the interaction in dual ways. The reification occurs not
merely as fantasy for consumption but also in subordination to the
process of manufacturing. The psychological projection reflects not only
the human desire for material objects, but also the material mechanism
imposed upon human being.
Nell and her grandfather go to the Black Country where iron is
mass-produced in England. Machinery is described as personified from
a negative perspective:
Advancing more and more into the shadow of this mournful place,
its dark depressing influence stole upon their spirits, and filled them
with a dismal gloom. On every side, and far as the eye could see into
the heavy distance, tall chimneys, crowding on each other, and
presenting that endless repetition of the same dull, ugly form, which
is the horror of oppressive dreams, poured out their plague of smoke,
obscured the light, and made foul the melancholy air. On mounds of
ashes by the wayside, sheltered only by a few rough boards, or rotten
pent-house roofs, strange engines spun and writhed like tortured
creatures; clanking their iron chains, shrieking in their rapid whirl
from time to time as though in torment unendurable, and making the
ground tremble with their agonies. Dismantled houses here and there
appeared, tottering to the earth, propped up by fragments of others
that had fallen down, unroofed, windowless, blackened, desolate, but
yet inhabitedand still, before, behind, and to the right and left, was

422 37

the same interminable perspective of brick towers, never ceasing in

their black vomit, blasting all things living or inanimate, shutting out
the face of day, and closing in on all these horrors with a dense dark
cloud. (OCS 348)

Human beings as mechanical devices are dehumanized in industri

-alization, which appears as a nightmare. Such a psychological state
can be explained by Lukacs, who argues that "With the modern
psychological analysis of the work-process (in Taylorism) this rational
mechanization extends right into the workers soul" (88). The "blasting
all the living or inanimate" implies that the physical logic of machinery
is forced upon human beings. The dismantled houses demonstrate that
mechanization threatens the Victorian domesticity. The situation, in
which it is "propped by fragments of others," implies that laborers
dependent on each other form a collective body. Dickens tends to put
stress on the solidarity of laboring class. The description of machinery
in torment reflects the severe working condition of factory laborers.
Machinery is a new image for the Victorians. It mirrors the fear of
human bodys being objectified and transformed into commodity. The
reification in this case is closer to a material level than the psychological
projection of goods for consumers. Through fantasy, Dickens reveals
reality. The reason why fantasy appears in criticizing reality is that
raising antithesis explicitly runs the risk of being attacked by interest
groups in society. This indirect way of expressing critical viewpoint
reflects the mechanism of power relation in reality. The black vomit
reflects human beings disintegration and loss of vitality in industriali
-zation. The vomiting, which reverses the vital circularity of human
being, raises antithesis to dominant structure.
The fragmentation of human bodies in capitalism can be attributed
to mechanical process, as Marx explains: "The automation itself is the
subject, and the workmen are merely conscious organs, co-ordinate with

Reification in Charles Dickenss The Old Curiosity 423

Shop and Great Expectations

the unconscious organs of the automation, and together with them,

subordinated to the central moving power" (Capital 458). The laborers
are degraded into the parts of an assembly line. The marginalization
of laborers is in line with the formation of class structure.
The description of the relentless pursuit of profit serves to criticize
capitalism. Dickens satirizes the propaganda of market economy by
describing the two carters behavior of deceiving crowd. Mrs. Jarley
announces, "it is the only collection in the world; all others being
impostors and deceptions" (OCS 253). The mechanism of capitalism
rests on the concealment of products defection to some extent. However,
she is not in a position to decry others.
Daniel Quilp who has lent Nells grandfather a lot of money, takes
the possession of his home and shop. As a grotesque figure, Mr. Quilp
is representative of a capitalist greedy for material wealth. Mr. Quilp
tends to commit violence to material objects when he wants to exert
force upon human characters. It implies that social power is exerted
upon people through control over material in the capitalized society.
The deaths of Nell and Mr. Quilp in the end are the consequences
of the reifications destruction of humanity. Mr. Quilp is supposed to
have committed suicide. His suicide is the destination of his selfdestruction through reification. The situation in which he is buried
functions to satirize his reification, "He was left to be buried with a
stake through his heart in the centre of four lonely roads" (OCS 569).
There is a parallel between the stake at his heart and the center of the
intersecting roads. The state of his corpse is assimilated to the surrounding
material structure. The stake put through his heart implies his sticking
to material mentally and physically. The lonely roads imply human
isolation in the tendency of reification. The reification is the process of
destroying genuine humanity. Dickens lays verdict on his way of life.
Dickenss critical attitude to reification culminates in the ending.

424 37

3. Domesticity under the Influence of Reification in

Great Expectations
Great Expectations as a bildungsroman delineates Pip the protagonists
growing up in the Victorian society. As an orphan, Pip is brought up
by his relatives, stays in Satis House, and is educated in London aided
by an unknown person. Like Nell, his condition of life is governed by
monetary state. Besides him, many characters are reified. Magwitch is
compared to clock, "as if he had works in him like a clock" (GE 19).
A pupil possesses an electric brain, "Startopwas reading and holding
his head, as if he thought himself in danger of exploding it with too
strong a charge of knowledge" (GE 188). Joe treats Pip as if he were
a mechanical tool, "he caught both my hands and worked them straight
up and down, as if I had been the last-patented Pump" (GE 217). There
is a similarity to The Old Curiosity Chop in its relation to labor, as
Michael Hollington indicates that "the conceptions of work dominant in

Great Expectations form an essential part of the analysis of the

reification of the self and others." In the world as the materialized form
of capitalism, Pip senses as if inanimate objects were human beings. His
psychological reaction to the material objects occupies the nucleus of
reification in Great Expectations. The analysis of reification reflected by
Pips consciousness discloses how reification intervenes with domesticity.
Pip's impression at the tomb of his parents at the beginning scene
exhibits core elements recurrent throughout the text:
As I never saw my father or my mother, and never saw any likeness
of either of them (for their days were long before the days of
photographs), my first fancies regarding what they were like, were
unreasonably derived from their tombstones. The shape of the letters
on my fathers, gave me an odd idea that he was a square, stout, dark

Reification in Charles Dickenss The Old Curiosity 425

Shop and Great Expectations

man, with curly black hair. From the character and turn of the
inscription, "Also Georgiana Wife of the Above," I drew a childish
conclusion that my mother was freckled and sickly. (GE 3)

For Pip, the identities of his parents are assumed according to the
visual image and spatiality of the grave. Pip is preoccupied with its
visual image and corporeality. The mechanism of reification intervenes
with the domestic sphere. His psychological state reflects social changes
in the Victorian times. The lack of his parents allows him to be liberated
from the constraint of the past, and thus appropriate the preceding
generations from his own viewpoint. He is psychologically detached from
the former generations. His stance as an orphan is a point from which
the Victorian domesticity can be observed in distance.
The reification is a window to Pips psychology:
There was a door in the kitchen, communicating with the forge; I
unlocked and unbolted that door, and got a file from among Joes tools.
Then, I put the fastenings as I had found them, opened the door at
which I had entered when I ran home last night, shut it, and ran for
the misty marshes. (GE 16)

The communication between the forge and the door in the kitchen in
the animated state reflects his psychological operation. The structure
of the outer objects in arrangement corresponds to the mechanism of
inner self. The internal space implies ones inclination toward inner self.
One significant motif in Dickens is an escape from a closed inner space.
The escape from an inner space through an outlet is a structural pattern
pervading the text. Pips move to London from the country and his
attempt to send Magwitch out of England are the extended forms of the
patterned structure. In his works such as Oliver Twist as well as Great

Expectations, London is often a disintegrated maze from which the

426 37

prota -gonists want to escape. The disintegrated characters search for

an outlet, through which one can transpose oneself. Projection is a way
of resolving internal disintegration. The disintegrated characters are
driven to divert their own conflict onto outer objects.
In his psychological interaction with the corporeal objects, Pip, com
-pared to Nell, is less bound to the visual images of them. In many
situations, his inner will is exerted in the process of projection. His
psychological operation finds its own way of proceeding through the
mediation of the visual images, which are structuralized to certain
patterns. The outer visual images are the imaginary constituents,
through which Pips inner psychology takes a shape. The reification in

Great Expectations harbors

positive implications also, which is

different from The Old Curiosity Shop. In contrast to Nell, Pip benefits
from money, that is the mechanism of capitalism.
The reification represents a situation in which the projection of self
reaches its height:
When I had lain awake a little while, those extraordinary voices
with which silence teems, began to make themselves audible. The
closet whispered, the fireplace sighed, the little washing-stand ticked,
and one guitar-string played occasionally in the chest of drawers. At
about the same time, the eyes on the wall acquired a new expression,
and in every one of those staring rounds I saw written, DONT GO
HOME.
Whatever night-fancies and night-noises crowded on me, they never
warded off this DONT GO HOME. It plaited itself into whatever I
thought of, as a bodily pain would have done. (GE 362)

His illusionary state implies that the reification can be motivated by

the operation of the unconscious. The autonomy of the voice indicates
the mechanism of the unconscious liberated from repression, not in the

Reification in Charles Dickenss The Old Curiosity 427

Shop and Great Expectations

precisely Freudian sense but rather in a general sense. The concept of

the repressed can be helpful in explaining what proceeds on in Pips
inner mind against the outer suppression. Pip is often in half-conscious
state after dreaming when reification occurs. The repressed harboring
its own voice is being returned. The voice stemming from silence does
not take the form of complete verbalization. It shows the symptom of
a regressive current. The monosyllable Pip, as the simplified form of
Pirrip, shows the orientation toward the unconscious. When the
unconscious is working, words tend to be dissected into the smaller units
of phonemes. It implies the deconstructive dissolution of complicated
structure.
The "DONT GO HOME" has its own autonomy. The letters are also
personified, "while To Let To Let To Let, glared at me from empty rooms"
(GE 171). The personification of words can be more effective in precisely
referring to what the writer intends to express. The personification of
words is the personification of concepts. The "To Let" implies the loss
of Pips self-identity in the given domestic situation. The reification
stands in opposition to domesticity. Pips orientation toward the
non-human material originates from his avoidance of and bounce from
family relation in childhood. The new possibility of human being is found
in the material. Through the interaction with the material objects, one
can transcend oneself.
The illusionary state of a character can be found also in other works.
In The Pickwick Papers, Tom experiences an illusion after dreaming, in
which a quaint old chair is transformed into an old man:
Tom gazed at the chair; and, suddenly as he looked at it, a most
extraordinary change seemed to come over it. The carving of the back
gradually assumed the lineaments and expression of an old, shrivelled
human face; the damask cushion became an antique, flapped waist
-coat; the round knobs grew into a couple of feet, encased in red cloth

428 37

slippers; and the whole chair looked like a very ugly old man, of the
previous century, with his arms akimbo. Tom sat up in bed, and
rubbed his eyes to dispel the illusion. No. The chair was an ugly old
gentleman; and what was more, he was winking at Tom Smart.
(Pickwick Papers 216)

Setting a situation in which a material object plays the role of a real

man can be a strategy to avoid a painful reality. A character can bring
into light what is suppressed in his unconsciousness. The chair says,
"I know everything about you, Tom; everything. Youre very poor, Tom"
(Pickwick Papers 217). Toms consciousness cannot be freed from the
constraint of material environment, which can be generalized as a social
phenomenon.
The reification exhibits the crisis of the Victorian domesticity. Human
identification with a house is a trait of Dickens:
Indeed, the mansions and their inhabitants were so much alike in
that respect, that the people were often to be found drawn up on
opposite sides of dinner-tables, in the shade of their own loftiness,
staring at the other side of the way with the dullness of the houses.
(Little Dorrit 246).

Human identity is determined by the material condition in which one

is placed. The personified house shows that the Victorian domesticity
cannot be freed from the influence of material condition. Stefanie Meier
points to "a particular analogy between a house and the people who live
in it" (37). To endow a material object with human characteristics is
to assume that material object as an organic entity, "The town was glad
with morning light" (OCS 122). This implies the homogeneity of a
collective body.
In many cases, houses are often described from a negative viewpoint.

Reification in Charles Dickenss The Old Curiosity 429

Shop and Great Expectations

The houses in Dickens are often characterized by antiquity:

The bricks of which it was built had originally been a deep dark red,
but had grown yellow and discoloured like an old mans skin; the
sturdy timbers had decayed like teeth; and here and there the ivy, like
a warm garment to comfort it in its age, wrapt its green leaves closely
round the time-worn walls. (Barnaby Rudge 44)

The old house symbolizes the suppression of the former generations.

A character is often trapped by the constraint of a domestic area, "the
distorted adjoining houses looking as if they had twisted themselves to
peep down at me through it" (GE 162). The house plays the role of
gazing him as the immature one. The houses is the object of terror for
him. The architecture in Dickens are the extended forms of human
beings. The crisis of domesticity is often found in the houses throughout
Dickenss works.
Human assimilation to a house is not always explicit. Although the
Satis House is partly compared to human, "as if with sinewy old arms"
(GE 229), it also takes the implicit form of personification. Miss.
Havisham, who resides surrounded by the material things in the house,
is assimilated to the house:
She was dressed in rich materials - satins, and lace, and silks - all
of white. Her shoes were white. And she had a long white veil
dependent from her hair, and she had bridal flowers in her hair, but
her hair was white. Some bright jewels sparkled on her neck and on
her hands, and some other jewels lay sparkling on the table. Dresses,
less splendid than the dress she wore, and half-packed trunks, were
scattered about. She had not quite finished dressing, for she had but
one shoe on - the other was on the table near her hand - her veil was
but half arranged, her watch and chain were not put on, and some lace
for her bosom lay with those trinkets, and with her handkerchief, and

430 37

gloves, and some flowers, and a prayer-book, all confusedly heaped

about the looking-glass. (GE 56)

She wants to satiate her desire through the surrounding material

objects, which cannot be realized. By setting the situation in which her
desire can never be satisfied, Dickens satirizes the reification. Her
identity is represented by the material objects surrounding her, which
demonstrates that the reification is ambient in the material world.
Especially clothes represent human characteristics in Dickens. A
variety of accessories gives a hint to her disintegrated state. The reified
objects often mark what is missing in the character. As her loss of
self-identity causes reification, she is another void character similar to
other characters belonging to the upper classes. She is the combination
of the female and upper class to which Dickens has antipathy.
The Satis House represents the material structure of the past, and
the logic of the past, as Pip feels, "I began to understand that everything
in the room had stopped, like the watch and the clock, a long time ago"
(GE 59). The system of the past is suppressive to him. The dismantle
-ment and collapse of the Satis House towards the end symbolize the
deconstruction of psychological pressure of the past that has constrained
him.
The change of Pip's perspective on reification is in parallel to the
fluctuation of his economic situation. After experiencing economic
hardship, he senses human subordination to material structure:
That I had a fever and was avoided, that I suffered greatly, that
I often lost my reason, that the time seemed interminable, that I
confounded impossible existences with my own identity; that I was a
brick in the house wall, and yet entreating to be released from the
giddy place where the builders had set me; that I was a steel beam
of a vast engine, clashing and whirling over a gulf, and yet that I

Reification in Charles Dickenss The Old Curiosity 431

Shop and Great Expectations

implored in my own person to have the engine stopped, and my part

in it hammered off; that I passed through these phases of disease, I
know of my own remembrance, and did in some sort know at the time.
(GE 457)

He is fascinated yet captivated by material. As a part of reified

domesticity, he cannot escape from the systemized material structure.
He recognizes that his self-identity is at stake. Although one can
surmount oneself through material, the cost of it is human subordination
to the logic of material structure. The logic of material production is
internalized.
The change of Pips response to the material reflects Dickenss
judgment on reification. Pip recognizes that there is a limit in materials
playing role of human being: "The stones of which the strongest London
buildings are made, are not more real, or more impossible to be
displaced by your hands, than your presence and influence have been
to me, there and everywhere, and will be" (GE 360). Genuine humanity
can never be replaced by material. The negation of reification is
suggestive of the possibility of recovering human identity. Pip reaches
mature state by perceiving the real human value.
At the end, Pip sells out his property and visits the ruins where the
Satis house once exited. At the site, he meets Estella and gets closer
to her. As the secular barrier being broken down, his long hope is to
be realized now. After the materia asset is extinguished, the human
virtue is restored.

4. Conclusion
The reification in the two works, which contain common factors in
Dickens, demonstrates that the Victorians are subordinated to capitalism

432 37

psychologically as well as materially. The reification accentuates human

response to arising capitalism. Dickens acknowledges that the
reification is an inevitable phenomenon in the industrialized society.
But he suggests precaution against reifications destruction of huma
-nity. His description of the negative aspects of reification serves to
emphasize the significance of humanity. While Great Expectations
satirizes capitalism, The Old Curiosity Shop warns the hazard of
capitalism not to the extent of subverting existent social structure.
Dickens cannot suggest a satisfactory resolution for the gloomy
situation. The charac -ters reactions to the current of reification are
one aspect of the social struggle between contradictory forces that
pervaded the Victorian society.
Dickens suggests the way of discovering human traits through
observing material objects. By describing the appearances of the given
situations, he reveals the mechanism of human beings at a deep level.
The formation of subjectivity in the modern age is intertwined with the
material circumstances. Human rest on material is more remarkable
than in the past. The change of human beings accompanied by the
material change is still an ongoing process.
Dickenss works preceding Lukacss theory demonstrate that literature
can bring into light social phenomena before they are theorized.
Literature has capacity to describe the private aspects of an individual
life responding to social change, which are generally outside the realm
of academic discussion. Literature and social discourse are in interaction
with each other. Great Expectations and The Old Curiosity Shop, as the
realm in which social discourses take implicit forms, contribute to the
comprehension of the Victorian society.

Reification in Charles Dickenss The Old Curiosity 433

Shop and Great Expectations

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434 37

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