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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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In the 1930's, 'clocks' began to appear as an image in the prose by the army of poets who were blessed with the urban sensibility of, the then modern city, Kyungsung (now Seoul). By examining the historical and cultural background to the introduction of the' clock' in Korea, this paper shows how the process of introducing the modern concept of time was somewhat different from the Western experience. Before its popularization in Korea, 'modern time' was imposed on Koreans by the Japanese for colonialist purposes. Here, Koreans were forced and disciplined to conform with time as an inherent characteristic of the various modern institutions which colonialism required. This is why the 'dock' came to signify the violence of 'modern institutions' and 'colonialist authority' which manipulates the person although covertly blended into daily life.
This paper examines how the image of the 'dock' Jung portrays overlaps with the 'image of glass' and of the 'ailing self'. This is the link which allows us to explain the delicate 'sensibility' of Jung's work in connection with 'the poetic thought of the self afflicted by modernity'. The awareness that the person is bound by the 'clock', symbolizing modern institutions and colonialist rule, stirs up a sense of confinement and imprisonment and appears as the 'image of glass'. The dual characteristic of glass physically confines the person while simultaneously revealing to the eyes what it blocks from them. This glass image symbolizes how he suffers under the imprisonment of modernity and colonial rule and how he developed the detailed, yet dynamic, sensibility peculiar to him as a consequence of his suffering. This is because Jung's particular, delicate yet dynamic image of the senses is only possible with the presupposition that time can be divided infinitely, i. e. a 'differential concept of time', which is also the modern and mechanical (clock-like) concept of time. What makes Jung so distinct is the fact that he attained this 'differential concept of time' through understanding modern, mechanical clock-time, despite the negative recognition that he is trapped in the modernity and colonial rule which the 'clock' represents.
This paper examines how the image of the 'dock' Jung portrays overlaps with the 'image of glass' and of the 'ailing self'. This is the link which allows us to explain the delicate 'sensibility' of Jung's work in connection with 'the poetic thought of the self afflicted by modernity'. The awareness that the person is bound by the 'clock', symbolizing modern institutions and colonialist rule, stirs up a sense of confinement and imprisonment and appears as the 'image of glass'. The dual characteristic of glass physically confines the person while simultaneously revealing to the eyes what it blocks from them. This glass image symbolizes how he suffers under the imprisonment of modernity and colonial rule and how he developed the detailed, yet dynamic, sensibility peculiar to him as a consequence of his suffering. This is because Jung's particular, delicate yet dynamic image of the senses is only possible with the presupposition that time can be divided infinitely, i. e. a 'differential concept of time', which is also the modern and mechanical (clock-like) concept of time. What makes Jung so distinct is the fact that he attained this 'differential concept of time' through understanding modern, mechanical clock-time, despite the negative recognition that he is trapped in the modernity and colonial rule which the 'clock' represents.
목차
1. 부정적 근대성의 시계
2. 시계에 갇힌 자아와 ‘유리‘의 경계적 상상력
3. 근대성을 ‘앓는 자아‘의 미분적 시간의 감각
4. 결론
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UCI(KEPA) : I410-ECN-0101-2009-810-014538342