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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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Hugh Kenner’s classic study of Samuel Beckett’s work brought attention to the central image of a man in a small, box-like room. From the outset, this image has been connected to Beckett’s interest in and ultimate rejection of the Cartesian model that posits man as essentially a thinking thing (res cogitans), setting mind over body. In this essay, I will expand upon the readings of the man-in-the-room image by connecting this image with the camera obscura, an optical device that can be said to illustrate the principal relationship between the subject and the object in Cartesian philosophy. Drawing on Jonathan Crary’s and Martin Jay’s interpretations of the camera obscura and focusing on Beckett’s prose piece Long Observation of the Ray and his play Endgame, I will demonstrate how Beckett uses the image of a reversed camera obscura to transform Descartes’ notion of man as a thinking thing into man as a seeing thing (res videns), one who looks and is looked at. The camera obscura, both as an optical device and a philosophical metaphor, becomes a model for understanding the significance of vision in the definition of the human being.
목차
The Camera Obscura, Western Pespectivalism, and the Cartesian Subject
The Ray of Light in a Box
Endgame and the Picture Facing the Wall
Works Cited
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UCI(KEPA) : I410-ECN-0101-2012-840-004172613