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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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This thesis is a study of the psychoanalytic semiotics of film, which focuses on Lacan's theory of subject and Peirce's Triadic Categories of Signs. Lacan has long been a name associated with the analysis of film. He has played a fundamental role within film studies. Ironically, as film theory was developing a line of Lacanian thought that focused on the imaginary and the symbolic in the late 1960s and 1970s, Lacan himself turned toward the Real as the central category of experience.
The point is that the signifier's authority is not absolute, but dependent on failure. Therefore the symbolic is not perfect, there is a barrier too. Here failure is necessary because the signifier must open up a space through which the subject can enter. If there are no new entrants, no new subject. The subject emerges only because the symbolic order remains incomplete and split. According to Lacan, the Real is not simply what resists symbolization absolutely, but also the pivotal category in the process of subjectivization.
In this context, I deal with the questions proposed by the so-called New Lacanians, Slavoj ?i?ek and Todd Mcgowan etc.. Instead of concentrating on the imaginary and the symbolic, when assessing the film experience in relation to a spectator(the subject), they focus on the imaginary and the Real. And, especially, ?i?ek concerns with the concepts of jouissance(enjoyment) and the drive.
In this thesis, I would like to propose an alternative. It is the developmental semiotics, which focuses on Peirce's Triadic Categories of Signs. In emphasizing the dyad, most of modem psychoanalytic film theories have overlooked the Third as the grounding context. The American pragmatist Peirce carefully traces a triadic structure built on the foundation of his three categories of relation: firstness, secondness, and thirdness. In this thesis I hope to show how the Peirce's Triadic Categories of Signs and Lacan's three registers complement each other. According to Peirce, First is the conception of being or existing independent of anything else, Second is the conception of being relative to something else. And Third is the conception of mediation, whereby a first and a second are brought into relation.
We could find the model of triadic signs of Peirce in Director Krzysztof Kieslowski's artistic film The Double Life Of Veronique. The story itself is intriguing: Two girls are born at the same time in Poland and France. Veronika lives in Poland and Veronique lives in Paris. They're identical. They are the two soul-mates. Both suffer from heart failure and are blessed with beautiful voices. However, they don't know each other. Veronika gets a place in a music school, works hard, but collapses and dies on her first performance. At the same time, Veronique's life seems to take a turn and she decides not to be a singer. The Double Life of Veronique is a highly cerebral story of two people who feel a profound connection with someone they do not know and have never met. This film is a highly provocative film that examines a soul's search for identity and connection. The triadic signs of Peirce and three registers of Lacan could be applied to this film as follows;
Firstness is the realm of the unbounded, undifferentiated state, a state of potential, therefore firstness is correlated with Lacan's register of the Real. Distinct from reality, which is a social construction, the Real is that aspect of experience beyond an epistemological frontier. In the category of firstness, signs relate to their objects by way of resemblance through qualitative similarity; such signs that relate to their objects by way of resemblance are known as icons. For example, when Veronika first met Veronique in Poland, she feels an uncanny emotion. Because they are too identical. That is, Veronique is the icon of Veronika.
Secondness is the dynamic category of force and impact, in particular the kind of impact that takes place in a dyadic relation. It corresponds to Lacan's register of the Imaginary, that sensuous aspect of experience marked by one-to-one correspondence between an object and its image. In the realm of secondness, signs relate to their objects existentially, such a sign that bears a causal relation to its objects is known as an index. For example, Veronika wakes up one evening from a strange dream, and tells her father that she believes she is not alone.
Thirdness is the category of generality and habit or law, required for thinking, self-reflection, and any experience of continuity and community. Such a mediating function for relations Peirce assigns to the category of thirdness. This category is congruent with Lacan's Symbolic register. In the field of thirdness, signs have a relationship to their objects solely through a convention, such signs are known as symbols. For example, They suffer bouts of breathlessness. Nevertheless, Veronika tries to sing and eventually falls dead. But Veronique decides not to be a singer, and lives double life. In this film, Kieslowski explores a drive for life and death, a boundary of enjoyment and painfulness.
The point is that the signifier's authority is not absolute, but dependent on failure. Therefore the symbolic is not perfect, there is a barrier too. Here failure is necessary because the signifier must open up a space through which the subject can enter. If there are no new entrants, no new subject. The subject emerges only because the symbolic order remains incomplete and split. According to Lacan, the Real is not simply what resists symbolization absolutely, but also the pivotal category in the process of subjectivization.
In this context, I deal with the questions proposed by the so-called New Lacanians, Slavoj ?i?ek and Todd Mcgowan etc.. Instead of concentrating on the imaginary and the symbolic, when assessing the film experience in relation to a spectator(the subject), they focus on the imaginary and the Real. And, especially, ?i?ek concerns with the concepts of jouissance(enjoyment) and the drive.
In this thesis, I would like to propose an alternative. It is the developmental semiotics, which focuses on Peirce's Triadic Categories of Signs. In emphasizing the dyad, most of modem psychoanalytic film theories have overlooked the Third as the grounding context. The American pragmatist Peirce carefully traces a triadic structure built on the foundation of his three categories of relation: firstness, secondness, and thirdness. In this thesis I hope to show how the Peirce's Triadic Categories of Signs and Lacan's three registers complement each other. According to Peirce, First is the conception of being or existing independent of anything else, Second is the conception of being relative to something else. And Third is the conception of mediation, whereby a first and a second are brought into relation.
We could find the model of triadic signs of Peirce in Director Krzysztof Kieslowski's artistic film The Double Life Of Veronique. The story itself is intriguing: Two girls are born at the same time in Poland and France. Veronika lives in Poland and Veronique lives in Paris. They're identical. They are the two soul-mates. Both suffer from heart failure and are blessed with beautiful voices. However, they don't know each other. Veronika gets a place in a music school, works hard, but collapses and dies on her first performance. At the same time, Veronique's life seems to take a turn and she decides not to be a singer. The Double Life of Veronique is a highly cerebral story of two people who feel a profound connection with someone they do not know and have never met. This film is a highly provocative film that examines a soul's search for identity and connection. The triadic signs of Peirce and three registers of Lacan could be applied to this film as follows;
Firstness is the realm of the unbounded, undifferentiated state, a state of potential, therefore firstness is correlated with Lacan's register of the Real. Distinct from reality, which is a social construction, the Real is that aspect of experience beyond an epistemological frontier. In the category of firstness, signs relate to their objects by way of resemblance through qualitative similarity; such signs that relate to their objects by way of resemblance are known as icons. For example, when Veronika first met Veronique in Poland, she feels an uncanny emotion. Because they are too identical. That is, Veronique is the icon of Veronika.
Secondness is the dynamic category of force and impact, in particular the kind of impact that takes place in a dyadic relation. It corresponds to Lacan's register of the Imaginary, that sensuous aspect of experience marked by one-to-one correspondence between an object and its image. In the realm of secondness, signs relate to their objects existentially, such a sign that bears a causal relation to its objects is known as an index. For example, Veronika wakes up one evening from a strange dream, and tells her father that she believes she is not alone.
Thirdness is the category of generality and habit or law, required for thinking, self-reflection, and any experience of continuity and community. Such a mediating function for relations Peirce assigns to the category of thirdness. This category is congruent with Lacan's Symbolic register. In the field of thirdness, signs have a relationship to their objects solely through a convention, such signs are known as symbols. For example, They suffer bouts of breathlessness. Nevertheless, Veronika tries to sing and eventually falls dead. But Veronique decides not to be a singer, and lives double life. In this film, Kieslowski explores a drive for life and death, a boundary of enjoyment and painfulness.
목차
1. 서론을 겸한 개괄적 문제제기
2. 이원론적 구조에 대한 비판
3. 퍼스의 삼원론적 기호범주에 대하여
4. 퍼스의 기호학과 라캉의 정신분석학의 접목가능성
5. 실재계의 주체를 위하여
참고문헌
Abstract
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