들뢰즈와 불교공안의 중도로 보는 문학과 영화의 예술성, 그리고 《조커》의 폭력성
The Middle Path that Penetrates Deleuze’s Transcendental Ontology and Buddhist Philosophy of Kongan, and Violence in Joker
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This paper first explains for the sake of the criticism of literature and film how ethical postmodern thinkers pursue non-duality. Deleuze’s transcendental ontology would be understood to be very close to the philosophy of emptiness in Mahayana Buddhism, which gives us the best ideas of nonduality. The second part of the paper discusses how kongan and hwadu(keyword) in Ch’an/Seon/Zen Buddhist meditation would make important points for our understanding of the ultimate nature of literature and film and the purpose of theory and criticism. In so doing, I highlight the critical role of violence in Joker, the 2020 Oscar winning film, as a vast kongan.
Abstract
This paper first explains for the sake of the criticism of literature and film how ethical postmodern thinkers pursue non-duality. Deleuze’s transcendental ontology would be understood to be very close to the philosophy of emptiness in Mahayana Buddhism, which gives us the best ideas of nonduality. The second part of the paper discusses how kongan and hwadu(keyword) in Ch’an/Seon/Zen Buddhist meditation would make important points for our understanding of the ultimate nature of literature and film and the purpose of theory and criticism. In so doing, I highlight the critical role of violence in Joker, the 2020 Oscar winning film, as a vast kongan.
참고문헌 (20)
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