형상적 사유의 존재양식: 『달마가 동쪽으로 간 까닭은?』의 들뢰즈적 이해
The Mode of Existence of the Figural Thought: A Deleuzian Understanding of Why Has Bodhi-Dharma Left for the East?
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W. J. T. Mitchell has coined the term, "the pictorial turn," to indicate the cultural change whereby people show simultaneous symptoms of panic and feelings of euphoria with regard to visual stimuli. Today, the pictorial turn assumes a peculiar aspect, which is a sort of "madness of vision" erupted by the visual impulse. This pictorial or visual turn reflects the recognition that the visual experience and ocular desire cannot properly be explained by the order of discourse. This study considers the mode of existence of the figural thought, which is resistant to the discursive signification, in terms of Gilles Deleuze's cinematic concepts. Jean François Lyotard, in his Discours, figure, distinguishes between the discursive and the figural. In the schematic dichotomy between the abstract conceptual thought and the sensory visual experience, the discursive/text/ reading is associated with the former, whereas the figural/image/seeing is with the latter. Reading (or decipherment, decoding, interpretation) concerns the problem of the text, whereas seeing (or the gaze, the glance, the practices of observation, surveillance, and visual pleasure) focuses on the matter of the image. According to Lyotard, while reading, one identifies "linguistic unities"; while seeing, one seeks out "plastic and libidinal events." Then, it can be said that the figural lies in the realm of "plastic and libidinal events." What "the figural" signifies needs to be explored in our further study, but the figural might be similar to what Deleuze calls "the body before discourses, before words, before things are named.". The postmodern/poststructuralist aesthetic tendency, on the whole, consists in the preference of the figural to the discursive, which is also found in the Buddhist nonlinguistic, illogical, and non-abstract mode of thought based on the recognition of the limits inherent in the discursive. For instance, the extraordinary koan behaviors of the zen monks, including their hitting and shouting, reveal their pursuit of the deterritorialization of libidinal energy territorialized by the discursive order. From this perspective, this study examines the mode of existence of the figural thought, especially focusing on a Korean Buddhist film, Bae Yong-gyun's Why Has Bodhi-Dharma Left for the East?
Abstract
W. J. T. Mitchell has coined the term, "the pictorial turn," to indicate the cultural change whereby people show simultaneous symptoms of panic and feelings of euphoria with regard to visual stimuli. Today, the pictorial turn assumes a peculiar aspect, which is a sort of "madness of vision" erupted by the visual impulse. This pictorial or visual turn reflects the recognition that the visual experience and ocular desire cannot properly be explained by the order of discourse. This study considers the mode of existence of the figural thought, which is resistant to the discursive signification, in terms of Gilles Deleuze's cinematic concepts. Jean François Lyotard, in his Discours, figure, distinguishes between the discursive and the figural. In the schematic dichotomy between the abstract conceptual thought and the sensory visual experience, the discursive/text/ reading is associated with the former, whereas the figural/image/seeing is with the latter. Reading (or decipherment, decoding, interpretation) concerns the problem of the text, whereas seeing (or the gaze, the glance, the practices of observation, surveillance, and visual pleasure) focuses on the matter of the image. According to Lyotard, while reading, one identifies "linguistic unities"; while seeing, one seeks out "plastic and libidinal events." Then, it can be said that the figural lies in the realm of "plastic and libidinal events." What "the figural" signifies needs to be explored in our further study, but the figural might be similar to what Deleuze calls "the body before discourses, before words, before things are named.". The postmodern/poststructuralist aesthetic tendency, on the whole, consists in the preference of the figural to the discursive, which is also found in the Buddhist nonlinguistic, illogical, and non-abstract mode of thought based on the recognition of the limits inherent in the discursive. For instance, the extraordinary koan behaviors of the zen monks, including their hitting and shouting, reveal their pursuit of the deterritorialization of libidinal energy territorialized by the discursive order. From this perspective, this study examines the mode of existence of the figural thought, especially focusing on a Korean Buddhist film, Bae Yong-gyun's Why Has Bodhi-Dharma Left for the East?
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