D. H. 로렌스의 ‘총체적 상상력’에 대한 존재론적 연구 “Introduction to These Paintings”를 중심으로
An Ontological Study of D. H. Lawrence's “Whole Imagination” in “Introduction to These Paintings”
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The aim of this paper is to study the univocal ontology of "whole imagination" in “Introduction to These Paintings.” In Kant's Critique of the Power of Judgment, the sublime is an event where everything happens as if the imagination was pushed to its own limit. Due to the limit, the imagination presents the supra-sensible faculty of Idea. In the sublime feeling, there is "a discordant concord, a harmony in pain" between the imagination and the reason, which generates ontological event. In sensibility the imagination discovers the origin and the destination of all its activity. For Deleuze, the Idea generated by the ontological event is a multiplicity indeterminate in the faculties. This experience is an empiricism which affirms the transcendental field defined by the plane of immanence. It is in this transcendental empiricism that the finite is overcome by the whole inorganic life of things. In this sense, the thing itself consists of a multiplicity which has 'the irreducibly synthetic character of sensation."Cezanne's paintings present the force of things which is a pure being sensation by imagination's intensive synthesis. When Cezanne loses himself in "an iridescent chaos" to get rid of fixed mental consciousness, he can paint the "appleyness of apple", the non-organic life of an apple with artistic sensation. His non-subjective "motif" can generates an infinite ontological dimension in a finite work. The motif, abstract machine as art, creates "apples through their forces of germination". The sensible force only has the infinity of relations in "difference in itself". For D. H. Lawrence, sensation is "a whole stormy chaos of feeling", which is unconscious. The real appleyness and the landscapes in Cezanne's paintings make us fascinated by "the mysterious shiftness" like the imagination of sublime. The event appears in "a revelation of the perfected relation, in-between." In this regard, the whole imagination is the plane of composition which an infinite field of forces explicates and implicates like fold in Deleuze's ontology. To affirm the forces in the immanence is to live in the univocal ontology by means imagination. For Deleuze and Lawrence, aesthetic imagination in sublime process opens the affirmation to become intensive body that changes a life revolutionary by achieving the unconscious in the body. To become imperceptible is an ethical practice affected by the body of sensation.
Abstract
The aim of this paper is to study the univocal ontology of "whole imagination" in “Introduction to These Paintings.” In Kant's Critique of the Power of Judgment, the sublime is an event where everything happens as if the imagination was pushed to its own limit. Due to the limit, the imagination presents the supra-sensible faculty of Idea. In the sublime feeling, there is "a discordant concord, a harmony in pain" between the imagination and the reason, which generates ontological event. In sensibility the imagination discovers the origin and the destination of all its activity. For Deleuze, the Idea generated by the ontological event is a multiplicity indeterminate in the faculties. This experience is an empiricism which affirms the transcendental field defined by the plane of immanence. It is in this transcendental empiricism that the finite is overcome by the whole inorganic life of things. In this sense, the thing itself consists of a multiplicity which has 'the irreducibly synthetic character of sensation."Cezanne's paintings present the force of things which is a pure being sensation by imagination's intensive synthesis. When Cezanne loses himself in "an iridescent chaos" to get rid of fixed mental consciousness, he can paint the "appleyness of apple", the non-organic life of an apple with artistic sensation. His non-subjective "motif" can generates an infinite ontological dimension in a finite work. The motif, abstract machine as art, creates "apples through their forces of germination". The sensible force only has the infinity of relations in "difference in itself". For D. H. Lawrence, sensation is "a whole stormy chaos of feeling", which is unconscious. The real appleyness and the landscapes in Cezanne's paintings make us fascinated by "the mysterious shiftness" like the imagination of sublime. The event appears in "a revelation of the perfected relation, in-between." In this regard, the whole imagination is the plane of composition which an infinite field of forces explicates and implicates like fold in Deleuze's ontology. To affirm the forces in the immanence is to live in the univocal ontology by means imagination. For Deleuze and Lawrence, aesthetic imagination in sublime process opens the affirmation to become intensive body that changes a life revolutionary by achieving the unconscious in the body. To become imperceptible is an ethical practice affected by the body of sensation.
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