로렌스의 사유-모험연구: 들뢰즈의 초월적 경험론을 중심으로
A Study of D. H. Lawrence’s Thought-Adventure: From the Viewpoint of Deleuze’s Transcendental Empiricism
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This paper examines “thought-adventure”, which begins only with sensibility, not the order of the stable ego but of the event of flow. This is an empiricism that enters the zone of discernibility. This empiricism is a transcendental empiricism in contrast to the world of the subject and the object. Therefore, this empiricism knows only events whose being consists of multiplicity. The real empiricist world is a world of exteriority and what is outside our given determinations or identities. Like empiricism, the art-work which operates with indefinities is a pure passionate experience and a process without goal. As Lawrence affirms ‘thought-adventure’ in ‘in-between’, or ‘the fourth dimension’, a novel is a zone to escape from illusion of transcendence. In this zone, the novel is an abstract machine whereby becoming-other is closely related with writing. Becoming in writing is outside of the major language, the minoritarian use of language, for the minority is the becoming of everybody without identification. In this manner, as a symbol, art-work is simulacra, which repeats only difference in itself. Art-speech is a language of an esoteric word and pure symbol which does not know an identity. According to Lawrence, the novel is the highest complex of subtle interrelatedness, inventing new sensations in the old line. From the Deleuzian perspective, literature begins with intensities of affects. Becoming-other, thought-adventure, is an ethical practice accomplished only by thinking in terms of difference and otherness. In short, thought-adventure and transcendental empiricism are a creative process without an end.
Abstract
This paper examines “thought-adventure”, which begins only with sensibility, not the order of the stable ego but of the event of flow. This is an empiricism that enters the zone of discernibility. This empiricism is a transcendental empiricism in contrast to the world of the subject and the object. Therefore, this empiricism knows only events whose being consists of multiplicity. The real empiricist world is a world of exteriority and what is outside our given determinations or identities. Like empiricism, the art-work which operates with indefinities is a pure passionate experience and a process without goal. As Lawrence affirms ‘thought-adventure’ in ‘in-between’, or ‘the fourth dimension’, a novel is a zone to escape from illusion of transcendence. In this zone, the novel is an abstract machine whereby becoming-other is closely related with writing. Becoming in writing is outside of the major language, the minoritarian use of language, for the minority is the becoming of everybody without identification. In this manner, as a symbol, art-work is simulacra, which repeats only difference in itself. Art-speech is a language of an esoteric word and pure symbol which does not know an identity. According to Lawrence, the novel is the highest complex of subtle interrelatedness, inventing new sensations in the old line. From the Deleuzian perspective, literature begins with intensities of affects. Becoming-other, thought-adventure, is an ethical practice accomplished only by thinking in terms of difference and otherness. In short, thought-adventure and transcendental empiricism are a creative process without an end.
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