담론의 언표와 기술적 상상
énoncé of Discourse and technical ‘Einbilden’
0
조회
0
다운로드
1
인용
0
참고문헌
키워드
초록
This paper is an attempt to explain the issues related to the special characteristics that technical images possess by focusing on the studies of Rodowick. Unlike many other new media theorists, Rodowick argued that technical images carry out the function of expressing énoncé rather than repeating or reproducing meaning. He referenced writings of Foucault and Deleuze, who meticulously systematized the concept of énoncé. Foucault had argued that formalization of énoncé could occur in contemporary painting but Rodowick pushed the idea further and believed that it could also occur in image media such as movies, television, and digital media. This paper agrees with his opinion and aims to show that studies by theorists such as Benjamin and Flusser deal with similar content regarding these perceptions. However, there are still many remaining tasks. More detailed explanations must be forthcoming on whether or not contemporary painting and (post-) modern figural are of the same vein, and which systems of the image media allow the expression of énoncé. These theoretical considerations must be added in order for technical images to be understood as a medium that expresses new forms of language.
Abstract
This paper is an attempt to explain the issues related to the special characteristics that technical images possess by focusing on the studies of Rodowick. Unlike many other new media theorists, Rodowick argued that technical images carry out the function of expressing énoncé rather than repeating or reproducing meaning. He referenced writings of Foucault and Deleuze, who meticulously systematized the concept of énoncé. Foucault had argued that formalization of énoncé could occur in contemporary painting but Rodowick pushed the idea further and believed that it could also occur in image media such as movies, television, and digital media. This paper agrees with his opinion and aims to show that studies by theorists such as Benjamin and Flusser deal with similar content regarding these perceptions. However, there are still many remaining tasks. More detailed explanations must be forthcoming on whether or not contemporary painting and (post-) modern figural are of the same vein, and which systems of the image media allow the expression of énoncé. These theoretical considerations must be added in order for technical images to be understood as a medium that expresses new forms of language.
참고문헌 (17)
- 김성재, "탈문자 시대의 매체현상학: 기술적 형상의 탄생에 대하여", 한국방송학보, 19(1), pp.76~108 (2005), 한국방송학회
- 들뢰즈, 질, "들뢰즈의 푸코(Foucault)" (1996), 새길
- 벤야민, 발터, "기술복제시대의 예술작품, in: 발터벤야민의 문예이론", pp.197~231 (1999), 민음사
- 푸코, 미셸, "지식의 고고학" (1992), 민음사
- 푸코, 미셸, "감시와 처벌: 감옥의 탄생" (1993), 강원대학교 출판부
- 홍윤기, "푸코와 하버마스 언어철학의 근거연접과 이성 규정의 강화 - ‘담론분석론’과 ‘보편", 형식 화용론’의 복합적 접합, 그리고 비판적 이성의 지구적 작동구조, 2007, pp.(13), 195~246[DOI]
- Bazin, André, "Ontologie des fotographischen Bildes In: Was ist Kino? Bausteine zur Theorie des Films", pp.21~27 (1975), M.DuMont
- Boehm, Gottfried, "Die ikonische Figuration In: Figur und Figuration: Studien zu Wahrnehmung und Wissen", pp.33~ (2006), Fink
- Bolter, Jay, "Remediation: Understanding New Media" (1999), MIT Press
- Butor, Michel, "Die Wörter in der Malerei" (1993), Suhrkamp
- Flusser, Vilem, "Ins Universum der technischen Bilder" (1999), European Photography
- Foucault, Michel, "Was ist ein Autor? In: Schriften zur Literatur", pp.7~31 (1988), Fischer
- Foucault, Michel, "Dies ist keine Pfeiffe" (1997), Hanser
- Manovich, Lev, "The Language of New Media" (2001), MIT Press
- Paech, Joachim, "Bewegung als Figur und Figuration (in Photographie und Film) In: Figur und Figuration: Studien zu Wahrnehmung und Wissen", pp.275~292 (2006), Fink
- Rodowick, David N., "Reading the Figural In: Reading the Figural, or, Philosophy after the New Media", pp.45~75 (2001), Duke University Press
- Williams, Raymond, "Programmstruktur als Sequenz oder flow In: Grundlagetexte zur Fernsehwissenschaft", pp.33~43 (2001), UVK