롤랑 바르트의『밝은 방』과 장자의 “허실생백(虛室生白)”의 비교 연구

Abstract

The purpose of this article is to trace the parallel meanings of Roland Barthes's 『 Camera Lucida』 and Chuangzi's "Hushil-sang-baek󰡓 in order to derive a meaningful East-West world in his photographic theory. In terms of poststructuralism, Roland Barthes argues for the deconstruction of paradigms in 『 LE NEUTRE』 (1977-1978). To this end, he borrows from the central ideas of Lao zi and Chuang zi in the East: the Tao, Mu, and Mu Wei. Lao zi's 󰡐 Tao', 󰡐 Mu' and 󰡐Mu Wei' adopted by Roland Barthes to describe "Le Neutre󰡓 deny structural reality and paradoxically have a paradigmatic deconstructive meaning. In this article, 『 Camera Lucida』 is a paradoxical reference to the "dark room󰡓 (Obscura) in the original photograph, and Zhuangzi's "Hushil-sang-baek󰡓 refers to the "Lighting up an empty room (mind)󰡓 revealed by the paradoxical meaning of "Mu Wei”. 『 Camera Lucida』 and "Hushil-sang-baek󰡓 can be seen as a "kind of neutralized pure space󰡓 of nothingness that emerges from a kind of paradigmatic deconstruction that cannot be articulated in any knowledge or structured language. Thus, 『 Camera Lucida』 and "Hushil-sang-baek󰡓 can be seen as a kind of neutralized pure space of nothingness that emerges from a kind of paradigm deconstruction that cannot be articulated in any knowledge or structural language. Therefore, this article attempts to trace the interpenetrating meanings of 『 Camera Lucida』 and "Hushil-sang-baek󰡓 proposed by Roland Barthes from a poststructuralist perspective to present a meaningful world of photography.