• 출판저널
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• 통권55호
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• pp.22-23
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• 1990

• 출판저널
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• 통권259호
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• pp.24-25
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• 1999

• 비교문화연구
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• 제33권
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• pp.309-330
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• 2013

This paper explores the concept of pure language introduced in Walter Benjamin's "The Task of the Translator" and looks at various perspectives on this concept represented in theories of Paul De Man and Gilles Deleuze and a short story of Jorge Luis Borges. According to "The Task of the Translator," pure language is defined as a vessel of which fragments are the original and the translation. Just as fragments are part of a vessel, so the original and the translation are fragments of a greater language, which is pure language. On the other hand, De Man, from a deconstructive criticism, says that pure language does not exist except as a permanent disjunction, which inhabits all languages as such, and that any work is totally fragmented in relation to this pure language and every translation is totally fragmented in relation to the original. While De Man consider pure language incorporeal, Deleuzian interpretation regards it as a virtual object or differenciator in relation to which the two series of the original and the translation coexist and resonate. Finally in Borges's "Pierre Menard, Author of the Quixote" Menard attempt to translate Cervantes's Don Quixote identically in every detail. By showing a case in which the original and the translation are the same, Borges raises a question what would take place in relation to pure language if the original and the translation were identical. In Deleuze, identity and resemblance are the result of a differenciator, but in Borges, identity is a differenciator which produces differences. If we apply this logic to the last paragraph of "The Task of the Translator," we can say the interlinear version of Scriptures, as the prototype or ideal of all translation, in the form of which the original and the translation must be one, is a differenciator, an endless difference-making machine.

• 한국실내디자인학회논문집
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• 제14권1호
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• pp.20-27
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• 2005

This study is focused on the concept and spatial organization of bifurcation. After discussing the concept of bifurcation used in Borges' literature and Deleuze's Fold philosophy, case examples in contemporary architecture are analysed to comparatively investigate the relationship between the concept and space. In Deleuze's philosophy, bifurcation as well as pleats, inflection are used to form the world of fold that goes to infinity while, in Borges' literature, the structure of bifurcation is the key method to create the labyrinth of time. There are various projects in contemporary architecture based on the Deleuzian concept of bifurcation. Rem Koolhaas's Two Libraries for Jussieu University and UN Studio's Arnhem Central are selected and researched for further comparison study. In Jussieu project, the bifurcating spatial organization is 'intentionally' used to construct the indeterminant space whereas in Arnhem Central, bifurcation can be found in both the ever-bifurcating design process as well as the final spatial organization'unintentionally'generated from the process. This study is concluded with the comparative analysis between the representation and actualization of a concept that are crucially different.

• 비교문화연구
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• 제25권
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• pp.313-336
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• 2011

The objective of this thesis is to unfold Latin American trends overlapping with Korean contemporary novels as an interesting scene in the circle of Korea literature at the beginning of the 21st century. This study was conducted largely in two directions. One is examining how long novel A Guest of Seok-yeong HWANG, a representative realist writer in Korea, and another long novel One Hundred Years Motel (Baeknyeon Motel) of Cheol-woo IM, a writer who has expressed Korean shamanic flowering as his fictitious characteristic since the 1980s, meet and interact with the world of magic realism in long novel One Hundred Years of Solitude of G. G. Marquez born in Colombia, Latin America, and the other is discussing the fictional techniques of H. L. Borges overlapping with short stories in novel collections The Age of Twenty and Fictions of Midnight by, respectively, young writers Yeon-soo KIM and PARK Hyeong-seo who displayed a unique world of fictions in the 2000s. For these purposes, we developed the points of discussion from the viewpoint of 'the meeting of two essences' for Seok-yeong HWANG and Marquez, of 'the meeting of two 'hundred years'' for Cheol-woo IM and Marquez, of 'novel writing as the finding of the original' for Yeon-soo KIM and Borges, and of 'novel writing surrounding fictions' for Hyeong-seo PARK and Borges. Around 2000, the trend of Latin American novels emerged as a phenomenon in Korean novels. It was probably a natural consequence of contemporary writers' struggling with genres and post-genres, the overturn of the center and the periphery, and blurred boundaries. Seok-yeong HWANG, Cheol-woo IM, Yeon-soo KIM, and PARK Hyeong-seo borrowed the contents and techniques of Latin American novels, but further research is required on how continuously their works internalized the characteristic properties of Marquez-style, Borges-style or polyphonic Latin American novels and, by doing so, how much they expanded or determined their own line. This is why this study has been performed productively out of vital importance. In every age throughout history, there have been the phenomena of encountering and sympathizing, and overlapping and spreading with foreign novels. This study is meaningful in that it illuminated the aspects of Korean contemporary novels in the flow of world literature through tracing the origin and reality of the trend of Latin American novels emerging conspicuously through overlapping particularly with Korean novels published in the 2000s.