• 한국수학교육학회지시리즈E:수학교육논문집
• /
• 제35권4호
• /
• pp.413-423
• /
• 2021

수학적 대상 중 하나인 공집합에 대하여 고찰해본다. 공집합과 관련된 학생들의 다양한 오개념과 그 원인을 살펴보고 역사적 공집합의 도입배경과 이와 관련된 집합론의 공리계를 살펴본다. 순수한 개념적 대상인 공집합을 통하여 수학적 대상의 속성을 알아보고, 공리적 집합론에 기반하였다고 알려진 현대 철학자 알랭 바디우(Alian Badiou)의 존재론을 살펴본다. 이상의 논의를 바탕으로 연립방정식의 해와 해집합을 집합을 통해 설명하고 이와 관련하여 공집합의 존재성이 갖는 의미를 고찰하여본다. 이러한 관점으로 집합적 사고를 재해석해보고, 수학의 공리적 철학적 측면이 갖는 의의를 제시한다.

• 영미문화
• /
• 제14권2호
• /
• pp.97-125
• /
• 2014

This paper delves into the question of universality in Native American Literature focusing on Leslie Marmon Silko's Ceremony, exploring some different definitions of universality and looking at the work in the light of these definitions. In this paper I proposed four possible definitions or faces of universality applicable to the narrative of the oppressed people. Firstly, the colonizers indoctrinate their colonized persons with the colonialists' beliefs through the process of assimilation purposefully imposed in the name of universality. In Ceremony Rocky and Emo are the victims of assimilation including militarization. Secondly, the colonized people hold on to their traditional values in face of colonizers' universalism. In Ceremony Tayo shows an attachment to tribal stories in opposition to whites' lies. Thirdly, the colonized can get together by sharing experiences of violence, occupation, and loss of their land and language, forming a bond of "commonality" among them. In Ceremony the story of a medicine man, Betonie, suggests oneness of victims against the evil power of destroyers represented by nuclear bombs. Fourthly and lastly, the universal consists in the subject's trial and practice attempting to achieve universalism against the existing order, not in the stipulation defining what is universal. In the story Tayo endeavors to retrieve his cattle by transgressing whites' property and makes a hole in the established dichotomy of whites and Indians. In sum, Ceremony as a minor literature shows the developmental aspects of universality, culminating in Tayo's refusal to assimilate himself to whites' lies.

• 비교문화연구
• /
• 제26권
• /
• pp.173-200
• /
• 2012

이 논문은 김수영 시에 나타난 "말", "언어", "활자", "글자", "책", "서책", "서적" 등과 같은 '언어-문자' 이미지에 주목하여, 그것들의 배경을 이루는 '에크리튀르'의 의미소와 정치학을 규명하고자 했다. 이러한 의제의 초점은 김수영 시를 언어학적이거나 수사학적 차원에서 접근하고 있는 대부분의 논문들이 지니는 한계와 문제점을 해결하려는 과정 속에서 마련되었다. 그것들의 가장 큰 문제점은 지엽적이고 세부적인 언어 용법으로 김수영 시의 분석과 해석을 제한하고 있는 데서 발생한다. 곧 그의 시에서 매우 빈번하게 나타나는 '언어-문자' 이미지에 대한 총체적인 해석의 틀을 제시하지 못할 뿐만 아니라, 그것에 대한 철학적이고 이론적인 해명이나 사회 정치적 담론 분석의 차원에서도 난점을 드러내고 있다는 것이다. 이 논문은 이러한 문제점을 해결하기 위해 김수영 시에 드러난 "말"과 "언어" 이미지에 대해서는 하이데거의 '존재론적 사유'에 입각하여 해명하려 했으며, "활자", "글자", "붓"에 대해서는 데리다가 제시했던 '원초적 글쓰기' 개념을 통해 새롭게 해석하고자 했다. 나아가 "책", "서책", "서적" 등과 같은 이미지에 대해서는 바이우의 '진리의 윤리학'과 데리다의 '에크리튀르'라는 문제틀을 함께 도입하여 김수영의 시를 '에크리튀르의 정치학'이라는 말로 새롭게 명명하고자 했다.

• 비교문화연구
• /
• 제34권
• /
• pp.7-41
• /
• 2014

This article examines magical realism in contemporary european film, which is considered to be one of the most popular styles in the present culture, with regards to Antonio Negri's theory of art. Magical realism is "alternative approach to reality" (Maggie Ann Bowers, Magic(al) Realism) and defined as "a fictional technique that combines fantasy with raw physical reality or social reality in a search for truth beyond that available from the surface of everyday life" (Joan Mellen, Magic Realism). The term of Magic Realism was coined in 1923 by Franz Roh, German art historian, as the concept for the post-expressionist painting in Germany. It has flourished in the Latin-American literature during the 1950s to 1980s and spread worldwide. Since 1980s magical realism is considered to be a universal artistic mode. Since 1990s magical realism is to find in the various novels, and since 2000 one encounters magical realism in the cinema very often. Antonio Negri writes about the relationship between life, imagination, art and the political in his book Art et Multitude. According to Negri, the hard life of people in the present society liberates the imagination and this creates the art as "the excess of the existence". In this process the aesthetic becomes to the political. Negri calls this space of art as "magical time and space". Claire Denis' film Vendredi Soir is analyzed as a contemporary magic realist text, which realizes Negri's concept of art: vendredi soir (friday night) in Vendredi Soir is the magical time, when the impossible becomes the possible, and paris in the public transportation strike is the magical space, where the individuals meet the other in a new situation. The film analysis associates itself with Negri's theory of art: in Vendredi Soir, it is to see, that the excess of the existence liberates imagination and creates the magic reality both in the movements of things and the human relationship. The phenomenon of magical realism in contemporary culture can be understood as the symptom of the emotional and existential pains of contemporary people in the current world. The contemporaneity of the magical realism can be read in the film as "the metaphor for contemporary thought" (Alain Badiou, Cinema). As Antonio Negri writes, art can become "the aesthetic redemption" (Negri, Art et Multitude) for us. At the same time "(t)his is where aesthetics can be transformed into the political." (Lee, "Communism and the Void")