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2018-03-16 (±Ý) 10:34 Á¶È¸ : 3556

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The purpose of this study is to analyze and to verify researcher's artworks that are expressed with the images of flowers, the combinations of units produced large quantity, etc. based on the thinking of Georges Bataille's érotisme. Érotisme is the underlying desire which has been in existence both on human's consciousness and unconsciousness for a long time of period, and it has influenced on individual lives and human history continuously. And yet, full-blown discussions for érotisme were difficult to put into effect up to before the arrival of 20th century. Georges Bataille located that reason in confrontation between Dionysus and Christianity which made érotisme sin. His view for érotisme is very peculiar. He exposed human's duplicity through delving up human's insanity, violence and barbarism that are coiled behind the reason and civilization. And so, the kernel of his érotisme is 'taboo and violation'. Érotisme could be acquired through a series of deeds, setting up the taboo first and violating the taboo later. Also the very first moment that human perceive the taboo is the moment of death, and the perception for manual labors, amusements, religions including death is a measuring stick which discriminates the human being from the animal. Georges Bataille's érotisme is free from the bridle of sin, and it specially reborn as a matrix of underlying production that belch out creative energies through the perception for death. In this regard, his érotisme implies expandable potentialities through building up the organic relations to society. Researcher is producing the images of flowers, swimming feelers which symbolize fruits and spermatozoon, small units produced large quantity, etc., and is creating artworks contained various visual images through compounding above symbols. All the researcher's artworks are internal vestiges of researcher's own way of experiencing, thinking and following the érotisme. After making sure of objectivity based on the theory about Georges Bataille's érotisme, researcher divided and analyzed own artworks into three categories of érotisme as below. The first category is unliberated érotisme. The artworks in this category show the human life divided into 'self' and 'stranger', in other words, human's unconsciousness try to return to continuity of existence from discontinuous being. Human experience insecurity and fear at birth -birth means amputation between mother and self-, and that experience is connected to some kind of psychological insecurity like Sigmund Freud's mirror stage and castration anxiety. This situation is inevitability or destiny to whom yearn for the continuity with mother, in other words, to discontinuous being who is trying to return to mother. Érotisme surely let discontinuous being overcome that inevitability or destiny. In order to analyze that possibility reflected on artworks, researcher divided and expressed unliberated érotisme into 3 contents, i.e. the reason and the sensibility, aesthetics of contamination, returning to continuity. Detailedly speaking, iron receptacles are contrasted with ceramic artworks in order to express the reason(taboo) and the sensibility(violation) symbolically. And the shape of beautiful flower in which splendor and the beauty of primary colors are maximized is made at first, but soon that beauty should be contravened by researcher's sensibility(taboo). Besides, images of lots of sperm and ovum are called for the only moment that discontinuous human being can embody continuity, in other words, for the moment of reproduction. The second category is arbitrary érotisme. The progress of arbitrary érotisme is made based on the human's duplicity that ignore rules and regularity. Human's duplicity includes not only realistic reason but also present tense desire. It is widely grasped that the violence and fear experienced at the moment of death exactly conform to the moment of ecstasy and rapture experienced at the zenith of sexual act. The sexual act is a 'petite death'. Human, the discontinuous being often demolish rules and regularity(realistic reason) which maintained up till then in order to get the petite death(present tense desire) at their will. To explain the realistic reason and the present tense desire, researcher once again divided arbitrary érotisme into A group(Self-Abusive Instigation) and B group(The Unbearable Lightness of érotisme). Fruits, protrusions, feelers, flower patterns and other symbols shown on two groups signify the realistic reason and the present tense desire which have been existed in researcher's inside. In this regard, arbitrary érotisme is a self-confession about researcher's duplicity. The third category is relative érotisme. The artworks in this category grope for the coexistent possibility of life(eros) and death(tanatos). The awareness for religions should be set forth as a promise, if eros -libido in the later Sigmund Freud, more precisely- and tanatos can exist together through érotisme. When Christianity became Roman state religion, it started to oppress Dionysus, and érotisme(sex) fell into sin that should be concealed. Experiencing or realizing beyond the death in living state is one of the major value indeed. But ironically, there are no means to experience or realize beyond the death in religions. In other words, there are no means that can let discontinuous individual return to continuity. Érotisme allow us to experience or realize beyond the death through petite death, and we can tell that eros and tanatos exist together at that moment. In order to reveal the moment of ecstasy and rapture that could be experienced at the petite death, researcher produces the fear and fright to death through units, and expresses the inhibition of feeling through emphasis of darkness, and contrasts snow white color that makes us occur peacock and splendid primary colors directly. In these researcher's works, the compatibility of antagonism between eros and tanatos can be founded. The two artworks reveal relative érotisme toward to the opposite side each, but they are not in the relation of antagonism but in the relation of compatibility with complementation. In conclusion, the two artworks face each other. At this moment, the petite death becomes reality, and discontinuous being could gain continuity. Researcher's activities so far and Georges Bataille's érotisme mentioned above and the analysis of researcher's artworks based on Georges Bataille's érotisme emphasize two conclusions as below. First, in case of artworks that focused on érotisme, we can find most of artists have expressed their érotisme directly and indicatively through exposure of sexual organs and through magnification of flower images. But researcher tried to approach the essence of érotisme not by direct and indicative __EXPRESSION__s but by metaphorically displaced __EXPRESSION__s, and tried to show whether that kind of approach could be practicable or not by moulding language. Second, when it comes to take a look at the cases that applied Georges Bataille's érotisme to artwork analysis, we can find assayers mainly have emphasized in terms of obscenity, violence, and insanity excessively. As apposed to that kind of artwork analysis, researcher made sure through this study that researcher's activities so far coincide with Georges Bataille's theory considerably, and also perceived that Georges Bataille's theory present bases for figuring out human nature. Researcher studied both other artworks that unfolded on the theme of érotisme and researcher's own artworks in terms of common points and differences based on survey for instances. As a result of study, remarkable differences between former cases and the analysis of researcher's artworks on érotisme were ascertained as mentioned above. Researcher expect that this result will functionate one of new and important possibilities on the expressive methods for érotisme which would be magnified and diversified continuedly from now on.




  • ¸ñÂ÷ (Table of Contents)
    • ¥°. ¼­·Ð 01
    • 1. ¹®Á¦ Á¦±â¿Í ¿¬±¸ ¸ñÀû 01
    • 2. ¿¬±¸ ¹æ¹ý ¹× ¹üÀ§ 03
    • ¥±. Á¶¸£Áê ¹ÙŸÀÌÀ¯ÀÇ ¿¡·ÎƼÁò 07
    • 1. Á¶¸£Áê ¹ÙŸÀÌÀ¯¿¡ ´ëÇÑ °íÂû 07
    • 1.1. ½Ã´ë »óȲ°ú ¹ÙŸÀÌÀ¯ÀÇ ¿¹¼úÀû ÁöÀ§ 07
    • 1.2. öÇÐÀû »çÀ¯ Çü¼º ¹è°æ 09
    • 2. ¿¡·ÎƼÁò°ú ¿å¸ÁÀÇ »ó°ü°ü°è 12
    • 2.1. ¿å¸ÁÀÇ °³³ä°ú ¿å±¸À§°èÀÌ·Ð 12
    • 2.2. ¿¡·ÎƼÁò°ú ¿å¸ÁÀÇ °ü°è 15
    • 3. ¿¡·ÎƼÁòÀÇ ºÐ·ù 17
    • 3.1. ¿¬¼Ó¼º°ú ºÒ¿¬¼Ó¼º 17
    • 3.2. ¼º(àõ), Á¾±³, Á×À½ÀÇ »ó°ü°ü°è 20
    • 3.3. ±Ý±â(Ð×Ðû)ÀÇ À§¹Ý(êÞÚã) 22
    • ¥². »ç·Ê ¿¬±¸ 30
    • 1. °¡½ÃÀû(ʦãÊîÜ) ¼ÒÀç 31
    • 1.1. ÀÎü¸¦ ÅëÇÑ Ç¥Çö 31
    • 1.2. ²ÉÀ» ÅëÇÑ Ç¥Çö 35
    • 2. ºñ°¡½ÃÀû(ުʦãÊîÜ) ¼ÒÀç 40
    • 2.1. ¹®ÇÐÀ» ÅëÇÑ Ç¥Çö 40
    • 2.2. »õµðÁòÀ» ÅëÇÑ Ç¥Çö 43
    • ¥³. ¿¬±¸ ÀÛÇ° ºÐ¼® 47
    • 1. Á¾¼ÓÀû(ðôáÕîÜ) ¿¡·ÎƼÁò 50
    • 1.1. <´Ù½Ã ÇǾµí> - À̼º°ú °¨¼º 50
    • 1.2. <²ÉÀ» Á×ÀÌ´Ù ±×¸®°í »ì´Ù> - ´õ·´ÈûÀÇ ¹ÌÇÐ(Ú¸ùÊ) 55
    • 1.3. <ÈçÀû> - ¿¬¼Ó¼º¿¡ÀÇ È¸±Í 60
    • 2. ÀÚÀÇÀû(í°ëòîÜ) ¿¡·ÎƼÁò 63
    • 2.1. A±º(ÏØ) - ÀÚ±âÇдëÀû ¼±µ¿ 65
    • 2.2. B±º(ÏØ) - ÂüÀ» ¼ö ¾ø´Â ¿¡·ÎƼÁòÀÇ °¡º­¿ò 68
    • 3. »ó´ëÀû(ßÓÓßîÜ) ¿¡·ÎƼÁò 71
    • ¥´. °á·Ð 79
    • Âü°í ¹®Çå 83
    • ABSTRACT 89


  • http://www.riss.kr/link?id=T14172889