‘타자’의 눈을 통해 본 자신의 모습 : 양푸동(楊福東)과 아이작 줄리앙(Isaac Julien)의 작업에서 보이는 타자의 시선

서지정보

· 발행기관 : 한국미술이론학회
· 수록지 정보 : 미술이론과 현장 / 12권
· 저자명 : 김백균

목차

Ⅰ. 들어가는 말
Ⅱ. 양푸동의 <단교무설(斷橋無雪)>
1. 형식적 전통의 계승
2. <단교무설>과 묵시록적 시간관
3. <단교무설>에 보이는 현대 중국 지식인의 모습
Ⅲ. 아이작 줄리앙(Isaac Julien)의 <끝없는 물결(Ten Thousand Waves)>
1. <끝없는 물결>, 욕망과 여정의 시작
2. <끝없는 물결>에 투영된 순환적 시간관
Ⅳ. 나가는 말
참고문헌
Abstract

영어초록

The technique of using the perspective of the "The Others" has been used continuously after modernity, in order to draw a more in depth image of one self. The other cannot be positioned without positioning the self and our own subjectivity because the self is more well defined through the other. Like the unquestionable 'Cogito' of Decartes, without a foundation of the self, 'other' cannot be established. The unquestionable 'Cogito' of Decartes, and problems of the subjectivity or problems of 'other' in East Asian society have close relations westernization and sharing western ideas of modernity. Image of ourselves after modernity cannot escape from 'orientalism' which divide the world into the occident and the orient. Modernity of the west was a process of developing a paradigm of life different from the medieval period, and also discovering properties of themselves through "otherising" the East. Therefore for the West, modernity becomes a continuous arena for overcoming paradoxes of their own. However for many North East Asian countries, modernity is a rupture. The text examines how different methods of two different backgrounds tackle the issues regarding "The Others"- works of Eastern and Western contemporary artists, Yang Fudong and Isaac Julien.

참고자료

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