자아-타자의 관계와 응시

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I rejected a notion of a one-to-one signifier and signified form of representation for, to me, such a convention reveals nothing and can often mislead. True revelation comes from the unexpected, the unknown. In fact, my goal can be even better understood when viewing my paintings through Magritte’s surrealistic elements. I try to have an pictorial access to dreaming.
I have brought Magritte’s work to an effort to push the obviously absurd so fart that it leads to fairly unified conclusions on the mind, an endeavor which Magritte would have appreciated in others and shared himself. However, I would have taken issue with the term “symbols” as he always rejected the notion that his paintings contained, symbols of anything.
Painting is an complicated symbolic system. It belongs to the group of abstract concepts and intangible entities that I treat in my thinking as objects with certain properties, subcategories, and relations to other concepts. In doing so, I am responsible for certain mental representations of painting rules and a figurative elements to have a good grasp of the structures and mechanisms of my works.
The aim of this study is to make out the metaphorical concepts underlying grammatical terms, such as ‘construction of a work by representing how the corresponding mental models might have been involved in the collective memory of others. In order to have a grasp on such a process of cultural mediation. I will think of the metaphorical words as well as pictorial representations which have remained remarkable throughout the history of myself. If I postulate that expressions and visual images reflect the individual’s conception.
In the form of a depicted layers, I crafted with care my memory space represented a new area for long existing concepts. The visual images represented in my works are thus products of human activity, and that are symbols of which perception is mediated by my own mode of exposing a particular world of view.
The dreams within the realm of art works have been often overlooked. recent tendencies in my world has opened new windows to the way in which I understand and think about my experience and its meanings. Dreams as research continues to show are merely one of those physical processes of the mind. Dreams in fact are part of the some of the more important of processes in that the act of dreaming is directly related to the storage and adaptation of experience. Through a process of forging which involves the chaotic nature of the physical pictorial world, experience is reworked and made suitable to maintain the continuity and coherence of the self. With a truly physical understanding of the brain as a neural net and therefore as a physical process, dreaming can be used to expand upon themes in the knowledge and other realms within art.
As in the painting preceding, the pictorial dreams of our time that he has not seen for quite a long time. For me this dream was a flame or promotion for the finished works. Being in a field such a painting I find this initial foundation, a dream, for a work that is concerned to be in a way conceivable. If in the case of a artist one admitted to finding an manifestation or motivation within a dream certain non-seriousness would be attributed to human being presenting such an idea. It is when we inspect dreams in a serious light or seek to understand them we find we come under the responsibility of history and of primordial practices concerning dreams and their significance. This onus is one of the metaphysical attributed to dreams by my works. a attribution that demonstrated by in-born culture in my condition, the physical and spiritual worlds all humans inhabit. The dream world then becomes a resource to confront individual and artistic matters.”
That this concept of dreaming is important to the world of my paintings I will attempt to make evident. The understanding my dreams would be seen to lie in the revealing of the substance of my own unconscious mind and how this process is so important to the automatic description of self-generation which belong to how I create fantastic views of the field of sense data and experience I find myself swimming in. dreaming is certainly not a stand alone or all-encompassing process, which I refer to as “life” and how I inhere in it. This process and resulting experience is indeed physical originally, located in my mind.
Alternative Title
The relation of the 'self' and 'the Gaze'
Alternative Author(s)
Park, Jung-Il
일반대학원 순수미술학
일반대학원 순수미술학
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Table Of Contents
Ⅰ. 서 론 4

Ⅱ. 구조적 관점의 차이 현실과 비현실 7

Ⅲ. 회화요소로서의 상징체계 10
1. 기억의 상징체계 10
2. 회화요소로서의 메타포(Metaphor) 12
3. 구조적 분석의 틀 13
(1) 소리 + 개념 = 메시지 13
(2) 이미지 + 언어 15
(3) 구조적 분석의 층(層) 16

Ⅳ. 분석틀로서의 응시(the Gaze) 18

Ⅴ. 작품분석: 현시(顯示)의 공간과 꿈의 영역 19

Ⅵ. 결 론 25
박정일. (2005). 자아-타자의 관계와 응시.
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General Graduate School > 3. Theses(Master)
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