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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2003.12
- 수록면
- 147 - 180 (34page)
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초록· 키워드
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This essay analyzes Samuel Beckett's radio drama All That Fall as a ritornello(refrain) of becoming-molecular, based mostly on the two chapters of A Thousand Plateaus dealing with these two concepts (becoming and refrain). From Deleuze and Guattari's schizo-analytic point of view, Maddy Rooney's journey to the station can be equated to be a trajectory of becoming-molecular with Roony as a rhythmic character to pass through the trajectory. In the darkness of radio drama, she becomes imperceptible, and the presence of her body is indicated only through the sound of her footsteps. Thus deterritorialized from her corporeality, she starts her journey “to be atoms.”
We find in All That Fall “a double map of trajectories”, the real and the imaginary. Rooney's journey may be an imaginary one as well as real which is being revolved in an old woman's mind listening to Schubert’s Death and the Maiden “All alone in that ruinous old house.” As Deleuze notes, the double trajectories may be conceived of as “two juxtaposable and superimposable parts of a single trajectory [. . .] that ceaselessly interchange with one another, a mobile mirror.” In All That Fall, these two trajectories involve two poles of speed. Whereas Rooney’s(the Old Woman’s) real trajectory has a fixed immobility of the old woman listening to the music, the imaginary one(her journey to the station) captures the speed of consciousness. Rooney passes through these two trajectories, at the same time, transversing between the two extremes of speed. Becoming-molecular is precisely this “passing though the cleavage of degrees” like Rooney does.
According to Deleuze and Guattari, becoming-molecular is the last becoming(there are various other becomings) leading to the cosmic ritornello of absolute deterritorialization. To leap into the plane of this cosmic ritornello, Rooney takes a risk of going to the point of death. The various kinds of deaths which Rooney meets with in her journey signals a dissolution of form. Also, the tempest of wind and rain at the end of All That Fall refers “the danger inherent in any line of flight or creative deterritorialization.” When Rooney with her husband Dan moves on through the tempest, it means that she makes a trial to “open” her territorial ritornello(the assemblage) onto a cosmic force. Yet, as Deleuze and Guattari note, we can never be sure whether she is “strong enough” to produce a deterritorialized cosmic ritornello. It is Beckett’s “delirium” of art which creates and recreates the ritornello of the becoming molecular that ultimately functions as the one and only force to see and hear something invisible and inaudible.
We find in All That Fall “a double map of trajectories”, the real and the imaginary. Rooney's journey may be an imaginary one as well as real which is being revolved in an old woman's mind listening to Schubert’s Death and the Maiden “All alone in that ruinous old house.” As Deleuze notes, the double trajectories may be conceived of as “two juxtaposable and superimposable parts of a single trajectory [. . .] that ceaselessly interchange with one another, a mobile mirror.” In All That Fall, these two trajectories involve two poles of speed. Whereas Rooney’s(the Old Woman’s) real trajectory has a fixed immobility of the old woman listening to the music, the imaginary one(her journey to the station) captures the speed of consciousness. Rooney passes through these two trajectories, at the same time, transversing between the two extremes of speed. Becoming-molecular is precisely this “passing though the cleavage of degrees” like Rooney does.
According to Deleuze and Guattari, becoming-molecular is the last becoming(there are various other becomings) leading to the cosmic ritornello of absolute deterritorialization. To leap into the plane of this cosmic ritornello, Rooney takes a risk of going to the point of death. The various kinds of deaths which Rooney meets with in her journey signals a dissolution of form. Also, the tempest of wind and rain at the end of All That Fall refers “the danger inherent in any line of flight or creative deterritorialization.” When Rooney with her husband Dan moves on through the tempest, it means that she makes a trial to “open” her territorial ritornello(the assemblage) onto a cosmic force. Yet, as Deleuze and Guattari note, we can never be sure whether she is “strong enough” to produce a deterritorialized cosmic ritornello. It is Beckett’s “delirium” of art which creates and recreates the ritornello of the becoming molecular that ultimately functions as the one and only force to see and hear something invisible and inaudible.
목차
Ⅰ. 서론
Ⅱ. 리듬적 인물-되기
Ⅲ. 상상적이면서도 실제적인 궤도
Ⅳ. 분자적 흐름을 방출하는 리토르넬로
Ⅴ. 결 론: 우주적 리토르넬로를 꿈꾸며
주
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