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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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According to Bakhtln, the true and healthy parody of earlier times was "free of any nihilistic denial". All parties to the exchange laughed in all directions. In contrast to its impoverished modern variant. such parody does not undermine a hero or his variants. It parodies only their tragic heroization. This sort of parody can generate true heroes. who are heroic precisely because they contain more possibilities for growth and change than can be encompassed by any single given genre. The serious word is not discredited. Also it is complemented and supplemented.
Compared with his treatment of carnival laughter and the grotesque body in the Rabelais book. Bakhtin's concerns center more on the individual speaker and on the tone and content of the speaker's utterance. In retrospect. parody undermines not authority in principle but only authority with pretensions to be timeless and absolute. parodic forms enable us to distance ourselves from words. to be outside any given utterance and to assume our own unique attitude toward it. Thus. the parodic words we use are important not because they can change reality. but because they increase our freedom of interpretive choice by providing new perspectives.
The carnival sense of the world. as a process and a technical term. covers many interconnected ideas in Bakhtin. First. it is a view of the world in which all important value resides in openness and incompletion. It usually involves mockery of all serious. closed attitudes about the world. and it also celebrates "discrowning", that is. inverting top and bottom in any given structure. Discrowning points symbolically to the unstable and temporary nature of any hierarchy. Bakhtin generalizes these two actions into one ambivalent gesture. That is. debasement or casting-down.
In the carnival symbolic. however. a casting-down is always a positive gesture as well, a bringing-down-to-earth and thus a renewal and refertilization. Bakhtin associates this inverted hierarchy of bodily activities with carnivalistic images. in which the confines between bodies and between the body and the world are overcome. There is an element of utopian radicalism here as well. for unlike the fate of real-life bodies. potential in the grotesque body is always realized. The old always dies and the new always flourishes and grows bigger. As Gogol put it, a carnival sense of the world does not know footlights. Carnival is not a spectacle seen by the people. they live in it. While carnival lasts. there is no other life outside it.
Bakhtin insisted on a constantly renegotiated balance between givenness and positedness. According to the new carnival worldview, however, people are all either permanently fixed or else in random flux. pure possibility. Again we experience the appeal and the daring of the carnivalesqe, its pushing to extremes the two contradictiory ideals of embodiment and of potential. We also see the consequences of Bakhtin's new and shortlived taste for binary oppositions.
Compared with his treatment of carnival laughter and the grotesque body in the Rabelais book. Bakhtin's concerns center more on the individual speaker and on the tone and content of the speaker's utterance. In retrospect. parody undermines not authority in principle but only authority with pretensions to be timeless and absolute. parodic forms enable us to distance ourselves from words. to be outside any given utterance and to assume our own unique attitude toward it. Thus. the parodic words we use are important not because they can change reality. but because they increase our freedom of interpretive choice by providing new perspectives.
The carnival sense of the world. as a process and a technical term. covers many interconnected ideas in Bakhtin. First. it is a view of the world in which all important value resides in openness and incompletion. It usually involves mockery of all serious. closed attitudes about the world. and it also celebrates "discrowning", that is. inverting top and bottom in any given structure. Discrowning points symbolically to the unstable and temporary nature of any hierarchy. Bakhtin generalizes these two actions into one ambivalent gesture. That is. debasement or casting-down.
In the carnival symbolic. however. a casting-down is always a positive gesture as well, a bringing-down-to-earth and thus a renewal and refertilization. Bakhtin associates this inverted hierarchy of bodily activities with carnivalistic images. in which the confines between bodies and between the body and the world are overcome. There is an element of utopian radicalism here as well. for unlike the fate of real-life bodies. potential in the grotesque body is always realized. The old always dies and the new always flourishes and grows bigger. As Gogol put it, a carnival sense of the world does not know footlights. Carnival is not a spectacle seen by the people. they live in it. While carnival lasts. there is no other life outside it.
Bakhtin insisted on a constantly renegotiated balance between givenness and positedness. According to the new carnival worldview, however, people are all either permanently fixed or else in random flux. pure possibility. Again we experience the appeal and the daring of the carnivalesqe, its pushing to extremes the two contradictiory ideals of embodiment and of potential. We also see the consequences of Bakhtin's new and shortlived taste for binary oppositions.
목차
Ⅰ. 축제 : ‘또 다른 세계’로의 경계 넘기
Ⅱ. 전북의 주체와 대상 : 해방 이데올로기와 ‘개인화’된 이념
Ⅲ. 그로테스크 미학과 메니피아식 풍자 : ‘뒤집힌 세상’의 알레고리
Ⅳ. 소통성과 조화로운 합일성 : 자연적 순환성과의 대화적 관계
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