마르셀 뒤샹 : 끊임없는 담론과 수사의 하이퍼텍스트

• 영문명: Marcel Duchamp : An Endless Discursive and Rhetorical Hypertext
• 발행기관: 한국예술종합학교 미술원 조형연구소
• 저자명: 이임수(Lee, Im Sue)
• 간행물 정보: 『Visual』vol.5, 128~156쪽, 전체 29쪽
• 주제분류: 예술체육 > 예술일반
• 파일형태: PDF
• 발행일자: 2008.02.28

영문 초록

This article deals with the corpus of Marcel Duchamp’s works from a perspective of his concept of art and their signification processes. Duchamp thought of the possibility of art that would stem from a gesture to call something that was not art a work of art. The author begins this paper by addressing his way to do art, or Duchampian nominalism.’ It regards a work of art as a kind of empty name that has moments to be filled with meanings by the viewer who will arrive late. Continuously, the author pursues the interpretation of his works, concerning how figural and literal elements are involved in the signification process of Duchamp’s ready made. Furthermore, the analysis of the 〈Large Glass〉 and 〈Given〉 reveals an implication of eroticism, gaze, and painting as well as the rhetorical and grammatical mechanism both in themselves and in relation to other works. Through this paper, 〈L.HO.O.Q> functions as a connecting agent of each work. The interpretation of works that 〈L.H.O.O.Q’> connects together leads to a conclusion that the corpus of Duchamp’ s works has the structure of a circulative hypertext that expands to the art institution as well as connects each work. This structure not only contains his consideration of art as discursive function, but also ensures Marcel Duchamp a founder of discursivity in art.

목차

Ⅰ. 뒤샹식 유명론Duchampian nominalism

Ⅱ. 레디메이드Readymade

Ⅲ. 소어素語, Prime words

Ⅳ. 말장난과 미술

Ⅴ. 에로티시즘과 시각과 회화

Ⅵ. 미술을 한다는 것

참고 문헌