{"title":"A Theoretical Ground of Neuropsychoanalysis I: Visiting the Concepts of Drive with Freud, Lacan, Damasio, Panksepp, and Solms","authors":"Kyunghoon Jung","doi":"10.19116/theory.2022.27.3.139","DOIUrl":"https://doi.org/10.19116/theory.2022.27.3.139","url":null,"abstract":"Psychoanalysis and neuroscience are the same in that both study the mind, although their methodologies are different. Neuropsychoanalysis, which makes integrative approaches to them, is needed for the mind studies. The paper attempts to explore the neuropsychoanalytic concept of drive by examining the drive-related theories of Freud, Lacan, Damasio, Panksepp, and Solms. According to Freud, drive arises from somatic sources and operates at the unconscious level. Affects, emotions, and feelings are based on drives, but they are felt and realized at the conscious levels. He focuses only on the psychological due to the intellectual limitations of his times but makes it clear that the sources of drive are somatic. Lacan refuses to attend to the physical source of drive. For Damasio, feelings arise primarily from the physical sources, and the feelings include background/primitive feelings, primary emotion feelings, and secondary emotion feelings. Feelings are fundamental to the mind and accompany emotions. Freud’s drive and Damasio’s feeling concepts are similar in that they indicate the basic energy of the mind arising from the somatic. Panksepp presents four major emotional systems on the ground of the sources of feelings within intrinsic brain functions. Solms follows Panksepp’s ideas. For both Damasio and Panksepp, feelings/emotional systems emerge from somatic sources, and the sources are a variety of neural circuits and neurochemicals. If we can fill with Damasio’s and Panksepp’s similar ideas of neural circuits and neurochemicals the somatic sources that Freud left blank, we can think of the neuropsychoanalytic concept of drive.","PeriodicalId":409687,"journal":{"name":"The Criticism and Theory Society of Korea","volume":"259 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124248351","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Critical Theory and a New Ethics of Narrative","authors":"Keonjong Yoh","doi":"10.19116/theory.2022.27.3.207","DOIUrl":"https://doi.org/10.19116/theory.2022.27.3.207","url":null,"abstract":"Current crisis of the humanities is closely involved with hyper-institutionalization and professionalization of academic critical discourse and the humanities education. We have narrowed down humanities education to the point where it no longer provides the enhanced capacity for civic engagement. As an alternative to the current crisis of the humanities, this article proposes a new ethics of narrative. According to Martha Nussbaum, narrative imagination is a capacity to enter into and understand the experiences and lives of the others. New ethics of narrative emphasizes the vital role of narrative imagination in cultivating the powers of judgment and sensibility of a mature and responsible person, by exploring how the ability to be a sympathetic reader of another person’s story can be a basic qualification of democratic and cultivated citizen. This ability contributes to moral development of a citizen by fostering the capacity to understand people who may act from very different motives, identities and experiences.","PeriodicalId":409687,"journal":{"name":"The Criticism and Theory Society of Korea","volume":"66 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123349264","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"시적 영감과 철학적 절제:키츠의 하이페리온 시편에 나타난 메타시적 암시","authors":"Bumsoo Jon","doi":"10.19116/theory.2022.27.3.315","DOIUrl":"https://doi.org/10.19116/theory.2022.27.3.315","url":null,"abstract":"If Hyperion centers on the contrasting fates of Hyperion and Apollo—gods associated with music, poetic inspiration, truth and prophecy—the primary themes of power, loss, struggle, and suffering can be read metaphorically as metapoetic allusions to the succession of literary generations, articulating the nature of poetry and writing. When rewriting his unfinished Greek fragments into a first-person narrative in 1819, John Keats conducts a major reassessment of Moneta’s role in the project, the Roman equivalent of Mnemosyne, the goddess of memory and the mother of the Muses. He redefines Moneta’s relation to the poet-narrator, the poem’s main protagonist who is engaged in an increasingly self-conscious quest for knowledge of his true self and merits and who eventually undergoes a radical transformation into a superior Olympian god of music and poetry, replacing his Titanic predecessor. The goddess of memory and oral culture embodies an alternative discourse surprisingly decentered and polyvocal in nature. The conventional assumption that writing is a product of the solitary genius is obscured now by an interwoven fabric of discussion, feedback, narrative interventions, negotiations, and textual instability. In so doing, the second-generation English Romantic refutes the assumption that poetic power is a product of a heroic mind and philosophical solipsism rather than a result of a dialogic quest for knowledge.","PeriodicalId":409687,"journal":{"name":"The Criticism and Theory Society of Korea","volume":"133 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127432644","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"셰익스피어 『햄릿』의 “몰인격” 테마와 BBC 의 현대적 변용","authors":"Woo-Jin Song","doi":"10.19116/theory.2022.27.3.261","DOIUrl":"https://doi.org/10.19116/theory.2022.27.3.261","url":null,"abstract":"If one is to inherit a theatrical text to let it survive throughout time, there is a twofold task to be committed: in Roland Barthes’s terms, preserving its studium and at the same time devising its new punctum; in other words, maintaining consistency of the work without seriously ravaging it on one hand, and on the other, ingeniously appreciating the work to save it from repeated reception without any peculiar variation. In the case of Shakespeare’s Hamlet, the prince Hamlet as a character with inward personality has been a punctum since the seventeenth century. However, now that such concepts as the unconscious or psychology have become so familiar a concept to the contemporary, Hamlet’s personality is hardly effective as a punctum. Alternately, the concept of impersonality in Hamlet is now new to us, hence a new punctum of the play. In this perspective, the foundational story of Hamlet is not the tragic drama itself, but rather the positionality of the prince Hamlet in Elsinore, that is, personality versus impersonality. Gregory Doran’s Hamlet (2009), produced by BBC in collaboration with Royal Shakespeare Company, provides an example of alternate reading of Hamlet by suggesting surveillance technology as the embodiment of impersonality in the play.","PeriodicalId":409687,"journal":{"name":"The Criticism and Theory Society of Korea","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121499823","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Critical Theory in the Age of Big Data","authors":"Taek-Gwang Lee","doi":"10.19116/theory.2022.27.3.241","DOIUrl":"https://doi.org/10.19116/theory.2022.27.3.241","url":null,"abstract":"This essay discusses the rise of neoliberalism and globalization and its effects on the reconstruction of critical theory. This consideration will be about how the desire for critical theory, or the desiring critique, could intervene in the cognitive or surveillance capitalism phase based on big data technology. For this purpose, I will clarify the fact that the revival of critical theory should be the reconsideration of French philosophy (or French theory) and its political foundation since the 1950s. The vital link between critical theory and political conjunctures is revealed in the CIA’s report on French philosophy in the 1980s. The failure of radical French philosophy led to the decline of intellectuals and the reification of critical theory. I will relate this situation to the advent of cognitive or surveillance capitalism and its changed mode of accumulation. My conclusion will focus on the role of critical theory in understanding the function of big data capitalism and imposing its political implication on the celebration of technological advances.","PeriodicalId":409687,"journal":{"name":"The Criticism and Theory Society of Korea","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116715791","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Soul of Theory","authors":"Kyu-hyung Cho","doi":"10.19116/theory.2022.27.3.225","DOIUrl":"https://doi.org/10.19116/theory.2022.27.3.225","url":null,"abstract":"‘Soul’ is a very traditional, old-fashioned, now archaic, and even obsolete term. Instead of ‘soul,’ today ‘ego’ and ‘self’ have become the dominant terms in both academic and general usage. ‘Self-development’ emphasizes the infinite enhancement of individual ego on the one hand, and ‘self-healing’ trend acknowledges the limitations of this situation on the other. Foucault’s last lectures, however, recalled the case of Socrates’ “taking care of one’s soul.” Socratic care of the soul goes beyond ‘self-reflection’ and forward to the ‘self-care’ of individual inner standards. Socrates puts another emphasis upon ‘parrhèsia’(free speech) so as to avoid the potentially extreme individualist turn of the self care. Foucault wanted to present the Cynic model as a clear example of going further than that of Socrates. Cynics seek to grasp their souls in tense dynamics of subjectivity and its others, and intentionally and constantly test themselves with extreme experiences of even sub-human as well as metaphysical dimension. Here, the soul is not a substance of eternal nature, but rather a constantly doubting and experimenting subject to be established and managed. Theory, as a space of criticism, conjecture, and fiction, creates and maintains its subject of tension and balance between objective reason and subjective argument. Here, intuitive and rational logic interweaves with personal judgment and lifestyle. Freud’s, Foucault’s, and Derrida’s theories represent prototypes of the individual subject’s soul that survives in the age of information and data.","PeriodicalId":409687,"journal":{"name":"The Criticism and Theory Society of Korea","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127710949","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Is Mythos Myth, and Logos Reason? : The Rise and Fall of Mytho-Logos in the 20th Century","authors":"Seok-Woo Kwon","doi":"10.19116/theory.2022.27.3.35","DOIUrl":"https://doi.org/10.19116/theory.2022.27.3.35","url":null,"abstract":"In my previous article, “Is Mythos Myth, and Logos Reason: Etymological and Philological Reflections”(2020), I observed the foundation of ancient Greek philosophy in its relationship with the notions of mythos and logos. I argued that the history of Western philosophy in its initiatory phase took the format of progress “from mythos to logos,” and that this framework holds Homeros and Hesiodos totally different from Socrates and Plato, giving rise to the bifurcation of mythos and logos, and further accounting for the concomitant conceptual differentiation between myth and reason/rationality which has gone around until recently without enough critical assessment. In this article, I seek to argue continuously that misunderstandings come to light when one reaches the conclusion that in the ancient Greek society the words mythos and logos referred respectively to established authoritative speech and emergent reasonable discourse or theory — that neither of them really had anything to do with the fictional properties, or the degree of fictionality, of the messages under consideration. The English translation of mythos into myth — or for that matter, into its later 19th-century Japanese rendering, “神話,” — may well be held responsible for the prevalent false notion of mythos. In our age when Reason no more seems to be reason, and Enlightenment no more enlightenment, everything strikes us as a myth, posing questions as to the real nature, or even the adequacy, of the mythos-logos dichotomy. Horkheimer and Adorno did this kind of job while questioning and emphasizing the need of both in the fascist Germany where logos-reason proved to be nothing but a madness.","PeriodicalId":409687,"journal":{"name":"The Criticism and Theory Society of Korea","volume":"86 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114396039","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Ecology of Co-habitation: Objects, Nonhumans, and Worlds","authors":"Kyu Joo Hyeuk","doi":"10.19116/theory.2022.27.3.179","DOIUrl":"https://doi.org/10.19116/theory.2022.27.3.179","url":null,"abstract":"Objects, nonhumans, and worlds are keywords by and on which literary studies in the Anthropocene assert themselves. From these vantage points, this essay analyzes the main issues relating to the idea of “lively” matter to investigate how the collective of humans and nonhumans becomes the necessary elements of worlding. Reviewing Correlationism and Object Oriented Ontology, this essay attempts to find clues to the possibility of ecological cohabitation through textual engagement with Martin Heidegger, Karl Marx, and English Romantic authors. The discussion of the symbiotic economy between humans and nonhumans gives itself to searching for an alternative to the concept of the world built upon human-world correlationism. Object Oriented Ontology exemplifies a realism that works beyond subject-object division and human-world correlation. The three keywords provided here consolidate the framework of fundamental ecology, which supports and works behind all cultural phenomena in the age of men.","PeriodicalId":409687,"journal":{"name":"The Criticism and Theory Society of Korea","volume":"318 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124509219","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"노예제에 대한 침묵: 패트리샤 로제마의 『맨스필드 파크』","authors":"Jung Suk Hwang","doi":"10.19116/theory.2022.27.3.333","DOIUrl":"https://doi.org/10.19116/theory.2022.27.3.333","url":null,"abstract":"Adapting Jane Austen’s 1814 novel to film, Mansfield Park (1999), Patricia Rozema transforms Austen’s Fanny Price into an active, witty, and rebellious heroine and centralizes the theme of slavery. The film’s fidelity has been earnestly debated, but Rozema claims that her film is faithful to the original source. As she points out, the seemingly incongruent link—between Austen and slavery—is not new. Austen’s Mansfield Park has been widely examined regarding the issue of slavery and Fanny has been commonly read as a character who represents the Other, women and slaves. These readings, however, reveal an uneasy relationship between feminism and post- colonialism by conceptualizing white women as a homogenous group of the powerless and oppressed. The relationship becomes more problematic when they readily equate Fanny with the non-white exploited racial Other, the slaves in Antigua. Analyzing the limitations of Austen’s representation of slavery, I examine how Rozema not only faithfully reproduces the limitations but also silences the Black Other—the slaves in Antigua—who only appear in Tom’s sketches of Antiguan slaves and sculptures of Black servants at Mansfield Park.","PeriodicalId":409687,"journal":{"name":"The Criticism and Theory Society of Korea","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129336459","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Film, Between Nihilism and Hyperobjects","authors":"Suk-Wan Kim","doi":"10.19116/theory.2022.27.3.91","DOIUrl":"https://doi.org/10.19116/theory.2022.27.3.91","url":null,"abstract":"The only filmic work bequeathed by Samuel Beckett, Film (1965), as its self-reflexive title suggests, problematizes the ontological implications of sensory perception in various registers including sight, hearing and touch. The work also stands out in the writer’s oeuvre in that the story’s setting is, unlike his other literary texts, openly acknowledged (“about 1929” New York city), and that exceptional aspect merits analyses in its own right. Yet, the more pertinent bearings of Film come into view when juxtaposed to Derrida’s remark regarding Beckett’s signatory ambivalence vis-à-vis nihilism. How to make sense of the succeeding acts of ‘double apprehension’ (chasing/chased, seeing/seen, touching/touched, etc.) in which E and O seem to be indissociably caught? Do they attest to the ineluctable double nature of nihilism circumscribing the modernity or point instead to a way out, an exit strategy perhaps resembling Nancy’s account of ex nihilo? By tracing Film’s narrative movement in relation to the shifting sense of “we” in the deconstructive discourse of Derrida and Nancy, my paper suggests that the ultimate quandary we find ourselves as Film’s audience in the 21st century rather turns out to be the penetrating undulations of hyperobjects, which immobilize the sense of critical distance vouchsafed by such concepts as différance and exscription.","PeriodicalId":409687,"journal":{"name":"The Criticism and Theory Society of Korea","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124934966","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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