auto_zzal_301823

์ด ๊ธ€์€ ์•„๋ž˜ ๋งํฌ์˜ ์›๋ฌธ์„ ๋ฒˆ์—ญํ•˜๊ณ  ๋‚ด์šฉ๊ณผ ๊ด€๋ จ๋œ ํ•œ๊ตญ์–ด ๋„์„œ ๋ชฉ๋ก์„ ๋ง๋ถ™์ธ ๊ฒƒ์ž…๋‹ˆ๋‹ค.


ํ•˜์ดํผ๋งํฌ๊ฐ€ ์ ์šฉ๋œ ๋„์„œ ์ œ๋ชฉ์€ ์•Œ๋ผ๋”˜ ํŽ˜์ด์ง€๋กœ ์—ฐ๊ฒฐ๋ฉ๋‹ˆ๋‹ค.


๋…์ž์˜ ์ดํ•ด๋ฅผ ๋•๊ธฐ ์œ„ํ•ด, ์›๋ฌธ์—์„œ ์„ฑ๋งŒ ์–ธ๊ธ‰๋œ ์ธ๋ฌผ์€ ์ „์ฒด ์ด๋ฆ„์œผ๋กœ ํ‘œ๊ธฐํ–ˆ์Šต๋‹ˆ๋‹ค. (์˜ˆ: Fisher โ†’ Mark Fisher)


๋Œ€์ถฉ gemini๋กœ ๋ฒˆ์—ญํ•˜๊ณ  ์กฐ๊ธˆ ๋‹ค๋“ฌ์–ด๋ดค์œผ๋‹ˆ ์˜ค์—ญ์ด ์žˆ์„ ๊ฒƒ์ด๊ณ ,

์˜ค๋ฅ˜๊ฐ€ ์žˆ๋‹ค๋ฉด ๋Œ“๊ธ€ ๋‹ฌ์•„์ฃผ๋ฉด ์กฐ์†ํžˆ ์ˆ˜์ •ํ•˜๊ฒ ์Šต๋‹ˆ๋‹ค.


https://thewastedworld.com/2018/11/03/a-theory-fiction-reading-list/


A Theory-Fiction Reading ListIn Place of a Preface (Update, 2023): On multiple occasions I have been asked how I would go about updating this list, and I have occasionally considered which works would merit addition. But if thโ€ฆthewastedworld.com



์ด๋ก -ํ”ฝ์…˜(Theory-Fiction) ์ถ”์ฒœ ๋„์„œ ๋ชฉ๋ก


๊ฒŒ์‹œ์ผ: 2018๋…„ 11์›” 3์ผ

์ž‘์„ฑ์ž: thewastedworld



์„œ๋ฌธ์„ ๋Œ€์‹ ํ•˜์—ฌ (2023๋…„ ์—…๋ฐ์ดํŠธ)


์—ฌ๋Ÿฌ ์ฐจ๋ก€์— ๊ฑธ์ณ ์ด ๋ชฉ๋ก์„ ์–ด๋–ป๊ฒŒ ์—…๋ฐ์ดํŠธํ•  ๊ฒƒ์ธ์ง€ ์งˆ๋ฌธ์„ ๋ฐ›์•˜๊ณ , ์ € ๋˜ํ•œ ์–ด๋–ค ์ž‘ํ’ˆ๋“ค์„ ์ถ”๊ฐ€ํ•˜๋Š” ๊ฒƒ์ด ์ข‹์„์ง€ ๊ฐ€๋” ๊ณ ๋ฏผํ•ด ๋ณด์•˜์Šต๋‹ˆ๋‹ค. ํ•˜์ง€๋งŒ ์ œ๊ฐ€ ์ด ๋ชฉ๋ก์„ ์œ„ํ•ด ์ฒ˜์Œ ์ผ๋˜ ์งง์€ ์„œ๋ฌธ์ด ์–‘๊ฐ€์ ์ธ ํƒœ๋„๋ฅผ ์ทจํ–ˆ๋‹ค๋ฉด, ์˜ค๋Š˜๋‚  ์ €์˜ ์ž…์žฅ์€ ๋”์šฑ ๋น„ํŒ์ ์ผ ์ˆ˜๋ฐ–์— ์—†์Šต๋‹ˆ๋‹ค. ์ด์ œ ์™€์„œ ์ด๋ก -ํ”ฝ์…˜์˜ ์‚ฌ๋ก€๋ฅผ ๋ช‡ ๊ฐ€์ง€ ๋” ์ถ”๊ฐ€ํ•˜๋Š” ๊ฒƒ์€ ๋ถˆ์ถฉ๋ถ„ํ•˜๋‹ค๋Š” ๊ฒƒ์ด ๋ช…๋ฐฑํ•ด์กŒ์Šต๋‹ˆ๋‹ค. ์™œ๋ƒํ•˜๋ฉด ์ด๋Š” ํ•ด๋‹น ์žฅ๋ฅด์˜ ์กด์žฌ๋ฅผ ์ถฉ๋ถ„ํžˆ ๋ช…๋ฃŒํ•˜๊ฒŒ ๊ทœ์ •ํ•˜์ง€ ๋ชปํ•œ ์ฑ„ ๊ทธ ์กด์žฌ๋ฅผ ๊ณ„์† ์ „์ œํ•˜๋Š” ํ–‰์œ„๊ฐ€ ๋  ๊ฒƒ์ด๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค. ๋ฌผ๋ก  ์ด๋ฏธ ๋ชฉ๋ก์— ์žˆ๋Š” ์ž‘ํ’ˆ๋“ค๊ณผ ๊ฐ€์กฑ์  ์œ ์‚ฌ์„ฑ(family resemblance)์„ ์ง€๋‹Œ ๋‹ค๋ฅธ ์ž‘ํ’ˆ๋“ค์ด ๋ถ„๋ช…ํžˆ ์กด์žฌํ•˜์ง€๋งŒ, ์ด๋Ÿฌํ•œ ์œ ๋น„(analogy) ์ž‘์—…์€ ๊ฒฐ์ฝ” ์ง„์ •ํ•œ ๋ถ„์„์„ ๋Œ€์ฒดํ•  ์ˆ˜ ์—†์Šต๋‹ˆ๋‹ค. ์ด ์šฉ์–ด์˜ ๋ชจํ˜ธํ•จ์€ ํฌ์ŠคํŠธ-CCRU(์‚ฌ์ด๋ฒ„๋„คํ‹ฑ ๋ฌธํ™” ์—ฐ๊ตฌ ์œ ๋‹›)์˜ ๋ฌธํ•™์  ์ƒ์‚ฐ๋ฌผ์„ ๋งˆ์ผ€ํŒ…ํ•˜๋Š” ๋ฐ์—๋Š” ์œ ์šฉํ–ˆ์„์ง€ ๋ชจ๋ฅด์ง€๋งŒ, ๋งŒ์•ฝ ์šฐ๋ฆฌ๊ฐ€ ์ด๋ก ๊ณผ ํ”ฝ์…˜์˜ ๋Œ€๋ฆฝ์„ ํ•ด์†Œํ•˜๋ผ๋Š” ํ”ผ์…”(Mark Fisher)์˜ ์š”๊ตฌ๋ฅผ ์ง„์ง€ํ•˜๊ฒŒ ๋ฐ›์•„๋“ค์ธ๋‹ค๋ฉด, ์šฐ๋ฆฌ๋Š” ๋จผ์ € ์ด ๊ตฌ๋ถ„์ด ๊ณผ์—ฐ ๊ทธํ† ๋ก ๋‹จ๋‹จ๋Š”์ง€, ํ˜น์€ ํ—ˆ๋ฌผ์–ด๋œจ๋ฆด ํ•„์š”๊ฐ€ ์ ˆ์‹คํ–ˆ๋Š”์ง€๋ถ€ํ„ฐ ๋ฌผ์–ด์•ผ ํ•  ๊ฒƒ์ž…๋‹ˆ๋‹ค.


์ด ์งˆ๋ฌธ์€ ๋‘ ๊ฐ€์ง€ ๋ฐฉ์‹์œผ๋กœ ์ œ๊ธฐ๋  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.



(1) ์ฒซ์งธ, ์†Œ์„ค ์“ฐ๊ธฐ๋Š” ์–ด๋А ์ •๋„๊นŒ์ง€ ์ด๋ฏธ ์ด๋ก ์  ์‚ฌ์œ , ์ž๊ธฐ์ฐธ์กฐ์  ๊ตฌ์„ฑ, ๊ทธ๋ฆฌ๊ณ  ์ž์‹ ์˜ ๊ฐœ๋…์  ํ•œ๊ณ„๋ฅผ ์‹œํ—˜ํ•˜๋ ค๋Š” ๊ฒฝํ–ฅ์„ ๋‚ดํฌํ•˜๊ณ  ์žˆ๋Š”๊ฐ€?


์ด ์งˆ๋ฌธ์— ๋‹ตํ•˜๊ธฐ ์œ„ํ•ด์„œ๋Š” ์˜ˆ์ˆ ์˜ ๊ฐœ๋…์„ฑ๊ณผ ์”จ๋ฆ„ํ•ด์•ผ๋งŒ ํ•ฉ๋‹ˆ๋‹ค. ์ œ ์ƒ๊ฐ์— ์ด ์ฃผ์ œ๋Š” ํ—ค๊ฒ”, ์ฝœ๋ง์šฐ๋“œ(R. G. Collingwood), ์•„๋„๋ฅด๋…ธ(Theodor Adorno), ์ œ์ž„์Šจ(Fredric Jameson)๊ณผ ๊ฐ™์€ ์‚ฌ์ƒ๊ฐ€๋“ค์— ์˜ํ•ด ๊ฐ€์žฅ ์ƒ์‚ฐ์ ์œผ๋กœ ์ด๋ก ํ™”๋˜์—ˆ์Šต๋‹ˆ๋‹ค. ํ•˜์ง€๋งŒ ํฌ์ŠคํŠธ-CCRU์˜ ์ด๋ก -ํ”ฝ์…˜๊ฐ€๋“ค์€ '๊ด€๋…๋ก ', '๋ณ€์ฆ๋ฒ•', '์ด๋ฐ์˜ฌ๋กœ๊ธฐ' ๋“ฑ์„ ๋ฐ˜๋™์ ์œผ๋กœ ๋ฌต์‚ดํ–ˆ๊ธฐ ๋•Œ๋ฌธ์— ์ด๋“ค๊ณผ ์ œ๋Œ€๋กœ ๋งˆ์ฃผํ•  ์ˆ˜ ์—†์—ˆ์Šต๋‹ˆ๋‹ค. ์ด๋ก -ํ”ฝ์…˜์€ ๋…ํŠนํ•˜๊ฒŒ '์ด๋ก ์ ์ธ' ์†Œ์„ค์˜ ํŠน๊ถŒ์  ์˜์—ญ์ด ์•„๋‹ˆ๋ผ, ์˜ˆ์ˆ  ์ž‘ํ’ˆ์ด ๊ฐœ๋…์  ๋‚ด์šฉ์„ ์ „๋‹ฌํ•˜๋Š” ์ผ๋ฐ˜์ ์ธ ๋Šฅ๋ ฅ์„ ํฌ์ฐฉํ–ˆ์„ ๋ฟ์ด์ง€๋งŒ, ์ด๊ฒƒ์ด ๋งˆ์น˜ ์ƒˆ๋กœ์šด ๊ฒƒ์ธ ์–‘ ์˜ค์ธ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.



(2) ๋‘˜์งธ, ์ฒ ํ•™์  ๋˜๋Š” ์ด๋ก ์  ์‚ฌ์œ ๋ฅผ ๊ทธ๊ฒƒ์˜ ๊ธฐ๋ก๋œ ํ˜•์‹๊ณผ ๋ถ„๋ฆฌํ•˜์—ฌ ๋งํ•˜๋Š” ๊ฒƒ์ด ๊ฐ€๋Šฅํ•œ๊ฐ€? ๊ธฐ๋ก๋œ ํ˜•์‹์€ ํ•„์—ฐ์ ์œผ๋กœ ์€์œ , ์ด๋ฏธ์ง€, ์„œ์‚ฌ, ์ฆ‰ ํ”ฝ์…˜์˜ ๋ฌธ์ œ์„ฑ์„ ๋„์ž…ํ•  ์ˆ˜๋ฐ–์— ์—†์ง€ ์•Š์€๊ฐ€?


์ด ์งˆ๋ฌธ์€ ์ฒ ํ•™์ž์—๊ฒŒ๋Š” ๋” ๋ถˆํŽธํ•œ ์งˆ๋ฌธ์ž…๋‹ˆ๋‹ค. ์ฒ ํ•™์ž์—๊ฒŒ ์ด๋ก -ํ”ฝ์…˜์€ ํ—ˆ๊ตฌ์  ๊ธ€์“ฐ๊ธฐ์™€ ์•„๋งˆ๋„ ๋น„ํ—ˆ๊ตฌ์  ํ˜•ํƒœ์˜ ์ด๋ก  ์‚ฌ์ด์— ๊ฒฝ๊ณ„ ๊ตฌ์—ญ์„ ๊น”๋”ํ•˜๊ฒŒ ์„ค์ •ํ•ด ์ฃผ๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค. ํ•˜์ง€๋งŒ ๋ฐ”๋กœ ์ด ์ง€์ ์—์„œ ์ด๋ก -ํ”ฝ์…˜์ด๋ผ๋Š” ๊ฐœ๋…์ด ์ƒˆ๋กœ์šด ๊ฒƒ์ด๋ผ๋Š” ์ƒ๊ฐ์ด ์ด๋ฏธ ํ•œ๋ฌผ๊ฐ„ ๋…ผ์Ÿ์— ๋ถˆ๊ณผํ•˜๋‹ค๋Š” ์ ์ด ๋“œ๋Ÿฌ๋‚ฉ๋‹ˆ๋‹ค. ์šฐ๋ฆฌ๋Š” ๋ฐ๋ฆฌ๋‹ค(Derrida)๊ฐ€ ์ฒ ํ•™์  ๊ธ€์“ฐ๊ธฐ์—์„œ ์€์œ ์˜ ํž˜์„ ๋ฐœ๊ฒฌํ•˜๊ณ , ํ—ค์ด๋“  ํ™”์ดํŠธ(Hayden White)๊ฐ€ ์‚ฌ์‹ค์  ๋‹ด๋ก ์—์„œ ์„œ์‚ฌ์  ํ—ˆ๊ตฌ ๋งŒ๋“ค๊ธฐ๋ฅผ ๋ถ„์„ํ–ˆ์œผ๋ฉฐ, ์งˆ๋ฆฌ์–ธ ๋กœ์ฆˆ(Gillian Rose)๊ฐ€ ํฌ์ŠคํŠธ-์นธํŠธ ์ฒ ํ•™์˜ ๋ฌธ์ฒด๋ฅผ ํ•ด๋ถ€ํ•œ ์ง€ ์ด๋ฏธ ์ˆ˜์‹ญ ๋…„์ด ํ˜๋ €์Šต๋‹ˆ๋‹ค. ๊ทธ๋ ‡๋‹ค๋ฉด, ์šฐ๋ฆฌ๊ฐ€ ๋˜๋‹ค์‹œ ์—†์• ๋ฒ„๋ ค์•ผ ํ•  ๋น„์ด๋ก ์  ํ”ฝ์…˜๊ณผ ๋น„ํ—ˆ๊ตฌ์  ์ด๋ก ์€ ์–ด๋””์—์„œ ์ฐพ์„ ์ˆ˜ ์žˆ๋‹จ ๋ง์ž…๋‹ˆ๊นŒ? ์Šค์Šค๋กœ ๋งŒ๋“ค์–ด๋‚ธ ํ—ˆ๊ตฌ์— ๋งž์„œ ์ž์‹ ์„ ๊ตฌ์ถ•ํ•˜๋Š” ์ด๋ก -ํ”ฝ์…˜ ์ด๋ก ์ด ๋ฌด์Šจ ์†Œ์šฉ์ด ์žˆ๊ฒ ์Šต๋‹ˆ๊นŒ? ์ด ์ƒˆ๋กœ์šด ์„ธ๊ธฐ์˜ ์ด๋ก -ํ”ฝ์…˜์€ ์ด ์‹ธ์›€์— ๋’ค๋Šฆ๊ฒŒ ๋„์ฐฉํ•˜์—ฌ, ์ด๋ฏธ ๊ธฐ๋ฐ˜์ด ์™„์ „ํžˆ ๋ฌด๋„ˆ์ง„ ๋•… ์œ„์— ๋ฐฉ์–ด๋ฒฝ์„ ์„ธ์›๋‹ˆ๋‹ค.



์ด๋ก ๊ณผ ํ”ฝ์…˜์˜ ๊ต์ฐจ์ ์— ๋Œ€ํ•œ ์ง„์ง€ํ•œ ์—ฐ๊ตฌ๋Š”, ์šฐ๋ฆฌ๊ฐ€ ํ•˜์ดํ”ˆ์„ ๋นผ๊ณ  ๋‹จ์ˆœํžˆ ์ฒ ํ•™์  ๊ธ€์“ฐ๊ธฐ๋ผ๊ณ  ๋ถ€๋ฅผ ์ˆ˜ ์žˆ์„ ํ…๋ฐ, ์ด๋ก ์  ์ž‘ํ’ˆ๊ณผ ํ—ˆ๊ตฌ์  ์ž‘ํ’ˆ์˜ ์ „์ œ๋œ ๋ถ„๋ฆฌ๊ฐ€ ์•„๋‹ˆ๋ผ ๊ทธ๊ฒƒ๋“ค์˜ ๊ฐœ๋…์  ํ†ต์ผ์„ฑโ€”์ž‘ํ’ˆ์˜ ์ด๋…๊ณผ ์Šคํƒ€์ผ์ด ๋ถˆ๊ฐ€๋ถ„ํ•˜๊ฒŒ ๊ฒฐํ•ฉ๋œ, ์ฆ‰ ํ˜•์‹๊ณผ ๋‚ด์šฉ์ด ์•„๋‹ˆ๋ผ ํ˜•์‹์˜ ๋‚ด์šฉโ€”์—์„œ ์‹œ์ž‘๋˜์–ด์•ผ ํ•ฉ๋‹ˆ๋‹ค. ๋”ฐ๋ผ์„œ ์ด๋ก -ํ”ฝ์…˜์ด๋ผ๋Š” ๋Œ€์ƒ์€ ํ•ด์ฒด๋˜๊ณ , ๊ทธ ์ž๋ฆฌ์—๋Š” ๊ณตํ†ต๋œ ์‹ค์ฒด์˜ ์ƒ์ดํ•œ ๋ฐœํ˜„์œผ๋กœ์„œ์˜ ์ด๋ก ์  ๊ธ€์“ฐ๊ธฐ์™€ ํ—ˆ๊ตฌ์  ๊ธ€์“ฐ๊ธฐ์˜ ์‹œํ•™(poetics)์ด ๋‚จ๊ฒŒ ๋ฉ๋‹ˆ๋‹ค. ์ด๋Ÿฌํ•œ ๋น„ํ‰ ์ž‘์—…์˜ ์ถœ๋ฐœ์ ์€ ใ€Ž์†ก๊ณณ๋‹ˆ ๋ˆ„๋ฉ”๋‚˜(Fanged Noumena)ใ€(๋‹‰ ๋žœ๋“œ Nick Land)๊ฐ€ ์•„๋‹ˆ๋ผ, ํ”„๋ผ์ด(Northrop Frye)์˜ ใ€Ž๋น„ํ‰์˜ ํ•ด๋ถ€(Anatomy)ใ€, ์•„์šฐ์–ด๋ฐ”ํ(Erich Auerbach)์˜ ใ€Ž๋ฏธ๋ฉ”์‹œ์Šค(Mimesis)ใ€, ๋ฒค์•ผ๋ฏผ(Benjamin)์ด ์“ด ์นœํ™”๋ ฅ(Elective Affinities)์— ๋Œ€ํ•œ ์—์„ธ์ด, ํ—ค๊ฒ”์˜ ์ •์‹ ํ˜„์ƒํ•™ ์„œ๋ฌธ, ๊ทธ๋ฆฌ๊ณ  ๋น„์ฝ”(Giambattista Vico)์˜ ใ€Ž์ƒˆ๋กœ์šด ํ•™๋ฌธ(New Science)ใ€์ด ๋˜์–ด์•ผ ํ•  ๊ฒƒ์ž…๋‹ˆ๋‹ค. ๊ทธ ๊ณ„๋ณด๋Š” ๋ฒ„๋กœ์Šค(William S. Burroughs)๋ฅผ ๊ฑด๋„ˆ๋›ฐ๊ณ  ๋‹จํ…Œ(Dante), ์ŠคํŽœ์„œ(Edmund Spenser), ๋ฐ€ํ„ด(Milton)์„ ์•„์šฐ๋ฅด๋Š” ๊ฐœ๋…์ ์œผ๋กœ ๋™๊ธฐ ๋ถ€์—ฌ๋œ ๊ธ€์“ฐ๊ธฐ(์ด๊ฒƒ์„ ์•Œ๋ ˆ๊ณ ๋ฆฌ๋ผ ๋ถ€๋ฆ…์‹œ๋‹ค)์˜ ์ „ํ†ต์œผ๋กœ ๋” ๊ฑฐ์Šฌ๋Ÿฌ ์˜ฌ๋ผ๊ฐˆ ๊ฒƒ์ž…๋‹ˆ๋‹ค. ๋งŒ์•ฝ ์ œ๊ฐ€ ์˜ค๋Š˜ ์ด ๋ชฉ๋ก์„ ๋‹ค์‹œ ์“ด๋‹ค๋ฉด, ๋ฐ”๋กœ ์ด๋“ค์ด ์ œ๊ฐ€ ์ถ”๊ฐ€ํ•  ์ž‘๊ฐ€๋“ค์ผ ๊ฒƒ์ž…๋‹ˆ๋‹ค.



์„œ๋ฌธ


๋Œ€์ฒด ์ด๋ก -ํ”ฝ์…˜(theory-fiction)์ด๋ž€ ๋ฌด์—‡์ธ๊ฐ€? ๊ฐ„๋‹จํžˆ ๋งํ•ด, ๊ทธ๊ฒƒ์€ ์ด๋ก ๊ณผ ํ”ฝ์…˜์˜ ๊ต์ฐจ์ ์ด์ž, "๊ทธ ๋Œ€๋ฆฝ ์ž์ฒด์˜ ํ•ด์†Œ" (ํ”ผ์…” 1999, p 156)์ž…๋‹ˆ๋‹ค. ์ด ํ•˜์ด๋ธŒ๋ฆฌ๋“œํ•œ ์Šคํƒ€์ผ์—์„œ ์ด๋ก ์€ ๊ทธ ๊ถŒ์ขŒ์—์„œ ๋Œ์–ด๋‚ด๋ ค์ง€๊ณ , ํ”ฝ์…˜์˜ ์ง„์ •ํ•œ ํž˜์€ ๊ธ์ •๋˜๋ฉฐ, ๋‘˜ ๋ชจ๋‘ ํ•™๊ณ„์˜ ๊ณ ์ƒํ•œ ํ˜•์‹์œผ๋กœ๋ถ€ํ„ฐ ํ•ด๋ฐฉ๋ฉ๋‹ˆ๋‹ค.


์ด๋ก -ํ”ฝ์…˜์ด ๋ฌด์—‡์ด๋“  ๊ฐ„์—, ์—ฌ๊ธฐ์— ๋‚˜์—ด๋œ ์ž‘ํ’ˆ๋“ค์€ ๋‹ค์–‘ํ•œ ์ด์œ ๋กœ ์—ฌ๋Ÿฌ ๋‹ค๋ฅธ ๊ณณ์—์„œ ๋“ฑ์žฅํ–ˆ์Šต๋‹ˆ๋‹ค. ์–ด๋–ค ๊ฒƒ๋“ค์€ ๋ฌด๋ ฅํ•œ ํ•™๊ณ„ ์ด๋ก ์— ๋Œ€ํ•œ ์ขŒ์ ˆ๊ฐ์—์„œ, ๋‹ค๋ฅธ ๊ฒƒ๋“ค์€ ์†Œ์„ค์˜ ์˜ˆ์–ธ์  ํž˜์— ๋Œ€ํ•œ ๋ฏฟ์Œ์—์„œ, ๋˜ ๋‹ค๋ฅธ ๊ฒƒ๋“ค์€ ๊ธฐ์„ฑ ํ˜•์‹์— ๋Œ€ํ•œ ๊ณต๊ฒฉ์ ์ธ ๋ฌด์‹œ์—์„œ ๋น„๋กฏ๋˜์—ˆ์Šต๋‹ˆ๋‹ค. ์ตœ๊ทผ ์‚ฌ์ด๋จผ ์…€๋Ÿฌ์Šค(Simon Sellars)๋Š” ์ด ๋ฌธ์ œ๋ฅผ ์•„์ฃผ ๋ฉ‹์ง€๊ฒŒ ์„ค๋ช…ํ–ˆ์Šต๋‹ˆ๋‹ค. "์ €๋Š” ์ด๋ก -ํ”ฝ์…˜์ด ์žฅ๋ฅด๋ผ๊ณ  ์ƒ๊ฐํ•˜์ง€ ์•Š์Šต๋‹ˆ๋‹ค. ๊ทธ๋ณด๋‹ค๋Š” ํƒœ๋„์— ๊ฐ€๊น์ฃ  [โ€ฆ] ์„ธ์ƒ์€ ๋„ˆ๋ฌด๋‚˜ ํ˜ผ๋ž€์Šค๋Ÿฌ์›Œ์„œ ์–ด๋–ค ์ด์ฒด์ ์ธ ์ด๋ก ๋„ ๊ทธ๊ฒƒ์„ ์„ค๋ช…ํ•  ์ˆ˜ ์—†์Šต๋‹ˆ๋‹ค. ๊ทธ๋ž˜์„œ ํ˜•์‹ ์ž์ฒด๊ฐ€ ์ƒˆ๊ณ  ๊ฐˆ๋ผ์ง€๋Š” ๊ฒƒ์ด์ฃ ."


์—ฌ๊ธฐ์„œ ๋ชฉํ‘œ๋Š” ์ด๋Ÿฌํ•œ ๊ท ์—ด์˜ ์ง€์ ๋“ค์„ ์ฐพ์•„๋‚ด๊ณ , ๋‘ ๊ธฐ์„ฑ ํ˜•์‹ ์‚ฌ์ด์˜ ์ค‘๊ฐ„ ์ง€๋Œ€(interzone)์— ๋Œ€ํ•œ ๊ฐœ์š”๋ฅผ ์ œ๊ณตํ•˜๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค. ๋ชฉ๋ก์˜ ์ „๋ฐ˜๋ถ€๋Š” ํ—ˆ๊ตฌ์  ํ˜•์‹์„ ํ™œ์šฉํ•˜๋Š” ์ด๋ก ์„œ๋ฅผ ๋‹ค๋ฃจ๊ณ , ํ›„๋ฐ˜๋ถ€๋Š” ์ด๋ก ์  ๋‚ด์šฉ์„ ๋‹ด์€ ์†Œ์„ค์„ ๋‹ค๋ฃน๋‹ˆ๋‹ค. ์ค‘๊ฐ„ ๋ถ€๋ถ„์€ ์ด ๋‘˜ ์‚ฌ์ด์˜ ๊ณต๊ฐ„์„ ์ฐจ์ง€ํ•˜๋ฉฐ, "์ด๋ก -ํ”ฝ์…˜"์ด๋ผ๋Š” ๊ฐœ๋…์ด ํƒ„์ƒํ•˜๊ฒŒ ๋œ ํ…์ŠคํŠธ๋“ค์„ ํฌํ•จํ•ฉ๋‹ˆ๋‹ค. ๋ฌผ๋ก  ์ด ํ•˜์œ„ ๊ตฌ๋ถ„์€ ์ž ์ •์ ์ธ ๊ฒƒ์ด๋ฉฐ, ๋งŽ์€ ์ €์ž‘์ด ๋‹ค๋ฅธ ๊ณณ์— ๋ฐฐ์น˜๋  ์ˆ˜๋„ ์žˆ์—ˆ์„ ๊ฒƒ์ž…๋‹ˆ๋‹ค.


์›๋ณธ ์Šค๋ ˆ๋“œ๋Š” ๋‹ค์Œ ๋งํฌ์—์„œ ์ฐพ์•„๋ณผ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค: [1] [2] [3]

* ์—ญ์ฃผ) ์›๋ณธ ์Šค๋ ˆ๋“œ(ํŠธ์œ„ํ„ฐ ๋งํฌ)๋Š” ๊ณ„์ •์ด ๋น„๊ณต๊ฐœ ๊ณ„์ •์ด ๋˜์–ด์„œ ์ฝ์„ ์ˆ˜๊ฐ€ ์—†์Œ...



Poetic Theory (Theory which foregrounds its artifice)


์‹œ์  ์ด๋ก  (์ž ์ธ๊ณต์„ฑ์„ ์ „๋ฉด์— ๋‚ด์„ธ์šฐ๋Š” ์ด๋ก )


Sรธren Kierkegaard โ€” Fear and Trembling (1843)

์‡ ๋ Œ ํ‚ค๋ฅด์ผ€๊ณ ๋ฅด - ใ€Ž๊ณตํฌ์™€ ์ „์œจใ€

์ข…์ด์ฑ…:ย http://aladin.kr/p/lF9rR

์ „์ž์ฑ…:ย http://aladin.kr/p/PGqS0


Georges Bataille โ€” Visions of Excess: Selected Writings, 1927-1939 (1985)

์กฐ๋ฅด์ฃผ ๋ฐ”ํ‹ฐ์œ ์˜ ์ €์„œ, ์ •์‹ ๋ฒˆ์—ญ๋˜์ง€๋Š” ์•Š์•˜์ง€๋งŒ ์•„๋ž˜ ๋งํฌ์—์„œ ์ผ๋ถ€ ๋ณผ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.

https://assimilare.com/%ED%83%9C%EC%96%91-%ED%95%AD%EB%AC%B8/


Theodor Adorno โ€” Minima Moralia (1951)

ํ…Œ์˜ค๋„์–ด W. ์•„๋„๋ฅด๋…ธ - ใ€Ž๋ฏธ๋‹ˆ๋งˆ ๋ชจ๋ž„๋ฆฌ์•„ใ€

http://aladin.kr/p/gF9D0


Paul Virilio โ€” Speed and Politics (1977)

ํด ๋น„๋ฆด๋ฆฌ์˜ค - ใ€Ž์†๋„์™€ ์ •์น˜ใ€

http://aladin.kr/p/iF8GQ


Maurice Blanchot โ€” The Writing of the Disasterย  (1980)

๋ชจ๋ฆฌ์Šค ๋ธ”๋ž‘์‡ผ - ใ€Ž์นด์˜ค์Šค์˜ ๊ธ€์“ฐ๊ธฐใ€

http://aladin.kr/p/0UCp


Gilles Deleuze & Felix Guattari โ€” A Thousand Plateaus (1980)

์งˆ ๋“ค๋ขฐ์ฆˆ, ํŽ ๋ฆญ์Šค ๊ฐ€ํƒ€๋ฆฌ - ใ€Ž์ฒœ ๊ฐœ์˜ ๊ณ ์›ใ€

http://aladin.kr/p/oFrjo


Jacques Derrida โ€” The Post Card (1980)

์žํฌ ๋ฐ๋ฆฌ๋‹ค์˜ ใ€Ž์šฐํŽธ์—ฝ์„œใ€๋Š” ์•„๋ž˜ ๋„ค์ด๋ฒ„ ๋ธ”๋กœ๊ทธ ์ฐธ์กฐ

https://m.blog.naver.com/limitedinc/222533495936


Simone Weil โ€” An Anthology (1986)

์‹œ๋ชฌ ๋ฒ ์œ ์˜ ์„ ์ง‘์€ ๋ฒˆ์—ญ X

(์ €์ž์˜ ๋‹ค๋ฅธ ์ €์„œ๋“ค์€ ๊ตญ๋‚ด์— ๋ฒˆ์—ญ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.)


Jean Baudrillard โ€” The Ecstasy of Communication (1987)

์žฅ ๋ณด๋“œ๋ฆฌ์•ผ๋ฅด์˜ ใ€Ž์˜์‚ฌ์†Œํ†ต์˜ ํ™ฉํ™€๊ฒฝใ€(?)์€ ๋ฒˆ์—ญ X

(์ €์ž์˜ ๋‹ค๋ฅธ ์ €์„œ๋“ค์€ ๊ตญ๋‚ด์— ๋ฒˆ์—ญ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.)


Lawrence Rainey, et al. โ€” Futurism: An Anthology (2009)

๋ฒˆ์—ญ X


Thomas Ligotti โ€” The Conspiracy Against the Human Race (2010)

ํ† ๋จธ์Šค ๋ฆฌ๊ณ ํ‹ฐ - ใ€Ž์ธ๊ฐ„์ข…์— ๋Œ€ํ•œ ์Œ๋ชจใ€

http://aladin.kr/p/S4vVs


Villem Flusser & Louis Bec โ€” Vampyroteuthis Infernalis (2012)

๋ฒˆ์—ญ X

(๋นŒ๋ ˜ ํ”Œ๋ฃจ์„œ์˜ ๋‹ค๋ฅธ ์ €์„œ๋“ค์€ ๊ตญ๋‚ด์— ๋ฒˆ์—ญ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.)


Claudia Rankine โ€” Citizen: An American Lyric (2014)

๋ฒˆ์—ญ X

๋‹ค๋งŒ ํด๋กœ๋””์•„ ๋žญํ‚จ์˜ ๋‹ค์Œ ์ €์„œ์ธย Just Us: An American Conversation (2020)์€ ๋ฒˆ์—ญ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.

ํด๋กœ๋””์•„ ๋žญํ‚จย - ใ€Ž๊ทธ๋ƒฅ ์šฐ๋ฆฌ : ๋ฏธ๊ตญ์˜ ๋Œ€ํ™”ใ€

http://aladin.kr/p/VRkzR


Dawn Ades, et al. โ€” The Surrealism Reader (2015)

๋ฒˆ์—ญ X


Donna Haraway โ€” Manifestly Haraway (2016)

๋„๋‚˜ J. ํ•ด๋Ÿฌ์›จ์ด - ใ€Žํ•ด๋Ÿฌ์›จ์ด ์„ ์–ธ๋ฌธใ€

http://aladin.kr/p/mLGBa



Narrative Theory (Theory told through narrative form)


์„œ์‚ฌ ์ด๋ก  (์„œ์‚ฌ ํ˜•์‹์œผ๋กœ ์ „๋‹ฌ๋˜๋Š” ์ด๋ก )


Lucretius โ€” On The Nature of the Universe (55 BC)

๋ฃจํฌ๋ ˆํ‹ฐ์šฐ์Šค - ใ€Ž์‚ฌ๋ฌผ์˜ ๋ณธ์„ฑ์— ๊ด€ํ•˜์—ฌใ€

http://aladin.kr/p/nFAk0


Kamo no Chลmei โ€” An Account of My Hut (1212)

๊ฐ€๋ชจ๋…ธ ์กฐ๋ฉ”์ด - ใ€Ž๋ฐฉ์žฅ๊ธฐใ€ / ใ€Žํ˜ธ์กฐํ‚คใ€ (์›์ œ: ๆ–นไธˆ่จ˜)

์•„๋ž˜ ๋‘ ํŒ๋ณธ์ด ์กด์žฌํ•ฉ๋‹ˆ๋‹ค. (๋‘˜๋‹ค ์ ˆํŒ)

http://aladin.kr/p/dFHnQ

http://aladin.kr/p/3F8Ko


Moses de Leรณn โ€” The Zohar (1305)

๋ฒˆ์—ญ X


Friedrich Nietzsche โ€” Thus Spoke Zarathustra (1891)

ํ”„๋ฆฌ๋“œ๋ฆฌํžˆ ๋‹ˆ์ฒด - ใ€Ž์ฐจ๋ผํˆฌ์ŠคํŠธ๋ผ๋Š” ์ด๋ ‡๊ฒŒ ๋งํ–ˆ๋‹คใ€

http://aladin.kr/p/kRCIf


Pierre Klossowski โ€” Nietzsche and the Vicious Circle (1969)

ํ”ผ์—๋ฅด ํด๋กœ์†Œํ”„์Šคํ‚ค - ใ€Ž๋‹ˆ์ฒด์™€ ์•…์ˆœํ™˜ใ€

http://aladin.kr/p/dFBc5


Walter Benjamin โ€” One-Way Street and Other Writings (1970)

์œ„ ์ฑ…์€ ๋ฐœํ„ฐ ๋ฒค์•ผ๋ฏผ์˜ ใ€Ž์ผ๋ฐฉํ†ตํ–‰๋กœใ€์™€ ๋‹ค๋ฅธ ๊ธ€์„ ์—ฎ์€ ๊ฑฐ ๊ฐ™์€๋ฐ, ๋ฐœํ„ฐ ๋ฒค์•ผ๋ฏผ ๋ชจ๋ฅด๊ณ  ์›์„œ๋„ ๋ชจ๋ฅด๋‹ˆ ๋ญ” ์ฑ…์ธ์ง€ ์ •ํ™•ํžˆ ๋ชจ๋ฅด๊ฒ ๋„ค์š”...

๊ทธ๋‚˜๋งˆ ๋Œ€์‘๋˜๋Š” ๊ฑด...

ใ€Ž์ผ๋ฐฉํ†ตํ–‰๋กœ / ์‚ฌ์œ ์ด๋ฏธ์ง€ใ€ (๋ฐœํ„ฐ ๋ฒค์•ผ๋ฏผ)

http://aladin.kr/p/xF9Ra


Hรฉlรจne Cixous โ€” The Third Body (1970)

๋ฒˆ์—ญ X

(์ €์ž์˜ ๋‹ค๋ฅธ ์ €์„œ๋“ค์€ ๊ตญ๋‚ด์— ๋ฒˆ์—ญ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.)


Klaus Theweleit โ€” Male Fantasies (1977)

๋ฒˆ์—ญ X

(๊ตญ๋‚ด์—” ใ€Žํ˜ธ๋ชจํฌ๋น„์•„ | ๋ฒ ์Šคํ…ํŠธ ํ•œ๊ตญํŒ 6ใ€์— ์ˆ˜๋ก๋œ ใ€Œโ€œํ˜ธ๋ชจํฌ๋น„์•„โ€: ์•Œ ์ˆ˜ ์—†๋Š” ๊ทธ ๋ฌด์—‡ใ€ (ํด๋ผ์šฐ์Šค ํ…Œ๋ฒจ๋ผ์ดํŠธ)๋กœ ์†Œ๊ฐœ๋œ ๋ฐ” ์žˆ์Šต๋‹ˆ๋‹ค.)


Luce Irigaray โ€” Marine Lover of Friedrich Nietzsche (1980)

๋ฒˆ์—ญ X

(์ €์ž์˜ ๋‹ค๋ฅธ ์ €์„œ๋“ค์€ ๊ตญ๋‚ด์— ๋ฒˆ์—ญ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.)


Manuel De Landa โ€” A Thousand Years of Nonlinear History (1997)

๋ฒˆ์—ญ X

(๋งˆ๋ˆ„์—˜ ๋ฐ๋ฆฐ๋‹ค์˜ ๋‹ค๋ฅธ ์ €์„œ๋“ค์€ ๊ตญ๋‚ด์— ๋ฒˆ์—ญ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.)


Catherine Keller โ€” The Face of the Deep (2003)

๋ฒˆ์—ญ X

(์ €์ž์˜ ๋‹ค๋ฅธ ์ €์„œ๋“ค์€ ๊ตญ๋‚ด์— ๋ฒˆ์—ญ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.)


Michel Serres โ€” Biogea (2012)

๋ฒˆ์—ญ X

(๋ฏธ์…ธ ์„ธ๋ฅด์˜ ๋‹ค๋ฅธ ์ €์„œ๋Š” ๊ตญ๋‚ด์— ๋ฒˆ์—ญ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.)


Anna Lowenhaupt Tsing โ€” The Mushroom at the End of the World (2015)

์• ๋‚˜ ๋กœ์›ฌํ•˜์›ํŠธ ์นญ - ใ€Ž์„ธ๊ณ„ ๋์˜ ๋ฒ„์„ฏใ€

http://aladin.kr/p/Q4vTt



Cybernetic Theory-Fiction (Theory-fiction as cultural hype)


์‚ฌ์ด๋ฒ„๋„คํ‹ฑ ์ด๋ก -ํ”ฝ์…˜ (๋ฌธํ™”์  ํ•˜์ดํ”„๋กœ์„œ์˜ ์ด๋ก -ํ”ฝ์…˜)


J D Bernal โ€” The World, The Flesh, and The Devil (1929)

๋ฒˆ์—ญ X


Stanisล‚aw Lem โ€” Summa Technologiae (1964)

์Šคํƒ€๋‹ˆ์Šค์™€ํ”„ ๋ ˜์˜ ์ฒ ํ•™ ์—์„ธ์ด์ง‘์€ ๋ฒˆ์—ญ X

(๋ ˜์˜ ์†Œ์„ค๋“ค์€ ๊ตญ๋‚ด์— ๋ฒˆ์—ญ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.)


Nick Land โ€”Fanged Noumena: Collected Writings 1987-2007 (2011)

๋ฒˆ์—ญ X

(ํ›„์ˆ ํ•  ใ€Ž#๊ฐ€์†ํ•˜๋ผใ€์™€ ์ธํ„ฐ๋„ท ํŒŒํŽธ์—์„œ ๋‹‰ ๋žœ๋“œ์˜ ๋‹จํŽธ์ ์ธ ๊ธ€์„ ์ฐพ์•„๋ณผ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.)


Arthur Kroker โ€” SPASM (1993)

๋ฒˆ์—ญ X


Orphan Drift โ€” Cyberpositive (1995)

๋ฒˆ์—ญ X


CCRU โ€” Writings 1997-2003 (2015)

๋ฒˆ์—ญ X


Kodwo Eshun โ€” More Brilliant Than The Sun (1998)

๋ฒˆ์—ญ X


Sadie Plant โ€” Zeros + Ones (1998)

๋ฒˆ์—ญ X


Mark Fisher โ€” Flatline Constructs (1999)

๋ฒˆ์—ญ X

(๋งˆํฌ ํ”ผ์…”์˜ ๋‹ค๋ฅธ ์ €์ˆ ์ธ,ย ใ€Ž์ž๋ณธ์ฃผ์˜ ๋ฆฌ์–ผ๋ฆฌ์ฆ˜ใ€,ย ใ€ŽK-ํŽ‘ํฌ 1ใ€, ใ€Ž๊ธฐ์ดํ•œ ๊ฒƒ๊ณผ ์œผ์Šค์Šคํ•œ ๊ฒƒใ€์€ ๋ฒˆ์—ญ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.)


Reza Negarestani โ€” Cyclonopedia (2008)

๋ ˆ์ž ๋„ค๊ฐ€๋ ˆ์Šคํƒ€๋‹ˆ - ใ€Ž์‚ฌ์ดํด๋กœ๋…ธํ”ผ๋””์•„ใ€

http://aladin.kr/p/NPxFx


Edward Keller, et al. โ€” Leper Creativity: Cyclonopedia Symposium (2012)

๋ฒˆ์—ญ X


Robin Mackay & Armen Avanessian โ€” #ACCELERATE (2014)

๋กœ๋นˆ ๋งฅ์ผ€์ด,์•„๋ฅด๋ฉ˜ ์•„๋ฐ”๋„ค์‹œ์•ˆ (์—ฎ์€์ด) - ใ€Ž#๊ฐ€์†ํ•˜๋ผ - ๊ฐ€์†์ฃผ์˜์ž ๋…๋ณธใ€

http://aladin.kr/p/G4d2J


Baylee Brits, et al. โ€” Aesthetics After Finitude (2016)

๋ฒˆ์—ญ X


Benjamin H Bratton โ€” Dispute Plan to Prevent Future Luxury Constitution (2016)

๋ฒˆ์—ญ X


Cergat โ€” Earthmare (2017)

๋ฒˆ์—ญ X


Nicola Masciandaro โ€” Sacer (2017)

๋ฒˆ์—ญ X


Elizabeth Sandifer โ€” Neoreaction: A Basilisk (2017)

๋ฒˆ์—ญ X



Sci-Phi (Low fiction, high theory)


์‚ฌ์ดํŒŒ์ด(Sci-Phi) (ํ”ฝ์…˜์˜ ๋น„์ค‘์€ ๋‚ฎ๊ณ  ์ด๋ก ์˜ ๋น„์ค‘์€ ๋†’์€ ์žฅ๋ฅด)


Ueda Akinari โ€” Tales of Moonlight and Rain (1776)

์šฐ์—๋‹ค ์•„ํ‚ค๋‚˜๋ฆฌ - ใ€Ž์šฐ๊ฒŒ์“ฐ ์ด์•ผ๊ธฐใ€

http://aladin.kr/p/qFc6Z


William Burroughs โ€” The Soft Machine (1961)

๋ฒˆ์—ญ X

(๋ฒ„๋กœ์Šค์˜ ๋‹ค๋ฅธ ์ €์ž‘์€ ๊ตญ๋‚ด์— ๋ฒˆ์—ญ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.)


Arkady & Boris Strugatsky โ€” Hard to Be a God (1964)

์•„๋ฅด์นด๋”” ๋‚˜ํƒ€๋…ธ๋น„์น˜ ์ŠคํŠธ๋ฃจ๊ฐ€์ธ ํ‚ค, ๋ณด๋ฆฌ์Šค ๋‚˜ํƒ€๋…ธ๋น„์น˜ ์ŠคํŠธ๋ฃจ๊ฐ€์ธ ํ‚ค - ใ€Ž์‹ ์ด ๋˜๊ธฐ๋Š” ์–ด๋ ต๋‹คใ€

http://aladin.kr/p/dNytU


Ursula K Le Guin โ€” The Left Hand of Darkness (1969)

์–ด์А๋Ÿฌ K. ๋ฅด ๊ท„ - ใ€Ž์–ด๋‘ ์˜ ์™ผ์†ใ€

http://aladin.kr/p/pbEnJ


Monique Wittig โ€” Les Guรฉrillรจres (1969)

๋ฒˆ์—ญ X

(๋ชจ๋‹ˆ์Šค ์œ„ํ‹ฐํฌ๋Š” ๊ตญ๋‚ด์— ใ€Ž๋ชจ๋‹ˆํฌ ์œ„ํ‹ฐ๊ทธ์˜ ์ŠคํŠธ๋ ˆ์ดํŠธ ๋งˆ์ธ๋“œใ€๋กœ ์†Œ๊ฐœ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.)


J G Ballard โ€” The Atrocity Exhibition (1970)

ใ€Ž์ž”ํ˜น ์ „์‹œํšŒใ€๋Š” ๋ฒˆ์—ญ X

(์ €์ž์˜ ๋‹ค๋ฅธ ์ €์„œ๋“ค์€ ๊ตญ๋‚ด์— ๋ฒˆ์—ญ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.)


Angela Carter โ€” The Infernal Desire Machines of Doctor Hoffman (1972)

๋ฒˆ์—ญ X

(์•ค์ ค๋ผ ์นดํ„ฐ์˜ ๋‹ค๋ฅธ ์ €์„œ๋“ค์€ ๊ตญ๋‚ด์— ๋ฒˆ์—ญ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.)


Thomas Pynchon โ€” Gravityโ€™s Rainbow (1973)

ํ† ๋จธ์Šค ํ•€์ฒœ - ใ€Ž์ค‘๋ ฅ์˜ ๋ฌด์ง€๊ฐœใ€

http://aladin.kr/p/MFlU

* ์—ฌ๋‹ด์œผ๋กœ ์€ํ–‰๋‚˜๋ฌด ์ถœํŒ์‚ฌ์—์„œ ์ƒˆ ๋ฒˆ์—ญ์„ ์ค€๋น„ํ•œ๋‹ค๋Š” ์†Œ์‹์ด...


Samuel R Delany โ€” Triton (1976)

๋ฒˆ์—ญ X

(์ƒˆ๋ฎค์–ผ ๋”œ๋ ˆ์ด๋‹ˆ์˜ ๋‹ค๋ฅธ ์†Œ์„ค์ธ ใ€Ž๋ฐ”๋ฒจ-17ใ€๊ณผ ใ€Ž๋…ธ๋ฐ”ใ€๋Š” ๊ตญ๋‚ด์— ๋ฒˆ์—ญ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.)


Giorgio De Maria โ€” The Twenty Days of Turin (1977)

๋ฒˆ์—ญ X


Philip K Dick โ€” VALIS (1981)

ํ•„๋ฆฝ K. ๋”• - ใ€Ž๋ฐœ๋ฆฌ์Šคใ€

http://aladin.kr/p/lFwN1


William Gibson โ€” Neuromancer (1984)

์œŒ๋ฆฌ์—„ ๊น์Šจ - ใ€Ž๋‰ด๋กœ๋งจ์„œใ€

http://aladin.kr/p/uFHWh


Kathy Acker โ€” Empire of the Senseless (1988)

์บ์‹œ ์• ์ปค - ใ€Ž๋ฌด์˜๋ฏธ์˜ ์ œ๊ตญใ€

http://aladin.kr/p/YChCX

(์ฐธ๊ณ ๋กœ 19๊ธˆ์ž…๋‹ˆ๋‹ค,)


Umberto Eco โ€” Foucaultโ€™s Pendulum (1988)

์›€๋ฒ ๋ฅดํ†  ์—์ฝ” - ใ€Žํ‘ธ์ฝ”์˜ ์ง„์žใ€

http://aladin.kr/p/myXPY


Octavia Butler โ€” Xenogenesis (1989)

๋ฒˆ์—ญ X

(์˜ฅํƒ€๋น„์•„ ๋ฒ„ํ‹€๋Ÿฌ์˜ ๋‹ค๋ฅธ ์ €์„œ๋“ค์€ ๊ตญ๋‚ด์— ๋ฒˆ์—ญ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.)

* ํ—ˆ๋ธ” ์ถœํŒ์‚ฌ๊ฐ€ ์ œ๋…ธ์ œ๋„ค์‹œ์Šค 3๋ถ€์ž‘ ๋ฒˆ์—ญ ์ค‘์ด๋ผ๋Š” ์†Œ์‹์ด ์žˆ์Šต๋‹ˆ๋‹ค.


Christine Brooke-Rose โ€” Amalgamemnon (1994)

๋ฒˆ์—ญ X


Alexis Pauline Gumbs โ€” M-Archive: After the End of the World (2018)

๋ฒˆ์—ญ X



Theoretical Fiction (1: Fiction as theory)


์ด๋ก ์  ํ”ฝ์…˜ (1: ์ด๋ก ์œผ๋กœ์„œ์˜ ํ”ฝ์…˜)


Margaret Cavendish โ€” The Blazing World (1666)

๋งˆ๊ฑฐ๋ฆฟ ์บ๋ฒˆ๋””์‹œ - ใ€Ž๋ถˆํƒ€๋Š” ์„ธ๊ณ„ใ€

http://aladin.kr/p/TNecK


Laurence Sterne โ€” The Life and Opinions of Tristram Shandy, Gentleman (1767)

๋กœ๋ Œ์Šค ์Šคํ„ด - ใ€Ž์‹ ์‚ฌ ํŠธ๋ฆฌ์ŠคํŠธ๋Ÿผ ์„„๋””์˜ ์ƒ์• ์™€ ๊ฒฌํ•ดใ€

๋‹ค์–‘ํ•œ ์ถœํŒ์‚ฌ ํŒ๋ณธ์ด ์žˆ์œผ๋‹ˆ ๊ธฐํ˜ธ์— ๋งž๊ฒŒ ๊ณ ๋ฅด์„ธ์š”. (์•„๋ž˜ ๋งํฌ๋Š” ์ตœ๊ทผ ์ถœ๊ฐ„๋œ ์ง€๋งŒ์ง€ ๋ฒ„์ „)

http://aladin.kr/p/IyEno


Denis Diderot โ€” Jacques the Fatalist (1796)

๋“œ๋‹ˆ ๋””๋“œ๋กœ - ใ€Ž์šด๋ช…๋ก ์ž ์žํฌ์™€ ๊ทธ์˜ ์ฃผ์ธใ€

http://aladin.kr/p/QBGW


Thomas Carlyle โ€” Sartor Resartus (1836)

ํ† ๋จธ์Šค ์นผ๋ผ์ผ - ใ€Ž์˜์ƒ์ฒ ํ•™ใ€

(์•„๋ž˜ ๋‘ ํŒ๋ณธ์ด ์กด์žฌํ•˜๋‹ˆ ๊ธฐํ˜ธ์— ๋งž๊ฒŒ ๊ณ ๋ฅด์„ธ์š”.)

http://aladin.kr/p/7F3GS

http://aladin.kr/p/PoPjP


Samuel Butler โ€” Erewhon (1872)

์ƒˆ๋ฎค์–ผ ๋ฒ„ํ‹€๋Ÿฌ - ใ€Ž์—๋ ˆํ˜ผใ€

http://aladin.kr/p/FUvFd


Alfred Jarry โ€” Exploits and Opinions of Dr. Faustroll, Pataphysician (1911)

์•Œํ”„๋ ˆ๋“œ ์ž๋ฆฌ - ใ€ŽํŒŒํƒ€ํ”ผ์ง€ํฌํ•™์ž ํฌ์ŠคํŠธ๋กค ๋ฐ•์‚ฌ์˜ ํ–‰์ ๊ณผ ์‚ฌ์ƒ - ์‹ ๊ณผํ•™์†Œ์„คใ€

http://aladin.kr/p/GMYF3


Franz Kafka โ€”The Great Wall of China (1931)

ํ”„๋ž€์ธ  ์นดํ”„์นด - ใ€Œ๋งŒ๋ฆฌ์žฅ์„ฑ ์ถ•์กฐ ๋•Œใ€

ํ•ด๋‹น ๋‹จํŽธ ์ˆ˜๋ก๋œ ๋„์„œ๋Š” ๋งํฌ ์ฐธ์กฐ


Virginia Woolf โ€” The Waves (1931)

๋ฒ„์ง€๋‹ˆ์•„ ์šธํ”„ - ใ€ŽํŒŒ๋„ใ€

http://aladin.kr/p/UeXt5


James Joyce โ€” Finneganโ€™s Wake (1939)

์ œ์ž„์Šค ์กฐ์ด์Šค - ใ€Žํ”ผ๋„ค๊ฐ„์˜ ๊ฒฝ์•ผใ€

http://aladin.kr/p/41PYB


Robert Musil โ€” The Man Without Qualities (1943)

๋กœ๋ฒ„ํŠธ ๋ฌด์งˆ - ใ€ŽํŠน์„ฑ ์—†๋Š” ๋‚จ์žใ€

(์—ฌ๋Ÿฌ ํŒ๋ณธ์ด ์žˆ์œผ๋‹ˆ ๊ธฐํ˜ธ์— ๋งž๊ฒŒ ์„ ํƒ, ์•„๋ž˜ ๋งํฌ๋Š” ๋‚˜๋‚จ ์ถœํŒ์‚ฌ๋กœ)

http://aladin.kr/p/hfLT1


Samuel Beckett โ€” The Unnamable (1953)

์‚ฌ๋ฎˆ์—˜ ๋ฒ ๊ฒŒํŠธ - ใ€Ž์ด๋ฆ„ ๋ถ™์ผ ์ˆ˜ ์—†๋Š” ์žใ€

http://aladin.kr/p/RJltH


Jorge Luis Borges โ€” Labyrinths (1962)

๋ณด๋ฅดํ—ค์Šค์˜ ใ€Žํ”ฝ์…˜๋“คใ€ ์ฝ์œผ๋ฉด ๋  ๋“ฏ

http://aladin.kr/p/GFivu


Italo Calvino โ€” Invisible Cities (1972)

์ดํƒˆ๋กœ ์นผ๋น„๋…ธ - ใ€Ž๋ณด์ด์ง€ ์•Š๋Š” ๋„์‹œ๋“คใ€

http://aladin.kr/p/onivG


Eva Figes โ€” Light (1983)

๋ฒˆ์—ญ X


William Gaddis โ€” Agapฤ“ Agape (2002)

๋ฒˆ์—ญ X


Olga Tokarczuk โ€” Flights (2007)

์˜ฌ๊ฐ€ ํ† ์นด๋ฅด์ถ”ํฌ - ใ€Ž๋ฐฉ๋ž‘์ž๋“คใ€

http://aladin.kr/p/cfMWe


Eimear McBride โ€” A Girl Is a Half-formed Thing (2013)

๋ฒˆ์—ญ X


Laurent Binet โ€” The 7th Function of Language (2015)

๋กœ๋ž‘ ๋น„๋„ค - ใ€Ž์–ธ์–ด์˜ 7๋ฒˆ์งธ ๊ธฐ๋Šฅใ€

http://aladin.kr/p/p1ZDG


Anne Garreta โ€” Sphinx (2015)

๋ฒˆ์—ญ X


Joanna Walsh โ€” Worlds from the Wordโ€™s End (2017)

๋ฒˆ์—ญ X

(๊ตญ๋‚ด์— ใ€Žํ˜ธํ…” | ์˜ค๋ธŒ์ ํŠธ ๋ ˆ์Šจ์Šค 1ใ€(์กฐ์• ๋‚˜ ์›”์‹œ)์œผ๋กœ ์†Œ๊ฐœ๋œ ๋ฐ” ์žˆ์Šต๋‹ˆ๋‹ค.)



Theoretical Fiction (2: Self-writing as theory)


์ด๋ก ์  ํ”ฝ์…˜ (2: ์ด๋ก ์œผ๋กœ์„œ์˜ ์ž๊ธฐ-๊ธ€์“ฐ๊ธฐ)


Augustine โ€” Confessions (400)

์•„์šฐ๊ตฌ์Šคํ‹ฐ๋ˆ„์Šค - ใ€Ž๊ณ ๋ฐฑ๋กใ€

http://aladin.kr/p/rCHFM


Michel de Montaigne โ€” Essays (1580)

๋ฏธ์…ธ ์—์ผ ๋“œ ๋ชฝํ…Œ๋‰ด - ใ€Ž์ˆ˜์ƒ๋กใ€ / ใ€Ž์—์„ธใ€

http://aladin.kr/p/OPepH


Clarice Lispector โ€” Agua Viva (1973)

ํด๋ผ๋ฆฌ์‹œ ๋ฆฌ์ŠคํŽ™ํ† ๋ฅด - ใ€Ž์•„๊ตฌ์•„ ๋น„๋ฐ”ใ€

http://aladin.kr/p/h4pIq


Georges Perec โ€” W, or the Memory of Childhood (1975)

์กฐ๋ฅด์ฃผ ํŽ˜๋ ‰ - ใ€ŽW ๋˜๋Š” ์œ ๋…„์˜ ๊ธฐ์–ตใ€

http://aladin.kr/p/s6eAx


Roland Barthes โ€” A Loverโ€™s Discourse (1977)

๋กค๋ž‘ ๋ฐ”๋ฅดํŠธ - ใ€Ž์‚ฌ๋ž‘์˜ ๋‹จ์ƒใ€

http://aladin.kr/p/ezPQv


Fernando Pessoaย  โ€” Book of Disquiet (1982)

ํŽ˜๋ฅด๋‚œ๋‘ ํŽ˜์†Œ์•„ - ใ€Ž๋ถˆ์•ˆ์˜ ์„œใ€

http://aladin.kr/p/eGClv


W G Sebald โ€” The Rings of Saturn (1995)

W. G. ์ œ๋ฐœํŠธ - ใ€Žํ† ์„ฑ์˜ ๊ณ ๋ฆฌใ€

http://aladin.kr/p/bevsy


Svetlana Alexievich โ€” Voices from Chernobyl (1997)

์Šค๋ฒ ํ‹€๋ผ๋‚˜ ์•Œ๋ ‰์‹œ์˜ˆ๋น„์น˜ - ใ€Ž์ฒด๋ฅด๋…ธ๋นŒ์˜ ๋ชฉ์†Œ๋ฆฌใ€

http://aladin.kr/p/76o2Y


Chris Kraus โ€” I Love Dick (1997)

ํฌ๋ฆฌ์Šค ํฌ๋ผ์šฐ์Šค - ใ€Ž์•„์ด ๋Ÿฌ๋ธŒ ๋”•ใ€

http://aladin.kr/p/QesIo


Sara Ahmed โ€” Queer Phenomenology (2006)

๋ฒˆ์—ญ X

(์‚ฌ๋ผ ์•„๋ฉ”๋“œ์˜ ๋‹ค๋ฅธ ์ €์„œ๋“ค์€ ๊ตญ๋‚ด์— ๋ฒˆ์—ญ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.)


Virginie Despentes โ€” King Kong Theory (2006)

๋น„๋ฅด์ง€๋‹ˆ ๋ฐํŒกํŠธ - ใ€Žํ‚น์ฝฉ๊ฑธใ€

http://aladin.kr/p/5F9YS


Paul B Preciado โ€” Testo Junkie (2008)

๋ฒˆ์—ญ X

(ํด B. ํ”„๋ ˆ์‹œ์•„๋„๋Š” ๊ตญ๋‚ด์— ใ€Ž๋Œ€ํ•ญ์„ฑ ์„ ์–ธใ€๊ณผ ใ€Ž์ฒœ์™•์„ฑ์— ์ง‘ ํ•œ ์ฑ„ใ€๋กœ ์†Œ๊ฐœ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.)


Laura Oldfield Ford โ€” Savage Messiah (2011)

๋ฒˆ์—ญ X


Maggie Nelson โ€” The Argonauts (2015)

๋งค๊ธฐ ๋„ฌ์Šจ - ใ€Ž์•„๋ฅด๊ณ ํ˜ธ์˜ ์„ ์›๋“คใ€

http://aladin.kr/p/DR5D9


Simon Sellars โ€” Applied Ballardianism (2018)

๋ฒˆ์—ญ X


์—ญ์ฃผ) ์ตœ๊ทผ ใ€Ž์ž๊ธฐ์ด๋ก : ์ž๊ธฐ์˜ ์‚ถ์œผ๋กœ ์ž‘์—…ํ•˜๊ธฐใ€(๋กœ๋Ÿฐ ํฌ๋‹ˆ์—)๊ฐ€ ๋ฒˆ์—ญ๋˜์—ˆ์Šต๋‹ˆ๋‹ค. ์ด๋ฒˆ ๋ชฉ๋ก์— ํฅ๋ฏธ๋ฅผ ๋А๋‚€๋‹ค๋ฉด, ์ด ์ฑ…์ด ๋„์›€์ด ๋  ์ˆ˜๋„...



Theoretical Fiction (3: Poetry & plays as theory)


์ด๋ก ์  ํ”ฝ์…˜ (3: ์ด๋ก ์œผ๋กœ์„œ์˜ ์‹œ์™€ ํฌ๊ณก)


William Blake โ€” The Book of Urizen (1794)

๋ฒˆ์—ญ X

(์ €์ž์˜ ๋‹ค๋ฅธ ์ €์„œ๋“ค์€ ๊ตญ๋‚ด์— ๋ฒˆ์—ญ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.)


Sarah Kane โ€” Complete Plays (2001)

๋ฒˆ์—ญ X


Jena Osman โ€” The Network (2010)

๋ฒˆ์—ญ X


Keston Sutherland โ€” The Odes to TL61P (2013)

๋ฒˆ์—ญ X




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