Since 1970s, Artists have disfigured and destructed human being’sbody. They were trying to display the properties of matter of body itself asa vessel of spirit or soul. In the 1980s, bodily images are main concern formany artist due to spreaded threat of AIDS. This could be the trial toexplore the body’s identity in the process from the individual range tosocial range. At 1990s, Artists who have dealt dismembered bodies,including Robert Gober, Chapman Brothers, Kiki Smith, and DamienHirst, have exhibited fragmented body parts and organs such as blood,skin, and hair, etc. The dismembered body have functioned as the site forthe investigation of our urgent concern for sexual identity, homophobia,and social discrimination as well as disease and death.Modern artists have progressed themes for dismembered body with theirown motif and strategy and expanded the region of art, enlarging andcutting out the parts of body, or showing the inner organs. The range ofthe dismembered body is expanded into the inner parts of body due to thevisibility of surface. The blood is inevitably accompanied from the surfaceof skin by these outcomes. Though the bodily fluids, including the blood,pus and sperm etc., is not lowly, nor abject, the body fluidity had beentreated as excrement. The matters like blood evoke complex feelings offreight, cruelty. death, dirty, and contamination etc. In the 1990s, artists like Kiki smith, and Marc Quinn presented real blood, semen, and milkwith their images.The works of Gober, the Chapmans, Kiki Smith, and Hirst are based onthe resistance against the social contradiction while those of Giacomettiand Bourgeois are originated from their autobiographical experience.Consequently the fragmented bodily images turn out to be dynamiccategories instead of representing the ideal body image. Completeness,perfection, and wholeness, which had been the criteria since ancient Greekart, are not universal value any more.: Dismembered bodily images are theproper means for suggesting pain, violation, and suppression.

I. 머리말
Ⅱ. 신체: 분리와 제거의 대상
  1. 혐오감과 공포의 근원
  2. 사회 규범의 이탈에 대한 처벌
Ⅲ. 가학 행위에 대한 도덕성의 요구
Ⅳ. 신체 절단 조각의 영역 확장
Ⅴ. 맺음말

• 이미경(숙명여대) | Rhi, Mikyung