조제프 말로드 윌리엄 터너의 <노예선>은 인간 경험의 극적이고 감정적인 측면을 포착 하는 사례다. 1840년에 완성된 이 작품은 격렬한 폭풍 속에서 노예가 된 아프리카인들이 배 에서 밖으로 던져지는 비인간적인 장면을 묘사한다. 또한 이 작품은 대서양 횡단 노예무역의 잔인성과 경제적 이익을 위한 인간 착취의 윤리적 의미에 대한 회화적 증언이다. 그러나 노 예무역의 열악한 환경은 종 호 사건은 물론 노예무역을 둘러싼 복잡한 법적 문제를 발생시 켰다. 본 연구는 <노예선>이 ‘노예제 폐지’나 ‘노예무역폐지’와 같은 사안들과 결합하는 과정 에서 파생되는 메시지를 어떻게 시각적으로 형상화시키고 있는지를 사회사적 관점에서 분석 한다. 이를 통해 노예제도에 함축된 정치경제적 맥락과 작가의 조형 의식 형성 간의 관계성 을 조명하여 터너의 작품 세계에 대한 기존의 인식론적 지형도를 확장시키는데 집중한다.

The works of Eric Fischl(1948-) have plainly or suggestively exposing private problems such as alcholism, voyeurism, and masturbation, he has paid attention to 'confidential and morbid desires embedded in the richness of American middle class' and thereby he has been paid attention to. However, the aspect of 'pictorial narrative' in his works, which he himself has mentioned in a number of interviews, have hardly been highlighted. From his early works of mid-'70s to recent series, Eric Fischl has introduced varied modes and techniques to express narratives of his own. Based on both his works and his remarks concerning narrative, this study tries to examine what his 'pictorial narrative' is, through what modes it has developed, and how it is revealed in the works. For that purpose, it applies the narrative theory of Seymour Chatman to the analysis of his major works, and partly puts into consideration those of Shlomith Rimmon-Kenan, Gerard Genette, and Roland Barthes. In the mid-70s, Eric Fischl tries to create his story by putting words into his glassine works like a pictorial poem. Thereafter, in 1980s, Eric Fischl develops his pictorial narrative in more varied ways. His series show traditional narrative features including classical narrative factors and storytelling under a plot. However, despite those features, his works get out of the traditional narrative structure on the ground of the absence of clear directions and inexplicit storytelling. In his next series, the irregular appearance of a person, the absence of order, and the ambiguity of cause and effect induce the viewers to participate in the works and recreate their own texts. Eric Fischl rejects a closed structure in which the conclusion is suggested unilaterally by an artist, building up his own narratives in an open structure. For that purpose, by establishing intended absence of information, lapse of time, variability of a meaning and time change, he stimulates the viewers to fill the blanks for themselves in the recognition of the shortage of analytic clues. These contrivances shown in Fischl's works mean an open text, getting out of the separation between the artist who dominantly delivers the meaning and the viewer who passively reads the works. That is, the viewers are invited to actively participate in the story, restructuring the narrative. In those respects, it is not ignored that some features of Post-structuralism are inherent in his works. The existing studies on Eric Fischl have focused largely on the psychoanalytical features. Against it, this study analyzes Fischl's works in the perspective of narrative analysis based on the theories of Structuralism. In the result, this study finds that the works of Eric Fischl not only have narrative factors of Structuralism to deliver his stories, but they also aim to an open-ended structure to widely communicate with the viewers, thereby extending the narrative territory into Post-structuralism.