본 논문은 오늘날 다학제적으로 많은 관심을 받고 있는 세계기독교 에 대해, 그 형성과정에서 일어나는 세계기독교의 혼종성과 개별성의 문제를 조르조 아감벤의 잠재성 사유를 중심으로 비판적으로 고찰하는 것을 목적으로 한다. 이를 위해 먼저, ‘세계기독교는 번역’이라는 관점에 서 앤드류 월스와 폴 리쾨르의 번역론을 논의하면서, 이러한 번역론들 이 세계기독교의 혼종성과 개별성을 인정할 수 있는지 고찰할 것이다. 그리고, 바흐친을 통해 혼종성을 ‘저항적 혼종성’과 ‘윤리적 혼종성’ 그리고 ‘역설적 포월의 공간’과 ‘변화와 생성의 공간’으로 이해하고, 사이드를 통해 개별성을 ‘저항적 개별성’과 ‘윤리적 개별성’으로 이해할 것이다. 그런 후에, 위와 같은 논의를 심화하기 위해, 본격적으로 아감벤의 사유를 고찰하면서, 비식별역 관점에서 세계기독교의 혼종성 을, 잠재성 관점에서 세계기독교의 개별성을, 임의적 특이성의 관점에 서 이러한 혼종성과 개별성을 함께 사유할 수 있는지 살필 것이다. 마지막으로 이와 같은 논의를 바탕으로, 아감벤의 잠재성 사유를 중심 으로 하는 ‘세계기독교의 혼종성과 개별성에 대한 해석 모델’을 제안할 것이다.

Numerous studies suggested that Generation Z (Gen Z) is an age group that seeks individuality more than other generations. Their aesthetics, identity, and belief must represent their self-value. The consumption of fashion was selected as a focus of this study. Our consumption of fashion represents our value, and we construct and present our identity with physically what we wear when we face society daily. Looking at the fashion styles of Generation Z, this study aims to examine whether Generation Z in Hong Kong practice individuality or conformity in the course of their fashion consumption behaviour by a preliminary study. Generation Z perceives their fashion consumption behaviour to reflect their individualism and values. However, the findings suggest that there is a high degree of conformity among Generation Z's fashion consumption behaviour. This conformity is observed in the creation of a distinctive fashion style, which is influenced by the cultural aesthetics, values, and preferences of Generation Z, resulting in a unifying effect that goes unnoticed by the individuals. This complex formation of Generation Z fashion consumption behaviour has a complex implication to fashion marketing, where both the sense of exclusivity and conformity must both be exhibited to satisfy the consumption needs of Generation Z.

본 논문은 예이츠의 다른 희곡작품에 비해 비교적 덜 알려진 􋺷캘버리􋺸 를 주체성과 개인성이라는 주제 아래 집중 분석한다. 􋺷무용수들을 위한 4대극􋺸(1921) 중 하나인 􋺷캘버리􋺸는 오스카 와일드의 산문시 􋺷선의 실천가􋺸(1894)에서 영감을 받았 고 일본 고전극 ‘노’의 형식과 기법을 차용한 극이다. 본 논문에서는 오스카 와일드와 예이츠의 정신적이고 미학적인 연관성과 차이를 조명하고 이를 바탕으로 예이츠의 주 체-객체의 이율배반적 체계와 관련 있는 기독교적인 이미지, 도상, 이야기의 차용에 대해 논의한다. 또한, “환대”의 개념을 둘러싼 레비나스와 데리다의 논쟁을 통해 􋺷캘 버리􋺸에 등장하는 그리스도와 다른 인물들의 주체성 및 그들의 관계를 살펴본다.

In such poems as “The Dialogue of Self and Soul” and “Vacillation”, the antinomies and oppositions which I have traced in the previous issue of this Journal develop in a very complex manner within the frame of such figures as “the sword” and “the tower”, “brand” and “flaming breath”, “burning leaves” and “green lush foliage moistened with dew.” And they are always posited as implying the antinomies of life and death, remorse and joy, body and soul, earthly life and heaven. In the process of vacillating between “extremities”, Self and Heart which figure not only the body but also the poet’s self declines Soul’s request to “seek out reality, leaving things that seem.” Even though Heart vacillates between antinomies, always looking towards what are opposites to itself, it chooses Homer and his unchristened heart as its example and determines to “live tragically.” By opposing the life of a Swordman to that of a Saint and receiving Homer as the figural example of his art, Yeats puts the foundation that his lyric should be understood as tragedy. “The Gyres” and “Lapis Lazuli”, two tragic lyrics composed in Yeats’s last years, embody his idea of the tragic lyric as well as his tragic world view. In “The Gyres”, the poet, invoking his muse “the old Rocky Face” to look forth and view the world’s overall collapse, “but laugh in tragic joy”. And in “Lapis Lazuli”, the tragic heroes of the Shakespearean tragedy are displayed as the opposing powers or qualities to “the hysterical women” of the modern world. In both of these poems, the poet’s tragic joy or exultation springs from the tragic vision that all things “fall and are built again.” The very eternal recurrence of the battle of antinomies and opposite forces is the source which enacts the poet’s strength and energy to exalt in the midst of despair. Therefore, we may be able to say that the poet’s magical aesthetic which is based on the absolute power of death and the tragic sense of life elevates his lyrics to the height of disruptive tragedy, letting the poet to enact tragic authority at the same time.

Most of Yeats’s works are composed of antitheses which are defined by their rhetoric, form, tone and thematic motifs. If the antitheses are Yeats’s central means of perceiving and interpreting the world, what kinds of experience are posited at the center of his life, and in what way and manner are his conceptions of “unity of being” and “unity of culture” connected with his experience of “tragic joy”? This essay attempts to approach the basic frame of Yeats's mind which perceives and interprets the world as composed of contraries, antinomies and antitheses. In such context, Yeats's idea and experience of tragedy are shown to be constructed ideologically in the situation that is divided by the two classes, namely the declining Anglo-Irish Protestant and the powerfully ascending Catholic middle classes. Yeats’s conception and experience of tragedy are connected with what Michel Foucault calls “the absolute power of death”. Yeats thinks that if the modern poet could enact the poetic authority, he should be able to embody the ancient forms of power. Hence his ideology of tragedy and authority which leads him to enact the oral tradition of ancient magical arts. Yeats thinks that, through the poetic mode of ancient magical arts, modern lyric poet can enact the absolute power of death, breaking the comedic power of modern individualism. Yeats's ideology of tragedy and authority, however, is in constant contradiction with “the life-administering power” of modern world. In spite of his desire to enact the tragic power of ancient bard, the space of his later lyrics remains the complex site of ideological conflicts between the residual forms of traditional Anglo-Irish culture and the dominant cultural forms of modern individualism. (The second part of this essay will be continued in the next issue)