2017, Vol.49, No.

Cross-Cultural Studies 2023 KCI Impact Factor : 0.52

pISSN : 1598-0685 / eISSN : 2671-9088
https://journal.kci.go.kr/ccs

This paper discusses the structural and meaning features of causative from/for V-ing constructions as complement and provides insight on their grammatical characteristics revealed from alternation between prepositions for and from in nonfinite V-ing complement clause constructions. Guided by empirical data, this paper demonstrates that there are three types of syntactic patterns classified by the main verbs in these constructions and that these three syntactic types are closely linked with the meaning. These classifications are supported by the passivizations and aspect. In addition, this paper suggests that the function of for and from followed by nonfinite V-ing clause should be treated as a preposition introducing nonfinite V-ing clauses.

As a living space, house constitutes a good part of inhabitants’ life, making the rhythm of life. This rhythm tends to be reflected into the house, establishing a sort of intercommunications between the house and its inhabitants. Becoming a living element, the house can endow the writer with literary resources. It is interrelated with its inhabitants. Thus, Duras' work preserves many invisible and fusional traces of links between her characters and the house. With her writing, the house displays important traces of life, with which a body of meaning is to be formed. It implies habits, imprints, links, and so on. Here, its projection into the imaginary also takes place for our writer. With this perspective in view, Duras is supposed to objectify her characters as physical and imaginary bodies. This introduces the passage from the real to the imaginary and vice versa. Unknown stories hidden behind the living places can come to manifest themselves through her writing.

This paper provides an in-depth examination of the relationship between cinema and Giorgio Agamben’s aesthetics and philosophy. Intersecting Agamben’s key concepts including gesture, mediality, biopolitics, historicity, and profanation with historical and aesthetic dimensions of cinema, I argue for his ambivalent view on cinema and visual media. On the one hand, Agamben linked cinema and visual media to his discussion on biopolitics and spectacle as he considered them as apparatus for capturing and controlling gestures. On the other hand, he also argued that cinema could restore the image with capacity to preserve and recuperate gestures based on his consideration of montage as cinema’s key aesthetic and technical component (an operation of profanation) and his Benjaminian thought on the ways in which montage suspended linear flow of images and activated an alternative memory of them. Drawing on history of cinema and optical devices in the 19th and early 20th centuries as well as examples of found footages of filmmaking predicated upon stoppage and repetition of images, I argue that Agamben’s concept of potentialities can be extended into his thought on cinema and visual media apparatuses in general.