예술종말론이 갖는 미학적 의미

Abstract

In this thesis, the theory of the end of art by G.W.F. Hegel, its pioneer, and by Arther Danto, an esthetician who changed Hegelian philosophy, was examined, and a research was conducted on the aesthetic meaning of the theory of the end of art on modern art. First, from the viewpoint of artistic formalism, the theory of the end of art was brought up as the process of deconstruction once Hegelian spirit was realized and completed. In this paper, it was proved that the dual position of art caused the end to have a dualistic feature, which was the end of artistic form with the standard of artistic beauty and that of contents with the standard of spirit. The meaning of those two kinds of theory of the end of art has been interpreted as the autonomy of art. The theory of the end of art in terms of religious philosophy also implies the autonomy of art. The art from Hegel's standpoint reflects godly images. According to this viewpoint, as religions have become humanized, the contents of art reflecting it are also changing. Therefore, when religions become totally secular, art reflecting godly images also comes to face the end, and after that, art can be separated from religions and secure originality. Next, Danto's theory of the end of art was researched into, which analyzes modern art by relying on Hegel's historical philosophy. In this thesis, it was examined how the theory of the end of art was deducted from the process in which the border between art and non-art became blurred, focusing on pop art, the clue of Danto's awareness of the issue. It means that it seemed to Danto that the great narrative of progress which had been leading the art history was collapsed. Accordingly, Danto's theory of the end of art can be interpreted to mean the autonomy of art as well. Through this process, Hegel's and Danto's argument was found to have the meaning that the art limited by obligations had been ended, not the disappearance of art itself. This made it possible to discuss the position of art which had been liberated from duties through the severance from the old, which helped secure 'the autonomy of art.' Thus, the liberated art made the conclusion that anything was possible afterwards, and it opened the door to the pluralism of art. Yet, a theoretical alternative is demanded in order to overcome the limit that this kind of artistic freedom can lead to extreme relativism. To meet this need, this thesis demands that art should be approached in terms of evolutionary psychology rather than understood as a theoretical art as in the previous argument in the art history. It's because it has the grounds to affirm art as an 'act' that has been existed along with the life of humanity and can accept the positive sides of the pluralism of art. In addition, Hegel's proposition that art should hold 'humans' as its content after its liberation is also valid for the overcoming of the limit resulted from the pluralism of art. Consequently, the theory of the end of art presupposing this kind of discussion has a meaningful point to find the direction for modern art.