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현대예술에 나타난 숭고미 연구 -료타르의 숭고미학을 중심으로-

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Abstract
Until the early modern times, it was understood that the central category of aesthetics is 'beauty' to which the concept of 'sublime' was subordinated. The onset of the incredulity towards reason-centered theories in the early 20th century, created a move away from the reason-centered paradigm in the entire gamut of the value and cognitive systems. The trend also influenced the domain of arts. With the appearance of the avant-garde movement since late 19th century, and the fully blossomed postmodernism since the 1980s, the representation approach, as the goal of traditional arts, had given way to the sublime and emerged as the aesthetic emotions for the contemporary arts.
The study aims to grasp the understanding of the aesthetics of the sublime which appeared in contemporary art, especially focusing on Jean François Lyotard. The study reviews theories on sublimity discussed by Longinos, Edmund Burke, and Immanuel Kant upon whom Lyotard has built his sublime aesthetics. The review identifies the historic context of Lyotard's theory of sublime; highlights the characteristics of his aesthetics of 'sublimity,' as the concept that he suggested to be the artistic emotions for modern art; and finally reviewed the aesthetics of the sublime as appeared in the avant-garde art works.
The following are identified through the review of such discussions. First, Lyotard's aesthetics of the sublime consist of a theory formed in a differentiated manner. Although he initially borrowed or transfigured the preceding theories to make his own, his theory embraces the consideration of the temporal and social situations of postmodernism influence.
Secondly, Lyotard refers to postmodern arts as the art that witnesses 'representation of the unrepresentable', a notion transfigured from the 'negative representation' of Immanuel Kant. Postmodern artists present sublimity as an 'event' through a negative description approach of abandoning any attempts to describe objects. The 'sublimity as an event' is founded on Burke's discussion that 'the sublime rises from the threat that nothing will happen.'
Thirdly, Lyotard articulated the artists pursuing aesthetic revolution as avant-garde artists. Édouard Manet who rejected the traditional techniques of chiaroscuro and perspective, launched the revolution of color patch. He practiced and realized avant-garde painting by depicting the feelings of instantaneous moment in an allusive style, after eliminating the substance. Paul Cézanne observed that 'all nature is reverted to the cylinder, the sphere, and the cone.' His new and innovative techniques with the destruction of spatial illusions and polyhedral perspectives were a watershed in the arts of the 20th century. Barnett Newman erased all images on the canvas and abandoned any description of them. He realized the avant-garde painting by depicting the most important characteristic of the aesthetics of the sublime, that is, 'the representation of the unrepresentable,' into an event.
The cubism of Georges Braque and Pablo Picasso overturned the traditional perspective and the linear perspective with one vanishing point, and allowed the existence of substantiality with multifaceted perspectives. They also realized avant-garde art through innovativeness by breaking all shapes and colors into fragments of abstraction, of which originals cannot be recognized unless a visual hint was provided. Marcel Duchamp's coined term 'ready-made', allowed all ready-made products to be included in the artistic world, revolutionizing all categories of traditional aesthetics, such as, artworks, artists, and the descriptive structure of arts.
Lyotard's postmodern aesthetics of the sublime resulted in conceptual expansion of arts through the innovativeness that rejects the traditional approach of representation. Rather, it appeals with a strong aspect of the influential aesthetics, which emphasize more of the effect and influence to the audience, instilled by the artworks rather than their meanings or contents. His postmodern aesthetics of the sublime brought the 'liberation of sensibility', which had always been veiled in the other side of philosophical discussions since Plato's ideas, and suppressed by reason under the Enlightenment. However, in this era of image, it would be unnatural to characterize the trend of contemporary arts as just the aesthetics of the sublime. To understand the contemporary arts, it may be necessary to understand the concept of simulacre, in the era of digital cloning as Jean Baudrillard suggested, along with the aesthetics of the sublime.
Author(s)
김매연
Issued Date
2011
Type
Dissertation
URI
http://dcoll.jejunu.ac.kr/jsp/common/DcLoOrgPer.jsp?sItemId=000000005310
Alternative Author(s)
Kim, Mae-Yeon
Affiliation
제주대학교
Department
대학원 철학과
Advisor
김현돈
Table Of Contents
I. 서론 .......................... 1
Ⅱ.료타르 숭고미학의 이론적 배경 ............................ 4
1. 롱기누스의 수사학적 숭고 .......................... 4
2. 버크의 경험․생리학적 숭고 ............................. 7
3. 칸트의 미와 숭고 ..................................... 10
Ⅲ. 료타르의 포스트모던 숭고미학 ....................... 16
1. 모더니즘과 포스트모더니즘 .............................. 16
2. 아방가르드의 혁신성 ............................. 19
3. 현시할 수 없는 것의 현시 ................... 24
4. 사건성을 통한 현전의 체험 .................... 29
5. 존재의 강화 ............................................. 33
Ⅳ. 아방가르드 화가들과 숭고미 ............................. 36
1. 에두아르 마네와 폴 세잔 ......................... 36
2. 바넷 뉴먼 ...................... 39
3. 조르주 브라크와 파블로 피카소 ........................... 43
4. 마르셀 뒤샹 ....................................................... 45
Ⅴ. 결론 ............... 49
참고문헌 .................. 52
Abstract ....................... 56
Degree
Master
Publisher
제주대학교 대학원
Citation
김매연. (2011). 현대예술에 나타난 숭고미 연구 -료타르의 숭고미학을 중심으로-
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