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pISSN : 1229-0246

Aims & Scope
The Journal of Aesthetics and Science of Art aims to accumulate the results of academic research into beauty and art, and furthermore, its ultimate goal is to contribute practically to the various fields of art that take place in the social community and at the scenes. This journal asks and re-establishes the characteristics and meanings of the contemporary beauty and art in the age we live through studies on the understandings of beauty and art that have been developed diversely along with changes in religions, ideologies, and social cultures thereby promoting new thinking in the  arenas of education, social culture, and life, leading to advancement toward a richer and more open future.   Under the goal as such, this journal is not limited to traditional philosophical aesthetics, but pursues academic approaches to the fields of special arts based on the foregoing. Accordingly, this journal encompasses scientific studies of aesthetic theories, and fields of art, theories and practice, philosophical questions, and phenomena in individual art genres, and promotes studies that take notice of the correlation between theoretical universality and other artistic practices. Through the foregoing, this journal aims to serve the function to mediate between theories and practices by inducing practical discourses in the field of art and providing theoretical systems.   In doing so, above all, the core purpose of this journal is to promote not only individual art theories regarding beauty and artistic phenomena in the fields of literature, art, music, dance, sports, film, theater, and photography but also integrative and interdisciplinary studies that connect and intersectionally contemplate the foregoing studies. In addition, the fact that this journal promotes metacritical studies that rethink the meanings and validity of theories and research methodologies derived from individual fields of art on an aesthetic basis can be said to be the distinctiveness of The Journal of Aesthetics and Science of Art different from other journals.   Since studies of beauty and artistic phenomena are conducted in the general aesthetic aspect regarding the concept and characteristics of terms and meanings in general, and in the special aesthetic aspect regarding individual art genres, artists, and works of art, and individual aspects can be explored with historical longitudinal studies and transverse studies by age, the scope of publication of this journal is universal aesthetics, special aesthetics, and all studies conducted in historical and periodic perspectives in both areas.   Concretely, both Oriental and Western histories of aesthetics, ancient aesthetics, medieval aesthetics, modern aesthetics, contemporary aesthetics, art history methodologies, art history theories, art theories (fine art, music, dance, film, theater, photography, etc.), art criticism, media aesthetics, media theories, studies on the aesthetic characteristics of individual artists' works and art trends, and recently encouraged studies on science, environments, and cultural signs of the postmodern era can be published in this journal. In particular, meta-studies and convergent studies on these theories can be highly regarded as studies that best fit the characteristics of this journal.     
Jeong-Im Kwon

(Kangwon National University)

Citation Index
  • KCI IF(2yr) : 0.65
  • KCI IF(5yr) : 0.53
  • Centrality Index(3yr) : 1.371
  • Immediacy Index : 0.16

Current Issue : 2022, Vol.66, No.

  • Walter Benjamin’s Political Philosophy: Focusing on the Concepts of Language, Subject, Truth, and Technology

    Sun Kyu Ha | 2022, 66() | pp.6~40 | number of Cited : 0
    Abstract PDF
    Walter Benjamin’s life and writings were thoroughly political. Therefore, if one is to reconstruct his “latent” political philosophy, this must encompass his entire work. In this article, I would like to limit the subject and focus on some cornerstones for his political philosophy. These are language, subject, truth, and technology. For Benjamin, language is the object and medium of philosophical thought. In particular, the objective and sober language of critics describing the Idea of the art form itself becomes an ethical and political act. Also, the critic’s language to describe the Idea is the absolute and fundamental domain where the subject-object schema and the common notion about the subject lose all validity. The philosophical truth that Benjamin seeks is not the truth as a neutral fact, but the truth of political practice that always intervenes in concrete socio-political contexts. In Benjamin’s philosophy, technology is a core category of his historical-materialist philosophy of art and historical perception theory. A philosophy of art that does not delve deeply into literary-artistic techniques runs the risk of becoming a reactionary ideology. The aim of this article is to show that Benjamin’s philosophical thinking about language, subject, truth, and technology is intrinsically related to political practice.
  • Ritual, Representation, and Noise: On Attali’s Political Economy of Music

    Yu-Jun Choi | 2022, 66() | pp.42~63 | number of Cited : 0
    In this essay, I explore the issue of music and politics with the political-economic context of Western music history by using Jacques Attali’s early work, Noise: Political Economy of Music, as the main text. And I attempt to expand its interpretive scope so that this can be applied to current musical problems. Attali divided the development of Western music history in the context of political economy, along with his unique view of the ritual and the “prophetic” character of music, into four stages; sacrificing, representing, repeating, and composing. This stratification of musical history enables a new genealogical and archaeological approach to music history. However, critical reading is required since Attali describes the transition process of music history as somewhat teleological. This essay will elucidate how the codes and networks set by Attali based on the idea of “politics of noise in Western music history” can be a useful reference to explore various strata of global music history, including Korean music, while also presenting the need for postcolonial criticism of Attali’s discussion.
  • Meta Discourse on Political Discourse in Korean Cinema (the first volume): Based on Jacques Rancière’s Three Regimes of Art

    Suh, Dae Jeong | 2022, 66() | pp.64~91 | number of Cited : 0
    Abstract PDF
    The two opposite trends of politicization of aesthetics that dominated Japanese colonial era, namely, the discourse of enlightenment by KAPF and the Japanese Government General of Korea developed within the framework of an ethical system. This cinema discourse, which passed through the Japanese colonial period, was still valid during the U.S. military government period when the Japanese Empire was defeated. The “politicization of aesthetics” from Rancière’s perspective was trapped in a clear slogan and failed to advance to “the representative regime of art” After the Korean War, KAPF’s political voice was completely erased and realism discourse took over. The discourse of realism in the late 1950s, which was based on Italian neo-realism, which left a great mark in world film history, was introduced in Korea’s special situation. This is because summoning the spirit of KAPF in a divided country is bound to be socially and politically sanctioned. In addition, the state justified censorship and oppression while sticking to the paradigm of the ethical regime of art, armed with the slogan of “Myung-Rang” and soundness, used by the Japanese. Before the 1970s, the main purpose of Korean cinema discourse was to emphasize the ethos of art emphasized by the ethical regime of art.