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2011, Vol.33, No.

  • 1.

    Zur kulturellen Bildungsfuntion der gegenwärtigen Kunst : in Hinsicht auf Hegels Theorie

    Kwon Jeong Im | 2011, 33() | pp.5~44 | number of Cited : 1
    Abstract
    In der vorliegenden Arbeit wird die Bedeutung und Funktion der Kunst im Bereich der Kultur und Bildung betrachtet, um den Charakter der Ästhetik sowie Kunstwissenschaft in der Gegenwart zu reflektieren und neu zu bestimmen. Unter allen anderen Möglichkeiten wird hierbei der Charakter der Ästhetik bzw. Kunstphilosophie als der Rahmen der Diskussion um die kulturelle Bildungsfunktion der Kunst herausgearbeitet, und der Ansatzpunkt für die Bestimmung und Bedeutung der Kunst in dieser Hinsicht wird besonders in Hegels Bestimmung der Kunst untersucht. Hegels Gedanken über die Bedeutung der Kunst in bezug auf die Bildung finden sich seit seiner frühen Philosophie konsequenterweise und bestehen im gleichen Kontext mit den nachaufklärerischen Diskussionen seiner Zeit. Aber im Unterschied zu den damaligen Diskussionen über die Bildung, die entweder auf die Verwirklichung des ‘rationalen ganzen Menschen’ abzielten, oder in Kritik dieser einseitigen Idee die Bedeutung der sinnlichen Bildung betonten, liegt die Eigentümlichkeit des Hegelschen Denkens darin, dass er über die Bestimmung der Kunst als die blosse sinnliche Bildung hinaus die Bedeutung der Bildung durch Kunst im Standpunkt der Geistes- und Kulturphilosophie erhellt, in dem es um die Verwirklichung der Sittlichkeit geht. Besonders bezeichnet sich die Funktion der kulturellen Bildung, die Hegel in der Berliner Zeit eine Weise der formellen Bildung als der Bildung zur Allgemeinheit, d.h. zum Gesichtspunkt des alle Partikülationen umfassenden Denkens bestimmt, als die mögliche Funktion der Kunst nach dem Vergangenheitscharakter der Kunst in der Moderne, und es wird erwiesen, dass sie in den folgenden drei Aspekten zugleich als die Bestimmung der Bedeutung und Funktion der Kunst in der Gegenwart geltend ist. Erstens lässt sich die Verwirklichung der Sittlichkeit, die Hegel als das Ziel der Bildung des Menschens konsequenterweise behauptet, als das endgültige Ziel der kulturellen Bildung durch Kunst in der Gegenwart auffassen, indem der Inhalt der Sittlichkeit stets neu bestimmt wird. Zweitens gilt die kulturelle Bildungsfunktion der Kunst, die der formellen Bildung als der Bildung zur Allgemeinheit gehört, für Heute immer noch. Denn durch diese Bildung gehen wir unsere eigensüchtige Denkweise hinaus und erweitern unser partielles beschränktes Bewusstsein. Und zwar faßt diese Bildung die Forderung der postmodernischen Denker zur Mannigfaltigkeit der Werte der Kulturen und der Dingen um. Drittens führt die kulturelle Bildungsfunktion der Kunst im Rahmen der formellen Bildung zur kritischen Betrachtung des herkömmlichen Gehalts, indem sie verschiedene Lebensforme und Kulturen vermittelt. So kann man davon überzeugt sein, dass diese Funktion der Kunst heutzutage mehr als je her nötig ist, weil man dadurch die kulturkritische Fähigkeit in der durch den Pluralismus und die Entwicklung der Medien verbreiteten visuellen Kultur verstärkern kann.
  • 2.

    Aesthetics and Psychoanalysis : Focusing on Lacan's Concepts of Pure Desire and Fundamental Fantasy

    조선령 | 2011, 33() | pp.45~72 | number of Cited : 4
    Abstract
    This essay is intended to research the relationship between psychoanalysis and aesthetics through Lacan's theory, especially focusing on his concepts of ‘pure desire’ and ‘fundamental fantasy’. Unlike Kant who regards desire as subjected to ‘Neigung’, Lacan suggests that desires in its pure instance, become ‘real’. In the real dimension, desire has no object, but exists as mere statement of “I desire…”. In the pursuit of absolute satisfaction, the pure desire reveals the instance of death drive, which has a special object, that is subject itself. Beneath the drive, Lacan finds the structure of fundamental fantasy in which subject is the desired object of desiring Other. The fundamental fantasy is that of man's own death, producing ‘jouissance’, or the pleasure beyond pleasure, which is essentially masochistic. This masochistic pleasure resides in the identifying mechanism to the absolute Other, who stands outside of the fantastic scene and watches all things including himself (herself). The pleasure of fantasy is brought about from the belief that subject can become the absolute Other and as Other, he can see his (her) own presence on the fantastic scene. Some aesthetical traditions such as Romanticism regarded fantasy as creative imagination. But Lacan objects to them, by insisting that fantasy is both symbolic and real. In the symbolic level, fantasy is subjected to the linguistic structure superior to subject. In the real level, it shows the real existence of jouissance. Lacan calls the moment when the structure of fantasy is revealed ‘traversing of fantasy’. The truth emerges and the encounter with the real takes place at the moment. According to Lacan, the truth is not a static entity, but the moment of its emerge. Lacan's truth is not from the certainty of the reason, but from that of jouissance. Lacan's four discourse theory shows that analytic experiences produce a new signifier without knowledge. ‘Subject’, who arrives at the instant of the traversing of fantasy, is the name of non-existence which cannot be represented by any langauge or image. As such, it is a real individuality that is no longer dependent to Other. Lacan's theory gives a clue to establish a new aesthetics which is not a low branch of philosophy. For he shows the significance of the field of pleasure and sensibility which guarantees individuality and particularity without plunging into the risk of relativism and skepticism.
  • 3.

    On Some Pragmatist Explanations of Aesthetic Experience in HCI

    이재준 | 2011, 33() | pp.73~102 | number of Cited : 3
    Abstract PDF
    This paper attempts to verify the possibility of convergence to be accepted the methodology of aesthetics as the methodology of computer science, and explores how the philosophical theories of aesthetics can be applied as the background theory for the practice of computer science, especially a model for the theory of the HCI(Human-Computer Interaction). Over the past 10 years, a group of HCI research has been to accept the methodology of aesthetics. Early studies primarily related to the appearance and aesthetic aspects of HCI artifacts, and then they paid attention to many aspects of human experience(preference) with HCI artifacts. However, the recent HCI researches accepted aesthetics are not restricted to simple satisfaction and pleasure experienced with HCI artifacts and are aware of the more complex attributes of aesthetic experiences. This recent trend is highly manifested in the study of McCarthy and Wright. McCarthy and Wright have rationalized the aesthetics of HCI by John Dewey's pragmatist aesthetics. In particular, their theoretical concepts and terms are discussed systematically than in other studies. But their using concepts and terms are partially ambiguous and therefore their discussion is insufficient to get the rigorousness. The paper supports their holistic stance that reputes the analytic method but accepts the constructivist method to explain the aesthetic experience of HCI, and reinterprets Dewey's constructivist concept of aesthetic experience with the radical constructivism in order to eliminate ambiguity of their discussion. Notwithstanding some deep implications of Dewey's constructivist explanation, its ambiguity has mirrored in their arguments: it shows many pathways to understand a continuous relation between human and machine(subject and object of experience), but doesn't provide any concrete theoretical models to design practical HCI artifacts. In the fundamental assumptions, Dewey's constructivist concepts are similar with radical constructivism that has provided contemporary computer science and cognitive science theoretical grounds. Radical Constructivist explanations of HCI, especially Dautenhan's definitions of embodiment of HCI give McCarthy and Wright's thesis, 'continuity of experience', more scientific and objective reasons. Eventually, pragmatist aesthetics provides HCI researches the valid background, but the pragmatist aesthetics of HCI such as McCarthy and Wright's research needs to be well refined and rigorous in order to be implemented into HCI practice nonetheless.
  • 4.

    Form and Life : A Possible Boundary of Material Aesthetics

    신승철 | 2011, 33() | pp.103~140 | number of Cited : 4
    Abstract
    Chance image, which can be observed in the clouds, mountains, rocks, spots on the wall and so on, has traditionally provided a rich source for artistic practice. The image ‘not made by hands’ affords us on the one hand testimony for a formative ability of nature, and on the other hand it provides a model for an image practice even today. The artists take note of a form generating process in the material of nature, and this attention initiates a change to the idea of material. The dichotomy between conception and realization, or form and material, is now dissolved by the artistic practice that is involved in the playful movement of material, and the material which has been always passive and indeterminable, can show off a latent possibility. The activity of material that generates a form in its autonomous movement, shows us its vitality, and thereby we can observe - not a spiritual origin of art – but an affinity or a continuity between nature and art. Synthetic biologist Stéphane Leduc, claimed a hundred years ago, a continuity between nature and art, between a living being and a non-living being - based on the movement of material or the activity of form. Today's various artistic practices through synthetic life testify to his assertion about élan vital. In the activity of living material, art can take part in the change of nature by means of its product. The will to generate a form can be exchanged with the energy of life. The classical conception of arts, which is based on the dichotomy, such as form and material, nature and idea, or virtuality and reality, now undergoes a fundamental change. In the relationship between activity of form and movement of material, artistic practice is incorporated into natural history, and the energy of life is involved in the aesthetic question about a possible boundary to art.
  • 5.

    Non-Aristotelian Aesthetics of Theater (Ⅰ) : From Empathy to Active Communication

    Junsik Won | 2011, 33() | pp.143~176 | number of Cited : 10
    Abstract
    Up to the 19th century, the main stream in the history of the western theater has been the aristotelian. In Poetics Aristotle defined catharsis as the aim of the tragedy, and it sets empathy forth as a premise. By virtue of the empathy, the spectator experiences the circumstances of the dramatic characters as his own. To make the spectator to easily identify himself with the character, the happenings on the stage need to look like a reality, not a fiction. This theatrical illusion is the essence of the aristotelian theater, and western theater has developed in the direction of reinforcing the illusion until the 19th century. Bertolt Brecht thought that the traditional theater hindered the spectator in his critical thought. According to him, in the theater pursuing empathy and theatrical illusion the spectator uncritically accepts the character’s perception, emotion and understanding. He wanted that the spectator took an active and critical stand instead of a passive attitude on the incident on the stage. Thus his epic theater aims at destroying the theatrical illusion through Verfremdungseffekt, and so appealing not to the spectator’s emotion but to his reason. In the aristotelian theater, the spectator delegates power to the dramatic character so that the latter may think and act in his place. Differently from him, Brecht’s spectator has the right to think for himself, but still delegates power to act to the character. So his experience is revealing on the level of consciousness, but not globally on the level of the action. In Augusto Boal’s theater of the oppressed, on the contrary, the spectator no longer delegates power to the characters either to think or to act in his place: he thinks and acts for himself. He is no longer an object of the theater, but becomes a subject of it. The aim of the theater of the oppressed is for the spectator to recover ability to think and to act through the theater, so to ready him for a subject of his real life. In this respect, the theater is a rehearsal of reality. For Brecht and Boal, the theater was not a laundry of emotion but a field for communication. And in it they tried to change the spectator from an object of the theater to a subject of the communication. For Brecht the communication was restricted to the level of consciousness, but Boal extended it to the level of action and so intended to abolish the distinction between actor and spectator. Consequently, his theater of the oppressed, in the respect of the communication between stage and audience, is the most democratic form of theater in the history of western theater up to now.
  • 6.

    The Study of The Concepts of F. Kittler's Media and Human Body

    Choi, So-Young | 2011, 33() | pp.177~210 | number of Cited : 4
    Abstract
    Kittler is an information materialist who argues “human beings are determined by technical standards”. His argument is based on a media materialism point of view which asserts that the analysis of materialistic structure of technology should come first; he thinks outside the common notion of technology being the production of human beings and overcomes MacLuhan who emphasized the interaction between technology and human society, by insisting that technology is the fundamental condition to determine human beings. In addition, he excludes the human body from the media, overcoming MacLuhan’s major proposition of calling the media “the extensions of man”. His radical technology-comes-first point of view emphasizes media technology as an optimization of technicality instead of media as “extensions of the human body”. The seemingly very radical argument of Kittler is concretized by the analysis of ‘Aufschreibesysteme(Discourse Networks)’ that enables the construction of cultural environment of human beings. Aufschreibesystem is the network of technology and a system that enables a society and a culture during a specific period in history to transmit, save and fabricate important information and data. As MacLuhan regarded the messages of media as all changes and transformation that media bring forth in human history, Kittler regarded that the level and characteristics of a society and culture are determined by the Aufschreibesystem they adopt. That is, Kittler considered the structural conditions of the power and thoughts of a society could be clarified if we know the characteristics and particulars of the Aufschreibesystem that decides the production, distribution and consumption of information. And all Aufschreibesysteme are decided by media technological conditions and such Aufschreibesystem and information technology can control the knowledge and information of a time and a society. Therefore, this thesis aims to examine Kittler’s media concept centering on his discussions on ‘Aufschreibesysteme’ and ‘human body’. Kittler defines media as the technology of recording, regeneration and fabrication. Especially his research on the Aufschreibesystem of the 1800s and 1900s shows clearly what great changes happened in our overall culture due to the introduction of ‘technological media’. Unlike the ‘Aufschreibesystem 1800’ that considered the exchange of the writer’s soul and symbolic world as an important driving force of the society, the ‘Aufschreibesystem 1900’ by analogue technological media shows the character of media that records reality itself beyond the relations. The reason why analogue technological media are important to Kittler was because the ‘Aufschreibesysteme’ that had been confined in the limitation of the ability of human body, in other words ‘symbols’, could record more than that by the introduction of such media technology. That is the reason why human beings or human body are excluded in his media theory. And in the same context Kittler introduced the TAM technology that controls freely the streams of linear data according to time flow, in order to better clarify his concept of media. He focuses only on “connections and the circuit diagrams”, not messages. However, it is not fair to say that he stands in the position of anti-humanism. It is only that he criticizes old regulations for human beings and culture that should be abolished under the condition of modern media technology. The post human beings he talks about should be seen as a problem posing of how to newly define ourselves under the technological condition we put ourselves in today's world.
  • 7.

    The Aesthetic Consciousness in Korean Abstract Art : The Nature and The Spirit as the Inner Reality

    Lee Joo Young | 2011, 33() | pp.211~250 | number of Cited : 10
    Abstract PDF
    The study aims to look into the reality and the aesthetic consciousness that korean abstract art has pursued. Abstract artists in Korea consider the reality as not revealed by imitating outer resemblance. They look upon the object reality as possessed through the inside, whereas their works of art are the interpretations of this reality. Abstract art loses the outer resemblance to phenomenons of life and nature but resemble inner realities that artists pursued. Abstract art, using ‘the inner resemblance’ and ‘the unsensible resemblance’, is focused to expresse strongly the resemblance to the inner emotion and the spirituality. Artists, who are inclined to lyrical abstract, express their subject emotion, pursuing the inner reality of human. On the contrary artists who are tended to geometric abstract realize the structural order of nature and the numerical principle. The aesthetic consciousness of abstract art appears generally in the form of the spiritual intention. In this case the spiritual intention is expressed in those like the expression of inner reality, structure of nature, reality reduced to the basic element, transformation of materiality, expression for rhythm of life through simple repetition of lines, forms, and colors. By visual signs artists try to allude to their philosophical introspection for life's problems. The important three phases in development of korean abstract art is characterized by movements between nature and spirit. It's first phase belongs to the first generation of abstract artists that is represented by Yoo Young-kuk and Kim Whan-ki. The first generation of korean abstract artists have distinctive feature of ‘in itself’ in dialectical process. In these phases, the spirit process peacefully in itself without losing harmony in nature. In this process this nature is the prototype that basis of community life roots in. The works of art, made by reorganizing ‘the essence’ from nature world, mirror real world and reconstruct a total completed world. The dissonance of social circumstance cannot affect this autonomous world. On the phase of ‘for itself’, the spirit moves to the society, leaving the nature. The second phase from the end of 50s to the beginning of 60s is characteristic of ‘Informel painting’. It's feature is represented by ‘for itself’. In these processes subject and object are confronted with each other. The subject gets out of the nature in itself, thus subjective conciousness become unhappy in the society, being expressed as extreme emotion, existential conciousness and a feeling of uneasiness. ‘Monochrom painting’ in the third phase of korean abstract art is distinct by ‘self regression’. In this process, the spirit cognizes itself as nature and returns to itself, where the unity of subject and object, nature and spirit, material and spirit is reached. Abstract artists seek after the fundamental truth in nature and life, and their Intentions performs double circular motions between immanence and transcendence and enriches all our lives, bringing the product created in dialectical processes to life. This immanence comes from the monistic concept of nature, blooming itself through repeated cycle of movements and quiescence, creation and extinction. Abstract artists express the nature as a inner reality, extracting essence in phenomenon, principle and order of life, or revealing the intrinsic attribute of human nature. And Abstract artists also help appreciators to open the way to use their inner reality for understanding watched abstract art works. As their meanings are opened, there are many possibilities of interpretation for inner reality.
  • 8.

    ‘自娛’의 예술창작관 연구

    Kim, Yeon-Joo | 2011, 33() | pp.251~280 | number of Cited : 0
    Abstract
    ‘자오(自娛)’, 즉 스스로 즐긴다라는 예술적 ‘쾌’의 의미가 강조된 이 창작관은 ‘무목적의 목적’이나 ‘예술을 위한 예술(art for art's sake)’로 알려진 서양의 예술적 자율성을 강조하는 예술 창작관과는 분명 차이가 있다. 이는 자신들의 회화 창작관을 피력하고 있는 글을 서술한 계층의 대부분이 자신의 학문도야 및 인격수양이라고 하는 삶의 자세를 지속했던 문인사대부에 속해 있기 때문이다. 이러한 특수성 때문에 ‘자오’의 예술창작관 속에는 문학적․철리적․인격수양적인 다양한 함의들이 포함되어 있다. 이런 문인들의 삶이 응축된 철리성이 배인 창작물로서의 문인화는 사물의 단순한 반영이기 보다는 화의(畵意)를 중시하여 따라서 뜻을 그려내는 사의화(寫意畵)라고도 불린다. 문인화를 그려내는 창작태도인 ‘자오’에서 ‘즐긴다’라는 쾌감의 추구는 평범하면서도 자연스러운 것이지만 그러한 정신경계를 지닌 회화는 이미 평범함을 넘어 의미심장하고 ‘노님[遊]’의 화의가 흘러넘치는 화도(畵道)의 경계라 할 수 있다. 당대 이전의 회화는 문자를 터득하지 못한 백성들을 교화시키기 위하여 신성한 것과 사악한 것 등의 개념을 형상을 빌어 각인시키는 수단이기도 하였다. 또한 동일한 붓을 사용하는 서화(書畵)는 글씨를 익혀 배움의 깊이를 더하고 형상으로써 인간관계를 익히는 수단이었다. 당대 장언원(張彦遠, 815~879)은 그림을 보고 인간의 착함과 어짐을 구별하며 이를 경계하거나 배척할 수 있게 하는 것이 그림의 효용성임을 분명히 하면서도 그림을 육경(六經)의 지위에 놓았다. 그 후 오대를 거치면서 동양의 정신에 면면히 흐르는 회화정신은 ‘자오’의 의식적 흐름을 형성하였으며 특히 이상화된 산수 속에서 문인들은 유유자적한 ‘유(遊)’의 정신경계를 누렸다. 중국회화에 있어서 회화가 ‘삶을 즐기는 방편’이라는 인식이 보편화된 것은 송대 이후라고 할 수 있는데 다른 어떤 시대보다도 예술가 자신의 생각을 표출하려는 의지가 강한 시기였다. 특히 송대 문인화는 문인들의 서정적인 감정 및 학식과 취향의 해설자로서의 역할을 톡톡히 했다. 또한 산수이건 인물이건 초충이건 새나 동물이건 주제가 무엇이든지 문인들은 눈 앞에 있는 사물을 명확하게 묘사하기보다는 상상력에 의한 형태를 끌어내고 내적인 것으로 향하는데 몰두했다. 문인화의 특징을 실용적 목적에 근거를 두지 않은 순수한 즐거움에의 추구에 두는데 이러한 경지를 대표하는 용어가 ‘자오’이다. 일생동안 자유로운 삶을 구가했던 예찬(倪纘, 1301~1374)은 일기(逸氣)를 담은 일필(逸筆)을 통해 ‘자오’의 예술적 경계를 실현하였다. 원대(元代)에 더욱 발전한 문인화는 문인들이 ‘자오’하는 필수 도야과정이 되었고 사물의 객관적 묘사나 교화를 위한 효용성 보다는 철리성을 보전한 마음 속 뜻을 표출하는 경향이 강조되면서 예술의 자율적 특성을 확보했다. 그러므로 ‘자오’라는 개념은 예술이 그 효용성에서 자율성을 확보하는 문인들이 삶에서 도출한 것이다. ‘자오’는 세속적인 것에 마음을 쓰지 않는 것이며, 마음을 비우고 스스로를 되찾는 노력이다. 따라서 예술창작관으로 살펴 본 ‘자오’의 경계는 흘러가버린 옛 것으로서가 아니라 현대를 살아가는 동시대인들에게도 재고해 볼만한 가치가 있다. ‘자오’는 회화의 가치가 교화적 효용성으로부터 예술적 자율성을 획득한 개념이면서 예술적 통찰력을 분출할 수 있는 모든 의지를 담고 있는 마음이 자유로운 경지이다. 결론적으로 ‘자오’의 예술창작관은 문인들이 학문도야와 인격수양을 통해 우러나오는 초연한 마음자세를 근본으로 하여 그 뜻을 초월적으로 운용할 수 있는 경지로서 이로부터 예술적 통찰력이 발휘될 수 있다. 이는 반드시 다양한 삶에서의 수양이 바탕이 되어야만 체험할 수 있는 경지이며, 이로부터 ‘도(道)’를 담지한 진정한 자유로운 창작에의 경지를 맛볼 수 있는 것이다.
  • 9.

    Zum Wahrheitsgehalt in Adornos Ästhetik

    Han Dong Won | 2011, 33() | pp.281~308 | number of Cited : 1
    Abstract
    Die vorliegende Arbeit geht von der Überzeugung aus, dass die Aufgabe der Adornoschen Ästhetik ist, die Modernität zu retten, und dass der Kernpunkt seiner Ästhetik in der Behauptung liegt, dass im Kunstwerk der Wahrheitsgehalt enthält ist. Adorno gewann durch die Auseinandersetzung mit Lukác um die Modernität im Jahr 1958 die Relevanz des ‘Wahrheitsgehalts’ und benutzte diesen Begriff als Mittel zur Rechtfertigung der gegenwärtigen Kunst. Bereits wurde von einigen Forschern oft aufgezeigt, dass der Wahrheitsgehalt auf diese Weise der Kern der Adornoschen Ästhetik ist. Aber die Meinungen darüber waren verschieden und nicht klar, was dieser Begriff konkret ist und welche Bedeutungen er hat. Daher zielt die vorliegende Arheit auf die Verfolgung der Entfaltung von Adornos Begriff des Wahrheitsgehalts ab und betrachtet den Entfaltungsprozeß in der chronologischen Methode. Chronologisch gesehen, so hat Adorno gleichzeitig die Vorlesungen von der ‘negativen Dialetik’ gehalten, indem er Negative Dialetik publiziert. Und er korrigiert Ästhetische Theorie, indem er die Vorlesungen von der Ästhetik hält. Auf dieser Grund faßt die vorliegende Arbeit durch die Betrachtungen der Negativen Dialetik (1966), Ästhetischen Theorie (1969) und Vorlesungen über die negative Dialektik (1965/66) sowie Vorrede zur Ästhetischen Theorie (1967/68) die Reihe vom Entfaltungsprozeß im Fortschritt zur ästhetischen Theorie auf. Hierdurch wird sodann erhellt, was Adorno mit dem Wahrheitsgehalt meint, und vor allem auch, was die vorgehenden Forscher nicht klar herausgearbeit haben. Anders als die einseitigen Verständnisse von den vorgehenden Forschern wie R. Bubner, A. Wellmer, L. Zuidervaat und M. Paddison werden in der vorliegenden Arbeit als die Grundzüge des von Adorno gemeinten Wahrhetsgehalts des Kunstwerks die folgenden drei Punkte hervorgebracht. Erstens hat der Wahrheitsgehalt des Kunstwerks bei Adorno den onthologischen Status. Denn die Wahrheit, die Adorno meint, ist weder die Übereinstimmung zwischen Behautptung des Subjekts und Sache nor das Apophantische, sondern der im Kunstwerk objektiv immanente Inhalt. Zweitens läßt sich der Waheitsgehalt des Kunstwerks unmittelbar als das verstehen, was auf der Grundlage der formalen Struktur des Werks liegt. Er wird nämlich nur gebildet, wenn alle Momente des Werks die Stimmigkeit haben. Dieses bedeutet, dass das Werk Konsequenz und Logizität enthält, und zeigt, dass der Wahrheitsgehalt aus dem anti-mimesischen Trieb entsteht, der im Kunstwerk die Einheit hervorbringt. Drittens muß der Wahrheitsgehalt den sozialen Inhalt enthalten. Dieses gilt als die Basis für Adornos Behauptung, dass der in der formalen Struktur des Kunstwerks die Grundlage habende Wahrheitsgehalt und der die kritische Funktion leisten könnende Wahrheitsgehalt miteinander eng verbunden sind.
  • 10.

    Qualitative Thought and Creativity : The New Ideas for Arts Education

    김연희 | 2011, 33() | pp.309~344 | number of Cited : 18
    Abstract PDF
    This study is intended to classify the educational meaning of the based on the idea of qualitative thought which connects John Dewey's theory of art and logic of inquiry, and the theory of creativity in the contemporary pedagogical psychology. Dewey concentrates the active process called ‘thinking’ connected with ‘perception’ which is the origin of all awareness, and suggests the transformation of late 20th century's theory of knowledge. Ultimately, it will be concluded that the subject called the knowledge's variability and relativity attended by the post-modern epistemology is deeply connected with the problem of aesthetic understanding, perceptional thought, or language of art through proving a continuity of the education studies' two core subjects; theory of knowledge and theory of art, and the aesthetics through re-examining the qualitative thought-focused Deweys' philosophy, and the 21st century's education for creativity must learn from the artist's thought. The qualitative thought which is represented the most clearly as the logic of artistic construction shows the feature of qualitative regulation which is common in the art and science. The art as the inquiry or the art studies from the aspect of the qualitative thought is focused on the logic of artistic formation or the artistic thought shown in the art experiences. It shows that the art education will considerably contribute the cognitive progress and creativity towards the future not staying in the emotion cultivation or self-express training. It also shows that the art education engages with the core of the 21st century's knowledge and art education reform toward the creative minds in the future.