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2022, Vol.65, No.

  • 1.

    The Sublime Forms and Truths of Modern Art in Hegel’s Aesthetics

    Chang-Oh Cho | 2022, 65() | pp.6~26 | number of Cited : 0
    Abstract
    Hegel asserted that art conveys truth. The cognitive value of art is consistent with the artistic value. Art always seeks to reach absolute truth. But art develops in history, and in this respect it always expresses only epistemological truths. Modern art is based on the infinity of the mind. According to the infinity of the mind, the content of the mind cannot be fully expressed in its sensuous form, but neither can it not be expressed in it. The mind can express itself through sensuous forms, but it also knows that this expression must be incomplete. The self-reflection of modern art is derived from this infinity of spirit. The artist or spectator must be conscious of the infinity of the mind. To be conscious of infinity is to know that the content that art is trying to express is fundamentally different from its form. This difference is expressed in the form of conscious symbols. Modern art, which has become self-reflecting according to the infinity of the mind, is fundamentally sublime.
  • 2.

    The Problem of Aesthetic Truth in Adorno’s Aesthetics Ⅰ: Truth Content in Works of Art

    Young Yoon Kwak | 2022, 65() | pp.28~49 | number of Cited : 0
    Abstract
    This paper deals with the problem of aesthetic truth, which plays a key role in the aesthetics of Theodor W. Adorno. He accepted Georg Wilhelm Friedrich Hegel’s point of view that the purpose of art is not enjoyment or usefulness, but aesthetic truth. Adorno also received the aesthetics of Friedrich Schiller and Hegel, who explain art as aesthetic semblance, and sees art as an autonomous being as well as the appearance of the idea. However, unlike Hegel, who regarded the Idea as the unity of concept and reality, for Adorno, the idea is a reconciliation between spirit and nature, and such reconciliation is symbolically achieved in works of art in which irrational moments such as emotions and impulses are coherently composed. The truth contents of works of art are social and historical, and they are inherent in the non-conceptual language of art. This paper exemplifies the truth contents of art in Ludwig van Beethoven’s Piano Sonata and Paul Celan’s lyrics. Since the truth contents inherent in the works of art are not explicitly revealed, the works of art have a riddle-character. Thus, works of art need criticism, a philosophical reflection that will solve their riddles.
  • 3.

    A Study on Walter Benjamin’s Dialectical Thinking and the Truth of Philosophy of Art: Focusing on His Philosophy of Language, The Origin of German Tragedy and “The Work of Art in the Age of its Technical Reproducibility”

    Sun Kyu Ha | 2022, 65() | pp.50~78 | number of Cited : 0
    Abstract PDF
    A unique form of “dialectic” or “dialectical thought” penetrates the philosophy and writings of Walter Benjamin. For him, dialectical thought was the only path and method leading to philosophical truth or the truth of the philosophy of art. In this paper, I elucidate the characteristic aspects of the dialectic practiced by Benjamin in his philosophical thinking and writing, and analyze how it is related to his concept of “philosophical truth.” First, how Benjamin’s dialectical thought was formed is immanently reconstructed through two early articles, “Language in General and Human Language” and “The Translator’s Task,” the central texts of his philosophy of language. The goal of the reconstruction is to clearly show the main characteristics of dialectical thinking explained in the two texts and the thought movement that develops in these characteristics. Second, I clarify the meaning of Benjamin’s philosophy of art and its theoretical intention, focusing on the “Cognition-critical Introduction,” which can be read as a “theory of philosophical truth” in The Origin of German Tragedy. In this process, it will be revealed that his dialectical thinking and the theory of truth are intimately combined. Third, in connection with the discussion of the previous two parts, the characteristics of dialectical thinking and truth of philosophy of art in “The Work of Art in the Age of its Technical Reproducibility” are discussed. The goal of this thesis is to understand Benjamin more deeply as an original philosopher, not as a media theorist.
  • 4.

    Jacques Derrida and Valerio Adami’s Mise en abyme

    Eui-Jung Han | 2022, 65() | pp.80~101 | number of Cited : 0
    Abstract
    This study focuses on the relationship between Valerio Adami and Jacques Derrida, honing in on Chapter 2 “+R” of The Truth in Painting (1978). This collaboration was the process of deconstructing the boundaries between art and literature, text and image, and center and margin, all while leaving traces. First, this study examines the point of collaboration with Adami in Derrida’s thoughts and art theory. It analyzes Adami’s series entitled <Study for drawing after Glas>, and Derrida’s writings pertaining to it. Also examined are the problems and answers of ergon/parergon, text/signatures, and text/image. Second, we analyze mise en abyme and the mirror effects of G. W. F. Hegel and Jean Genet, which Derrida attempt in Glas (1974). We examine the reiteration of the relationship between Hegel and Genet: how Hegel, who emphasizes family, holiness, and morality, can speak to the works of Genet, who is homosexual and engages in obsessive kleptomania. This in light of how they reflect each other. Thirdly, it is revealed that the conversation between Derrida and Adami through their writings and drawings is not a simple self-reflective form. Here, the mise en abyme does not confirm the fixed meaning of the text, but rather operates in a way that acquires meaning and function in relation to other texts. The form of mise en abyme as such a parergon is not confined within the frame of representation and presentation, but becomes an example of discourse addressing the truth in painting.
  • 5.

    Truth in Psychoanalysis: Focusing on Lacan’s Seminar 11 and Seminar 14

    Seon-Ryeong Cho | 2022, 65() | pp.102~120 | number of Cited : 0
    Abstract
    This paper examines how Lacan approaches the problem of truth at the intersection of philosophy and psychoanalysis while reading and connecting his Seminar 11 and Seminar 14. Lacan explores the path to the truth through the “road of non-reason,” that is, the path of the drive, beyond the aporia of Descartes who tried to reach Being through thought. Accordingly, Lacan reinterprets Freud as a theorist who thoroughly followed the path discovered by Descartes, who hesitated to go to the end. For Lacan, satisfaction by drive is found in the symbolic world as a way to achieve something impossible on the level of natural instincts. This is because the drive uses the Other’s demand (signifier) for its own satisfaction in a way other than symbolic identification (i.e., meaninglessly). The birth of a new subject in the place of Ça as the agent of drive and a new signifier in the place of meaninglessness is the end of analysis and the production of truth. In other words, the truth of psychoanalysis means the subjectivization of the drive and the birth of a new signifier containing jouissance.
  • 6.

    Rethinking the Debates of Korean Avant-garde Art in the 1950s and 1960s

    Yisoon Kim | 2022, 65() | pp.124~148 | number of Cited : 0
    Abstract
    This paper examines Korean avant-garde art of the 1950s and 1960s. The avant-garde art of the 1950s can be summarized as referring to the “new art” of the time that contains resistance towards the authority of the Korean establishment. A tendency that was demonstrated through events such as the Anti-National Art Exhibition and the Art Informel movements. In this regard, it is suggested to reconsider the starting point of Korean contemporary art. It is often referred to as 1957, when the Art Informel movement was created by the postwar generation. However, the Anti-National Art Exhibition movement was not exclusive to the postwar generation, and Art Informel first appeared in 1958, not 1957. Meanwhile, avant-garde art in the 1960s presented different genres such as Pop art, Nouveau Réalisme, and Happening, and attempted to participate in industrialization and the new urban society in addition to rejecting abstract art. Art critics such as Lee Yil and Oh Kwangsoo played an important role in the emergence of these new genres. Nevertheless, the reason why the 1960s art genres could not present themselves as avant-garde art after the establishment of the Art Informel movement was not because of the intervention of government politics. It was rather because of the advent of an era in the early 1970s when Korean society advocated for nationalism and demanded the expression of “Koreanness” within art. In other words, “Western-following art” had no place to stand.
  • 7.

    Virtuality and Body: Focusing on the Optical Unconscious and Affect

    Hyejeong Bae | 2022, 65() | pp.150~173 | number of Cited : 0
    Abstract
    This study deals with virtuality, the real occupied by the online after COVID-19, based on body perception, affect and the optical unconscious. As the recent discourses on the metaverse show, the online realm in our life is expanding, but this phenomenon is still considered to be unknown and has not been clarified. This thesis examines how virtuality has come to be new due to technology, but is already faced in art by human perception ability and explores it terms of the body that perceives it. To this end, Walter Benjamin’s concept of the “optical unconscious” and affect theory are discussed. Moreover, the characteristics of virtuality are also analyzed in the projection mapping art work Casting of Yiyun Kang.
  • 8.

    Improvisation as Paradigm for Art’s Potential to Intervene in Society

    Georg W. Bertram | 2022, 65() | pp.176~217 | number of Cited : 0
    Abstract
    The essay addresses the question of how art has an impact on human practices. It aims to shed light on how art is relevant in historical-cultural contexts and on the ways in which art is part of these contexts as a whole. In order to reach this goal, the improvisational dimension of historical-cultural practices is illuminated. Relying on the conceptual framework provided by the analysis of improvisation, the “logic of interventions” is analyzed to better understand the ways artistic practices inform non-artistic ones. It is claimed that artistic interventions are inherently bound up with recipients’ practical reactions to them in such a way that they loop back on non-artistic practices. Against this background, the social dimension of artistic interventions is thematized. Therewith, artistic interventions are concretized with regard to social structures, and the everyday aspect of artistic interventions is highlighted.