The Origin of Ugliness(Non-the Aesthetic) in the Psychoanalysis and Modern Art : focusing on Freud and Lacan

InnSuk Nam

The Journal of Aesthetics and Science of Art

Abbr : JASA
2008, 27(), pp.159-194
Publisher : 한국미학예술학회
Research Area : Other Arts and Kinesiology

InnSuk Nam ¹

¹홍익대학교

ABSTRACT

In this work ‘Ugliness’ broadly refer to non-the aesthetic which there is no place in traditional aesthetics. But it means a kind of the aesthetic concerning modern and contemporary arts. Because they have provoked crucial question transgressing the traditional criterion of art. ‘The origin[of ugliness(Non-the Aesthetic]’ does not result from diachronic approach but synchronical in this paper. That is to say, ‘the origin of Ugliness(Non-the aesthetic)’ lies on a structure which setoff the psychic life in the psychoanalysis. This paper leads to reveal iso-structure between the structure and the origin of the Ugliness(non-the aesthetic) in the psychoanalysis. And then it could be a theoretical support for modern and contemporary arts. Commonly it is believed that traditionally western aesthetics has thought of the beauty as ideal form in the field of aesthetic and the pleasure as subjective response regarding as the beauty since Plato. Symmetry, proportion and decorum etc. are the objective criterion of the ideal form. So the Ugliness or non-the aesthetic has undervalued with * Ph. D. candidate and lecturer of Hongik University This work was supported by 2006 Hong-Ik University research fund. unpleasure, asymmetry, night(there is no light), ugliness(there is nothing the beauty) so on. But nowadays there are many hundreds of arts which consist in materials, forms as variable as possible. It is impossible to categorize them several ways because of appearance that are scattered, fragmented, non-articulated, shocked and culminated at random. Actually we faced to the problem that explains comtemporary art at any ways. Psychoanalysis lights on the problem that will research an explanation about modern and comtemporary arts. To approach the problem, above all, I analyze that ‘Spaltung and Méconnaissance’ are the structural origin and ‘Angst and Trieb’ are the affective origin of psychic life in the psychoanalysis focusing on Freud and Lacan. And then, showing how an artwork is related with ‘Méconnaissance and Spaltung’, ‘Angst and Trieb’, the structure as ‘the origin’ is the cause to symbolize something that Lacanian term is ‘the real’ at the same time the origin is the result to make up an artwork that symbolizes something. Hence in psychoanalysis, an artwork as a cause-object is necessary related the structure of the origin in the psychic life or [unconscious] psychoanalytic subject. To reveal the relation between the psychoanalytic origin and the artwork, I analyze the artwork, <Le Bar aux Folies-Bergère>. In short, through the analysis, to conclude: the Angst is the fundamental affekt which is the subject symbolizing something and the Méconnaissance is the fundamental structure in the imaginary which the subject aggressively longing on the other as imago. These fundamental instance roles the cause-object in the modern and contemporary arts. So with psychoanalysis we can prospect to explain something like that scattered, shocked and fragmented body, consistently floating or disappearing image[Ding or le réel].
KEYWORDS

Angst, d&eacute, sir, &eacute, cran, imago, m&eacute, connaissance, objet a, r&eacute, el, regard, Spaltung, Trieb
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