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Kierkegaard's Existential Dialectic and Art Media

  • The Journal of Aesthetics and Science of Art
  • Abbr : JASA
  • 2014, 41(), pp.153-183
  • Publisher : 한국미학예술학회
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Published : June 30, 2014

Young-So Yoo 1

1경희대학교

Accredited

ABSTRACT

Kierkegaard regarded the human subject as a work of art crafted through a process of self-development constituted by and carried out in cooperation with the divine. For that reason, he viewed the production of external works of art as accidental, not essential, to the transformation of the entire existence of the individual. Although Kierkegaard did not write an Aesthetics like that of Kant or Hegel, a number of passages that he wrote on the arts enables us to reconstruct his views on aesthetics. It is the aim of this essay to present main contents of Kierkegaard’s aesthetics. Part One examines Kierkegaard’ relation to the Hegelian aesthetics of J. L. Heiberg who was a leading Danish dramatist and critic. Part Two delves further into the limits of what is and is not appropriate for art to attempt based on Kierkegaard’s distinction between ‘what an aesthetic beauty is’ and ‘what an aesthetic beauty is represented’. Part Three makes an analysis of the aesthetic representation of reflection sorrow in “Silhouettes: Psychological Diversion”. In this text, employing a distinction between poetry(Dichtung) and art(die bildende Kunst) borrowed from Lessing, Kierkegaard characterized art as lying in the qualification of space and expressing repose, poetry as lying in time and therefore expressing movement. For Kierkegaard, it is the human self in its historical or concrete beauty, rather than an abstract beauty, that constitutes the aesthetic ideal. An artist’s personal actuality, his own personality is actually the infinite source of his artistic productivity. It is the significance of Kierkegaard’s existential aesthetics that reminds us of the fact.

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