상상적 저항 현상을 통해서 본 예술의 도덕적 비평 논쟁

신현주 경희대학교 인문학연구원 2022 인문학연구 Vol.- No.51

Can moral criticism be a legitimate form of criticism for works of art? With respect to this question, radical autonomism replies that works of art cannot have moral merits/demerits, and thus it is unintelligible to talk about works of art in terms of their morality. Moderate autonomism says that evaluating works of art in terms of morality is possible but it is independent from evaluating works of art aesthetically. According to ethicism, moral criticism is a legitimate activity for all genre of art, while according to moderate moralism it is legitimate only with respect to the limited area of narrative art. To support this position, both ethicism and moderate moralism argue that moral merits/demerits can be regarded as aesthetic merits/demerits. In this paper I show that the debate between these four positions, which can be named as the debate of moral criticism of art, can be understood as focusing on one central question, ‘Can moral merits/demerits be regarded as aesthetic merits/demerits?’ I believe that the current state of debate can make use of a new indirect approach which centers on ‘what is the nature of imaginative resistance?’. I argue that the new question can be meaningfully related to the debate of moral criticism of art, and to prove this point I examine Walton’s analysis on imaginative resistance which says that it is a resistance of aesthetic character against the violation of supervenience relationship. 도덕적 비평은 예술작품에 대한 정당한 비평 방식이 될 수 있는가? 이 질문에 답하는 네 가지 입장이 있는데, 먼저 극단적 자율주의는예술이 애초에 도덕적 장단점을 가질 수 없기 때문에 그 점을 언급하는 비평은 이해불가능한 진술을 만든다고 본다. 반면 온건한 자율주의는 예술이 도덕적 장단점을 가질 수는 있지만그것은 미적 장단점과 단절되어 있기 때문에, 전자에 주목하는 비평은 작품에 대한 미적 비평을 하는 것이 아니라 작품의 도덕적 특성에 대해 코멘트할 뿐이라고 말한다. 윤리주의는 모든 예술분야에서, 그리고 온건한 도덕주의는 내러티브가 있는 장르에한정해서 도덕적 비평이 정당하다고 보는데, 왜냐하면 이 두 입장은 도덕적 장단점이 곧미적 장단점으로 간주될 수 있다고 생각하기 때문이다. ‘예술의 도덕적 비평 논쟁’이라 불릴 수 있는 이 네 진영들 사이의 논쟁은 결국 ‘도덕적 장단점이 미적 장단점으로 전환되는가?’라는 핵심 논쟁점을 중심으로 전개되는데, 필자는 이 글에서 이 질문에 대한 기존의 논쟁 방식과 차별되는 새로운 접근법을 제안한다. 이 새로운 접근법은 ‘상상적 저항의 성격은 무엇인가?’라는 심리적 질문을 통해 간접적인 방식으로 도덕적 비평 논쟁에 접근한다. 이어 필자는 이 새로운 질문이 도덕적 비평 논쟁 해결에 통찰력을 전해줄 수 있음을 보이기 위해, 상상적 저항이 궁극적으로 세상의 법칙적 수반관계를 위반하라는 요구에 대한 미적 반감이라는 월튼의 분석을 살펴본다.

저항하는 상상력으로서의 전기소설

박기태(Park, KiTae) 중앙대학교 일본연구소 2018 日本 硏究 Vol.0 No.49

This research involves an analysis of the aspects of resistance and imagination in the early works of Masaki Yamada, including God Hunting, Maitreya War and Glacier People. The key concepts for the analysis were “daily life” and “extraordinariness.” In God Hunting, Yamada’s religious imagination, the hero’s imagination about a better world and people’s imagination in the real world such as occult were used. In Maitreya War, religious imagination and pseudo-historical imagination were combined. In addition, the hero who symbolized the concept of extraordinariness defended the world by fighting the enemy, the other symbol of the same concept. Finally, in Glacier People, a bloodsucking subspecies of human being based on the imagination of the Gothic Romance genre was used as the symbol of extraordinariness. And the characteristics of the subspecies were reasonably explained through pseudo-scientific imagination. By analyzing these novels, it was found that various imaginations had joined or coexisted to support pseudo-historical fantasy novels of the 1970s, and had also affected later generation novels since the 1980s. Furthermore, the elements and methodologies appearing in Yamada’s early works were also found the later generation novels which were written since the 1980s. A strong combination of resistance and imagination was shared through generations of the pseudo-historical fantasy novels. As “the imaginations for resistance,” Yamada’s works contributed to “the renewal” of pseudo-historical fantasy novel genre, the literary flow that was created by Ryo Hanmura, Kazumasa Hirai and Futaro Yamada. In this sense, it can be said that Yamada’s early works played a role as a bridge between the 1970s and later eras.

논문 : 윤동주 시의 예언자적 상상력 연구

김옥성 ( Ok Sung Kim ) 한국문학과종교학회 2010 문학과종교 Vol.15 No.3

The prophetic imagination criticizes the dominant system, and suggests a vision of ``the Kingdom of God``. The prophetic poetics of Yun connects the Christianism and resistance. "Hometown" in the poetry of Yun, represents the eschatological history. "Another Hometown" in the poetry of Yun, is not the place of the past, but metaphor of the ``Kingdom of God`` and ``the liberation of the motherland`` in the future. ``Sorrow`` in the poetry is the criticism of the dominant system and the pain of the present. The criticism generates the vision of the ``hope``. The poetic subject energizes the history by making the vision of the ``Kingdom of God``. The "Garden" is the representation of the eco-topia as ``the Kingdom of God`` and the liberated motherland. The Garden is an alternative community where the nature, human, and all the creatures live in the symbiosis relation. The representatives of the Christian resistant poets are Kim, Hyun-seung and Park, Doo-jeen as well as Yun, Dong-joo. They delegitimize the colonial authority and declare the coming ``Kingdom of God`` that contains the meaning of the liberated motherland, with the prophetic imagination.

최인호 소설에 나타난 모더니즘과 저항의 서사 -1970년대를 중심으로

김인경 ( Kim In-kyung ) 국제어문학회 2007 국제어문 Vol.39 No.-

In the 1970`s, modernism in novels gradually took up a role as `the narration of resistance` as well as realism. Modernism, however, was considered to be escape from the reality because of its ambiguous or unrealistic endings. At that time, the literary world didn`t released from the problems 1960`s of division, yet. In the meantime, there were some writers who embodied their efforts to display a sort of hopeful or an alternative of presentation for the 1970`s. Above all Choi, In-ho` novels comprised a variety of aesthetic technique, which were hardly found in the 1970`s, and meanings. Therefore, this study was intended to research the technique of modernism in his novels from the viewpoint of narration of resistance. it was explained through `the grotesque` appearance of a young speaker, who had spent miserable time in his growth period, in 「A Drinker」, 「The Tale of Adventure」 and 「An Introduction to one`s way of life」. In `illusion` was understood through a petty bourgeois, who had became an object in the society from 「A Stranger`s Room」 and 「A House of an Ant」. `Setting up fabulous situation` was studied of contradiction politics and society from 「A Requiem」 and 「A Sleeping Myth」. This shows how the structural contradiction of 1970`s was embodied in narration of resistance in the novels by Choi, In-ho. Moreover, as it offers an opportunity for readers to find out the special world of imagination inside Choi, In-ho, they, finally, can realize writer`s consciousness, which sought for compromise with contradiction in the reality and had an intention to display his dream of Utopia with sensibility of modern city. Therefore, the study could help people see his world on literature with an wider eye and offer the basis for re-evaluating him.

가장놀이의 인지적 구조를 통한 허구 감상의 문제 해결

신현주 서강대학교 철학연구소 2024 철학논집 Vol.77 No.-

가장놀이란 대표적으로 어린이들의 소꿉놀이나 역할극을 말하는데, 가장놀이가 발생할 때 우리 마음이 어떤 인지적 구조(cognitive structure)를 취하는지 규 명하는 심리철학/인지과학적 이론으로 설득력을 인정받는 이론들 중 하나는 바로 션 니콜스와 스티븐 스티치(Shaun Nichols and Stephen Stich)의 단일코드 이론 (Single-Code Theory)이다. 이들 중 니콜스는 가장놀이를 설명하는 데 그치지 않고, ‘가장놀이와 허구 감상의 유사성’에 주목하여 단일코드 이론이 허구 감상과 관련된 여러 철학적 문제들도 해결할 수 있다고 주장한다. 허구 감상의 대표적인 문제인 허구의 패러독스, 허구 속의 허구, 상상적 저항의 문제를 단일코드 이론으로 해결 할 수 있다는 것이다. 본고는 이러한 니콜스의 시도를 살펴보고, 그 시도가 가지는 장단점을 비판적으로 고찰한다. 장점은 가장놀이가 발생할 때의 마음의 구조를 밝 힌후, 밝혀진그림을통해허구감상과관련된여러문제를한꺼번에동일한방식 으로해결할수있다는것이다. 그러나본고는이러한장점뒤에심각한문제가숨 어있다고 지적하는데, 그러한 일괄적 해결 방식을 가능하게 하는 바로 그 요소가 단일코드 이론의 핵심을 뒤흔들기 때문이다. In this paper, I critically examine Nichols’ endeavor to apply his single-code theory to address three significant issues concerning our emotional or moral reactions to fictional artworks: the paradox of fiction, the puzzle of iterated fiction, and the problem of imaginative resistance. Nichols’ single-code theory initially seeks to elucidate the cognitive architecture of our minds during pretend play, and it is widely regarded as a compelling explanation for this type of play. Nichols contends that his theory can also effectively deal with the three issues of fiction, given the significant similarities between pretend play and our reactions to fiction. Upon careful examination of his attempt, I argue that while the single-code theory can offer a unified and consistent approach to addressing the issues of fiction, the very element that enables this advantage might pose a threat to the theory itself.

자본주의시대의 기독교 신학과 영성 - 작은 교회 운동의 신학적 성찰을 중심하여

이정배 한신대학교 한신신학연구소 2014 신학연구 Vol.51 No.1

This Article is aiming to criticize capitalized believes of Korean churches and their spiritualities. But this Article is also seeking another anti-capitalized form of church and asking for a new orien- tation of spirituality. According to this idea, this article studies historically on the lifestyles of the early Christian churches, and through it, it tries to acquire a different type of church which will practice Politics of Evangelism with its hermeneutic differences. In this point, this Article suggests three characters of Christian spirituality as Solitude, Resistance and Imagination. Here it will be stressed that these three characters imply a certain universality which can overcome all kinds of spiritual differences. Based of these spiri- tualities, this article names three new destinations of Korean church as resistant ways against capitalized Mega-churches, namely, Beyond-growth(탈성장), Beyond-clericalism(탈성직) and Beyond- sexism(탈성별). These values of qualitative maturity, layman-ship and gender-equality are already enough approved through small- church Movement, and so we hope that they play important role for the future of Korean church. In this Article, it is also tried to connect these three values with the new ideas of spirituality of solitude, resistance and imagination. Of Course these values can be also used as new perspectives for biblical hermeneutic. Finally, it is summed up the essence of Christian Spiri- tuality as the passion for the Impossible, and tried to tie this passion with Korean indigenous spiritualities of Heung(Joy, 興), Jung (com- passion, 情), Han(harmony, 아우름). It is aimed to accomplish a anti-capitalized Church in looking forward to having 500 years anni- versary for the Reformation.

근대시에서 숭고의 위상

윤의섭 ( Eui Seoup Youn ) 현대문학이론학회 2013 현대문학이론연구 Vol.0 No.52

This paper is to identify the status of sublimity in modern poetry. Modern poetry emphasized ``beauty`` and the theory of poetry was developed from the aesthetics of ``beauty``. Considering that certain poems in the history of modern poetry carry the element of ``sublimity``, it is worth reillumination. Therefore this paper examines the characteristics of ``sublimity`` in modern poetry through the ``sublimity`` theories suggested by Longinos, Kant, etc. Especially the paper focuses on the element of ``sublime`` sentiment formed in the readers which is examined in terms of the relationship of transcendental imagination and national consciousness. Modern poetry had been developed around ``beauty`` as the main value until the 1940s since its beginning and the perception on ``sublimity`` emerges from poems and theories of poetry. To examine ``sublimity`` in modern poetry is to emphasize the value of ``sublimity`` which could be easily ignored because of inclination towards the aesthetics of ``beauty``. ``Transcendental imagination``, one of the many elements to form ``sublimity``, has been an important means to portray national consciousness in poems. Frequent use of ``sublimity`` in poems that promote national consciousness shows not only the reality of Japanese occupation but also ``the nation`` of unlimited variability that can facilitate ``transcendental imagination`` that forms ``sublimity``. Readers develop ``sublime sentiment`` through ``transcendental imagination`` and accept ``national sublimity`` in terms of ethics and appropriateness. ``Sublimity`` suggests another perspective for value evaluation and narration focusing on ``beauty`` in modern poetry. It means that there could be other ways to integrate within the realm of ``sublimity`` than to separate the sense of resistance in ``resistance poetry`` from artistic values of the poems. The status of ``sublimity`` in modern poetry can be identified in terms of a few perspectives: modern poetry was developed under Japanese occupation; national consciousness and ``resistance poetry`` are closely linked; ``sublimity`` can be seen in other literatures than ``resistance poetry``; and value evaluation or understanding can be ignored by focusing only on ``the aspects of beauty``.

문학 : 홍계영의 가사 < 희설(喜雪) >의 도교적 상상력과 문학적 특질

김윤희 ( Yun Hee Kim ) 온지학회 2016 溫知論叢 Vol.0 No.46

본 연구는 관수재(觀水齋) 홍계영(洪啓英, 1687~1705)의 가사 작품인 <희설(喜雪)>의 문학적 특질을 작품에 나타난 도교적 상상력을 중심으로 고찰해 보고자 한 것이다. <희설>을 통해 작가가 표현하고자 했던 세계관과 주관적 감성은 도교적 표상들과 교직(交織)을 이루며 작품의 미학적완성도에 기여하고 있기 때문이다. 18세라는 나이에 오랜 질병이 악화되면서 죽음을 예감한 가운데 창작한 것으로 보이는 <희설>에는 삶과 죽음에 대한 그의 비극적이며 때로는 낭만적인 시선이 투사되어 있다. 특히 눈이라는 소재는 천상(天上)의 선계(仙界)와 현실을 매개하는 소재로 작용하면서 작가의 현실에 대한 인식과 초월적 세계에 대한 동경 의식 등을 선명하게 확인케 해준다. ‘백색(白色)’의 이미지로 강조된 ‘눈’은 현실에서의 고통을 초극하게 해 주는 화자의 심리적 매개물로 기능하고 있는 것이다. 그렇기 때문에 이 작품에서 ‘눈(雪)’은 화자가 예감한 죽음에 대한 외면의 수사로 해석될 수 있다. 특히 ‘눈(雪)’이 환기하는 백색(白色)의 이미지가 작품 전반에 걸쳐 강조되고 있는데 이는 질병과 죽음이라는 흑색(黑色) 공포를 의식적으로 차단하기 위한 문학적 장치로 보인다. 백색(白色)의 외부 세계와 어두운 내면이 대비적으로 교차되고 있어 병마(病魔)와 죽음이라는 생의 한계에 대처하는 화자의 처연한 내면이 발견되는 것이다. 결과적으로 <희설>에 보이는 도교적 표상들과 태평성대라는 송축의 수사는 지극히 사적인 질병이라는 고통에 저항하기 위한 작가의 강렬한 자의식(自意識)에서 출발하여 직조(織造)된 작품의 외피(外皮)로 보아야 할것이다. This thesis seeks to examine the literary characteristics of Huiseol a Gasa of Hong Gye-Yeong (pen name: Gwansujae, 1687~1705), focusing on his Taoist imagination. This approach has been taken because his insights into the world and the subjective emotions that he tried to express through Huiseol commune with Taoist symbols and contribute to its aesthetic completion. Hong’s tragic and romantic insights into life and death are projected onto this Gasa that he wrote at age 18 when he was suffering from a long-lasting and worsening disease and foreboding about his death. Especially the imagery of snow as a poetic material forms a bridge between a fairyland in heaven and the real world, which clearly reveals his awareness about this mundane world and aspiration for a transcendental world. Snow, emphasized by a white-color image, functions as a psychological mediator of the narrator and allows him or her to overcome the pain of reality. Therefore, snow in this work can be interpreted as stylistic device that signifies his foreboding about his own death. In particular, the white-color image of snow is emphasized throughout the work, which seems to be a literary device to consciously dispel the white horror of disease and death. His work shows the contrast between the outside world of white color and the inner world of darkness, which suggests that he is painfully struggling with the limits of life, disease and death. The rhetoric of blessing in Huiseol, or Taoist symbols and reign of peace, should be interpreted to mean an outer cover woven by the self-consciousness of the author to resist the private pain of disease.

문학 언어와 담론 ; 한국 현대시 작품에 나타나는 불/빛의 이미지 연구

김홍진 ( Hong Jin Kim ) 현대문학이론학회 2010 현대문학이론연구 Vol.0 No.43

Colonial Korea and the division of modern poetry, war and dictatorship, bondage pahaengjeok to the historical process of industrialization through the body that should gyeokji had to be placed in poor conditions. Tragic situation, the reality of darkness and night encourage the poet, was recognized as an allegory for the winter. In addition, the absurdity and contradiction, oppression and deprivation, to overcome the chaos and division in the world is warm or bright light and fire, will recognize it as an allegory of spring to be made is true. Allegory of the real history of the origin of light and fire in the dark and the light of hope in despair, a longing tuiwoogoja is also the start of modern poetry. Korea in the modern city as an allegory of the dark days and nights of pain and death, darkness, chaos and disorder, contradiction and absurdity, absence and lack, is presented as a symbol of oppression and suffering. Reality ought to be overcome evil and bright light, fire of purification and the sun to rule the day buseongjeok order to be converted into the world is reasonable. Allegory of the light and the dark force that delivers verbal and practical enlightenment that it was able to enhance the willingness, the lyric form of the condition, so evil, because historical reality. We like the light and the dark reality of dictatorship / democracy, rule / ruled, the oppression / liberation could be interpreted in such a simple clear dichotomy. Historical reasons for recognizing the reality of darkness and light can not be made, dream about. This article appears at the light and dark allegory of modern South Korea that was designed to illuminate the meaning of. Korea since the modern city budding, particularly the poems of the romantic outbursts of passion, most `light` and `dark` and the sense of shear and is used as passionate. Since the image of light and darkness, while the history may be used as social allegory of the poet gives a concreteness to the sociological imagination. Allegory of the light and dark paper in Korea was manifested in the historical perspective in the context of milling. In other words, light and dark aspects of Korean poetry in the literary history of the sociological imagination of the major historical context and tracing its meaning was contemplated in the picture.

식민지시기 한국 민족주의의 젠더상상 에 관한 연구 - 「독립군가」를 중심으로 -

문소정 ( Moon Sojeong ) 부산대학교 여성연구소 2009 여성학연구 Vol.19 No.-

This research seeks to read the imagined gender of Korean nationalism in Japanese colonial period. For the purpose of this research, it focuses on ‘Korean War Songs’. ‘Korean War Songs’ are the hybrid, postcolonial cultural project of militarized Korean nationalism to combat against Japanese military imperialism. Therefore ‘Korean War Songs’ contains the socio-historical memories of hopes, despairs and failures of Korean resistant nationalism. Several findings of this research have been the followings. First, ‘Korean War Songs’ are male-centric imaginary construction of Korean resistant naionalism. And women are object of imagination of the Korean resistant nationalism. Second, men are imagined the rescuer of family, nation and Korean land. And men are imagined the contructor of modern nation state and national emancipation. For the project of these double missiosns, boys and adults are militarized in the name of brave warrior, that is ‘yongsa’ of Korean word. Meanwhile women are imagined the mother of suffering for hardship, longing and waiting for sons and husbands. Third, This imagined gender of Korean resistant nationalism has patriarchic traits. Because women are not imagined the subject of modern nation-state, but imagined the object of male warriors and resistant Korean nationalists. And the imagined women are not sufficient in reprsenting the various roles and life in that colonial period.