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이승건(Yie Seung-kun) 한국체육철학회 2016 움직임의철학 : 한국체육철학회지 Vol.24 No.4
This study deals with the somaesthetics of an aesthetician Richard Shusterman, who presents a unique aesthetics beyond the traditional aesthetics in the realm of aesthetics. In particular, looking at what he says about three dimensions of somaesthetics(analytic somaesthetics, pragmatic somaesthetics and practical somaesthetics), and how these can be related to the field of physical education & sport that is based on the practices of body. And we are tracking that his somaesthetics emphasizes the importance of the aesthetic experience in everyday life. Also we are considering that his somaesthetics deals more closely with life and beauty and between life and art than any other kind of aesthetics. His somaesthetics emphasizes the value of artistic stylization. So he suggests that we live up to the contemporary life to enhance the performing live. And the artistic style at this time is called ethics as the performing live which encompasses the ethical skills that fulfill the personal character(ethos). Therefore, his somaesthetics is both a inclusive aesthetics beyond conventional aesthetics, and at the same time it is deeply related to the field of practical beauty maintained in traditional aesthetics. In this paper, we describe Shusterman`s somaesthetics as soma practices, which are rarely studied by conventional aesthetics, such as various type of diets, clothing, fitness, dance and martial arts, cosmetics, body piercings, tattoos, yoga, massage, aerobics, and bodybuilding. And so, we have aesthetically examined how his somaesthetics can be understood as a philosophy of physical education & sport.
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이승건 ( Seung Kun Yie ) 한국미학예술학회 2007 美學·藝術學硏究 Vol.25 No.-
Ever since Aristoteles, after classical antiquity, before the birth of the concept of beaux-arts(fine-arts) that combine arts into one, the traditional thesis of western art theory that ``art is mimesis of the nature`` had been constructed both speculative and theoretical foundation under the ideology of mimesis saying that art exceed phenomenon of external copying, otherwise it is ``Ausdruck`` from inner world of human being. This situation also existed for dance, thus mimesis as an ideology of art affected big influence over establishment of self-identity in terms of art from it`s very beginning until present by saying that dance is not an external reproduction of reality but it`s the internal expression. But, the concept of mimesis as an ideology of art like this, enabled to express the inner secret of itself or ups and downs which were not able to be depicted as a form of art that appeared on late 18th century. And this new form of art overtook the place of mimesis by the modern concept of artistic creativity that embodied itself to the form of material. Especially, at that moment, the concept of mimesis had been absorbed by originality of romanticism period that emphasize spontaneity and self-expression, completely lost its expressional meaning and had been replaced by representation. By this, the concept of artistic expression of present, which was created by this is being used as the meaning of noesis in subjective expression that`s different from the meaning of modern period when it appeared. Furthermore it has the meaning of unconscious self extrusion that wasn`t captured by noesis and since it is sharply confronting with mimesis as traditional artistic concept, it looks as it secured a firm location that`s suitable for concept of modern art in true meaning. Especially Mikel Dufrenne, who tried to contemplate of phenomenology of art by combining the world of aesthetic object and artist(or receptor) by ``l`expression de la subjectivite`` in Phenomenologie de l`experience esthetique(1967), or the viewpoint of Merleau-Ponty about Phenomenologie de la Perception(1945) which was solved by ``le corps comme expression`` in expression of both ``la connaissance incarne`` and ``le corps incarne``. And such thesis by ``art as intuition and expression`` (Esthetica come scienza dell``espressione e linguistica generale, 1910) by B. Croce, who viewed it as ``art as an intuition`` and ``intuition is something that could make itself as an object in terms of expression`` and ``expression is the power that construct an image by a given inner form to emotion`` clearly proves the fact that core problems of estheticians who are whether directly or indirectly related to thesis of modern dance are the concept of ``expression`` that replaces mimesis. As a result, the comment of contemporary aesthetician Morris Weitz that said The concept of expression is a central on in much of modern aesthetics seems to be no longer an exaggeration. Therefore, I``m regarding consideration about ``aesthetics on expression`` in terms of dance art as target of my essay through the ``expression`` concept that emerged as an art ideology in 20th aesthetics. But the aesthetics on expression presented here is as a method of art research in terms of research about general art that is different in usage from traditional meaning of aesthetic, otherwise a general study about both aesthetic and standard of value of aesthetic and aesthetics that means aesthetical opinions in certain period of time like Plato or modern aesthetic. For the accomplishment of the research intention, I firstly started from the consideration of modern meaning(whether internal or psychological or external sensual phenomenon of mental process) when the concept of expression appeared as a concept of a theory of art. And I traced it until the these days meaning-not only the subjective self expression by noesis but also a unconscious self extrusion that wasn`t captured by noesis-and took a look for
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