온라인 서비스 품질과 만족도에 대한 웹 미학 효과 : 관여도의 조절효과를 중심으로

임태선,이상환,박현정 한국전략마케팅학회 2014 마케팅논집 Vol.22 No.1

본 연구는 웹 미학의 두 유형인 미학 형식과 미학 매력이 질적 차이에 따라 지각된 온라인 서비스 품질과 만족도에 미치는 영향에 관해 실증적 분석을 하였다. 그리고 웹 미학과 지각된 온라인 서 비스 품질, 만족도 간의 관계에서 제품 관여도의 조절적 영향에 대해 연구하였다. 웹 미학은 아직 국내에서 거의 연구가 되지 않는 생소한 분야이지만 외국에서는 최근 들어 온라인 소비자들의 구 매 행동에 적용하여 활발히 연구되고 있는 분야이다. 조사 설계를 위해 실험 웹 사이트를 미학 형식과 매력의 높고 낮음에 따라 A, B, C, D로 조작하 고, 고관여 제품과 저관여 제품을 판매하는 웹 사이트로 구분하여 총 8개의 실험 웹 사이트를 설계 하였다. 자료 수집은 온라인 쇼핑몰에서 제품을 구매한 경험이 있는 소비자들을 대상으로 설문조 사를 실시하였고, 분석은 총 496부의 설문지를 이용하여 다변량 분산 분석을 실시하였다. 분석 결과, 온라인 소매 웹 사이트의 미학 형식이 높고 미학 매력 높을수록 지각된 온라인 서비 스 품질과 만족도가 높게 나타났다. 제품 관여도의 조절효과에서는 온라인 소매 웹 사이트의 미학 형식과 매력 모두 높은 경우, 미학 형식이 낮고 매력이 높은 경우, 미학 형식과 매력 모두 낮은 경 우에 고관여 제품을 구매하는 집단보다 저관여 제품을 구매하는 집단의 지각된 온라인 서비스 품 질과 만족도가 높게 나타났다. 그러나 웹 사이트의 미학 형식이 높고 미학 매력이 낮은 경우, 고관 여 제품을 구매하는 집단이 저관여 제품을 구매하는 집단보다 지각된 온라인 서비스 품질과 만족 도가 높게 나타났다. 끝으로 본 연구의 결과를 토대로 향후 연구에 대한 제언 및 온라인 소매업자들에게 최상의 온라 인 서비스 품질과 높은 고객 만족을 달성하기 위한 웹 미학의 실무적 시사점을 제공하고자 한다. This study is an empirical study about the effect on perceived online service and satisfaction according to the quantitative difference of two aspects of web aesthetics― aesthetic formality and aesthetic appeal. Moreover, this study researched the moderate effect of productive involvement between the relation of web aesthetics, perceived online service quality and satisfaction. Web aesthetics is still an unfamiliar field which is much less studied in the country, however recently in foreign countries it is studied actively by appling it on online customer’s purchase behavior. For the design survey, the experimental web site is manipulated into A, B, C, D according to the high and low of aesthetic formality and aesthetic appeal, and divided web sites that sell high involvement products and low involvement products and designed total 8 experimental web sites. for For the collection of materials, customers who have experienced purchasing products through online shopping malls were surveyed , and for the analysis multivariate analysis of variance(MANOVA) was done by using 496 questionnaires. As a result of the analysis, perceived online service quality and satisfaction were high when the aesthetic formality and aesthetic appeal of the online retail web site is high. In the moderate effect of product involvement, when the e-tailer web site’s aesthetic formality and appeal are both high, aesthetic formality is low and aesthetic appeal is high, and aesthetic formality and appeal are both low the perceived online service quality and satisfaction of the group buying low involvement products are higher than the group buying high involvement products. However, when the aesthetic formality is high and aesthetic appeal is low, perceived online service quality and satisfaction of the group buying high involvement products are higher than the group buying low involvement products. In the end, this study is tending to provide proposal of further study and business perspective of web aesthetics to online retailers to achieve the best online service quality and high customer satisfaction.

한중 번역 연구 : 번역미학적 관점에서

정일 한국외국어대학교 통번역연구소 2020 통번역학연구 Vol.24 No.2

Both Korean and Chinese have aesthetic characteristics. In Korean-Chinese translation, we should not only consider the accurate transmission of information, but also pay attention to the aesthetic elements of the language. Translation Aesthetic Theory plays a vital role in the process of translation. Therefore, Korean-Chinese translation can be analyzed from the perspective of Translation Aesthetics Theory. Under the guidance of Liu Miqing(劉宓慶)’s Aesthetic Translation Theory, this study analyzes the formal and non-formal systems of Translation Aesthetic Object in terms of rhythm, vocabulary, syntax, and artistic conception and image through analyzing specific examples. This study aims to discover how to represent the beauty of translation from the perspective of Aesthetics of Translation and help translation practice in some way. In Korean-Chinese translation practice, it is good to achieve better effect in translated text when recognizing the beauty of Korean and translation aesthetic object well and adopting translation aesthetics. It can better convey the aesthetic information of the original Korean text only when the translation achieves beauty in emotion, form and artistic conception.

한국의 전통조경 미의식에 관하여

김영모 동양고전학회 2013 東洋古典硏究 Vol.0 No.51

본 연구에서는 조선시대의 정원과 원림을 통하여 한국인이 느끼고 표현하고자 하였던 조경미의식의 일단을 찾고자 하였다. 이를 위해 조선시대 정신문화를 형성하였던 유교와 성리학, 도가의 사상과 철학이 조경미의식에 직접적인 영향을 미쳤다는 전제하에 그 전개양상을 살펴보았다. 결론적으로는 같이 정리될 수 있을 것이다. 첫째, 지금까지는 한국 조경의 미의식이 ‘도가의 자연주의적 미’라고만 규정하여 왔다. 그러나 이 보다는 ‘유가’, ‘성리학’ 그리고 ‘도가’의 시각에서 규명하는 것이 적합할 것이다. 둘째, 조선시대 통치이데올로기로서 적용된 유교 그중에서도 ‘예’에 기초한 유가적 질서의식은 ‘예제건축’ 뿐만 아니라 조경공간의 입지와 배치, 공간구성에 작용한 중요한 형식적 미의식이었다. 이는 ‘位階性’, ‘次序性’, ‘規定性’, ‘宗法性’ 등의 미의식으로 표출되었으며 ‘規範性’으로 개념을 함축할 수 있을 것이다. 셋째, 조선시대 성리학자들에게 ‘자연’은 天人合一論에 따라 자연과 인간을 순리대로 바라보고, 거기에서 우러나는 가장 평범한 도덕적 요구를 진득한 심성으로 실천해 나가는 도학적 구도의 ‘대상’이었다. ‘山水自然’에서 느낀 ‘淸淨’, ‘淡白’, ‘無味의 美’ 등은 정원과 원림에 구현하고자 하는 ‘性理學的 自然美’로서 표출되었다. 넷째, 한국의 조경의 미의식은 미술과 조형예술 분야에서 논의되어온 도가의 자연주의적 미의식과 맥락을 함께 한다. 특히 사화와 당쟁이라는 시대적 정치사의 과정 속에서 발달한 별서원림을 통하여 ‘素朴’, ‘拙朴’, ‘자연스러움’, ‘무기교’, ‘무계획’적인 미의식의 양상으로 나타나는데 이를 도가의 자연주의적 미의식이라고 규정지을 수 있을 것이다. This study intends to find a part of aesthetic consciousness in landscaping which Korean desired to feel and express through gardens and groves in Joseon Dynasty. To do this, on the premise that thought and philosophy of Confucianism, Neo-Confucianism and Taoism which formed moral culture of Joseon directly affected the aesthetic consciousness in landscaping, developments on these factors are investigated. In conclusion, aspects of Joseon’s aesthetic consciousness in landscaping can be described as follows. First, it has been defined that aesthetic consciousness in Korean landscaping is ‘naturalistic type with Taoism’ by limiting aesthetic objects to a part of groves so far. However, the aesthetic objects should be comprehended with extended objects including gardens, groves and exterior space as well. Seen in this light, it would be more appropriate to classify into ‘normativity based on the Confucian proprieties,’ ‘neo-Confucian natural beauty’ and ‘naturalistic aesthetic consciousness of Taoism.’Second, the Confucian sense of order based on ‘the proprieties’ among other Confucian concepts which were applied as the ruling principle of Joseon was important aesthetic consciousness affecting not only ‘architecture for ancestral ritual formalities’ but location and placement of landscape space and space composition. This aesthetic consciousness based on Confucian proprieties is expressed as ‘hierarchy,’ ‘orderness,’ ‘regulation’ and ‘clan rules’ and these concepts can be implied as ‘normativity’ based on formal beauty of Confucianism. Third, the ‘nature’ was an ‘object’ for moral enlightenment with which Joseon’s neo-Confucian scholars looked in the nature and human beings reasonably based on a theory of the unity of nature and man and practiced the most common moral requirements originated from it patiently. In addition, impressions like ‘clarity,’ ‘plainness’ and ‘beauty in flatness’ from ‘landscape of Mother Nature’ which were sought to feel and express in the natural landscape were revealed as ‘neo-Confucian natural beauty’ in gardens and groves. Fourth, the underlying aesthetic consciousness on landscaping in Korean gardens and groves is in the same vein with naturalistic aesthetic consciousness of Taoism which has been discussed in other artistic and formative artistic fields. The aesthetic consciousness in landscaping is particularly presented with aspects of ‘simplicity,’ ‘artless art and good nature,’ ‘naturalness,’ ‘artlessness’ and ‘planlessness’ through groves in cottages developed in the process on political history of the times such as massacre of scholars and party strife, which can be defined as naturalistic aesthetic consciousness of Taoism.

한스릭의 형식주의 음악미학

박영선(Park, Young-Sun) 한국문화융합학회 2018 문화와 융합 Vol.40 No.5

본 논문은 형식주의 음악이론을 대표하는 한스릭에 대한 연구를 목표로 한다. 예술을 정의하는 이론에는 형식주의 이론과 표현이론이 있는데, 이 이론들은 주로 조형예술을 중심으로 형성된 개념이다. 형식주위 이론은 20세기 중반에 미국을 중심으로 번성한 추상주의 미술을 설명하는데 유리하며, 표현주의 이론은 르네상스 이후 모방을 추구한 회화나 20세기 초 내적 감정의 표현을 강조한 표현주의 미술을 설명하는데 유리하다. 두 이론은 모든 시대와 모든 예술장르에 타당한 보편적인 이론이 아니라 조형예술을 설명하는데 유리한 장점을 지니고 있다. 예술이론이 주로 조형예술을 중심으로 형성되었다면 음악은 과연 어떠한 이론으로 보다 적절히 설명될 수 있을까? 음악사를 보면 르네상스 음악과 바로크 음악은 성악곡이 주류를 이루었기 때문에 음악에는 고유한 언어가 있다는 생각이 저변에 깔려 있었다. 이것을 대표하는 이론이 표현주의 이론이다. 하지만 19세기에 기악곡이 음악의 패러다임으로 자리를 잡으면서 형식주의가 음악학에서 영향력을 행사한다고 볼 수 있다. 한스릭은 음악이 주는 효과를 음악 자체와 구별하여 순수 음악적 요소를 강조하는 절대음악을 옹호하였다. 한스릭은 ‘음악은 감정의 표현’이라는 감정미학을 비판함으로서 음악을 감정의 종속으로부터 해방시켰다. 한스릭에게 감정은 음악적 아름다움의 부수적 영향이며 이차적인 것이다. 대신 한스릭은 “음악의 내용은 음으로 울리는 움직이는 형식들이다”라고 정의한다. 음악은 특정한 정서의 내용을 담고 있는 것이 아니라 오직 들리는 음 형식이라는 것이다. 한스릭의 음악사상의 연구를 위해 먼저 한스릭이 비판하였던 ‘감정 미학’에 대한 이해가 선행되어야 한다. 이를 위해 첫 번째, 감정 미학이 탄생하게 된 고대 그리스의 미학사적 맥락을 살펴볼 것이다. 두 번째, 감정미학의 연장선에 있으면서도 기악 음악을 통해 예술의 자율성과 절대음악을 옹호하였던 낭만주의와 한스릭의 음악 사상에 영향을 끼쳤던 당시 비엔나에서 유행하던 대중적인 낭만적 음악들에 대하여 살펴볼 것이다. 세 번째, 한스릭의 감정미학에 대한 비판과, 네 번째, 음악의 본질과 음악의 아름다움에 대한 한스릭의 음악미학을 살펴본다. 결론에서는 한스릭의 음악 사상의 긍정적인 면과 한계점을 약술하고 글을 마무리할 것이다. This paper aims to comprehend Hanslick’s theory of music which represents formalism. There are formalism theory and expression theory that define art, and these theories are mainly formed on the basis of formative arts. Formalism theory is advantageous in explaining abstract art that flourished in the United States in the middle of the 20th century. Expression theory is advantageous in explaining expressive art that emphasizes the expression of internal emotions in the early 20th century. Both theories have advantageous in explaining plastic arts, not universal theories that are valid for all art genres. If art theory developed mainly on the basis of plastic arts, what theory can properly explain music? In the history of music, vocal music was mainstream in Renaissance music and baroque music, so the idea that music had its own language lay underneath. Expressionism is the theory that represents this position. But in the 19th century, instrumental music takes its place as a paradigm of music, so that formalism influences musicology. Hanslick advocated absolute music that emphasizes pure musical elements by distinguishing the effects of music from the music itself. Hanslick liberated music from the subordination of emotion by criticizing the emotional aesthetics of music as an expression of emotion. For Hanslick, emotions are secondary effects of musical beauty. Instead, Hanslick defines that “the content of music is tonally moving forms.” Music is not the content of a particular emotion, but only the form of sound. In order to study Hanslick’s musical thought, one must first of all understand the emotional aesthetics that Hanslick criticized. First, I will explore the context of ancient Greek aesthetic history in which emotional aesthetics was born. Secondly, I will explore the romanticism and popular romantic music. The romanticism which was an extension of emotional aesthetics advocated artistic autonomy and absolute music through instrumental music, and popular romantic music that was popular in Vienna influenced Hanslick’s musical thought. Third, I will explore Hanslick’s criticism of emotional aesthetics. Fourth, I will explore Hanslick’s musical aesthetics about the essence of music and the beauty of music. In conclusion, I will summarize the positive aspects and limitations of Hanslick s musical thought and conclude the essay.

자연과 환경 교육으로서의 미술 - 미술교육과정상의 문제점 분석 및 해결을 위한 이론적 고찰 -

김창식 한국초등미술교육학회 2009 미술교육연구논총 Vol.26 No.-

The ultimate purpose of school education is to satisfy the need both in each person and society. Ecological crisis is one of the urgent issues over the world. The elementary school in South Korea has not properly handled on this global issue through art education even though there has been a rapidly growing concern on the issue in it's society. This trouble has been related with the following facts. First, the educational goals and contents in art education which related to nature and environment are centered on a view of anthropocentric nature. Second, the concept of art as educational means for understanding of beauty in nature and environment is based upon formalism in aesthetics. Third, a view of anthropocentric nature also has been influencing on learning and teaching in art education. Epistemology we have on nature broadly includes anthropocentric view of nature and ecological view of nature. In the anthropocentric view of nature the criteria for the importance and necessity of nature in the world is centered on human's need. And the purposes of art education in this view of nature focus on how to understand nature as useful sources for human life, on how to use them properly, and on developing the attitude to conserve and take care of them. Instead, in ecological view of nature, the criteria for the importance and necessity of nature in the world is based upon the relationships among things in nature. And human being is considered as one of things in nature. Art educational approaches to nature focus on understanding of things in nature as living organism, on seeing nature not as materials and means for human's need but as beings like friends of human, and on developing the attitudes to keep the relationships with those friends. Formalism in aesthetics deals with characteristics of external shape of things only focusing on graphic elements such as lines and colors and their compositional relationships. Inner contexts to the thing are totally excluded. Therefore understanding of nature in art education in this aesthetics do not deal with internal understanding of nature. Environment aesthetics deals with external and internal understanding of things focusing on their relations, which is closely related to the ecological view of nature. Along with these, the facts in educational environments which affect the practice of art education for nature are creativity-centered art practices, the effects of modernistic concept of aesthetic experience, and the changing environment for school art education by the ongoing development in modern science and rapid economy. In spite of all obstacles mentioned above, problems could be lessened by school teachers' efforts to develope their understanding in theoretical knowledge on epistemology, aesthetic approaches to nature, and school environments, which related with art and education. 21세기가 직면한 인간 삶의 가장 거대한 문제는 지구 환경에 대한 것이다. 이러한 인간 사회의 문제는 교육에서의 역할 분담을 요구하여 왔다. 그러나 현재의 초등미술교육은 이러한 역할의 적절한 수행에 많은 문제점을 내포하고 있다. 초등미술교과의 자연과 환경교육은 형식적이고 비효율적인 교육 논리와 방법, 그리고 반 생태적 교육 환경에서 진행되고 있다. 이러한 현상은 미술교과 교재와 교육실천에 관련한 제 환경과 같은 미술교육과정에서의 문제와 자연, 인간, 그리고 미술교육간의 관계에 대한 이론적 이해의 문제점, 그리고 실천과 관련되어 있다. 본 연구는 자연에 대한 생태중심의 시각에서, 자연과 환경에 대한 미술교육과정과 미술교육활동과 관련한 제 환경적 요인들이 자연과 환경의 이해와 실천에 미치는 문제점에 대한 고찰에 그 초점을 두었다.

프리재즈(free jazz)에서 자유개념의 미학과 한계

남정우 동국대학교 동서사상연구소 2012 철학·사상·문화 Vol.0 No.14

Freedom is the essential idea that the jazz music is to acquire as its aesthetical goal. So jazz contains the free improvisation as its formality of musical playing which originates in the formal simplicity of african rooted bluse tradition. Free jazz style is a consequence of this aesthetics which is trying to break the practice of the musical formality considered as a obstacle to the freedom. But the free jazz is a music also, hence the trial to be free from the formality could not be possible technically. The free jazz experiment carried out by Ornette Coleman and Cecil Taylor had brought to the consequence of 'harmolody' and 'melodic beat', which were interpreted also as a variation of traditional musical formality. Therefore the aesthetical experiments of those free jazz musicians could be regarded as to be failed. But the aesthetical experiment of free jazz can be signified through the symbolic aesthetics of Susanne Langer. According to her symbolism, art is a process of 'presentational symbol' about the non-linguistic realm, such as feeling, desire, satisfaction, which derive from the experience of everyday lives. So it is distinguished from the 'discursive symbol' of linguistic-scientific realm of our understanding communication. In this perspective, the free jazz is a symbolic presentation of experience and feeling to the idea of freedom, and it must be suited to the peculiar logical formality of music also. And we cognize and understand this symbolic presentation as in any way of the free jazz's trial through its symbolic significance. 재즈는 단순한 블루스 형식을 기초로 즉흥연주(improvisation)를 포함함으로써 자유의 미학을 실현하기 위해 노력해 왔다. 그 과정의 정점에 탄생한 프리재즈(free jazz) 스타일은 하나의 장애로 여겨졌던 기존의 음악적 형식성으로부터 탈피하여 자유의 이념을 극대화하는 데에 초점을 맞추고 있다. 하지만 재즈 역시 음악이며, 따라서 음악 고유의 형식성에서 탈피하려는 시도는 실현되기 쉬운 것이 아니었다. 오넷 콜먼(Ornette Coleman, 1930-)과 세실 테일러(Cecil Taylor, 1929-)의 프리재즈는 적극적 의미의 ‘자유’ 이념을 실현하려 했으나, 각기 화성선율(harmolody)과 선율적 비트(melodic beat)의 특성을 드러내 기존의 음악적 형식성으로 회귀했다. 이 때문에 프리재즈의 미학적 시도는 실패로 돌아간 것으로 평가되기도 한다. 그러나 프리재즈의 시도는 수잔 랭어(Susanne K. Langer, 1895-1985)의 상징주의 미학을 통해 보면 고유한 의미를 갖는 것으로 해석된다. 랭어에 따르면 예술은 언어적 소통의 ‘추론적 상징’과는 달리 삶의 경험에서 의식된 감정, 욕망, 만족 등의 비언어적 영역을 예술 고유의 형식성을 통해 드러내는 ‘현시적 상징’이다. 이러한 관점에서 보면 프리재즈는 자유의 경험과 그 감정에 대한 상징적 현시이며, 프리재즈 역시 음악 고유의 논리적 형식성에 들어맞는 것이어야 한다는 것을 간과할 수 없다. 우리는 이러한 상징적 현시를 개념적 의미가 아니라 상징적 의미화를 통해 확인하게 되는 것이다.

시적 수사로서 병치은유의 영상 발현 방식에 관한 시론 : <검은 땅의 소녀와〉의 몽타주 분석을 통해

안숭범(Ahn Soong-Beum) 한국시학회 2009 한국시학연구 Vol.- No.26

Poetry and films have not been closely scrutinized in terms of correlation of formal aesthetics. Thus, this paper aims to analyze a film called "With a Girl of Black Soil"to examine how diaphor of poetry is realized in the film, thereby discovering possibilities of a new method of communication between poetry and films. First of all, diaphor, one of the major concepts herein, refers to a particular rhetoric encompassing aesthetical images in the context of poetry. Its equivalent in films is the collision-montage, which is a visual rhetoric representative of "radical changes" such as contrast, spring or collisions. As a result, diaphor, as a poetical rhetoric creates two types of effects: "implication through contrast" and "emotional, semantic shocks". The former revealed itself in diaphor which has, to a certain extent, the similarity principle of epiphor, while the latter was materialized in a rather pure form of diaphor in which spring and collisions could be felt. The collision-montage, which was established by Russian film directors dedicated to formalism and is being stylized in various ways these days, realizes the aforementioned effects of diaphor through images. Collision-montage revealed through "implications through contrast" create new meaning and diverse relationships, and even proposed new ideas to the audience, whereas that for "emotional, semantic shocks" pluralized meanings by allowing different interpretations of meanings, leaving aesthetic afterimage to the audience, thereby drawing attention to the conceptual message inherent in the narrative. If an Consilience research on formal aesthetics of poetry and films can be conducted going forward, individual works of the two media are expected to influence each other from the initial stage of planning, conception ideas to even provision of fresh ideas.

북한문학사의 문체론 연구

이영미 현대문학이론학회 2005 現代文學理論硏究 Vol.0 No.24

The purpose of this study was to analyze the stylistics of North Korea in the history of its literature. In particular, the focus was placed on the wide-range discussions about stylistics in the early years of North Korea's system formation in order to investigate the relations between North Korea's political system and its literature. The commentaries on stylistics published in the early Chosun Literature were analyzed. There is no doubt that the literary works made useful tools for the regime's authority to promote its political communication as an ideological mechanism In the works, the authors presented the system ideology from the former Soviet Union as the theme or created such main characters as could help the readers internalize the ideology in the sense of 'unity', which was an implicative psychological strategy. It was stylistics that was adopted as a major tactics tool in the psychological strategy of internalization. Employed by the regime as a means to control the public, stylistics was originated from the changes across the literary circles called bourgeois criticism of aesthetics. Later it worked itself to bring out 'Juche(the subject)' through another major change across the literary circles centered around the existing authors' conflicts with new faces. It's when it's expanded to embrace the tradition and language. Thus its huge contribution was made to deepening the regime's only system of the subject ideas more from a structural aspect. At a closer look, the internal disputes within the circles over the issue of rooting out bourgeois reactionary aesthetics brought about the anti-sectarian strife in cooperation with political arguments. The accomplishments of the anti-sectarian strife include a wide range of consensus about increasing the literature quality through strengthening styles. That is, the pursuit of formal aesthetics through styles was suggested for all the literary members. As the newly rising writers increased in numbers and confronted the old groups in the power game, the new faces argued that record-orientedness and mysticism should be overcome. To their criticism, the old generation authors borrowed the defense of political power from stylistics, which was the formal feature where they could be distinguished from the new faces. In addition to the rhetoric control for increasing literature quality, the issue of stylistics over 'Juche(the subject)' around the revisionist criticism began to put limits onto language in a wide range, which gave stylistics even more power. Having started with the authors, the discussion over stylistics made its final stop at the language control over the people' and 'Juche(the subject)' by the authority and thus became generalized. Around the Seoul Olympic games in 1988, there was another round of detailed control over styles in North Korea, which implies that 'appearance of stylistics' happens during the political changes in the literary history of North Korea. In other words, in the nation, literature has been a useful tool to control and regulate the psychological morale of the people as one of the major media. stylistics would exercise certain regulatory power in making people internalizing the system ideology and suppressing them through literature.

형식주의와 심미적 예술론

이윤일(Lee Yoon Il) 관동대학교 인문과학연구소 2015 人文學硏究 Vol.20 No.-

예술을 정의하는데 사용되는 여러 가지 개념 중 19 세기 말까지 유망한 역할을 해왔던 것은 재현과 표현이라는 개념이다. 이런 예술이론을 각각 재현론과 표현론이라고 불러왔는데, 이 두 이론은 불행히도 20세기에 들어와 예술의 비약적 확장으로 말미암아 예술 현상 전반을 포괄하는 예술 정의를 확립하는데 실패하였다. 따라서 예술을 정의하는데 필요한 보다 포괄적인 개념을 찾는 작업이 여러 각도에서 이루어졌다. 그중에서도 20세기에 들어와 예술을 정의하기 위해 제시된 또 다른 유망한 개념이 바로 형식(form)과 심미적 경험(aesthetic experience)이라는 개념이다. 이 글은 형식과 심미적 경험을 예술의 본질이라고 보는 형식주의(formalism)와 심미적 예술론의 주장을 정리한 후 그 난점을 지적한다. 형식주의의 주요 결함은 내용을 예술과 전혀 무관한 것으로 간주하려고 한 데 있다. 그러나 이런 해석은 예술사를 생각해 볼 때 전혀 설득력이 없다. 왜냐하면 대부분의 전통 예술은 형식과 관계하고 있는 만큼 내용과 관계하고 있을 뿐만 아니라, 많은 경우에 내용이 예술 지위와 무관할 경우 예술 작품에서 의미 있는 형식을 판별하기가 불가능하기 때문이다. 이에 반해 신형식주의는 의미 있는 형식이라는 개념을 내용과 형식의 충분한 적합성이라는 개념으로 교환함으로써, 형식주의의 이 결점을 치유하려고 한다. 하지만 신형식주의는 모든 예술 작품이 내용을 가지는 것은 아니라는 문제에 직면한다. 따라서 신형식주의는 모든 예술에 대한 포괄적인 이론으로서 인정받을 수 없다. 심미적 예술론은 감상자의 미적 경험을 예술의 중핵으로 삼고, 미적 경험에 대한 내용 지향적 설명과 정서 지향적 설명을 제시한다. 하지만 두 설명 모두 예술의 필요충분조건을 제공하지 못했다. 양 설명은 한편으로는 그 정의 하에 예술 작품이 아닌 많은 인공물을 포함하기 때문에 너무 넓고, 다른 한편으로는 예술 영역에서 반미학적 예술을 배제하기 때문에 너무 좁다. 따라서 심미적 예술론도 적절한 포괄적인 예술 이론이 되지 못한다. 이 두 이론의 한계는 이후 예술은 애초부터 본질적으로 정의될 수 없는 개념이라는 또 다른 각별한 예술론을 옹호하는 근거로 이용될 것이다. In the philosophy of art, artistic form is a core concept in our appreciation of artworks. Formalist proposes that significant form is the essence of all art. According to formalist, x is a work of art if and if only x is designed primarily in order to possess and to exhibit significant form. However, the formalist intends to theorize about the nature of all art, not just modern art, And as a comprehensive theory of all art, formalism fails. Neoformalism attempts to remedy this shorting of formalism by replacing the notion of significant form with that of the satisfying appropriateness of form to content. But neoformalism confronts the problem that not all works of art possess content. Thus, neoformalism is unacceptable as a comprehensive theory of art, In the other hand, aesthetic theorists attempts to define artworks as objects designed to bring about, or support aesthetic experiences. Such definition is called aesthetic definition of art. Like formalism, the aesthetic definition of art is proposed as a comprehensive theory of all art. But the aesthetic definition of art is also generally too broad and too narrow, because this definition includes not only many human artifacies that not artworks under it’s framework, but also excludes anti-aesthetic art from the order of art. Thus, aesthetic theory of art is not adequate, comprehensive theory of art.

"정면적인(Front)" 대(對) "사과적인(Appley)" : 『사랑하는 여인들』(Women in Love)에 나타나는 미와 숭고

박정필 한국로렌스학회 2007 D.H. 로렌스 연구 Vol.15 No.3

In Women in Love not only are various aesthetic emotions expressed in opulent language, but the visual sphere connoting aesthetic structure is also overwhelming D. H. Lawrence interjects his aesthetic intention in almost all parts of the text And the aesthetic presupposes psychological structure, ontology, and social and cultural symptom Therefore, the characters' different traits and ontologies signify into diverse aesthetics, then into lavish visions We locate three kinds of aesthetic experiences in the text, betrayed as either in the formal, the critical, and the unlimited, or in the beautiful, the critical, and the sublime respectively Limited and formal aesthetic, which is what Gudrun, Gerald, and Hermione usually experience, Pertains to a psychological structure to draw a balanced outward line or to make a limitation of objects and to achieve a perfection by linear finish An aesthetical pleasantness ensues when the form out of a fixed state or a stable idea or categorized image is detected correspondently in outer objects This aesthetic can be associated with Kant's argument of the Beautiful, which asserts that the beautiful is the cognitive form of emotion It is due to the operation of this unconscious category that Gudrun and Gerald are attracted to each other instinctively It is highly probable that the contention is considerable between the finished in formal aesthetic and the marginal rejected by it As we infer from the fact that Gudrun is usually repulsed by the filthy mining village around her, this tensive emotion arises when the linearity in subject does not conform to outer phenomena or grasp objects Yet, it must have intimate relation with the aesthetic of formality, the more definite aesthetic intensifies the more the friction deepens Hermione becomes more destructive striving to possess and control Birkin by her categorical intellect Strictly speaking, this crisis may be not palatable to the aesthetic itself, for it brings on displeasure, fear, and, furthermore, trauma on occasion The logic operating in this experience is that the understandable concept or fixed category does not accommodate objects entirely within its extent and always makes a difference, that is, surplus or deficiency The third noticeable aesthetic in this text correlates to the encounter with the area impossible and improper for human beings This is revealed in the text where Birkin and Ursula aboard grope after profound consonance with the darkness itself It occurs when one seeks to erase and renounce self, consciousness, and form not establishing any category and making the least outline, which Lawrence names "non-rational," "soul," "love," "mindless," "blood-consciousness," "the organic," "the vital," "the dynamic," "darkness," etc As the feminine jouissance in terms of Lacan, it is not reluctant to be with the void itself unconsciously and indiscriminately without nervousness, so the tussle between the subject and the object does not transpire. Roughly speaking, Lawrence provides two models of aesthetic as a symptom of and alternative for white western civilization He unlocks some possibility of Ursula's unlimited or dark aesthetic while setting up the downfall of Gerald, the personification of the formal western.