알프스의 미에 관한 게오르그 짐멜의 이론 연구 = Towards Aesthetics of Alps, Centering Around the Writings of Georg Simmel

다국어 초록 (Multilingual Abstract)

What is the beauty of Alps which has fascinated us so strongly? Georg Simmel, a German social philosopher, has written an essay on the beauty or sublime of enormous mountain ``The Alps``(1911). He raised a basic question, why the Alps could not be the object of visual art, contrary to other landscapes. He has speculated earnestly on many interesting and strange issues which stimulate aesthetic reflection during his life. This paper aims to investigate how Simmel established the landscape aesthetics of mountain Alps, and to examine the concept of sublime comparing with the Kantian thoughts, and further to distinguish the originality of Simmel`s aesthetics. According to Simmel, the essential characteristics of Alps is above all the overwhelmingly mass, so any painting cannot be equal to the capacity of Alps. The painters of Alps, even Giovanni Segantini and Ferdinand Hodler, evaded the problem to describe, merely by sophisticated stylization, transference of accent, and color effect. The formal disorder of absolute scale could become a kind of formal unity in our apprehending the Alps. The formlessness is a form of the Alps. It means something beyond the numerous formation and something beyond numerous form. Therefore, we find a certain premonition and symbol from those quality. Simmel found the ultimate secret of Alps in the remoteness from life. The sea appeals to us through the feeling of life, on the contrary the Alps does through the abstraction of life. Simmel mentioned that the Alps brought out liberation like sea. The Alps is a symbol of non-affinity of time which is the form of life. It is cut off from human destiny of birth of death. And we experience the supremacy of materiality in the Alps. Simmel divided and analyzed the landscape of the Alps into three kinds, the area of eternal snow of the top, the area of the lump of rock, and the area of open field. The eternal snow, most important area for the mountain beauty, makes an absolutely nonhistoric view, with the formlessness of both time and place. Simmel suggested us a new theory of sublime, different from that of Kant. It is metaphysical in some sense, but its basis is on the experiential knowledge. Simmel`s aesthetics, as shown in the essays such as ``The Grip``, ``The Picture Frame`` and ``The Ruins``, is always grounded on the concrete factual things which we can see in front of us.

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