숭고의 발현요소 세분화를 통한 유휴산업시설 리노베이션 연구 - 문화공간으로의 재생사례를 중심으로 -

이승현 ( Lee Seunghyun ),이원석 ( Lee Wonshok ) 한국공간디자인학회 2022 한국공간디자인학회논문집 Vol.17 No.7

(연구배경 및 목적) 19세기 산업혁명 이후 산업시설은 인류문명은 빠르게 진보시키는 데 큰 역할을 하였지만, 이후 '탈공업화', '정보화시대'로 접어들면서 생산 위주의 산업시설은 자연스럽게 도태되었다. 이런 과정에서 버려진 산업시설들은 자연스럽게 방치되며 도시의 경관을 해치는 흉물로 자리 잡게 되었고 철거에도 어려움이 있어 해결할 방안이 필요한 상황이었다. 하지만 최근 도시재생의 흐름 속에서 유휴산업시설들이 그 지역의 역사는 물론, 시간의 파티나(patina)가 쌓여있는 공간으로 인식이 전환되게 되었고, 시설을 완전히 철거하기보다는 보존하자는 담론이 활발하게 이루어지고 있다. 본 연구에서는 유휴산업시설의 가치뿐만 아니라, 거대한 공간과 독특한 공간감이 불러일으키는 숭고의 감정에 대해 살펴보고자 한다. (연구방법) 본 연구는 먼저 유휴산업시설이 가지는 가치를 분석하기 위해 지역성, 문화성, 상징성으로 구분하고, 리노베이션 유형을 구조와 공간으로 구분하여 분석한다. 다음으로 에드먼드 버크, 임마누엘 칸트, 에띠엔 루이 불레, 장 프랑수아 리오타르의 숭고를 분석하여 정리한 후에, 건축적 숭고와 체험적 숭고로 분류하여 분석한다. 건축적 숭고는 버크가 언급한 예 중 크기, 재료, 형태 3가지의 범주로 분류하고 체험적 숭고는 리오타르가 언급한 숭고의 개념을 통해 프로그램적 요소와 기존 요소로 분류하였다. 이를 바탕으로 최근 5년 이내 리노베이션된 유휴산업시설 중 숭고미의 관점에서 분석 가능한 5개의 사례로 한정하여 비교 분석한다. (결과) 유휴산업시설 리노베이션을 통해 복합문화시설로 사용 중인 사례로 부천 아트벙커 B39, 조치원 문화정원, F1963, 팔복예술공장, 담양 해동문화예술촌을 숭고의 관점에서 분석해본 결과 숭고는 크기, 재료, 형태, 프로그램적 요소, 과거 요소 중 한 가지의 요소로 발현되는 것이 아닌 건축적 숭고와 체험적 숭고를 복합적으로 체험하며 각기 다른 방식으로 숭고를 경험할 수 있다는 것을 알 수 있었다. (결론) 단순히 새로운 프로그램을 부여하거나 기존 요소를 보존하는 데 그치는 것이 아닌 일반적인 건축물에서 느낄 수 없는 거대한 공간들과 이전의 기능을 연상시키는 흔적을 통해 숭고미를 느낄 수 있는 것이 확인되었다. 리노베이션 속 숭고미의 요소들을 건축적 관점에서 세분화한 점에서 의미를 지닌다. 숭고미의 요소를 통한 세분화가 앞으로의 유휴산업시설의 리노베이션에 기여하길 바란다. (Background and Purpose) After the industrial revolution of the 19th century, industrial facilities played a major role in rapidly advancing human civilization, but as the 'post-industrialization' and 'information age' entered, production-oriented industrial facilities were naturally eliminated. Abandoned industrial facilities in this process were naturally neglected and became an abomination that harmed the city's landscape. However, in the recent trend of urban regeneration, the perception of idle industrial facilities as a space representing not only the history of the area but also the patina of time is being actively debated about preserving the facilities rather than completely demolishing them. In this study, we intend to examine not only the value of idle industrial facilities but also the sublime emotions evoked by a huge space and a unique sense of space. (Method) To analyze the value of idle industrial facilities, this study first divides them into regionality, culturality, and symbolism, and analyzes the renovation type by dividing it into structure and space. Next, after analyzing and arranging the sublime of Edmund Burke, Immanuel Kant, Etienne-Louis Boullee, and Jean-Francois Lyotard, it is analyzed by classifying it into the architectural sublime and the experiential sublime. Among the examples mentioned by Burke, the architectural sublime was classified into three categories: size, material, and form, and the experiential sublime was classified into programmatic and existing elements through the concept of sublime mentioned by Lyotard. Based on this, among the idle industrial facilities that have been renovated within the last five years, the comparative analysis is limited to five cases that can be analyzed from the point of view of sublime beauty. (Results) As a result of analyzing Bucheon Art Bunker B39, Jochiwon Cultural Garden, F1963, Palbok Art Factory, and Damyang Haedong Culture and Arts Village, which are used as complex cultural facilities through the renovation of idle industrial facilities, you can experience the architectural and experiential sublime in different ways. (Conclusions) It was confirmed that the sublime beauty can be felt through the huge spaces and traces reminiscent of previous functions, which cannot be felt in general buildings, rather than simply giving new programs or preserving existing elements. It is meaningful in that the elements of the sublime in the renovation are analyzed by dividing them into types from an architectural point of view. It is hoped that segmentation through elements of sublime beauty will contribute to the renovation of idle industrial facilities in the future.

Ecology, Nature and Sublime

전세재 ( Seh Jae Chun ) 한국18세기영문학회 2010 18세기영문학 Vol.7 No.1

The purpose of this paper is to examine the ecological implications of the sublime popularized in the eighteenth century. The eighteenth century is conventionally thought of as the epoch of light-the enlightenment, led by what the French called their lumiere-Edmund Burke sets himself up as the priest of obscurity, of darkness. And the quest for the sublime takes one right over the top. The eighteenth century desire to delve into the aesthetic classification and origin enlightens a once benighted text, Longinus` Peri Hypsous. If Longinus sublime is more centered on the elevated notion of sublimity and Dennis highlights the conception of the terrible sublime, the syntheses of both traditions are found in Edmund Burke`s conceptualization of the sublime. If Burke advances Dennis`s notion of the terrible sublime in nature, he also comprehends it in a way that is very different from Dennis`s understanding. Relying partly on Burke`s earlier formulation, Kantian sublime is oriented towards the dynamics of cognitive process. Nature in Longinus and Burke is perfunctory in the sense that the spectator can simulate the sense of sublime without the existence of the natural elements to be exact. Natural sublime could work to empty out the self and what is replaced inside one`s self is the sense of awe, fear, and death, not for nature but for the self which is reoriented by the sublime experience. In The Seasons by James Thomson, many passages evoke terror before the sizable and destructive forces of nature. Robert Blair`s death in "The Graves" is threatening and sublime and emphasizes on the universality and immorality of death to everyone, while Edward Young`s death in the magnificent Night Thoughts seems not so eerie or threatening, rather it is more or less highlighting the narcotic quality of death in which death lives into the lives of our presence and even allures and seduces, unlike Blair, us to embrace death as the path to immorality. Wordsworth, however, unlike his predecessors, attempts to translate the sublime moment into the ways in which the spectator can catch a glimpse of something beyond himself. The sublime moments in many of those English landscapes are really not about mountains, rivers and forests. Here what the sublime spectator perceives is the enormous communion between the individual microcosm and the planetary macrocosm of Being. But the process is a reciprocal phenomenon. The physicality and in particular the body of the spectator are intermixed with what the mind forges, and the state it experiences opens up the possibility of the ecological interpretation of the sublime.

The Iconography of the Sublime in John Martin’s Mezzotints to Paradise Lost

조광순 한국중세근세영문학회 2013 고전·르네상스 영문학 Vol.22 No.2

The sublime has been a key idea in Western aesthetics from Longinus of the third century to the present times. However, Edmund Burke formulated a very systematic, comprehensive theory of the sublime as well as the beautiful. In eighteenth century England, Burke’s idea permeated almost every sector of art, for example, literature, architecture, music, and painting. Edmund Burke enumerates eight factors of the sublime, that is, terror, obscurity, power, privation, vastness, infinity, difficulty, and magnificence. John Martin is a highly artistic printmaker who made illustrations to Paradise Lost by using the form of mezzotint. Martin masterfully delineates the sublime in his mezzotints, which effectively produce light and blackness, depth and height. In three mezzotints, Martin embodies the sublime which Milton expresses in words. In Pandemonium, Martin embodies the sublime of infinity and obscurity. In Creation of Light, he is concerned with power which is represented in the fast moving image of God. Bridge over Chaos vividly expresses terror. Martin is credited with employing the mezzotint, which enables him to deal with the sublime with its wide tonal range, and with perceptively responding to Paradise Lost. In this sense, John Martin’s mezzotints are not merely pictorial renderings of the poem but perceptive interpretations of the poem. Martin endows Paradise Lost with the sublime. The sublime has been a key idea in Western aesthetics from Longinus of the third century to the present times. However, Edmund Burke formulated a very systematic, comprehensive theory of the sublime as well as the beautiful. In eighteenth century England, Burke’s idea permeated almost every sector of art, for example, literature, architecture, music, and painting. Edmund Burke enumerates eight factors of the sublime, that is, terror, obscurity, power, privation, vastness, infinity, difficulty, and magnificence. John Martin is a highly artistic printmaker who made illustrations to Paradise Lost by using the form of mezzotint. Martin masterfully delineates the sublime in his mezzotints, which effectively produce light and blackness, depth and height. In three mezzotints, Martin embodies the sublime which Milton expresses in words. In Pandemonium, Martin embodies the sublime of infinity and obscurity. In Creation of Light, he is concerned with power which is represented in the fast moving image of God. Bridge over Chaos vividly expresses terror. Martin is credited with employing the mezzotint, which enables him to deal with the sublime with its wide tonal range, and with perceptively responding to Paradise Lost. In this sense, John Martin’s mezzotints are not merely pictorial renderings of the poem but perceptive interpretations of the poem. Martin endows Paradise Lost with the sublime.

독법으로서의 숭고와『무정』다시 읽기

이철주 ( Lee Cheol-joo ) 한국현대문예비평학회 2016 한국문예비평연구 Vol.- No.52

이광수의 『무정』은 여전히 계몽담론의 총화로 자리매김 되고 있다. 이러한 지배적 독법은 대부분 초점인물 이형식의 세 차례 각성에서 그 근거를 찾고 있는데, 각성에 춘원의 계몽담론이 노골적으로 표명돼 있다고 보기 때문이다. 이러한 해석들은 계몽담론이 서사적, 논리적 비약을 통해 진술되고 있음을 의도적으로 간과한다. 설혹 인정한다 할지라도 대부분 과도한 계몽성과 이광수 개인의 문학적 역량 부족으로 치부할 뿐이다. 그러나 어째서 이광수에게 그토록 중요했던 계몽이 비합리적 방식을 통해 서술될 수밖에 없었는지가 설명되지 못한다면, 충분한 해석이 되기는 어려울 것이다. 이형식의 세 각성은 매우 일관된 형태로 반복되고 있으며, 여기에는 심층의 논리가 작용하고 있다. 본고에서는 이러한 각성의 문제가 미학적 주체되기의 문제와 관련될 수 있음을 `숭고`라는 근대미학 개념을 통해 보여주려 했다. 이는 작품에 대한 기존의 해석을 그대로 가져와 `숭고`라는 서구미학의 총체적 범주 속에 집어넣는 것이 아니라는 점에서, 그간의 `숭고`와 관련된 연구들과 문제의식을 달리 한다. 기존의 `숭고`와 관련된 연구들은 `숭고`라는 개념 자체의 적용에 충실하기는 했지만, 정작 `숭고`를 매우 추상적인 일반론 차원에서 전유하고 있었다. 숭고로 작품을 보는 것이 어떠한 의미를 지닐 수 있는지 그 메타적 차원에 대한 고민이 덜 이루어졌기에, 일단 작품을 `숭고`로 볼 수 있다는 사실 자체만이 강조된 결과로 생각된다. 본고에서는 이러한 전유양상에 대한 비판적 논의로 `독법으로서의 숭고`를 제안하고자 한다. 추상적인 실체로서 `숭고`를 가정한 채 작품을 `숭고`로 환원하려는 것이 아니라, 특정 숭고의 논의를 통해 작품에 내재된 이질적 요소들에 주목하려는 것이다. 『MuJeong』 by Lee Gwangsu is still positioned as a sum of enlightened discourse. This dominant reading method is mostly based on three awakening of Lee Hyungsik as a focalizer. Because they are considered the se awakening to be a slogan of Lee Gwangsu`s enlightened discourse. These interpretations are overlooking that the enlightened discourse has been described by logical leap by intent. Or they dismiss this contradiction as a lack of literary ability and excessive passion about enlightenment of Lee Gwangsu. But to become a persuasive arguments, It should be made explicit why did this enlightened discourse be described as unreasonable way. Lee Hyungsik`s three awakening is repeated in consistently. And there is a latent logical structure. This paper wanted to show that these awakening be involved in the problem of the aesthetic subject wit h sublime as a modern aesthetic concept. This approach is different from existing research because this paper don`t put previous text explanation to category of sublime. Existing research related to the sublime stuck by the application of the notion of sublime. But they are appropriating sublime in a dimension of abstract generality. They overlooked meta-approaches what a sublime means for text explanation. So these approaches stick to that the text can be seen as sublime. This paper propose `the sublime as a reading method` to bring up a problem about existing appropriation aspect of sublime. It`s trying to take note of text`s unsuitable element with sublime rather than reducting the text to sublime.

할리우드 스펙터클 영화의 숭고와 이데올로기

김미숙,고부응 문학과영상학회 2011 문학과영상 Vol.12 No.4

The Sublime and the Ideology of Hollywood Spectacle This essay explores the relationship between the spectacle of Hollywood cinema and the sublime as explained by Immanuel Kant. According to Kant, the sublime is aroused in the failure of an imagination to comprehend the absolutely great. In his Critique of Judgement, Kant distinguishes the mathematical sublime as the immeasurable quantity from the dynamical sublime as the immeasurable force. In comparison with the sublime of Kant, Greg Tuck compares the sublime and the spectacle and argues that spectacles might be ‘impressive and fun’ but that there is something shallow about them, while the sublime is a moment of extraordinary metaphysical density. However, we will try to discuss how the spectacle of Hollywood cinema plays a role in arousing the effect of the sublime, illustrating the greatest images empowered by the development of technology in films. Why does the spectacle of Hollywood cinema stick to the image of the big size which can be the sublime, rather than the ‘absolutely great’ image? First, what seems to be shown in the spectacle of Hollywood films, is not so much a narrative effect, which communicates a story with intrinsic language but an overwhelming image achieved through the use of special effects. This means that the movie being screened in a theatre attracts the audience easily with the big size image. For example, the image in spectacle movies such as Kingkong (2005) and Terminator 4 (2009) make spectators delighted even without subtitles written in a particular language, and thus it can cross language barriers. Therefore, it goes beyond the boundary of nation-states and therefore tends to be globalized. Second, once the spectacle in films comes to effect the sublime, it is not simply an experience of subjective failure to comprehend the measureless thing, but an objective ‘common sense’ which universally has the power of judgment followed by the extent of the ideas of reason. The power of the sublime in cinema produces a spectator as a renewed subject reproduced by Hollywood cinema. The big size of the spectacle in movies captivates audiences with the effect of the sublime. The captivated audience passively watches the image without actively pondering critically about the cinema effect. The spectator is victimized with the illusion of reality, as Plato’s prisoner in a cave. In this respect, the ultimate goal of the spectacle of Hollywood cinema is to produce a renewed spectator as an ideological subject to the Hollywood capitalism. The sublime effect brought about by Hollywood spectacle movies and by the mass culture in general can be the ideological effect of cinema apparatus as explained by Jean-Louis Baudry rather than the value of the aesthetic as explained in Kant’s philosophy.

버크의 『철학적 탐구』에 나타난 숭고의 관념

기정희 한국미학회 2002 美學 Vol.32 No.-

This paper is a study of Edmund Burke's 'the sublime'. In A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful, Burke analyzed the causes which evokes the sublime and beautiful by using both physiological and psychological methods. He distinguished two kinds of human instinct, the instinct of self-preservation and the instinct of society, and argued that these instincts lie at the root of the sublime and beautiful. According to him, the sublime is a kind of pleasure, a kind of delight evoked by reducing the terror of the fear, or by removing the pain. The formation of a distinct representation, which is related to the act of imagination, is the moment of reducing the terror of the fear, or the moment of removing the pain. The sublime originated from the tension and the contradiction in the imagination, which is an important cause of our passion. Word is the most appropriate medium which evokes our passion. The poetry is a sublime art which produces the infinity by the medium of word. In this way, Burke saw the sublime as the product of human passion and analyzed the sublime in term of the empiricism And he regarded the sublimes as an aspect of aesthetic experience and explained the psychological relation between human passion and the sublime things. Burke's 'the sublime' provided the germ of G. E. Lessing's distinction between poetry and painting, and suggested the possibility to release artworks from the classical rule of imitation.

1800년경 독일어권 음악담론과 칸트의 주관화된 숭고개념

허효정 ( Huh Hyo Jung ) 서울대학교 서양음악연구소 2021 음악이론연구 Vol.37 No.-

본고는 1800년 경 독일어권 음악담론이『판단력 비판』으로 구체화된 칸트의 숭고이론을 흡수하여 ‘음악적 숭고’에 대한 새로운 개념을 도출한 사유의 과정을 추적하고 분석한다. 숭고를 ‘대상이 지닌 특성’으로 보았던 기존의 관점과 달리, 칸트는 숭고를 ‘주체의 정신 안에서 일어나는 작용’으로 본다. 칸트의 숭고개념을 예술에 적용하고자 한 당대 이론가들에게, 칸트의 이런 관점은 풀기 어려운 숙제를 던졌다. 숭고를 ‘주체’의 정신 안에서 일어나는 작용으로 보는 칸트의 이론과 달리, 예술이론에서의 숭고란 특정한 작품이라는 ‘대상’이 지닌 특질이었기 때문이다(2장). 본고는 이것이 당대 음악적 숭고에 대한 담론에도 혼선을 야기한 것으로 보고, 코흐의 ‘숭고’ 항목을 통해 당대 음악적 숭고담론이 어떠한 논리적인 난관을 마주대하고 있었는지를 분석한다(3장). 다음으로 미카엘리스의 논의를 통해 당대의 지성이 이 난관을 어떻게 극복하였는지를 살피고, 그것이 음악비평에 남긴 결과를 살핀다. 미카엘리스는 ‘주체’의 정신 안에서 일어나는 숭고와 구체적인 음악적 특성이라는 ‘대상’ 사이에 ‘상상력의 확장과 실패’라는 매개를 넣는다(4장). 이를 통하여 ‘상상력의 확장과 실패’를 일으키는 음악적인 요소들이 음악적 숭고의 조건으로 부상하게 되며, 이것은 독일어권 음악계에서 기악음악을 중심으로 한 ‘클래식 음악의 이상(理想)’에 미학적인 정당성을 제공하는 결과를 낳는다(5장). This paper traces and analyzes the process of thinking that drew a new concept of ‘musical sublime’ by absorbing Kant’s sublime theory, which was embodied in the Critique of Judgment, in German-speaking music discourse around 1800. Contrary to the existing view that saw the sublime as ‘the characteristic of an object’, Kant sees the sublime as ‘acting within the mind of the subject’. For contemporary theorists who tried to apply Kant’s concept of the sublime to art, this view of Kant poses a difficult task to solve. This is because, unlike Kant’s theory, which sees the sublime as an action occurring within the mind of the ‘subject’, the sublime in art theory is a characteristic of the ‘object’ of a specific work (Chapter 2). This paper sees this as causing confusion in the discourse on the musical sublime at the time, and analyzes what logical difficulties the contemporary discourse on the musical sublime faced through Koch’s ‘sublime’ entry (Chapter 3). Next, through the discussion of Michaelis, the paper examines how the intellect of the time overcame this difficulty, and the results it left behind in music criticism. Michaelis inserts the mediation of ‘expansion and failure of imagination’ between the subjective sublime and the objective musical characteristics(Chapter 4). Through this, musical elements that cause ‘expansion and failure of imagination’ emerge as a condition of the musical sublime, which provides aesthetic justification for the ‘ideal of classical music’ centered on instrumental music in the German-speaking world(Chapter 5).

구상 시에 나타난 숭고의 특성 연구

이재훈 우리어문학회 2023 우리어문연구 Vol.77 No.-

This thesis aims to elucidate the characteristics of the sublime in Koo Sang's poetry. The sublime is an attitude toward the high and the great, the lofty and the absolute. This attitude is manifested in the form of poems with high, large, and expansive subject matter, poems with such a theme and orientation, and poems that contain a strong pathos through lofty themes and stylistic devices. In this thesis, I accept the concept of the universal sublime as a huge nature that overwhelms humans and an absolute subject. Based on this, I categorized the characteristics of the sublime, focusing on poetic objects and poetic consciousness that were universalized in Korean poetry. In particular, I examined how the various characteristics of the sublime are incorporated into poetry through the discussions of Longinus, Kant, and Burke, which were raised as theoretical foundations in the discussion of the sublime. Koo Sang's poetry embodies the sublime in three layers of ways. The first is ‘Nature and Ethics in the Sublime.’ I examined how the absolute magnum and overwhelming nature, which are well-known as the most basic conditions of the sublime and the source of representation, are revealed in Koo Sang's poetry. The poems showed the process of discovering greatness through nature and insight into the universal and broader ethics of humanity through the greatness of nature. The second way of the sublime is ‘the terror and Existence Consciousness of the sublime.’ The horror of the sublime refers to the civilization, history, times, and powerful forces that surround the world; it is generated through a sense of the crisis of civilization and a premonition of humanity's future. The emotion of fear generated by the sublime leads to philosophical reflection, which is the search for human existence and the nature of humanity. The third mode of the sublime is ‘the infinite and Transcendental Consciousness of the sublime.’ The absolute and overwhelming imagination of the sublime, and the aesthetic attitude toward huge themes, leads to a sense of transcendence. The poetic attitude toward transcendence, away from the horrors of life and death, is realized in poetry.

De Quincey’s Transgression: The “Dark Sublime” in Confessions of an English Opium Eater

신혜원 한국영어영문학회 2008 영어 영문학 Vol.54 No.6

De Quincey’s poetic illumination of the idea of the sublime in Confessions of an English Opium Eater illustrates his dialectical engagement with Kant and Wordsworth. De Quincey has created the new sort of the sublime that blurs Kant’s logical distinction between the Beautiful and the Sublime and lacks Kant’s key element of innate negativity which posits the Sublime in Kant’s work. Compared to Wordsworth’s Romantic sublime, epitomized by Wordsworth’s poetry of self-mastery and unity with nature, De Quincey’s opium-induced delirium stresses the masochistic humiliation and pains of addiction caused by the damaged self-boundary with no Wordsworthian sense of a final resolution or triumph of subjectivization of the objective world. However, De Quincey’s apparent “failure” to emulate with these philosophical and literary masters is an ironic indication of his subversive act to transgress the aesthetic rules set by the authority, which in itself is sublime. De Quincey’s poetic illumination of the idea of the sublime in Confessions of an English Opium Eater illustrates his dialectical engagement with Kant and Wordsworth. De Quincey has created the new sort of the sublime that blurs Kant’s logical distinction between the Beautiful and the Sublime and lacks Kant’s key element of innate negativity which posits the Sublime in Kant’s work. Compared to Wordsworth’s Romantic sublime, epitomized by Wordsworth’s poetry of self-mastery and unity with nature, De Quincey’s opium-induced delirium stresses the masochistic humiliation and pains of addiction caused by the damaged self-boundary with no Wordsworthian sense of a final resolution or triumph of subjectivization of the objective world. However, De Quincey’s apparent “failure” to emulate with these philosophical and literary masters is an ironic indication of his subversive act to transgress the aesthetic rules set by the authority, which in itself is sublime.

리오타르의 숭고의 미학과 통합예술교육

이철우 한국현상학회 2019 철학과 현상학 연구 Vol.82 No.-

The purpose of this study is to explore the applicability of Jean-Francois Lyotard's Aesthetics of the Sublime to integrated art education. The concept of sublime opens up a new area that cannot be reached by reason and thinking, giving some kind of light to today's educational environment which confronts many conflicts and problems under the system of modern education centered on knowledge and reason. Therefore, first of all, to examine the process of the formation and the transformation of the sublime, the archeological method is applied to examine the gap between the modern art and post-modern sublime. Then, by studying the concept of post-modern sublime, I would like to clarify the connection between sublime and education in the advanced industrial society, and further explore the educational utilization of integrated art education through the concept of sublime. Lyotard summons sublime as a concept to realize an aesthetic society based on heterogeneity and diversity. The interest in sublime is derived from the recognition that there is something that cannot be solved by cognitive judgment, and it is the sublime that reveals and suggests, not suppresses and conceals it, and that opens up areas beyond the limits of reason and thought. Therefore, the sublime is presented as a condition of possibility of other education and alternative to modern education where the value of diversity and quality of aptitude could not be respected by advocating subject-centered and reason-oriented education. If we apply aesthetics of the sublime to education, it will be possible to raise the imagination of learners. Since the concept of sublime originates from the gap between reason and imagination, the greater the gap between the two, the greater the feeling of sublime. Post-modern sublime-based education allows learners to enter into a mixed emotion of pleasure and displeasure. In addition to stimulating the harmonization of reason and emotion and the enthusiasm to pour out passion, the awakening of attitude values will strengthen the ability to accept life in the face of negative situations such as tragedy and pain. If modernism-based education has overlooked the process of respecting and elevating the feelings of sublime, and as a result have neglected the value of pure imagination manifested through the feelings of sublime, an educational theory of postmodern sublime manifests what cannot be manifested. In other words, the post-modern position recognizes that there is an idea that cannot be expressed according to the sublime education view, and attempts to incorporate the imagination that brings up the idea as an educational content. In this sense, the study of the category of sublime that Lyotard is activating can provide a philosophical basis for the development of educational methods in line with the changing times. Therefore, to reveal the value of things concealed by knowledge and beauty, and to open the possibility of new understanding by shifting from thinking through reason to thinking through imagination, we will propose an integrated art education based on sublime to realize the pedagogy of others. 본 연구는 장-프랑수아 리오타르의 숭고의 미학의 통합예술교육에의 적용가능성에 대한 탐구를 목적으로 한다. 숭고의 개념은 이성과 사고로는 도달할 수 없는 새로운 영역을 개방해준다는 점에서, 지식과 이성 중심의 근대적 교육의 체계 하에 적지 않은 갈등과 문제에 직면하고 있는 오늘날의 교육환경에 모종의 빛을 던져줄 수 있을 것으로 기대되기 때문이다. 따라서 먼저 숭고 개념의 형성과 변천과정을 살펴보기 위해, 모던적 미의 예술과 포스트모던적 숭고의 예술을 대결시키면서, 양자의 간극을 규명하기 위해 고고학적 방법을 적용하고자 한다. 이어서 포스트모던적 숭고의 개념을 천착함으로써 선진 산업사회에서 숭고와 교육 사이의 연관성을 밝혀내고, 나아가서 숭고개념을 통한 통합예술교육의 교육적 활용방안을 모색하고자 한다. 숭고에 대한 관심은 인지적 판단으로는 해결할 수 없는 것이 있다는 것과 이를 억압하고 은폐할 것이 아니라 드러내고 암시하게 해 주고, 이성과 사고의 한계 밖의 영역을 개방해주는 것이 바로 숭고라는 인식에서 비롯된다. 따라서 숭고는 주체중심, 이성중심의 교육관을 표방함으로써 다양성의 가치, 소질과 적성의 가치들이 존중받을 수 없었던 모던교육의 대안이자 타자교육의 가능성의 조건으로 제시된다. ‘재현할 수 없는 것을 표현함으로써 느끼게 되는 미적 감수성’, ‘의식에 알려지지 않으며, 의식에 의해 구성될 수도 없는 것’으로서의 숭고의 미학을 교육에 적용한다면, 학습자의 상상력 고양은 충분히 가능할 것이다. 숭고의 개념이 이성과 상상력 사이의 간극에서 비롯되는 바, 양자 사이의 간극이 커질수록 숭고의 감정이 더욱 커진다는 점에서 포스트모던적 숭고에 기반한 교육은 학습자들로 하여금 쾌와 불쾌의 혼합 감정 속에서 이성과 감성의 조화와 더불어 열정을 뿜어내도록 자극할 뿐만 아니라 태도의 가치를 각성시킴으로써 비극과 고통 등의 부정적 상황 속에서도 삶을 의연하게 받아들이는 능력을 강화시킬 수 있을 것이기 때문이다. 모더니즘에 근거한 교육이 숭고의 감정을 존중하고 고양하는 과정을 간과하였고, 그 결과로 숭고의 감정을 통하여 발현되는 순수한 상상력의 가치를 무시해 왔다면, 포스트모던적 숭고교육론은 현시할 수 없는 것을 현시하고 암시하기 위해 인간의 무한한 상상력의 배양을 필요로 한다. 즉 포스트모던적 입장은 숭고의 교육관에 따라 표현될 수 없는 사고가 존재함을 인정하고, 그 사고를 기르는 상상력의 고양을 교육내용으로 편입하고자 시도한다. 상상력의 표현으로 숭고의 교육을 강화할 때 기존 교육을 지배하던 메타권위는 해체될 수 있을 것이다. 이 과정에서 숭고개념이 교육이론과 실제에서 구체적으로 제시할 수 있는 실천 가능성과 그 방법이 제시되며, 숭고의 미학에 기반한 통합예술교육은 학생들의 상상력과 창의력을 발휘할 수 있도록 자극하는데 이바지할 것이라는 점이 드러날 것이다. 이러한 점에서 리오타르가 활성화시키고 있는 숭고의 범주에 대한 연구는 변화된 시대에 부합하는 교육 방법 개발의 철학적 기초를 제공해 줄 수 있다는 데 본 연구의 의의가 있다고 하겠다. 그러므로 지식과 아름다움에 의해 은폐되었던 것들의 가치를 드러내고 이성을 통한 사고로부터 상상력을 통한 사고로의 전환에 의해 새로운 이해의 가능성을 열고, 타자의 교육학을 실현하기 위해 숭고에 ...