김현의 공감의 비평 연구 - 제네바학파 연구와의 관련성을 중심으로

한래희 사단법인 한국문학과예술연구소 2019 한국문학과 예술 Vol.31 No.-

The study aims to review Kim's criticism of empathy focusing on the relation with the Geneva academic circle, The concept of criticism of empathy was not discussed in depth in Kim's critique research compared to its importance. It is hard to find the research the relaton between criticism of empathy and the Geneva academic circle. This study explored the relationship between Kim's criticism of empathy and the Geneva academic research, and explored the development of criticism of sympathy in the 1980s and Kim's strategy of criticism. The sympathy of the Geneva academic circle is not the result of empathy, but the experience of participating in mental adventures to reach transcendental reality. Kim's criticism of empathy is also subjective in that it is a work that sympathizes with and chooses to join the writer's unique spiritual adventure. The tenacity of these criticisms is based on the expectation of individual originality, a rejection of criticism based on ideological or periodic requests. Criticism of empathy starts from an extremely subjective point of view, but there is a peculiarity in that it also plays a critical role in society. Good literature makes one realize that what was considered a personal complex was actually a general complex and has a sense of orientation toward a freer world. Empathy, Compassion plays a critical role as it comes down to rejection of reality through preparation against the Utopian world. The reason why Kim Hyun emphasized his sense of lack is because he wants to find the power to refuse to compromise with negative reality. But the experience of empathy does not always play a social critical role. The state of reconciliation that compassion seeks may strengthen its yearning for a world free of oppression, but it may turn into a base of escape or complacency. Discloser of complex through analysis and the dismantling of negativity of desire emerge as a way to continue to carry out denial of reality through empathy, while preventing these risks. Analytical deconstruction advocated by Kim Hyun in the 1980s is the result of a strategy to maintain the social critical function of criticism of empathy. Kim's criticism of empathy provides a strong response logic to the assertion that the starting point of criticism is a specific ideology, a request from society, or a fact that the judgment criteria of criticism are firm. But to the question of how the critic's special sensitivity and originality can not fall into subjectivism, it can only provide an theoretical, elitist answer to wait for original consciousness and language. 본고는 김현의 공감의 비평을 제네바학파와의 관련성을 중심으로 검토하는 것을 목적으로 한다. 공감의 비평 개념은 그 중요성에 비해 본격적으로 연구되지 않았고 공감의 비평과 제네바학파 연구의 연관성에 대한 연구는 더 찾아보기 힘들다. 여기서는 김현의 공감의 비평론과 제네바학파 연구의 관계를 탐색하고 이를 토대로 1980년대 공감의 비평론의 전개 양상과 김현의 비평전략을 탐색해보았다. 김현이 파악한 제네바학파의 동화는 감정이입의 결과물이 아니라 초월적 실재에 도달하려는 독특한 정신적 모험의 참여를 의미한다. 공감의 비평은 이러한 독특한 모험에 동참하기를 선택한 작업이라는 점에서 주관적인 성격을 띤다. 비평의 주관성의 옹호는 이념·시대의 요청에 기초한 비평의 거부이고 개인의 독창성에 대한 기대의 발로라 할 수 있다. 공감의 비평은 지극히 주관적 차원에서 출발하지만 사회 비판적 역할도 담당할 수 있다고 주장하는 데에 그 특이성이 있다. 공감의 비평의 관점에서 볼 때 좋은 문학이란 개인적 콤플렉스로 간주되던 것이 사실은 보편적 콤플렉스라는 것을 깨닫게 한다. 개인적 콤플렉스에서 시작한 공감은 유토피아적 세계와 현실의 대비를 통해 비판적 역할을 수행한다. 김현은 1980년대 비평에서 결핍의식을 특별히 강조한다. 이는 부정적 현실과의 타협을 거부할 동력을 공감 경험에서 찾기 위해서라고 할 수 있다. 그러나 공감의 경험이 항상 사회 비판적인 기능을 수행할 수 있는 것은 아니다. 공감이 지향하는 화해의 상태는 자유에 대한 동경을 강화할 수도 있지만 도피나 자기만족의 기제로 변질될 수도 있다. 콤플렉스의 논리화와 욕망의 부정성 해체 작업은 이러한 위험을 방지하면서 공감이 비판적 기능을 지속적으로 수행하기 위한 방법으로 등장한다. 1980년대 김현이 표방한 분석적 해체주의는 공감의 사회비판적 기능을 유지하기 위한 전략의 결과물이다. 비평의 출발점이 특정한 이념이나 사회의 요청인 경우 혹은 비평의 판단기준이 확고부동한 진리라 주장하는 경우, 김현의 공감의 비평은 이에 대한 유력한 대응 논리를 제공한다. 그러나 비평가의 특수한 감수성에 기초한 비평이 어떻게 주관주의에 빠지지 않을 수 있을까라는 질문에는 독창적 의식과 언어를 기다리라는 원론적이고 엘리트주의적인 답변만을 제공할 뿐이다.

임화의 메타비평 연구- 비평적 자의식에 대한 고찰을 중심으로

권성우 상허학회 2007 상허학보 Vol.19 No.-

이 논문은 식민지시대 대표적인 비평가인 임화의 메타비평을 통시적으로 검토하는 것을 목적으로 한다. 임화는 누구보다도 뚜렷한 비평적 자의식을 지닌 비평가였다. 그는 비평의 본질과 성격, 존재방식에 대한 수많은 평문(메타비평)을 남겼다. 그는 비평적 위기가 닥칠 때마다 비평의 존재방식에 대한 근본적 성찰을 전개한 비평가이다. 그러한 메타비평을 통해 임화는 비평에 대한 사유를 인상적으로 보여주고 있다. 임화는 1930년대 중반까지는 마르크스주의 비평을 분명하게 고수했다. 그러나 1930년대 후반부터 임화는 작품에 종속된 비평에 대한 비판을 전개하면서 비평의 사회성과 정치성을 강조했다. 1940년 무렵부터 정세가 악화되면서 일본제국주의의 내선일체 사상과 대동아공영권이 확산되자, 임화는 비평의 독립성과 예술의 자율성에 대한 각별한 관심을 보여준다. 임화의 이러한 태도는 당시 노골적으로 확산되고 있던 일본 제국주의파시즘에 대한 간접적인 저항에 해당된다. 이와 연관하여 임화의 ‘창조적 비평’은 전면적인 억압기나 파시즘이 활개 치는 시기에 지배이데올로기에 대한 저항이 어떤 방식으로 가능한가 하는 점을 보여주는 일종의 시금석이라고 할 수 있을 것이다. 임화의 계몽주의적 비평은 해방직후 다시 적극적으로 분출했다. 그러나 그의 비평적 사유는 그의 정치적 죽음으로 인해 더 이상 지속되지 못했다. 이러한 점은 한국현대비평사의 최대의 아이러니이자 불행이라고 할 수 있을 것이다. The purpose of this thesis is to study Meta-Criticism of Imwha(林和), a representative critic of Korean Colonial Period. Imwha was a critic who had more critical self-consciousness than anyone else. He wrote many critic essays about the essence and characteristics of criticism. His thoughts on criticism are shown impressively in those articles and writings. Apparently, Imwha held on to Marxist Criticism until the mid 1930s. But, since the late 1930s, he developed his critical view on the criticism which was subordinated to literature works and emphasized the historical and political features of criticism. Since 1940, Imwha started to show his strong interest in the independence of criticism and autonomy of arts. This attitude can be considered as an indirect resistance against the Fascism of Japanese Imperialism which was being spreaded openly. He developed actively his enlightenment criticism again since the liberation of Korea. But his critical thoughts couldn’t be developed more because of his political death. This is one of the worst misfortune in the history of Korean Modern criticism.

한국교회의 설교비평

Ryoo,Eung-Yul 개혁신학회 2008 개혁논총 Vol.9 No.-

This writer tries to examine the current situation regarding the sermon criticism of Korean churches and propose a few things to establish the foundation of biblical preaching in Korean churches through this paper. In fact, the word, sermon criticism is being used very rarely not only in the Korean churches but also in the Western churches. And it can not be easily found in the western homiletic world as far as books or papers regarding the sermon criticism are concerned. In the midst of this current situation, Korean churches begin to have a great interest in a sermon criticism.But the sermon criticism based on the wrong theology might be cause for wrong preaching and a great danger to impede wholesome words. On the other hand, the interest regarding the right sermon criticism based on biblical theology will play a far bigger part in making the pulpit as the word of truth. For this purpose, I will take a look at the history of sermon criticism in Korean churches. Then secondly, I would like to analyze the contents of the sermon criticism and evaluate its validity. Finally, I try to make five suggestions in order to make right sermon criticism settled in Korean churches. First, the biblical homiletic theology should be in a triangular position for the right sermon criticism of the pulpit of Korean churches. Second, for the balanced criticism, preachers and their sermon must be studied simultaneously. Third, sublation of criticism with a critic's viewpoint to his heart's content and a hermeneutical critique attitude toward analyzing the sermon with respect of preachers’intention must be provided. Fourth, the same interest not only in the preachers’body of sermon but also in the delivery of sermon must be needed as well. Fifth, a sermon must be comprehended under the live worship circumstance on account of a sermon being dynamic in the background of every service. The word of God through preaching is not an object of a critique but the object of obedience. But preaching can be developed by the creative criticism. I hope that the pulpit experiences the holy change in every sermon in accordance with sermon criticism positioning as a constructive academic field, and with the sermon of Korean churches putting down new roots in the Bible drastically, and permeating into auditors’lives accurately.

Integrating Rhetorical Criticism into Business Communication as an Interdisciplinary Approach

Sangchul Lee 한국경영커뮤니케이션학회 2019 Business Communication Research and Practice Vol.2 No.1

Objectives:The purpose of this paper is to suggest integrating rhetorical analysis and criticism into business communication research and pedagogy. Rhetorical analysis and criticism on public addresses of business leaders can provide important insights into the political and social issues of the community and the economic impact of the participants. Such an analysis would contribute to the development of communication scholarship taking place at the intersection of business communication, rhetoric, and society. Methods:This paper reviews articles on the rhetoric of business leaders published in business communication journals (e.g., Journal of Business Communication, Business and Professional Communication Quarterly, Management Communication Quarterly, Journal of Business and Technical Communication, Technical Communication Quarterly). It examines the purpose of rhetorical criticism in business communication and discusses popular criticism methods. Among the various perspectives on rhetorical criticism in the field of speech communication, this stduy discusses three commonly adopted methods – Neo-Aristotelian criticism, Genre Criticism, and Narrative criticism. Results:Studies on the rhetorical criticism of speeches of business leaders are not systematically integrated into business communication education and research. Rhetorical critics of speech communication are more interested in public speeches by prominent politicians or social leaders, while business communication scholars are more concerned with rhetorical theory and pedagogy. Conclusions:Integrating rhetorical criticism into business communication as an interdisciplinary approach infuses a new approach that goes beyond the domains of contemporary research and pedagogy. Integrating rhetorical criticism into business communication not only improves the quality of discourse in business society but also tests and modifies both the theory and practice of corporate rhetoric.

한국교회의 설교비평

유응열 개혁신학회 2008 개혁논총 Vol.9 No.-

This writer tries to examine the current situation regarding the sermon criticism of Korean churches and propose a few things to establish the foundation of biblical preaching in Korean churches through this paper. In fact, the word, sermon criticism is being used very rarely not only in the Korean churches but also in the Western churches. And it can not be easily found in the western homiletic world as far as books or papers regarding the sermon criticism are concerned. In the midst of this current situation, Korean churches begin to have a great interest in a sermon criticism.But the sermon criticism based on the wrong theology might be cause for wrong preaching and a great danger to impede wholesome words. On the other hand, the interest regarding the right sermon criticism based on biblical theology will play a far bigger part in making the pulpit as the word of truth. For this purpose, I will take a look at the history of sermon criticism in Korean churches. Then secondly, I would like to analyze the contents of the sermon criticism and evaluate its validity. Finally, I try to make five suggestions in order to make right sermon criticism settled in Korean churches. First, the biblical homiletic theology should be in a triangular position for the right sermon criticism of the pulpit of Korean churches. Second, for the balanced criticism, preachers and their sermon must be studied simultaneously. Third, sublation of criticism with a critic’s viewpoint to his heart’s content and a hermeneutical critique attitude toward analyzing the sermon with respect of preachers’ intention must be provided. Fourth, the same interest not only in the preachers’ body of sermon but also in the delivery of sermon must be needed as well. Fifth, a sermon must be comprehended under the live worship circumstance on account of a sermon being dynamic in the background of every service. The word of God through preaching is not an object of a critique but the object of obedience. But preaching can be developed by the creative criticism. I hope that the pulpit experiences the holy change in every sermon in accordance with sermon criticism positioning as a constructive academic field, and with the sermon of Korean churches putting down new roots in the Bible drastically, and permeating into auditors’ lives accurately.

교육적 미술비평교육의 방법에 관한 연구

이안근 한국일러스아트학회 2021 조형미디어학 Vol.24 No.2

Art criticism is an area of visual literacy for analyzing various visual information as well as works of art. Of course, the essence of art education is creation and nostalgic activities. However, The necessity of criticism education should be emphasized from the viewpoint of properly receiving various visual information. Until now, school art education has neglected the areas of appreciation and criticism compared to the areas of expression. Even though appreciation education was conducted, Most of the appreciation education was conducted centering on the introduction of artists and art history. This cause seems to have affected the part where the methodology for appreciation education was not systematically established. Scholars have different views on the method of art criticism. However, until recently, the most widely applied critical theory in our education field is E. B. Feldman's critical discourse theory. However, concerns have been raised by several scholars about the possibility that Feldman's theory will focus on the transfer of knowledge from a formalist perspective. Among such scholars, Tom Anderson proposed 'educational criticism model stage' that emphasized learner-led criticism by revising and supplementing Feldman's theory. In this study, Anderson's art criticism of art criticism in five stages, eight operations, was expanded to nine operations. In addition, a method of “critical education in the form of integrated education” was proposed by inserting “writing criticism” in the final operation. Criticism writing is proposed as a method of art criticism education in that it becomes a useful learning tool that provides an opportunity for logical expression activities based on aesthetic sensibility and intellectual thinking. 미술비평은 미술작품뿐만 아니라 다양한 시각 정보를 분석하기 위한 시각적 문해력의 영역이다. 물론 미술교육의 본질은 창작과 향수활동이지만, 비평교육의 필요성은 다양한 시각매체의 정보를 바르게 수용하기 위한 관점에서 강조되어야 한다. 그동안 학교 미술교육에서는 표현영역에 비해 감상비평 영역을 소홀히 다루었으며, 감상비평 교육은 대부분 작가 소개나 미술사적인 이론을 중심으로 이루어지는 경우가 많았다. 이러한 원인은 감상교육에 관한 방법론이 체계적으로 정립되지 못한 부분도 영향을 미친 것으로 본다. 미술비평 방법에 대한 견해는 학자마다 관점을 달리하지만, 최근까지도 우리 교육 현장에서 가장 널리 적용되고 있는 비평이론은 펠드만(E. B. Feldman)의 비평적 담화이론이다. 하지만 펠드만의 이론이 형식주의 관점으로 지식전달에 치중될 가능성에 대한 우려가 여러 학자에 의해 제기되어 왔다. 그런 학자 중에서 톰 앤더슨(Tom Anderson)은 펠드만의 이론을 수정 보완하여 학습자 주도의 비평을 강조한‘교육적 비평모델단계’를 제시하였다. 본 연구에서는 앤더슨의 미술비평의 단계인 5단계 8개의 조작을 9개의 조작으로 확대하였다. 그리고 확대된 조작에‘비평문 작성’을 삽입하여‘통합교육 형태의 미술비평교육’방법을 제안하였다. 즉, 문학적 비평문 쓰기와는 다른 비평단계의 해석과 비평을 토대로 논술적인 비평문 쓰기를 하도록 하는 것이다. 미술비평에 의한 비평문 쓰기는 미적 감성과 지적 사고에 의한 논리적인 표현활동의 기회를 제공하는 유용한 학습 수단이 된다는 점에서 미술비평교육의 방법으로 제안한다.

시각장애 학습자를 위한 음악비평수업모형 개발

이보림 한국음악교육학회 2018 학술세미나 및 연수회 Vol.2018 No.-

The purpose of this study is to develop a music criticism model for the visually impaired learners so that the blind who enjoy music appreciation can have systematic criticism ability. Therefore, the researcher conducted a literature review for the teaching material, and conducted a demand analysis of 13 high school students in the blind school in order to understand the needs and perceptions of visually impaired learners about music appreciation and criticism. After analyzing the literature analysis and questionnaire results, I developed a music criticism model and then conducted Focus Group Interview(FGI) on three teachers in Blind School to diagnose the fit of the model. Through this research process of triangulation, it was found that the students in the blind students had a high interest in appreciation with an average of 4.47(SD = 0.64) and the interest in criticism was 3.62(SD = 1.22). Particularly, students showed a high response to impressionist criticism types among various criticism types. Finally, the results of the evaluation of the 8th grade criticism model, which is a fusion of 5 types of art criticism by Stolnitz and the contextual revision of Feltman criticism stage, were evaluated by 3 experts. The result was positive evaluation from all 3, I was asked to review about the plan and stage.

웹툰비평의 사회문화적 평가방법 체계연구

임재환 한국애니메이션학회 2020 애니메이션연구 Vol.16 No.3

The Korean-style webtoons, a world-class K-comics, Korean-style webtoons, a genealogical K-comics, are academically convergent science and artistically convergent art. The purpose of this research is to systematically establish the evaluation criteria and evaluation methods of value judgment and the meaning analysis of works, writers and readers by convergence and compliance with other studies and arts in order to explore the social and cultural evaluation methods of webtoon criticism. The study examines the academic and artistic background and relevance of webtoons and classifies socio-cultural study methods to seek critical perspectives. In addition, the socio-cultural evaluation types of webtoon criticism are explored and applied in convergence according to evaluation stages and procedures. However, there is a limitation in this study that some scientific and technological research is being combined with socio-cultural phenomena or that actual works cannot be evaluated due to establishing a theoretical system of webtoon criticism. In the socio-cultural evaluation area of webtoon criticism, the socio-cultural background and convergence scientific characteristics of webtoon are outlined and the socio-cultural evaluation system is classified. The socio-cultural evaluation perspective of webtoon criticism comprehensively considers human society and cultural phenomena in socio-cultural characteristics. In the socio-cultural evaluation method of webtoon criticism, socio-cultural evaluation types of webtoon criticism are explored in a convergence of socio-cultural criticism, independent response criticism, and socialist criticism. The socio-cultural evaluation results of webtoon criticism are applied in a fusion way through the preparatory development process before and after criticism, the critical phase evaluation, and the preparation process of critical literature according to the cyclical procedures and processes. According to the evaluation stage of webtoon criticism, the evaluation and criticism are made by applying the art criticism level, literary criticism level, core question method, and academic and art convergence inquiry method in a fusion way. In conclusion, the convergence theory and practical conclusion on the method of 'scientificization and artisticization of webtoon criticism' are resolved and the application development plan is presented. This study can contribute to the systematic evaluation of scientific and artistic judgment by integrating scientific evaluation and artistic judgment in the biased critical activities of social culture, which account for the majority of the webtoon criticism that is first attempted. And through the evaluation method of webtoon criticism, the level of comments can be raised from the level of comments of the reader to the level of criticism by experts.

해방 이후의 비평-비평과 국가

구모룡(Gu Mo-ryong) 한국근대문학회 2009 한국근대문학연구 Vol.10 No.1

식민지 시대와 해방 이후의 사회를 구분하는 가장 주된 준거는 민족(국민)-국가(nation-state)라 할 수 있다. 해방 공간(1945~1948)은 ‘국가부재’라는 상황에서 민족-국가 형성에 대한 가능성이 전면적으로 열리는 역사적 맥락을 갖는다. 이러한 역사적 단절의 의미를 고려하여 해방이후의 비평을 현대비평이라고 할 수 있다. 해방 이후 현대비평은 그 처음부터 민족-국가 이데올로기에 비평의 이데올로기가 종속되게 된다. 이러한 경향은 두 개의 민족-국가로 나누어지고 고착화되어 현대비평의 지체와 왜곡을 파생시킨다. 한국현대비평은 항상 국가(state)의 상태(state)에 대한 탐문과 분리될 수 없고 이러한 이유에서 ‘민족문학’이 현대 한국비평사의 가장 중요한 개념으로 자리 잡게 된다. 국가의 상태와 관련하여 민족문학의 비평적 주류화는 국가주의에 상응하여 현대 한국문학비평을 한정하는 요인이 되는데 이와 같은 비평적 문제틀은 그 발생론적인 차원에서 대부분 해방 이후 10년 동안 형성된다. 한국현대비평은 그 기원에서 민족-국가에 포박되었다. 민족의 이상과 국가의 이념에 종속된 것이다. 해방공간의 좌우 비평은 남북한이 각기 다른 체제의 국가를 형성함과 더불어 나누어진다. 국가의 탄생과 비평의 선택이 일치하고 있는 것이다. 한국의 현대 문학비평은 분단체제 혹은 두 개의 민족-국가에 대한 문제의식에서 벗어나지 못한다. 식민지에서 벗어나 민족-국가가 형성되면서 제국과 식민의 관계는 일국 내에서 국민과 비국민의 관계로 변전된다. 좌파 문인들이 추방되거나 배제되면서 민족-국가는 제국에 의해 추진되었던 1940년대의 ‘국민문학’을 새로운 역사적 문맥에서 부활시킨다. 그리고 한국전쟁은 반공주의 체제에 기반을 둔 국민문학의 이데올로기를 더욱 강화하는 방향으로 나아간다. 자연스럽게 ‘민족문학’은 사라지거나 침묵하고 ‘국민문학’ 중심의 흐름이 전면화되는 것이다. 한국현대비평은 그 기원에서 민족문학이라는 이상 형태를 내면화하면서 미학의 국가 종속이라는 문제를 발생시켰다. 그런데 해방공간의 비평은 현대비평의 원형이라 할 수 있는 이론적 거점들을 지니고 있다. (A)본질주의와 사회구성주의 (B)유기론과 유물론 (C)근대 초극과 근대 기획. 이들 가운데 한국 현대비평에서 전자들의 지향이 주류화되는 양상이 나타난다. 본질주의의 미학은 다른 영역에 대한 미적 지배 혹은 미적 기득권을 보장하는 정치적 논리를 내포하게 되고 유기론은 이론적 유연성을 상실하고 단의성 체계로 경화된다. 근대 초극론 또한 민족-국가의 구체적인 역사와 이반된 매우 추상적인 관념형태로 존속한다. 한국현대비평의 기원에서 제기된 비평적 논리들은 현대비평사에서 순수-참여론, 구조주의와 문학사회학, 민족문학론, 근대성론 등의 과정을 통해 지속적으로 반복되고 심화된다. 그 기원에서 국민-국가에 포위된 이론적 단순성이 다양하게 변주된 것이다. 그러나 이러한 비평적 다양성과 이론적 수준은 1950년대 민족-국가의 상태에 대한 다각적인 반성과 비판을 통해 얻어진다. 다시 말해서 4월 혁명은 민족-국가의 족쇄에서 현대 한국비평이 비록 완전한 상태는 아니나 상대적인 자율성을 획득하는 계기라 할 수 있다. 이러한 점에서 현대비평의 기원을 4월 이후로 보는 관점이 제기될 수도 있다. 비평의 다양성, 이론의 전개, 각기 다른 지향의 많은 비평가들의 해석 공동체 형성 등이 이뤄지는 것이다. 그 외형과 내용에서 비평의 현대성이 형성되었다 하겠다. 그럼에도 민족-국가와 비평이라는 관점에서 아무래도 현대 한국비평의 기원은 해방이라는 역사적 단층 위에 있다고 보아야 할 것이다. In Korean history, what clearly discriminated the colonial period and post-liberation was forming the nation-state. Some time after the liberation(1945~1948) was when no state existed, but historically, there was a full possibility of nation-state formation. If such discrimination as above is considered true, modem criticism in this country didn't start until the liberation. From its start after the liberation, Korean modem criticism became ideologically dependent on the very ideology of the nation-state. This relationship became more firmly established as this country was divided into twos, resultantly making Korean modem criticism less developed and distorted. Modem criticism is not separable from inquiring about the state of a state. In a similar vein, 'national literature' has been one of the most concepts in the history of Korean modem criticism. In this country, a mainstream of the criticism was based on nationalism. In other words, nationalism became the very factor on which the criticism of modem Korean literature was dependent. From a standpoint of embryology, such framework of criticism was formed for a decade since the liberation. In terms of origin, Korean modem criticism got locked in the concept of nature-state, depending itself on the ideal of the nation and the ideology of the state. Post-liberation criticism was divided into rightist and leftist ones when Korea was divided into two different political regimes, South and North Korea. In other words, Korean modem criticism's choice of its own way coincided with the foundation of the two Koreas. In Korea, modem literature criticism is not still beyond the awareness of South-North division, that is, the existence of two nations and two states. As Korea became a nation-state after the liberation, relationships between the empire and the colony was substituted by those between nation and non-nation in one state. Expelling or excluding literary leftists led this nation-state to form a new historical context of 'state-oriented literature that was originally sought in the 1940s of the imperialism. The Korean War made the ideology of state-oriented literature more strengthened based on anti-communism. Naturally, 'national literature' was disappeared or kept silent and 'state-oriented literature emerged itself as a mainstream. Ideally, Korean modem criticism internalized national literature, but actually it became what was aesthetically dependent on the state. Post-liberation criticism had some theoretical bases on which the archetype of modem criticism was formed. Out of them, today, (A) essentialism and social constructionism, (B) organology and materialism and (C) overcoming the modem and planning the modem are regarded as main basic theories of modem criticism. In nature, aesthetics has a political logic that ensures an aesthetic rule or vested rights over other fields. Organism is likely to be less theoretically flexible, but more simplified and hardened. Overcoming the modem is a very abstract concept that is seemingly far from the history of a nation-state. Arisen in relation to the origin of Korean modem criticism, critical logics have been continuously reiterated and deepened as they have made exchanges with the principle of purity-participation, constructionism, literal sociology, the theory of national literature and the theory of modernity all of which are found in the history of modern criticism. This means that Korean modern criticism has been theoretically diversified escaping from its theoretical simpleness based on the ideology of the nation-state. In fact, such diversity is an outcome of reflecting on and criticizing in many respects what the nation-state was like in the 1950s. The April revolution made Korean modern criticism free from its dependence on the nation-state relatively, though not completely. In this sense, some may say that Korean modern criticism started after the April incident. After the incident, a number of critics wh

새로운 온라인 공론장 에서의 비전문가의 미술비평-자발적 비평과 말하기로서의 글쓰기

김성호 ( Sung Ho Kim ) 한국미학예술학회 2013 美學·藝術學硏究 Vol.39 No.-

본 연구는 ‘전문가의 미술비평’이 아닌 ‘비전문가의 미술비평’를 대상으로 삼는다. 즉 ‘비전문적 미술비평’의 의미론적 개념 정의와 더불어 그것의 특성과 본질을 사회역사적 관점을 통해 비판적으로 탐구하는데 집중한다. 18세기 프랑스의 살롱을 통해 살펴보는 하버마스(Jurgen Habermas)의 ‘공론장’ 개념이나, 최근 온라인 공간에서 제기되는 ‘새로운 공론장’ 개념은 비전문가들의 비평적 행위를 촉발시킨다. 연구자는 이러한 비전문적 비평 행위에서 도출되는 ‘자발적 비평’과 ‘표현의 공론’이라는 주요 개념에 주목하고, 그것이 대개의 ‘전문가의 미술비평’에 결여되어 있는 매우 긍정적인 비평 개념임을 밝혀내고자 한다. 이러한 개념들이 전문가의 미술비평, 특히 컨텍스트를 주제로 삼는 제도비평, 기관비평 등에 적용될 여러 가능성을 ‘민주적 소통 공간’으로 평가되는 온라인 공간에서의 실제적인 글쓰기 방법론을 통해서 구체적으로 모색한다. 아울러 전문비평과 비전문비평의 글쓰기 태도와 방법론을 구체적으로 비교, 분석함으로써, 비전문가들의 비평적 행위에 담긴 ‘말하기로서의 글쓰기’가 표방하는 ‘사회적 미학’의 함의를 도출한다. 따라서 본 연구는 ‘비전문 미술비평’에 대한 연구로부터 ‘전문미술비평’의 당면한 과제들을 일정부분 개선해나가는 실천적 이론, 즉 화용론적 연구방법론에 관한 한 방식을 제시하고자 한다. This study concerns ‘art criticism by layman’ not ‘art criticism by experts’. That is, it concentrates on critically exploring the hallmarks and nature of ‘non-professional art criticism’ from social, historical perspectives defining its semantic concept. Both the ‘public sphere’ concept Jurgen Habermas presented through 18th century French salons, and the ‘new public sphere’ concept raised online triggers critical acts by laymen. Taking note of the main notions such as ‘spontaneous criticism’ and ‘public opinion of expression’ derived from acts of non-professional criticism, I try to reveal these as positive concepts of criticism that ‘art criticism by experts’ does not have. I concretely explore the possibility to apply these notions to art criticism by professionals, such as institutional criticism or criticism about institutions, based on the theme context, and through the methodology of writing in an online space, seen as ‘space for democratic communication’. In addition I draw out implications of ‘social aesthetics’ and ‘writing as speaking’, denoting the critical acts by laymen, advocated through comparative analysis of attitudes and methodologies of writing in professional and non-professional criticism. Consequently, this study intends to present a practical theory, that is, a pragmatic research methodology that may solve in part impending tasks of ‘professional art criticism’ through study of ‘non-professional art criticism’.