아리스토텔레스의 상상력 이론과 창작 원리 = Imagination theory and creation principle of aristotle

다국어 초록 (Multilingual Abstract)

It was Aristotle that defined imagination, in other words, ‘phantasia’, as an ability of forming the image for the first time in western history. He defined ‘phantasia’ as a ‘movement occurred by practical interaction in the sense’ in『De Anima』describing it as a unique type of capability that was differentiated from senses or thoughts. Sense is at least prone to possibility of falling in error or rather to be truth all the time. However, imagination is always related to false. On the other hand, thought is an objective recognition capability requiring an existence of objects. However, imagination is an autonomous ability or preference not to be limited from such restrictions.
Psychological approach by Aristotle towards ‘phantasia’ seems not to allow active and creative aspect of it. In fact, it was more of clarification of ‘possibility on error’ of recognition as to why he adopted the concept of ‘phantasia’ in『De Anima』. However, Aristotle’s effort ironically served as a crucial role in bridging between thought and sense on the ‘phantasia’. To be specific, soul is nothing without imagination. This is because imagination serves as a role of providing sense―related data to the knowledge by converting it to thought―oriented data (in other words, image).
It was Plato that explicitly mentioned the relation of art with ‘phantasia’. He said that ‘phantastikē’ was more to be seen as similar rather than to be actually similar, in other words, a ‘mimetikē’ of creating ‘phantasia’ in the 『Sophistes』. In addition, he also insisted to deport ‘poet of imitation’ from the country on this ground.
『Peri Poietikēs』by Aristotle was more of an articulation written in favor of conjecturing the relation of imagination with ‘phantasia’. This is because he clearly insisted that poet was responsible for imitating ‘idealistic status of an object’. However, Aristotle had not discussed ‘phantasia’ by incorporating it to the art theory (unlike our expectation). This was because Aristotle still used an old term of ‘mimēsis’, that Plato referred to as the same meaning of copying.
Aristotle surely utilized the concept of ‘creative imagination’. However, seeing as how his world of philosophy identified the nature as a ‘mechanism in pursuing to be perfect’ and also made him obsessed to use the old term of copying, there was no word better than ‘mimēsis’ to describe the meaning of imitation for principles of ‘self­creating nature’.
Nonetheless, the concept of imitation by Aristotle makes it feasible to understand imagination as what drives to create art. As for deterministic grounds of it, Aristotle focused on the emotional effect (in other words, catharsis) of ‘imitated poem’ and also witnessed how it was feasible to create poem without having to build knowledge of objects and also to derive pleasure out of it. Futhermore, the principle of idealistic imagination by Aristotle implied free ‘imagination’ and ‘expression’ on the reality over an accurate reproduction of objects.
Hereupon, it is still difficult to understand the concept of ‘phantasia’ used in the ancient Greece in respect to imagination of today―in other words, as a capability of intentionally converting or combining data. However, psychology and art theory of Aristotle served as an important clue for understanding ‘phantasia’, in other words, imagination, in terms of artistic creation and motivation. Therefore, this study was intended to clarify creative functions of imagination shown in the ‘creation principle’ according to ‘imagination theory’ by Aristotle.

목차 (Table of Contents)

• Ⅰ. 서론 1
• 1. 연구 목적 1
• 2. 연구 방법 4
• Ⅱ. 아리스토텔레스의 상상력 이론 6
• 1. 상상력의 성질 8
• 1) 감각과의 비교 9
• 2) 사고와의 비교 14
• 2. 상상력의 기능 17
• 1) 감각 및 사고와의 관계 17
• 2) 욕구 및 지성과의 관계 19
• 3. 상상력의 종류 22
• 1) 감각적 상상력 22
• 2) 숙고적 상상력 22
• Ⅲ. 모방 개념에 나타난 상상력의 미학적 의미 26
• 1. 플라톤에 있어서 모방과 상상력의 관계 29
• 1) 모방술의 두 가지 종류 29
• 2) 시인 추방론 31
• 2. 아리스토텔레스에 있어서 모방과 상상력의 관계 34
• 1) 시의 발생 원인 34
• 2) 모방의 세 가지 원칙 38
• Ⅳ. 창작 원리에 나타난 상상력의 창조적 기능 41
• 1. 플롯의 구성: 다양성의 통일 45
• 1) 전체성 45
• 2) 통일성 47
• 3) 개연성과 필연성 48
• 4) 복잡성 53
• 2. 플롯의 표현: 강렬성의 체험 55
• 3. 은유의 구사: 유사성의 발견 59
• Ⅴ. 결론 62
• 참고문헌 67
• Abstract 71