Nelson Goodman 미학의 이해를 통한 무용의 Symbolization에 관한 논의 = STUDY ON THE SYMBOLIZATION OF DANCE THROUGH THE UNDERSTANDING OF AESTHETICS OF NELSON GOODMAN

다국어 초록 (Multilingual Abstract)

In this paper, I will argue over the symbolization of dance through the theory of reference which is the central idea of semiotic theory of Nelson Goodman. The reference in general semiotic theory is done through the basic formulae of denotation and exemplification, these basic formulae are called representation and expression respectively, art can be referred, that is to say, be symbolized and we consider the work of art itself as a symbol of certain idea. Therefore, art carries out symbolic functions which refer, deliver and express meaning.
The reference of Goodman deal with the domain of symbol including not only linguistic but also non-linguistic expressions and both scientific language and artistic language are not the different but the same thing in the respect that they are symbols.
Goodman explains representation as the pictorial reference independent with resemblance, expression as the metaphoric exemplification irrespective of psychological problems and points that they especially depend upon the viewpoint and customs of the artist. Through the argument of Goodman, the artistic phenomenon could be explained as the composition of the new and various symbols.
Goodman thinks that the symbolization is determined only by chance according to the given purpose or practice and in that meaning the free agreement should be given. Therefore, all symbol should be interpreted by the help of the proper agreement without exception. The work of art is the object of understanding which should be read and interpreted because the appreciation of the work of art is same with the interpretation of the symbol.
In the semiotic theory of art of Goodman, all arts including dance could be symbolized, the symbol is the thing given the free agreement, so dance could be the cognitive object which could be studied in order to be read and interpreted according to the free agreement. So one should study how to read and interpret dance and especially educators of dance should teach common people how to read and interpret the meanings which are delivered through dance.

목차 (Table of Contents)

• 목차
• (Abstract)
• I. 머리말 = 1
• II. 굿맨의 기호론적 미학 = 4
• 1. 분석적 미학의 기호학적 접근 = 4
• 2. 구성주의적 미학 = 12
• 3. 인지주의적 미학 = 17
• III. 굿맨의 예술기호론 = 21
• 1. 지칭에 의한 상징화 = 21
• 2. 예술에서 상징화 = 29
• 3. 예술상징체계의 차별성 = 39
• IV. 무용의 상징화 = 44
• 1. 일반적 상징의 개념 = 44
• 2. 무용의 상징적 기반 = 49
• 3. 무용의 상징화 = 53
• V. 맺음말 = 57
• 참고문헌 = 61