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안원현(Ahn Won-Hyun) 새한철학회 2009 哲學論叢 Vol.57 No.3
오늘날 예술에 대한 비평은 쇠퇴하고 점차 그 자리를 이론이 대체하고 있다. 이러한 현상은 예술비평 그 자체의 문제에서 기인한 것이라고 하기보다 예술의 보다 근본적인 문제, 즉 예술정의의 문제에 그 원인이 있다고 할 수 있다. 해석학, 특히 존재론에 기반한 가다머의 철학적 해석학은 예술정의와 예술비평이 안고 있는 문제들을 근원적으로 해결하는데 새로운 전망을 내놓고 있다는 것이 본 연구의 출발점이다. 연구의 핵심은 그의 해석학적 경험과 이해가 전통적인 예술비평이 매달려온 타당한 규준의 마련이나 형식주의, 또는 주관적인 인상비평이 안고 있는 해묵은 비평의 난제들을 근본적으로 해결할 수 있는가 하는데 있다. 가다머는 예술작품에 대한 비평이 인간적일 수밖에 없다는 사실에 기초하고 있으면서도 그것이 주관주의적 혹은 역사적 상대주의에서 벗어나서 보편타당한 해석을 가능하게 해 줄 수 있는 빛을 밝혀준다. 예술작품에 대한 우리의 이해는 더 이상 미적 의식에 바탕을 둔 주관-객관의 이분법의 전제 위에서 이루어지는 것이 아니며, 오히려 우리의 해석학적 경험을 이끌어가는 것은 우리의 취미가 아니라 공통성-전통과 언어의 공통성-에 바탕을 둔 작품 그 자체의 사상, 즉 주제내용이라는 것이다. 이러한 통찰은 예술비평의 문제와 관련하여 적어도 두 가지 주목할 만한 전망을 지니고 있는 것으로 보인다. 우선 전통과 그것의 권위가 작품의 생산의 기반이 될 뿐만 아니라 예술이해의 선판단으로 작용한다는 가다머의 주장은 예술생산의 역사적-사회적 본질을 밝히면서도 그것을 시간성의 기초 위에서 재해석되는 전통과 그것의 권위에 근거 지움으로써 예술 그 자체의 고유한 역사성과 자율성을 종래의 인식론적 미학과는 다른 차원에서 유지 시키고 있다는 점이다. Today art criticism gradually falls off, but theory of art arouses instead. Such a situation seems to stem not only from art criticism itself, but also from more fundamental points in issue which modern aesthetics is facing by defining what art is. Hermeneutics, especially Gadamer's ontological 'philosophical hermeneutics enlightens to solve radically some problems that we confronts in defining and/or criticizing art. The core question this thesis touches is wether his conception of hermeneutic experience and understanding could be a sort of solution of problems we are facing by defining and/or criticizing art. Though he approved a inevitability of which art criticism could be on the basis, Gadamer asserted hermeneutic experience and understanding could enable us to define and/or criticize work of art above all aesthetic subjectivism and historical relativism. But he excluded modern subjet-object dichotomy from his hermeneutic experience of artwork as text. And what leads our experience is not our taste but Sache or contents of work of art itself on the basis of common factors such as tradition and language, he argued. His arguments seem to be of remarkable significance in relation to art criticism. they are reinstatement of tradition and prejudice, which are fundamentally responsible for art criticism, not negatively but positively.
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지각, 상징, 예술 : Cassirer의 상징형식철학을 중심으로
안원현 新羅大學校 1988 論文集 Vol.26 No.-
In the building up of the artistic function of man, Cassirer says there is a general law of three stages; the mimetic, the analoical, and the symbolic. According to him, art falls short of self-determination in so far as it is copy or analogue. Cassirer rejects the notion of art as imitation, lyricism, or analogue. He carries over elements from these into the one he accepts. Art for him is a symbolic form; a living shape worked out in a sensuous medium, expressing tension and release. The tension holds man over against the world, the release means reconsiliation with it. In Cassirer's last statement of what art is various expressions are used rather than "smbolic form" to convey both the auto-nomy and the richness of the idea as he holds it: "the constructive eye", "contem-plative creation", "intuitive form", "sympathetic vision". In each of these phrases it is obvious that the opposition between the subjective and the objective contribu-tions to the act and fact of art is meant to be resolved. Therefore, we must try to come to an understanding of what Cassirer means by the "symbolic" form. Generally Cassirer is called to be a Neo -Kartian. Gowever, then, Cassirer's theory of symbolic forms makes contact with Kant's "transcen-dental method" is notable. Kant's merit-in Cassirer's interpretation- was to have discouraged the philosopher's concern with 'being qua being" and to have turned it, instead, toward an inquiry that would isolate -in a "Kritik"- those principles and categories which can be recognized as being "constitutive" of experience (as science). Kant's error was not to have considered alternatives to these "ordering principles" and thus to have "frozen" them into immutable faculties. The Philosophy of symbolic forms is Kantian in spirit only insofar as it, too, declares it to be the task of philosophy to formulate the most universal functions of organization and sythetizing for all types of human experience. Neither Kant nor Cassirer depart from the evidences of "introspection" of the sense-data; both start with experience as publicly accessible, be it the factuality of science of that of myth, religion, art and the perceptual world of commonsense. So far their agreement. In contra-diction from Kant, Cassirer has not sought for an "anchoring ground" of the various symbolic "perspectives" which condition all culturally encountered "orders" in any intrinsic constitution of the human "mind". Only "pragmatic" considerations can account for the special directions of "sigh" which organize the sensory impressions into representative contexts of meaning. Thus, Cassirer speaks of the "teleological structure of our commonsense world" as it is reflected in our"language concepts". In one of his last books, he remarks: "Between our practical and theoretical concepts there is no basic difference insofar as allour theoretical concepts share the character of in strumentality. They, too, are but tools which we have to create for the solution of specific tasks and which we have ever to rectreate". Goethe is another ancestor of Cassirer's theory of symbolic form. Goethe appears, in Cassirer's studies, as the highest development in the historical relation between form and freedom. For Goethe, objective existence itself provides the material for freedom. But it is more notable for Cassirer to call attention to Goethe's term "Ur-phanomenen". The "Urphanomenen" appears in a dialectic play of antitheses (Polaritat and Steigerung), ultimately reducible to the basic antithesis of rest and motion. This concept is accepted in Cassirer's symbolic forms, I think. In conculsion, Cassier's art as symbolic form is, yet rooted in Kant's transcen-denal idealism and Goethe's symbolism, but further more, his ides syggests a new way of thinking about all human culture including art.
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