근대, 자연, 경험: 미학사적 개관을 통한 미적 자연 및 자연의 미적 경험의 몇 가지특이성에 대한 고찰 = Modern, Nature, Experience-Historical and theoretical considerations of several particularities of aesthetic nature as well as aesthetic experience of nature-

다국어 초록 (Multilingual Abstract)

This paper aims to identify the limit, that is, the one-sidedness of ``modern aesthetics of nature`` through a short glimpse of the western history of aesthetics as well as the cultural history of nature, and then tentatively to suggest a solution to overcome such a problem. The beauty, the sublime, and the picturesque as aesthetic categories in aesthetics of nature that were finally established in the late 18th century, appear to implicitly presuppose some sort of act of static contemplation in regard to aesthetic nature. Our ordinary aesthetic experiences of nature, however, might not always take place in such an ``idealized aesthetic situation``. Were it acknowledged that in numerous cases we encounter and experience aesthetic nature in such an ordinary circumstances dynamically consisted of and combined with subjective as well as objective moments, then the types of modern aesthetic experience of nature where a kind of long-distanced quiet contemplation might take place, and, furthermore, the modern aesthetic categories, which correspond to such types, would all have to lose their own previous well-trodden base. The subjective as well as objective moments as ``point of view`` and ``spatial position`` of aesthetic subject and even ``time`` of aesthetic appreciation of nature, were all regarded and neglected as insignificant, irrelevant, and peripheral for aesthetic experience and therefore theoretically excluded from consideration so far. These moments in such aesthetic experience of nature, however, play qualitatively a more decisive role than in that of artwork. The ``review`` of such so-called secondary moments and the ``criticism`` of the one-sidedness of modern aesthetics of nature through that review, all must also jump off from some kind of generous recognition of the ``aesthetic diversity of nature`` dynamically encountered in various ordinary circumstances.

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