해체와 통합의 변증법: 장자와 셰익스피어의 미학
Dialectic of Deconstruction and Synthesis: Aesthetics of Chuang Tzu and Shakespeare
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Chuang Tzu and Shakespeare see the world through dream. They think life is like a dream. As Shakespeare said that life is but a walking shadow, so Chuang Tzu thought we find that life is a dream when we wake up from a dream within a dream. They use dream as an aesthetic device for deconstruction of reality. Chuang Tzu dreamed a dream of butterfly, but he did not know whether he was Chuang Tzu who dreamed he was a butterfly or a butterfly who dreamed he was Chuang Tzu. In Shakespeare’s A Midsummer Night’s Dream King Oberon and Queen Titania of the fairy world are conflicting with each other and the natural world becomes disruptive, and young lovers are interrupted by magic. But at last they sort out their tangled situation. Across the world of dream did Chuang Tzu and Shakespeare venture to show that there’s nothing of no change. All the relationships of the lovers, the Mechanicals, and the fairies change and the border lines among them disappear. Bottom, used as a victim of Oberon’s revenge, has become a wiser man waking from his dream: “I have had a dream, past the wit of man to say what dream it was.” The conflicts of all the lovers can be named as aesthetic experience through which they have transcended the limits of the ordinary world. Now they have had new contacts with the natural world. The new world in the aesthetics of Chuang Tzu and Shakespeare may be that of interbeing, where our illusion and reality come near to the interralatedness of the fairies with human beings. That is a play and feast for the prohibition and elimination of discrimination and conflict.
Abstract
Chuang Tzu and Shakespeare see the world through dream. They think life is like a dream. As Shakespeare said that life is but a walking shadow, so Chuang Tzu thought we find that life is a dream when we wake up from a dream within a dream. They use dream as an aesthetic device for deconstruction of reality. Chuang Tzu dreamed a dream of butterfly, but he did not know whether he was Chuang Tzu who dreamed he was a butterfly or a butterfly who dreamed he was Chuang Tzu. In Shakespeare’s A Midsummer Night’s Dream King Oberon and Queen Titania of the fairy world are conflicting with each other and the natural world becomes disruptive, and young lovers are interrupted by magic. But at last they sort out their tangled situation. Across the world of dream did Chuang Tzu and Shakespeare venture to show that there’s nothing of no change. All the relationships of the lovers, the Mechanicals, and the fairies change and the border lines among them disappear. Bottom, used as a victim of Oberon’s revenge, has become a wiser man waking from his dream: “I have had a dream, past the wit of man to say what dream it was.” The conflicts of all the lovers can be named as aesthetic experience through which they have transcended the limits of the ordinary world. Now they have had new contacts with the natural world. The new world in the aesthetics of Chuang Tzu and Shakespeare may be that of interbeing, where our illusion and reality come near to the interralatedness of the fairies with human beings. That is a play and feast for the prohibition and elimination of discrimination and conflict.
참고문헌 (10)
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