추한 서정시의 계보와 그 정치성

Abstract

In this article, I tried to trace the literary history of ugly poetry, but divided them into three categories to examine the aesthetic meaning. The aesthetic experience pursues the domain of pure autonomy, where scientific truth and moral value judgment do not intervene; however, the ugliness tends to always accompany morality. The ugliness, combined with evil, makes pure aesthetic judgment impossible; therefore, to ensure the purity of aesthetic experience, it was necessary to neutralize the element of the ugliness. In fact, it is difficult to establish pure aesthetic judgment in aesthetic representation of ugly reality because it is always accompanied by moral judgment about ugly reality. The aesthetic autonomy is possible, but the autonomy of pure ugliness is difficult to establish. Next, it is the case that self is placed in the position of ugliness; this is an attempt to discover aesthetic experience in the experience of exclusion and alienation. This is the work that wants to be an ugly subject in order to cope with ugly reality. They think that intentionally excluding ugliness from art plays a role of concealing the ugliness of reality. They do not attempt to reproduce the ugly reality, but rather to make the work itself an ugly being in reality. In other words, this is not a rational representation of ugliness, but a mimesis of ugliness; they are critical of the glorification of ugliness. Rather, they try to prove that there is a ugliness in reality. Finally, the problem of avant-garde attacking aesthetic autonomy was examined. They are critical of escaping to the aesthetic illusion to forget the ugly reality. The introduction of ugliness is an attempt to open a hole in the closed perfection of aesthetic autonomy, through which the passage to reality is opened. This is not a simple aesthetic representation of reality; rather, it introduces some of reality directly into the work, challenging the conventional idea of aesthetic production and the subject of the production. The authors are more likely to choose and decide than the authors as producers; the problem of choice and decision is not just the authors’ problem but the reader’s. Readers who have been comfortable with closed completedness will experience anxiety and discomfort in front of open works, so it is entirely up to the reader to derive pleasure from discomfort. In the process of transforming the experience of the ugliness into an aesthetic experience, the reader becomes the subject of choice and determination.