레비나스의 윤리학과 예술론
Levinasian Ethics and His View on Art
0
조회
0
다운로드
3
인용
0
참고문헌
키워드
초록
Levinasian philosophy is significant in that it regards ethics as "first philosophy," which can be summed up in a "face-to-face" encounter with and infinite responsibility for the Other. Levinas's view on art, however, seems to be incompatible with his ethics because his notion of 'il y a' can be misunderstood as a selfish indulgence in art and consequent irresponsibility. According to traditional mimetic theory of art, the function of artistic works is unethical since they are not able to form a 'flesh and blood' relationship with the viewers. Furthermore, in the eternally frozen instant of art, it is impossible for us to participate in an ontological event, and thus, theoretically speaking, we cannot have a chance to take any responsibility for the Other. In this context, art can become idols that disable us from responding to the face of the Other. While Plato degrades an image as secondary to the original, Levinas conceptualizes an image as a "shadow," which deconstructs the traditional theory of artistic resemblance, and accordingly reveals the unstable relationship between an original and an image. With the Levinasian concept of shadow, we can transcend an ontological notion of our being, and finally experience the exteriority of the Other. The epistemological incomprehensibility of the Other, ironically, qualifies us to respond to the face of the Other 'ethically.' At this point, art is not separated from the world any more, but brings us to the "hither side" where we can experience 'ethical' as well as 'artistic' moment of "il y a." In this way, we can solve the ontological dilemma caused from a sense of autonomous responsibility. Then it can be said that Levinasian ethics is 'artistic,' and Levinas's view on art 'ethical.'
Abstract
Levinasian philosophy is significant in that it regards ethics as "first philosophy," which can be summed up in a "face-to-face" encounter with and infinite responsibility for the Other. Levinas's view on art, however, seems to be incompatible with his ethics because his notion of 'il y a' can be misunderstood as a selfish indulgence in art and consequent irresponsibility. According to traditional mimetic theory of art, the function of artistic works is unethical since they are not able to form a 'flesh and blood' relationship with the viewers. Furthermore, in the eternally frozen instant of art, it is impossible for us to participate in an ontological event, and thus, theoretically speaking, we cannot have a chance to take any responsibility for the Other. In this context, art can become idols that disable us from responding to the face of the Other. While Plato degrades an image as secondary to the original, Levinas conceptualizes an image as a "shadow," which deconstructs the traditional theory of artistic resemblance, and accordingly reveals the unstable relationship between an original and an image. With the Levinasian concept of shadow, we can transcend an ontological notion of our being, and finally experience the exteriority of the Other. The epistemological incomprehensibility of the Other, ironically, qualifies us to respond to the face of the Other 'ethically.' At this point, art is not separated from the world any more, but brings us to the "hither side" where we can experience 'ethical' as well as 'artistic' moment of "il y a." In this way, we can solve the ontological dilemma caused from a sense of autonomous responsibility. Then it can be said that Levinasian ethics is 'artistic,' and Levinas's view on art 'ethical.'
참고문헌 (26)
- 강영안, "타인의 얼굴--레비나스의 철학" (2005), 문학과 지성사
- 김용호, "성경 전서" (2000), 대한성서공회
- 레비나스, 에마뉘엘, "시간과 타자" (2009), 문예출판사
- 양명수, "윤리와 무한" (2005), 다산글방
- 김모세, "레비나스 평전" (2006), 살림출판사
- 박원빈, "레비나스와 기독교" (2010), 북코리아
- 서동욱, "차이와 타자" (2008), 문학과 지성사
- 최진석, "타자 윤리학의 두 가지 길 ― 바흐친과 레비나스", 노어노문학, 21(3), pp.173~195 (2009), 한국노어노문학회
- Bernstein, Richard J., "Evil and the Temptataion of Theodicy, In The Cambridge Companion to Levinas", pp.252~267 (2002), Cambridge UP
- Bruns, Gerald L, "The Cambridge Companion to Levinas, In The Cambridge Companion to Levinas", pp.206~233 (2002), ambridge UP
- Eagleston, Robert, "Ethical Criticism: Reading After Levinas" (1997), Edinburgh UP
- Hand, Seán, "Shadowing Ethics: Levinas's View of Art and Aesthetics, In Facing the Other: The Ethics of Emmanuel Levinas", pp.63~89 (1996), TJ P
- Hughes, Robert, "Levinas: Art and the Transcendence of Solitude, In Ethics, Aesthetics, and the Beyond of Language", pp.113~135 (2010), SUNY P
- Levinas, Emmanuel, "Being-for-the-Other." Is It Righteous To Be?", pp.114~120 (2001), Stanford UP
- Levinas, Emmanuel, "Existence and Existents" (2011), Duquesne UP
- Levinas, Emmanuel, "Collected Philosophical Papers, In Collected Philosophical Papers", pp.127~139 (1987), Duquesne UP
- Levinas, Emmanuel, "Poetry and Resurrection: Notes on Agnon, In Proper Names" (1996), Stanford UP
- Levinas, Emmanuel, "Reality and Its Shadow, In Collected Philosophical Papers", pp.1~13 (1987), Duquesne UP
- Levinas, Emmanuel, "Totality and Infinity" (1969), Dusquesne UP
- Lingis, Alphonso, "Fateful Images", Research in Phenomenology, 28, pp.55~71 (1998)
- McDonald, Henry, "Aesthetics as First Ethics: Levinas and the Alterity of Literary Discourse", Diacritics, 38(4), pp.15~41 (2010)
- Peters, Gary, "The Rhythm of Alterity: Levinas and Aesthetics", Radical Philosophy, 82, pp.9~16 (1997)
- Robbins, Jill, "Altered Reading" (1999), U of Chicago P
- Schmiedgen, Peter, "Art and Idolatry: Aesthetics and Alterity in Levinas."", Contretemps, 3, pp.148~160 (2002)
- Sharpe, Matthew, "Aesthet(h)ics: On Levinas' Shadow", Colloquy: Text, Theory, Critique, 9, pp.29~47 (2005)
- Toumayan, Alain P, "Encountering the Other" (2004), Duquesne UP