바흐친의 초기 미학에 나타난 유신론적 테마 - 작가론을 중심으로
Theistical Themes in Bakhtin's Early Aesthetics
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In Bakhtin's aesthetic system there are three elements of art in text; these are material, content and form. But what allows for creativity is the sight of the author. It is also the writer who grants unity to the whole work as well as to the figure of the hero. He also includes and completes the world in which the hero belongs. The writer is creative, productive and active in forming energy. These notions of the writer are very similar to those attributed to God in the Orthodox Church which emphasizes the difference between a divine's essence and energy. Above all, the most important feature of a writer is his 'outsideness'. This means that he should exist outside of the hero in the sense of the spacial, temporal as well as value estimative and meaning plans. Bakhtin applies this concept of 'outsideness' relevant in the aesthetical level to the ontological and metaphysical levels arguing that man cannot exist without 'other' and 'absolute otherness', just as the hero cannot exist without the writer, his creator. Then, which relation does the writer have with the hero? At first, it is the relation of 'other'; the writer becomes an 'absolute otherness' to the hero. He aesthetically justifies the hero, not restricted by his failure in either the past or present. This incarnated, fundamental, and essentially authentic One is the writer in an aesthetic level and God in a metaphysical level. Secondly, the writer presents a personal relation to the hero. Even though the writer, who creates the hero, holds possession of prominent consciousness, he gives up his right to intervene in the hero’s story and grants the hero independence and freedom of personality. These characteristics of a writer share certain elements with the 'kenosis'(self-denial) of the Son of God, who abandons His will to complete the Father's. Finally, God grants free will to man through self-sacrifice; this is called 'personal love'. In conclusion, Bakhtin, through his aesthetic thinking, insists that the hero cannot aesthetically exist without the writer. Similarly man cannot find self-fulfillment and so requires 'absolute otherness' for self-identity and self-justification. Every person is an unrepeatable and unique being! There is an 'absolute otherness' that justifies and loves me even where I cannot justify and love myself! This is a contemporary version of Bakhtin's aesthetic gospel for those that are exhausted with an empty and meaningless existence.
Abstract
In Bakhtin's aesthetic system there are three elements of art in text; these are material, content and form. But what allows for creativity is the sight of the author. It is also the writer who grants unity to the whole work as well as to the figure of the hero. He also includes and completes the world in which the hero belongs. The writer is creative, productive and active in forming energy. These notions of the writer are very similar to those attributed to God in the Orthodox Church which emphasizes the difference between a divine's essence and energy. Above all, the most important feature of a writer is his 'outsideness'. This means that he should exist outside of the hero in the sense of the spacial, temporal as well as value estimative and meaning plans. Bakhtin applies this concept of 'outsideness' relevant in the aesthetical level to the ontological and metaphysical levels arguing that man cannot exist without 'other' and 'absolute otherness', just as the hero cannot exist without the writer, his creator. Then, which relation does the writer have with the hero? At first, it is the relation of 'other'; the writer becomes an 'absolute otherness' to the hero. He aesthetically justifies the hero, not restricted by his failure in either the past or present. This incarnated, fundamental, and essentially authentic One is the writer in an aesthetic level and God in a metaphysical level. Secondly, the writer presents a personal relation to the hero. Even though the writer, who creates the hero, holds possession of prominent consciousness, he gives up his right to intervene in the hero’s story and grants the hero independence and freedom of personality. These characteristics of a writer share certain elements with the 'kenosis'(self-denial) of the Son of God, who abandons His will to complete the Father's. Finally, God grants free will to man through self-sacrifice; this is called 'personal love'. In conclusion, Bakhtin, through his aesthetic thinking, insists that the hero cannot aesthetically exist without the writer. Similarly man cannot find self-fulfillment and so requires 'absolute otherness' for self-identity and self-justification. Every person is an unrepeatable and unique being! There is an 'absolute otherness' that justifies and loves me even where I cannot justify and love myself! This is a contemporary version of Bakhtin's aesthetic gospel for those that are exhausted with an empty and meaningless existence.
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