근대 초 조선민족성과 조선미의식 담론의 논리화 방식 : 안확(安廓)과 야나기 무네요시(柳宗悅)를 중심으로
A Study on the discourse about Chosǒn national character and Chosǒn aesthetic consciousness : focusing on the An Hwak and Yanagi Muneyoshi's discourse
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The purpose of this study is examining a circulation and conflict of concepts and logics of the Chosǒn-ness by analysing the Chosǒn national character and Chosǒn aesthetic consciousness. As entering the modern period, we understood the nations as a unit of the artistic awareness. So, national art is defined as a national character expression from this period. The Chosǒn aesthetic consciousness by raising in this period, which is connected with the discourse of national character,carry out a discussional practice defining the Korean originality. However, there is a circulation and conflict of concepts and logics about the Chosǒn aesthetic consciousness in the process of a discussion. For the most representative examples are 'the white-clad folk' and 'the beauty of sorrow'. An Hwak and Yanagi Muneyoshi are representative debaters who try to establish the Chosǒn-ness and their discussion supports these facts. As An Hwak regressing of the respect for high antiquity, he demolished the historical character from the Chosǒn-ness and overlooked aesthetic differences by a periodical change. Yanagi Muneyoshi totally separates arts from politics and disposes of Korean arts in an abstract timeless-space. The function of such an early-modern period's discourse about Chosǒn aesthetic consciousness is that Chosǒn national character makes the dehistoricization and depoliticization.
Abstract
The purpose of this study is examining a circulation and conflict of concepts and logics of the Chosǒn-ness by analysing the Chosǒn national character and Chosǒn aesthetic consciousness. As entering the modern period, we understood the nations as a unit of the artistic awareness. So, national art is defined as a national character expression from this period. The Chosǒn aesthetic consciousness by raising in this period, which is connected with the discourse of national character,carry out a discussional practice defining the Korean originality. However, there is a circulation and conflict of concepts and logics about the Chosǒn aesthetic consciousness in the process of a discussion. For the most representative examples are 'the white-clad folk' and 'the beauty of sorrow'. An Hwak and Yanagi Muneyoshi are representative debaters who try to establish the Chosǒn-ness and their discussion supports these facts. As An Hwak regressing of the respect for high antiquity, he demolished the historical character from the Chosǒn-ness and overlooked aesthetic differences by a periodical change. Yanagi Muneyoshi totally separates arts from politics and disposes of Korean arts in an abstract timeless-space. The function of such an early-modern period's discourse about Chosǒn aesthetic consciousness is that Chosǒn national character makes the dehistoricization and depoliticization.
참고문헌 (21)
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