샤프츠베리 백작과 18세기 영국 담소화의 등장
The Third Earl of Shaftesbury and the Emergence of British Conversation Piece in the Eighteenth Century
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제3대 샤프츠베리 백작(Earl of Shaftesbury)인 안토니 쿠퍼(Anthony AshleyCooper, 1671-1713)는 서양사상사에서 상당히 중요한 인물이다. 명문귀족가문 출신으로 1711년 『인간, 예의범절, 의견, 시대의 특징(Characteristics of Men,Manners, Opinions, Times)』이라는 책을 출간한 샤프츠베리는 이후 서양철학사에 커다란 족적을 남긴 인물로 평가받아 왔다. 본고는 독특한 사상가인 동시에 전형적인 영국 귀족의 표상이었던 제3대 샤프츠베리 백작에 대한 필자의 개인적인관심에서 출발하였다. 본고의 목적은 기본적으로 두 가지이다. 우선 문화사적 해석을 추구하는 근래 영국사학계의 연구 성과를 참고하여, 샤프츠베리와 그의 사상을 단순히 철학사속에 등장하는 추상적 대상이 아니라 정치적 소용돌이를 목격하며 그 속에서 당대 영국을 귀족적 진보주의에 맞추어 개조하고 새로운 사회질서를 제시하려는 노력의 일환으로 파악하고, 이를 위해 샤프츠베리가 제시했던 핵심 논제로 ‘고상함(politeness)’의 담론을 소개한다. 여기서 더 나아가 고상함이 현실 사회생활에서 발현되는 매개체인 동시에 고상함을 성취할 수 있는 사회적 실천행위의 근간은 담소(conversation)라는 사실에 주목하여, 18세기 초반 담소가 갖는 사회적 의미를 살펴본다. 이를 바탕으로 본고의 마지막 부분에서는 샤프츠베리 형제의 초상화 분석을 통해 18세기 초반 영국에서 담소화(conversationpiece)라는 미술 장르의 출현을 조명한다. 이러한 과정을 통해 필자는 담소화란단순한 미술 장르가 아니라 샤프츠베리가 촉발한 담론 및 이의 현실적 구현인 고상한 담소라는 사회적 현상 및 이데올로기가 시각적으로 발현된 결과일 가능성을조심스럽게 제시하고, 샤프츠베리가 주문한 형제초상화는 주문자가 그림속으로깊이 들어가 작품의 내용과 형식을 설계한, 즉 스스로의 운명을 스스로가 결정하는 진정한 시민 인문주의의 화신인 동시에 평등한 인격체 상호간의 고상한 담소라는 휘그적(Whiggish) 이데올로기가 회화라는 매체를 통해 성공적으로 시각화된 진정한 담소화의 효시라는 주장을 펼친다.
Abstract
Anthony Ashley Cooper (1671-1713), third Earl of Shaftesbury has been widely recognized as a significant thinker in the history of Western philosophy. His contributions, in particular, to the development of aesthetic theory have often been hailed as founding the discipline of modern aesthetics: he is credited to have originated the notion of ‘disinterestedness,’ the backbone of aesthetic experience. Studies of him, however, have been narrowly focused on his somehow vexed contributions to individual disciplines such as ethics, religion, and aesthetics. Drawing on recent revisionist perspectives in British eighteenth-century historiography, especially, the discourse of ‘politeness,’ this article seeks to argue for the importance of Shaftesbury and his ideas in the formation of aristocratic taste and the emergence of the genre of ‘conversation piece’ in eighteenth-century Britain. Via a series of pamphlets assembled in his magnum opus Characteristicks of Men, Manners, Opinions, Times, published in 1711, Shaftesbury refined the notion of politeness, a civil discourse for the betterment of virtually every human conduct. In the course of his arguments, he laid much emphasis on the cultivation of polite conversation since he considered it the foundation of politeness itself. Trying to incorporate ethics and aesthetics into the formation of the gentleman, Shaftesbury intended to revamp the cultural politics of contemporary English society in the mould of his Whiggish ideologies. Deep inside, his conception of politeness was essentially patrician and he never imagined anybody but the landed aristocracy entering the society of the truly polite. In this regard, he was a genuine heir to the British version of civic humanism whereby public virtue was only to be entrusted in the hands of independent propertied people. Visual artswere conferred a role to play in his vision of aristocratic polite society, not on account of their capacity to move people in their own but on accountof their usefulness to cultivate public taste. Analyzing the double portrait of Shaftesbury and his brother, Maurice, this paper concludes to suggest that the portrait is both an unassailable personification of civic humanist ideal of polite conversation and a signifier of doomed aristocratic hegemony.
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