라파엘전파와 감각적인 것의 나눔

@article{ART001354711},
author={ 이택광 },
title={라파엘전파와 감각적인 것의 나눔},
journal={영어영문학},
issn={1016-2283},
year={2009},
volume={55},
number={2},
pages={241-257},
doi={10.15794/jell.2009.55.2.002},
url={http://dx.doi.org/10.15794/jell.2009.55.2.002}

TY - JOUR
AU - 이택광
TI - 라파엘전파와 감각적인 것의 나눔
T2 - 영어영문학
PY - 2009
VL - 55
IS - 2
PB - 한국영어영문학회
SP - 241-257
SN - 1016-2283
AB - The essay discusses the way in which the aesthetic of Pre-Raphaelites reformulates the habitual system of knowledge in the Victorian age by adapting Ranciére’s concept of aesthetics. Ranciére develops an original theory of aesthetics, a regime of knowledge which enables to perceive and reflect art as such. In this way, aesthetics turns to be the logical system by which the consensus idea of the beautiful comes to exist. For Ranciére, aesthetics is an agreed system of the sensible and reproduces the habitual knowledge of the world. Therefore, a new aesthetic movement means an attempt to break the given aesthetics and reorients the new distribution of the sensible. The important point of Ranciére’s argument is that he does not presuppose the dimension beyond the present unlike Frankfurt School. What Ranciére claims is that there is no such the aesthetic which can correct the instrumental reason, but rather an indifferent moment in which a worker finds out himself as a creator who can give rise to the new regime of the sensible and feels free from what he must work for. From this perspective, the essay explores the aesthetic of Pre-Raphaelites and its meaning in nineteenth century Britain. Pre- Raphaelites was an artist group who railed against a so-called academic style of paintings and created a new aesthetic criterion to describe the truth of the natural world. The essay examines the interrelationship between Pre- Raphaelites and photography that would enable them to re-distribute the sensible and produce a new way of seeing the order of things. This is related to the birth of a modern gaze as in the case of landscape paintings. What is crucial is that the distribution of the sensible is always-already doubled with the political. In short, Pre-Raphaeltes is not only an aesthetic movement but also a political pursuit to achieve a disenchanted perception of nineteenth century industrial capitalism.
KW - 라파엘전파, 랑시에르, 러스킨, 벤야민, 감각적인 것, 사진술
DO - 10.15794/jell.2009.55.2.002
UR - http://dx.doi.org/10.15794/jell.2009.55.2.002
ER -

이택광 (2009). 라파엘전파와 감각적인 것의 나눔. 영어영문학, 55( 2), 241- 257.

이택광 . 2009, “라파엘전파와 감각적인 것의 나눔”, 영어영문학, vol. 55, no. 2, pp. 241-257. Available from: doi:10.15794/jell.2009.55.2.002

이택광 “라파엘전파와 감각적인 것의 나눔” 영어영문학 55.2 pp. 241-257 (2009): 241.

이택광 . 라파엘전파와 감각적인 것의 나눔 영어영문학 [Internet]. 2009; 55( 2), : 241-257. Available from: doi:10.15794/jell.2009.55.2.002

이택광 . “라파엘전파와 감각적인 것의 나눔” 영어영문학 55, no.2 (2009): 241-257. doi: 10.15794/jell.2009.55.2.002

홈 권호 목록 논문 목록 논문 상세

라파엘전파와 감각적인 것의 나눔

영어영문학

약어 : JELL

2009, vol.55, no.2, pp.241 - 257

DOI : 10.15794/jell.2009.55.2.002

발행기관 : 한국영어영문학회

연구분야 : 영어와문학

이택광¹

¹경희대학교

인용한 논문 수 : - 서지 간략 보기

초록

The essay discusses the way in which the aesthetic of Pre-Raphaelites reformulates the habitual system of knowledge in the Victorian age by adapting Ranciére’s concept of aesthetics. Ranciére develops an original theory of aesthetics, a regime of knowledge which enables to perceive and reflect art as such. In this way, aesthetics turns to be the logical system by which the consensus idea of the beautiful comes to exist. For Ranciére, aesthetics is an agreed system of the sensible and reproduces the habitual knowledge of the world. Therefore, a new aesthetic movement means an attempt to break the given aesthetics and reorients the new distribution of the sensible. The important point of Ranciére’s argument is that he does not presuppose the dimension beyond the present unlike Frankfurt School. What Ranciére claims is that there is no such the aesthetic which can correct the instrumental reason, but rather an indifferent moment in which a worker finds out himself as a creator who can give rise to the new regime of the sensible and feels free from what he must work for. From this perspective, the essay explores the aesthetic of Pre-Raphaelites and its meaning in nineteenth century Britain. Pre- Raphaelites was an artist group who railed against a so-called academic style of paintings and created a new aesthetic criterion to describe the truth of the natural world. The essay examines the interrelationship between Pre- Raphaelites and photography that would enable them to re-distribute the sensible and produce a new way of seeing the order of things. This is related to the birth of a modern gaze as in the case of landscape paintings. What is crucial is that the distribution of the sensible is always-already doubled with the political. In short, Pre-Raphaeltes is not only an aesthetic movement but also a political pursuit to achieve a disenchanted perception of nineteenth century industrial capitalism.

키워드

라파엘전파, 랑시에르, 러스킨, 벤야민, 감각적인 것, 사진술

참고문헌(13)

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[단행본] Ranciere, Jacques / 2004 / The Politics of Aesthetics: The Distribution of the Sensible / Continuum
[단행본] Hilton, Timothy / 1970 / The Pre-Raphaelites / Thames and Hudson