예술의 비판기능과 유희기능의 종합을 위한 성찰 알뛰세르와 블랑쇼를 중심으로 (Reflections for a Synthesis of the Critique Function and the Enjoyment Function of Art : Centering on Althusser and Blanchot)

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초록

This paper, while taking a position of criticizing the ‘affect theory,’ aims to provide an answer to the age old difficult question of how the critique-function and the enjoyment-function of art can be synthesized. This paper first critically reviews Kwang-Hyun Shim’s recent essay that tries to answer the same question from the standpoint of the affect theory. Following Louis Althusser’s discussion of Bertolt Brecht, this paper puts into question Shim’s idea that is also commonly shared by many: namely, the idea that the essential function of art consists in offering art viewers healing effects. According to Althusser, art cannot produce healing effects unlike other practices such as politics or science, since it does not approach life as present in person but only in the mode of representation. In this regard, art is much closer to philosophy than to politics or science. However, Althusser also points out that Brecht failed to comprehend the specificity of the enjoyment that art works provide, ending up in an intellectualist notion of art. This paper argues that, in order to properly understand the enjoyment-function of art which does not contradict its critique-function, it is necessary to introduce the psychoanalytic concept of jouissance that Jacques Lacan developed. According to him, jouissance qua enjoyment of pain should be completely distinguished from pleasure resulting from a satisfaction of needs. Jouissance rather has an essential relationship with death. Understood as jouissance, the artistic enjoyment in itself comes to be able to perform a function of criticizing the life world dominated by needs, efficiency, production, etc. This paper finally explores Maurice Blanchot’s theory that views the space of literature as that of death, and draws a conclusion that art is not a practice offering a correct understanding of the world or, even less, an alternative progressive ideology, but must be conceived as a practice of doubt revealing that there is an outside of the world of needs.

영어초록

This paper, while taking a position of criticizing the ‘affect theory,’ aims to provide an answer to the age old difficult question of how the critique-function and the enjoyment-function of art can be synthesized. This paper first critically reviews Kwang-Hyun Shim’s recent essay that tries to answer the same question from the standpoint of the affect theory. Following Louis Althusser’s discussion of Bertolt Brecht, this paper puts into question Shim’s idea that is also commonly shared by many: namely, the idea that the essential function of art consists in offering art viewers healing effects. According to Althusser, art cannot produce healing effects unlike other practices such as politics or science, since it does not approach life as present in person but only in the mode of representation. In this regard, art is much closer to philosophy than to politics or science. However, Althusser also points out that Brecht failed to comprehend the specificity of the enjoyment that art works provide, ending up in an intellectualist notion of art. This paper argues that, in order to properly understand the enjoyment-function of art which does not contradict its critique-function, it is necessary to introduce the psychoanalytic concept of jouissance that Jacques Lacan developed. According to him, jouissance qua enjoyment of pain should be completely distinguished from pleasure resulting from a satisfaction of needs. Jouissance rather has an essential relationship with death. Understood as jouissance, the artistic enjoyment in itself comes to be able to perform a function of criticizing the life world dominated by needs, efficiency, production, etc. This paper finally explores Maurice Blanchot’s theory that views the space of literature as that of death, and draws a conclusion that art is not a practice offering a correct understanding of the world or, even less, an alternative progressive ideology, but must be conceived as a practice of doubt revealing that there is an outside of the world of needs.

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