사회주의 중국 건국이 중국미학에 끼친 영향－사회주의 중국 성립 이전과 이후 주광첸[朱光潛] 미학사상의 연속성과 단절성을 중심으로－ (The Founding of Communist China, and it's Influence on China's Intellectuals －Mainly Due to the Change of Zhu Guang Qian's Aesthetics－)

서지정보

· 발행기관 : 서강대학교 인문과학연구소
· 수록지 정보 : 서강인문논총 / 52호 / 367 ~ 401페이지
· 저자명 : 이상화

초록

1949년 이전 주광첸은 ⓐ주관[心]이 객관적 대상[物]을 만나서 미를 느끼고[美感], ⓑ미감을 느끼는 대상은 대상 자체가 아니라 주관이 반영된[창조된] 형상[意象]이며, ⓒ이 형상을 구체적 실물로 표현한 것이 예술작품이 된다고 봤다. 1949년 이후 그는 ⓐ에서 주관[心]의 ‘주관성’을 배제하기 위해 ‘이데올로기’ 개념을 도입한다. 또한 ⓒ에서 예술작품의 창작행위에 대해 ‘노동’, ‘실천’의 개념을 도입한다. 이 변화의 ‘지침’은 「연안문예간담회에서의 강화」와 『경제학철학 수고』였다. 이러한 변화는 사회주의 중국에서 미학이론의 범위 축소를 의미한다. 또한 사회주의 중국에서도 미학이론에 주관정신(객관적 현실-존재를 반영한 것이라면)의 능동성을 강조할 수 있었다는 사실도 함축한다.

영어초록

Before Chinese Revolution in 1949, Zhu Guangqian[朱光潛]’s esthetics theory is briefly summarized in the following outline.
ⓐ Only when subject[心] meets objective things[物], it feels the beauty[an esthetic feeling, 美感].
ⓑ The objects of esthetic feeling are not the objective things, but the forms in which reflected subjectivity[created by subjectivity].
ⓒ What express the forms in the real thing are the works of art.
In the 1950s, in ⓐ, for the purpose of exclusion of subject[心]’s subjectivity, Zhu brings ‘ideology’ in his esthetics theory. ‘Ideology’ is one of superstructures in Marxism. In the 1960s, in ⓒ, Zhu brings ‘labor’ and ‘practice’ in his esthetics theory. To put it concretely, he thought that creating work of art was ‘labor’ and ‘practice’. In Marxism, ‘labor’ and ‘practice’ are what human being creates world. The ‘labor’ and ‘practice’ are what human being creates work of art in Zhu’s esthetics theory.
Zhu’s changes were influenced by two writings, which were Mao Zedong’s <Talks at Yan’an Forum on Literature and Art> and Marx’s <Economic and Philosophic Manuscripts>. Two writings were the esthetics’s guidelines of socialism in china. Before 1949, the features of Zhu’s esthetics were ‘subjectivity’, ‘individuality’, and ‘theoretical character’. After 1949, under <Talks at the Yan’an Forum on Literature and Art> and <Economic and Philosophic Manuscripts>, the features of Zhu’s theory changed to ‘objectivity’, ‘sociality’, and ‘practicability’.
Nevertheless, there was consistency in Zhu’s theory. That was his beauty viewpoint that beauty came from the relationship between subjective mind and objective thing. And his thinking of beauty which are limited to only the beauty of art is one of his consistency.
Overall, this was a reducing scope of esthetics theory in china. Properly, this reduction was down to Mao Zedong’s and Marx’s materialism. But it was important that scholars can emphasize on ‘subjective audience activity’ in Chinese socialism. This point shows that chinese materialism permitted the elements of idealism.

참고자료

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