로젠크란츠와 보들레르의 ‘추의 미’와 캐리커처

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로젠크란츠 보들레르 캐리커처 추의 미 웃음 현대성 Rosenkranz Baudelaire Beautiful ugly Caricature Laugher Modernity
본 논문은 로젠크란츠와 보들레르가 캐리커처라는 새로운 예술장르를 ‘추의 미’로 포착하고 있음을 밝히고, 그 미적 가치를 이론화 하는 과정을 상세하게 분석한다. 로젠크란츠는 추의 미적 정당화를 시도하면서, 일반 추와 아름다운 추를 구분하고 캐리커처를 ‘아름다운 추’로 규정한다. 일반 추가 부자유를 자신의 근거로 삼는다면, 아름다운 추는 ‘부자유의 자발성’을 자신의 근거로 삼는다. 캐리커처의 과장과 비틀림, 비교와 지시의 과정이 완벽하게 창조된다면, 캐리커처는 무한한 자유의 가상으로 현상된다. 로젠크란츠는 추의 최상급이 질적인 도약을 통해 미의 최상급인 절대미와 같은 무한한 아름다움을 획득한다면서, 추의 미적가치를 변증법적으로 정당화한다. 한편, 보들레르는 웃음의 본질과 캐리커처의 구성요소에 대한 연구를 통해 ‘추의 미’의 관점에서 캐리커처에 대한 분석을 시도한다. 그는 웃음의 이중성이 인간의 이중성에서 기인한다고 말하는데, 이런 웃음의 이중성은 문명화된 도시인이 경험하는 현대적 삶의 이중성과 긴밀한 내적 연관관계를 갖는다. 보들레르는 이 같은 성격을 극명하게 보여주는 예술이 바로 캐리커처라고 분석한다. 이와 같은 보들레르의 분석은 그의 이중성의 미학에 근거한다.
Viewed from the perspective of ‘beautiful ugly', Rosenkranz's and Baudelaire's caricatures represent an ugliness worthy of their very subjects. In comparison, caricature study is important to comprehending modern art. J. K. F. Rosenkranz tried to change the point of view in the Aesthetics of Ugliness, which is understanding Ugliness in an aesthetic category. To him, ugliness had its own value to be investigated as equivalent to beauty, because Ugliness is thought to be necessary for the purpose of art, namely the 'perfection of world-understanding'. According to Rosenkranz, ugliness arises from the essence of an idea and is based on non-freedom. Supreme ugliness, which responds to absolute beauty, is a caricature, which indicates emphatically the original image with exaggeration and distortion. So, caricature is spontaneous non-freedom, which implies the negation of truthful freedom, but is more of positive freedom as well. With non-freedom, caricature indicates freedom and with ugliness, aesthetic image. Caricature achieves aesthetic completion such as absolute beauty and crosses over not only to the extremes of beauty such as sublimeness and pleasure, but of ugliness such as immodesty and disgust. In arguing for the centrality of the essays on caricature in Baudelaire’s aesthetic system more important, to submit those ideas, and our understanding of them. In particular, the peculiar oxymoronic nature of laughter, which he treats as a contradiction in terms, represents in boldly exaggerated form, like a good caricature, the dualism of art itself, the contradiction inherent in all artistic creation, as in mankind—at once diabolical and divine, real and ideal, ugly and beautiful, temporal and enduring, inferior and superior. These essays, thus, bring out, more than any other, the essential humanity, or in the vast theological metaphor of the essence of laughter. From the essential dualism of caricature, Baudelaire posits that most extreme dualistic example, a paradoxical art of modernity. Indeed, what emerges from a study of the essays on caricature constitutes a central argument of the painter of modern life, treated at length in Chapter 4. The important and influential theory of the modern beautiful, formulated in this book. These essays thus propose not only an aesthetic of caricature, but also a caricatural aesthetic—dual and contradictory, grotesque, ironic, violent, farcical, fantastic and fleeting—which defines the painting of modern life, and in large part, the discourse of modernity as well.
Alternative Title
Caricature and beautiful ugliness of Rosenkranz and Baudelaire
Alternative Author(s)
Lim, Myung-gyu
조선대학교 인문학연구원
Research Laboratory
Appears in Collections:
2017 > No 54
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