earticle

영어

In the postmodern times we live with many imaginary worlds, various fictional works around. The traditional philosophies have excluded the problem of imagination, the experiences of the fictional works, by limiting the problems of art to the internal aspect of the art work. Walton and Currie are the representative contemporary philosophers who handle the problem of imagination by accepting the achievements of the cognitive science and the psychology positively. Walton and Currie regard the appreciation of the art work as the game of make-believe. The game of make-believe is a sort of imagining. It originates from child's playing with the toy. As the child playes with the promise that the stump of a tree be imagined as a bear, the appreciators imagine some propositions of an art work with some promises. But Walton has the different opinion from Currie's about the nature of imagining. Walton considers the imagining in the appreciation of art works as self-imagining, which means ‘the appreciator, situated himself in the fictional work, imagines himself as the observer of the fictional events’, while Currie takes it for ‘impersonal imagining’, that is the imagining of ‘just some events occur’. Currie's theory fails to explain the appreciator's empathy in the appreciations of art work, but in spite of some problems Walton's theory succedes in explaining the appreciator's participation in the art work. It's because while Walton's concept of the self—imagining accords with the film—appreciator's experiences (that is he feels as if he experiences the fictional events himself) On the contrary, Currie's concept of the impersonal imagining argues the distancing of the appreciator and the fictional object, it follows that it cannot explain the differences of the film work and the nonfictional report.

한국어

대표적인 현대 영미 예술철학자인 월튼과 커리는 모두 상상력의 문제를 make-believe(믿는 척하기) 개념으로 설명하고 있다. 월튼은 make-believe 개념을 어린아이가 장난감을 가지고 노는 놀이와 유사한 것으로 보고, 감상자는 스스로 허구 세계 안에 참여하여 등장 인물들을 직접 대면한다고 보는, ‘개인적 상상하기’를 주장하는 반면에, 커리는 make-believe 개념을 감상자가 허구적인 대상과 하나의 세계 안에 있다고 상상하지 않고, 단지 이러 이러한 것들이 허구 세계 안에서 발생한다고 상상하는, ‘비개인적 상상하기’로 설명한다. 월튼의 make-believe 개념이 어린아이의 게임과 완성된 예술 작품의 감상의 차이를 간과하고 있다는 점에서 일정한 문제점을 보여주고 있다면, 커리의 상상하기 개념은 예술작품 (특히 영화의 경우)을 감상할 때 감상자가 스스로 허구적 대상 속에 감정이입해 들어가는 측면에 대해 제대로 설명해 주지 못한다는 점에서 또 다른 한계를 드러내주고 있다.