초록 열기/닫기 버튼
This paper critically verifies the validity of the Anthropological-Realism(本體論) theory, which is an important characteristic of the aesthetic theory advocated by 李澤厚(Li-Zehou, 1930-2021). He appeared like a comet in the so-called “Aesthetics熱” and “Aesthetics Great Debate” in the 50s when he abruptly refuted the 朱光潛(1897-1986) theory, which was a prominent figure of the time. However, 李澤厚's main argument at the time, the anthropological realism theory, was probably buried too much from a Marxist structuralist point of view, and 李澤厚 himself later admitted that he was applied as a propaganda of Maoism. Therefore, this study also attempts to correct some misunderstandings that arose by equating the main points of 朱光潛's aesthetic theory with the romantic epistemology of Western aesthetic scholars in the 18-19C. Therefore, it is intended to explore various possibilities of Chinese and Eastern modern aesthetics again. As he came up with the speculative theory of Gestalt psychology's ‘homogeneous structure theory’ as an answer to the cause of the aesthetic action of objective objects on humans, he admitted to himself that ‘psychology-anthropological body theory’ was ultimately an incomplete theory. Moreover, crucially, the rationality and practical rational products he claimed to have built are quite empty in that empirical verification is impossible. The limitations of this can be clearly recognized in that the possibility of conflict, which had been experienced in the confrontation between Western 唯心論(Mentalism) theory, is still repeated in modern China and Eastern aesthetics, and that it can be confirmed that the horizon of modern art and aesthetic thinking has not been expanded. Therefore, it is necessary to continuously seek another new artistic consciousness.
키워드열기/닫기 버튼
Aesthetics, Aesthetic Object, Anthropological Realism Theory, Musical Philosophy
