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‘The multiple perspectives’ of Giorgio de Chirico is a sign which he chose to organize the pictural space as a schema. That is to say, his perspective as a semiotic system deconstructs Renaissance Humanistic system. And also it is a signifier which bring out a new signified. Essentially, this is the motivation that de Chirico chose the multiple perspectives as a constructional schema for himself. The reason why a perspective can be reduced to a semiotic system is that the perspective is a kind of cognitive paradigm which represents a philosophical perspective attitude for recognizing and experiencing the world. Therefore, the perspective is a metaphorical form. It is Nietzsche who represented this cognitive paradigm as an idea that is a perspectivism in the realm of 19th. century’s philosophy.
The perspectivism of Nietzsche is a strategic methodology. The one strategy is for inverting the given metaphysical concept from which the dualism of Being and Cognition originates. The other strategy is for being freed from its severe categories. The perspectivism of Nietzsche means the values of plural perspectives or viewpoints. Nietzsche said that “the more affects we allow to speak about one thing, the more eyes, different eyes, we can use to observe one thing, the more complete will our ‘concept’ of this thing, our ‘objectivity’, be.”
If we change this perspectivism as a metonymical pictural form, one vanishing point of perspective would be a standpoint of a spectator or a subject in geometrical perspective. Also this standpoint would be his vision or focus about the world. Accordingly, the multiple visions of many persons at plural standpoints is to be much more objective than one vision from a vanishing point of perspective. From this point of view, the interrelation between Nietzsche’s perspectivism and de Chirico’s multiple perspectives is namely metaphysics and perspective. Therefore, the multiple perspectives of de Chirico is the reinterpreted perspective from Nietzsche’s perspectivism by de Chirico.
But one of concepts from perspectivism is that each viewpoint or each vanishing point is the place where each power takes part in. And each power makes its own hierarchy. Also, If the strongest force amongst the powers appears before them, they may be drawn to the strongest one. Consequently this process should be subjected to the will of power. The will of power is represented by a tower or a smokestack or sculpture in the painting of G. de Chirico. The representation of the strongest power as a vertical figure unifies the confused multiple vanishing points in the schema of multiple perspectives.
The perspectivism of Nietzsche is a strategic methodology. The one strategy is for inverting the given metaphysical concept from which the dualism of Being and Cognition originates. The other strategy is for being freed from its severe categories. The perspectivism of Nietzsche means the values of plural perspectives or viewpoints. Nietzsche said that “the more affects we allow to speak about one thing, the more eyes, different eyes, we can use to observe one thing, the more complete will our ‘concept’ of this thing, our ‘objectivity’, be.”
If we change this perspectivism as a metonymical pictural form, one vanishing point of perspective would be a standpoint of a spectator or a subject in geometrical perspective. Also this standpoint would be his vision or focus about the world. Accordingly, the multiple visions of many persons at plural standpoints is to be much more objective than one vision from a vanishing point of perspective. From this point of view, the interrelation between Nietzsche’s perspectivism and de Chirico’s multiple perspectives is namely metaphysics and perspective. Therefore, the multiple perspectives of de Chirico is the reinterpreted perspective from Nietzsche’s perspectivism by de Chirico.
But one of concepts from perspectivism is that each viewpoint or each vanishing point is the place where each power takes part in. And each power makes its own hierarchy. Also, If the strongest force amongst the powers appears before them, they may be drawn to the strongest one. Consequently this process should be subjected to the will of power. The will of power is represented by a tower or a smokestack or sculpture in the painting of G. de Chirico. The representation of the strongest power as a vertical figure unifies the confused multiple vanishing points in the schema of multiple perspectives.
목차
Ⅰ. 연구 목적
Ⅱ. 형이상학 회화의 다시점 원근법과 그것의 의미
Ⅲ. 은유적 원근법의 개념
Ⅳ. 은유적 원근법으로서의 니체의 관점주의
Ⅴ. 니체의 관점주의에 의한 다시점 원근법의 재해석
Ⅵ. 결론
참고문헌
Abstract
참고문헌 (14)
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