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This article intends to study symbol in Baudelaire and Jung, representative precursors of theory of symbol. Even though Baudelaire has not discoursed systematically on symbol, he furnished clue for his viewpoint of symbolism through his poems and criticism. His viewpoint had an important effect on French symbolists poets like Mallarme, Rimbaud, Verlaine as well as later theorists of symbol(Jung, Corbin, Eliade, Durand, etc.).
Symbol has been a major study of literature, psychology and philosophy since Baudelaire's Correspondances, which can be seen as a succinct manifesto of symbolism. This famous sonnet has provided an aesthetic basis for works that have elements of symbol. In this sonnet we can grasp both vertical correspondences(between man/visible world and invisible world) and horizontal correspondences(between the senses: synesthesia, between spirit and senses). For his symbolism, Baudelaire elaborated aesthetically 'universal analogy' and ‘correspondence', which had already been presented by Fourier and Swedenborg.
According to Baudelaire, this world is a hieroglyphic dictionary. Only poet can translate or decipher the symbol concealed in the dictionary. To the poet, everything in the universe is symbol which contains a transcendent message. The mission of poet is to apprehend symbolic meanings behind the nature world, and to make a work of verbal art.
Jung's conception of symbol is closely related to archetype. When the archetype manifests itself in hic et nunc of space and time, it can be conceived in some form of conscious mind. Then we can speak of symbol. In order to appear as a symbol it must have an archetypal ground plan.
The symbols are always grounded in the unconscious archetype, but their manifest forms are moulded by the ideas acquired by the conscious mind. Jung's own definition of symbol can be summarized as referring to the best possible formulation of a relatively unknown psychic content that cannot be grasped by consciousness. The symbol is alive only so long as it is pregnant with meaning. But once the meaning has been born out of it, then the symbol is dead. The new symbol is born of man's highest spiritual aspirations and must spring from the deepest roots of the being(archetype).
The symbol is a kind of mediator between the incompatibles of consciousness and the unconsciousness, between the hidden and the manifest. The symbol is neither abstract nor concrete, neither rational nor irrational, neither real nor unreal. It is always both. It belongs to the intermediated realm of subtle reality. Jung calls this symbol-forming function of the psyche, its ability is to synthesize pairs of opposites in a symbol, transcendent function.
The viewpoint of Baudelaire and Jung upon the symbol constituted a great stream which an important group of theorists on symbol(Bachelard, Corbin, Eliade, Durand, Alleau) has inherited. We considered the proper way to interpret symbols in the light of Baudelaire, Jung and their inheritors. We considered subsequently the significance of their hermeneutic attitude.
Symbol has been a major study of literature, psychology and philosophy since Baudelaire's Correspondances, which can be seen as a succinct manifesto of symbolism. This famous sonnet has provided an aesthetic basis for works that have elements of symbol. In this sonnet we can grasp both vertical correspondences(between man/visible world and invisible world) and horizontal correspondences(between the senses: synesthesia, between spirit and senses). For his symbolism, Baudelaire elaborated aesthetically 'universal analogy' and ‘correspondence', which had already been presented by Fourier and Swedenborg.
According to Baudelaire, this world is a hieroglyphic dictionary. Only poet can translate or decipher the symbol concealed in the dictionary. To the poet, everything in the universe is symbol which contains a transcendent message. The mission of poet is to apprehend symbolic meanings behind the nature world, and to make a work of verbal art.
Jung's conception of symbol is closely related to archetype. When the archetype manifests itself in hic et nunc of space and time, it can be conceived in some form of conscious mind. Then we can speak of symbol. In order to appear as a symbol it must have an archetypal ground plan.
The symbols are always grounded in the unconscious archetype, but their manifest forms are moulded by the ideas acquired by the conscious mind. Jung's own definition of symbol can be summarized as referring to the best possible formulation of a relatively unknown psychic content that cannot be grasped by consciousness. The symbol is alive only so long as it is pregnant with meaning. But once the meaning has been born out of it, then the symbol is dead. The new symbol is born of man's highest spiritual aspirations and must spring from the deepest roots of the being(archetype).
The symbol is a kind of mediator between the incompatibles of consciousness and the unconsciousness, between the hidden and the manifest. The symbol is neither abstract nor concrete, neither rational nor irrational, neither real nor unreal. It is always both. It belongs to the intermediated realm of subtle reality. Jung calls this symbol-forming function of the psyche, its ability is to synthesize pairs of opposites in a symbol, transcendent function.
The viewpoint of Baudelaire and Jung upon the symbol constituted a great stream which an important group of theorists on symbol(Bachelard, Corbin, Eliade, Durand, Alleau) has inherited. We considered the proper way to interpret symbols in the light of Baudelaire, Jung and their inheritors. We considered subsequently the significance of their hermeneutic attitude.
목차
Ⅰ. 서론
Ⅱ. 보들레르와 상징
Ⅲ. 융의 상징
Ⅳ. 상징의 창조와 해석을 위하여
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