지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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Gadamer defines that a work of art is a place of truth which can be experienced by sensibility and specific way of understanding, therefore, the meaning is generated ontologically whenever one meets the artistic work itself. Especially he explained the way of art existence through playing; play is not to be depend on the person’s attitude nor subjectivity but to be expressed through the playing itself when it is performed with the players. Gadamer emphasized the existence of play to insist art can be truly completed when the play transformed to formative substance which gave the pleasure to the audience so that they can meet new world.
In this study, I tried to connect the vitality, dialectic understanding and transformation to formative substance which is Gadamer’s main method of comprehension to Korean traditional mask performance, ‘Talchom’, which has strong live-power and promptness that can be possibly interpreted in various ways.
‘Talchom’ has vitality of actual energy from the realistic motion. It has not only concealed symbolism from the mask but also independence from open space of the performing place, ‘Madang’, which give the shaking of the site as a playground. ‘Talchom’ is a play itself because the dancer’s repeated performing motion’s energy generates tension and self-structure which leads the audience attracting with improvised changes. The character of a play seen in the vitality of ‘Talchom’, overwhelmed the performing place so that the dance exists by itself as a play that is the art itself.
The intra-structure of ‘Talchom’ unified the meaning through the dialectic process: the struggle between the servant, ‘Maldduki’, and the nobleman, ‘Yangban’, is not an impact of themselves but an embraces of the conflict including intra-unrighteousness that becomes dialectic mutual benefit.
Through the dialectic mutual benefit, the realistic criticism and heavy burden of life are un-concealed and audience can experience the sublimate of the sorrow, ‘Han’, to humor, ‘Heong’. This emotional shower and change happens instantly in the site and creates formative substance through the co-relationship between the performance and the audience. That is so called wonderful joy, ‘Shin-Myung’, which is the essence of Korean traditional art.
Gadamer’s hermeneutics presented the objectivity of the text itself to overcome the subjectivity after modern aesthetics and he also thought that the character of play is the vitality which is the existing method of artistic work and peculiarity of being of the work. The meaning of art can be found as the implication of the history and legacy of the past through the current interpretation of the artistic work and revealed as the territory of experience and self-comprehension of spiritual-science which can not be assessed by scientific methodology. Hermeneutics of Gadamer made it possible that one can analyze and criticize a dance, as a factor of presence and body action with ontological and analytical structure beyond the subjective and objective formula of interpretation. Furthermore, he found the possibility of historical re-interpretation which can shorten the distance between traditional and modern art as an academic achievement.
In this study, I tried to connect the vitality, dialectic understanding and transformation to formative substance which is Gadamer’s main method of comprehension to Korean traditional mask performance, ‘Talchom’, which has strong live-power and promptness that can be possibly interpreted in various ways.
‘Talchom’ has vitality of actual energy from the realistic motion. It has not only concealed symbolism from the mask but also independence from open space of the performing place, ‘Madang’, which give the shaking of the site as a playground. ‘Talchom’ is a play itself because the dancer’s repeated performing motion’s energy generates tension and self-structure which leads the audience attracting with improvised changes. The character of a play seen in the vitality of ‘Talchom’, overwhelmed the performing place so that the dance exists by itself as a play that is the art itself.
The intra-structure of ‘Talchom’ unified the meaning through the dialectic process: the struggle between the servant, ‘Maldduki’, and the nobleman, ‘Yangban’, is not an impact of themselves but an embraces of the conflict including intra-unrighteousness that becomes dialectic mutual benefit.
Through the dialectic mutual benefit, the realistic criticism and heavy burden of life are un-concealed and audience can experience the sublimate of the sorrow, ‘Han’, to humor, ‘Heong’. This emotional shower and change happens instantly in the site and creates formative substance through the co-relationship between the performance and the audience. That is so called wonderful joy, ‘Shin-Myung’, which is the essence of Korean traditional art.
Gadamer’s hermeneutics presented the objectivity of the text itself to overcome the subjectivity after modern aesthetics and he also thought that the character of play is the vitality which is the existing method of artistic work and peculiarity of being of the work. The meaning of art can be found as the implication of the history and legacy of the past through the current interpretation of the artistic work and revealed as the territory of experience and self-comprehension of spiritual-science which can not be assessed by scientific methodology. Hermeneutics of Gadamer made it possible that one can analyze and criticize a dance, as a factor of presence and body action with ontological and analytical structure beyond the subjective and objective formula of interpretation. Furthermore, he found the possibility of historical re-interpretation which can shorten the distance between traditional and modern art as an academic achievement.
목차
Ⅰ. 들어가며
Ⅱ. 가다머 해석학의 미학적 위상
Ⅲ. 해석학에 대한 이해
Ⅴ. 예술작품의 해석학적 이해
Ⅳ. 춤에 대한 해석학적 접근
Ⅵ. 나오며
〈참고문헌〉
〈Abstract〉
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UCI(KEPA) : I410-ECN-0101-2013-601-001434971