- 영문명
- Aesthetics of Desire: Subject, Other, Desire, Pleasure, and Aesthetic Evaluation
- 발행기관
- 한국비평이론학회
- 저자명
- 정경훈(Kyunghoon Jung)
- 간행물 정보
- 『비평과 이론』제13권 1호, 11~31쪽, 전체 21쪽
- 주제분류
- 어문학 > 영어와문학
- 파일형태
- 발행일자
- 2008.06.30
국문 초록
영문 초록
Aesthetic value does not exist objectively in the work of art itself but IS constituted in the reception of the work of art by the receiving subject whose aesthetic judgment is based on his conscious and unconscious desire. In this respect, aesthetics is the aesthetics of desire of the receiving subject.
According 10 Lacan, human wishes arc divided into need, desire, and drive; need is biological wish like a hunger, and desire and drive result from the entrance of human into the symbolic and are involved in aesthetical judgment.
The desire which is involved in the aesthetics of desire has two kinds of desire: the desire dependent on the Other(the symbolic codes and social, ideological, cultural, and aesthetic discourses) and the desire stirred by the drive, which moves independently of the Other.
The receiving subject"s aesthetic judgment of the work of art is overdetermined by his desires caused by the drive/real and the symbolic and their satisfactions. If he feels some sort of enjoyment in his reception of the work of art, his aesthetic judgment of it is affirmative. His aesthetic enjoyment may be the pleasures dependent upon the Other such as conformist aesthetic pleasure, the pleasure of aesthetic outleting, subversive aesthetic pleasure, and transcendence pleasure. It may be the pleasure independent of the Other such as the pleasure of the real. And it may be the combination of the above mentioned pleasures, that is, the overdetermined pleasure of inspiration.
The movie D-War is an aesthetically valuable work of art for millions of people who feel some sort of pleasure in viewing it whether or not it meets the standards of the established aesthetic discourses.
According 10 Lacan, human wishes arc divided into need, desire, and drive; need is biological wish like a hunger, and desire and drive result from the entrance of human into the symbolic and are involved in aesthetical judgment.
The desire which is involved in the aesthetics of desire has two kinds of desire: the desire dependent on the Other(the symbolic codes and social, ideological, cultural, and aesthetic discourses) and the desire stirred by the drive, which moves independently of the Other.
The receiving subject"s aesthetic judgment of the work of art is overdetermined by his desires caused by the drive/real and the symbolic and their satisfactions. If he feels some sort of enjoyment in his reception of the work of art, his aesthetic judgment of it is affirmative. His aesthetic enjoyment may be the pleasures dependent upon the Other such as conformist aesthetic pleasure, the pleasure of aesthetic outleting, subversive aesthetic pleasure, and transcendence pleasure. It may be the pleasure independent of the Other such as the pleasure of the real. And it may be the combination of the above mentioned pleasures, that is, the overdetermined pleasure of inspiration.
The movie D-War is an aesthetically valuable work of art for millions of people who feel some sort of pleasure in viewing it whether or not it meets the standards of the established aesthetic discourses.
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