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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2005.8
- 수록면
- 133 - 151 (19page)
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My aim is to examine John Ruskin's theory of art, focusing on the way in which he connects art to morality. What is at stake in the Ruskinian aesthetic is that the judgement of taste is deeply combined with the ethical category of goodness and fineness. Ruskin, one of the most preeminent critics in the Victorian British Empire, emphasizes the function of art solving the problems of the industrial society, a society described by Ruskin as the dark side of bright human civilization.
The essay analyzes Ruskin's idea of art in the broader context of Western philosophical tradition such as Plato's and Aristotle's theory of mimesis and of his contemporary critic such as Charles Baudelaire. Furthermore, the essay attempts to map out the intellectual geography of the Ruskinian aesthetic in comparison to other aesthetes who develop and modify the Western idea of art.
The essay argues that Ruskin adapts Aristotle's idea of mimesis rather than Plato's. For Aristotle, mimesis is to copy the impression of the object without matter like a wax retaining the impression of a signet. Aristotle's theory of mimesis is nothing other than the problem of a technique by which an artist reproduces the impression of the object; this is the very principle that Ruskin vindicates the mimetic technique in modern art and gives rise to his own theory of paintings.
From this perspective, the essay relates Ruskin's theory of art to his utopian impulse towards the truth of light sublimating the darkness of the industrial society. By considering Ruskin's idea of art, the essay develops the argument on the paradoxical aspect of modernity, prompting rationalization and industrialization, while reinforcing the mythical and primal imaginations of the past. Endorsing on Walter Benjamin's analysis of Baudelaire, the argument leads to the way in which Ruskin comes up with the divinity of art responding to industrialization.
In conclusion, the essay claims that Ruskin's idea of art betrays the deep utopian impulse by re-enchanting the secularized modern society. For Ruskin, the ideal, always inscribed in the memory of the primal past, is not a critical criterion, but rather an ethical one to educate and improve human beings. However, Ruskin's ethics starts where his aesthetics ends. In short, Ruskin's idea and theory of art reveals the confliction between romantic vision and modern aesthetic production.
The essay analyzes Ruskin's idea of art in the broader context of Western philosophical tradition such as Plato's and Aristotle's theory of mimesis and of his contemporary critic such as Charles Baudelaire. Furthermore, the essay attempts to map out the intellectual geography of the Ruskinian aesthetic in comparison to other aesthetes who develop and modify the Western idea of art.
The essay argues that Ruskin adapts Aristotle's idea of mimesis rather than Plato's. For Aristotle, mimesis is to copy the impression of the object without matter like a wax retaining the impression of a signet. Aristotle's theory of mimesis is nothing other than the problem of a technique by which an artist reproduces the impression of the object; this is the very principle that Ruskin vindicates the mimetic technique in modern art and gives rise to his own theory of paintings.
From this perspective, the essay relates Ruskin's theory of art to his utopian impulse towards the truth of light sublimating the darkness of the industrial society. By considering Ruskin's idea of art, the essay develops the argument on the paradoxical aspect of modernity, prompting rationalization and industrialization, while reinforcing the mythical and primal imaginations of the past. Endorsing on Walter Benjamin's analysis of Baudelaire, the argument leads to the way in which Ruskin comes up with the divinity of art responding to industrialization.
In conclusion, the essay claims that Ruskin's idea of art betrays the deep utopian impulse by re-enchanting the secularized modern society. For Ruskin, the ideal, always inscribed in the memory of the primal past, is not a critical criterion, but rather an ethical one to educate and improve human beings. However, Ruskin's ethics starts where his aesthetics ends. In short, Ruskin's idea and theory of art reveals the confliction between romantic vision and modern aesthetic production.
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참고문헌 (17)
참고문헌 신청
Aristotle , 2002 , Completed Works of Aristotle: Volume One , Princeton: Bollingen
McLeish, Kenneth , 1998 , Poetics , London: Nick Hern Books
Thomson, J.A.K. , 2004 , The Nicomachean Ethics , London: Penguin
Baudelaire, Charles , 1964 , The Painter of Modern Life and Other Essays , London: Phaidon
Benjamin, Walter , 1999 , The Arcades Project , London: Belknap
McLeish, Kenneth , 1998 , Poetics , London: Nick Hern Books
Thomson, J.A.K. , 2004 , The Nicomachean Ethics , London: Penguin
Baudelaire, Charles , 1964 , The Painter of Modern Life and Other Essays , London: Phaidon
Benjamin, Walter , 1999 , The Arcades Project , London: Belknap
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