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논문 기본 정보

자료유형
학술저널
저자정보
(건국대학교)
저널정보
한국비교문학회 비교문학 비교문학 제44호
발행연도
수록면
59 - 88 (30page)

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초록· 키워드

What is the beauty of the human body? The history of philosophy and then of aesthetics has been perpetually perplexed with this thorny question. Socrates in Greater Hippias confessed, "All that is beautiful is difficult." The difficulty of defining beauty increases due to the discursive divisions of "inside" and "outside," mind and body. The philosophical inquiry into the nature of beauty was performed by posing the object of inquiry against itself. that is, into inner beauty(goodness) against physical beauty. This paper is an attempt to trace back to the pre-philosophical scene of human beauty before such a division took place, where beauty was a unified and integrated whole. Then the question is of course, how the beauty before the inner division could be traced. There were myths and oral folk tales before philosophy. It is in the world of such oral folk tales that the hero or the heroine is as beautiful in appearance as he or she is good at heart. But as oral tales were transcribed into written texts, human beauty began to undergo inner division and become its opposite, beautiful in appearance but ugly at heart. One of the best texts to show such a transformation of beauty into its opposite is "Beauty and the Beast" fairy tale type, Mme Leprince de Beaumont's "La Belle et la Bete" being the most famous edition of such a type. As is well known, de Beaumont's text is a modernized version of Lucius Apuleius' "Cupid and Psyche" which in turn has oral folk tales as its pre-texts. This paper compares and analyzes these two texts in order to prove that human beauty Apuleius represented as a whole is internalized and moralized in the hands of de Beaumont. Contrary to Apuleius, de Beaumont could not affirm human beauty without internalizing it. It is in 88 비교문학 제44집 (2008년 2월) the de Beaumont's world that even the ugly beast is beautiful if his heart is good while the most handsome man is ugly if his heart is evil. The modernity of her stories lies in such an inner and outer split: human body is not a totality. And the bodily beauty is dislocated from its depth and is transformed its opposite, mind: only the mind is the locus of beauty. This paper concludes with the methodological proposition that the modern mind-body division is the symptom of the modern body whereas the classic body is a unified whole.
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