예술작품의 존재론과 미적 의식에 대한 비판 - 가다머의 『진리와 방법』(pp. 189~238)을 중심으로

초록

This paper aims to survey Hans-Georg Gadamer’s ontology of artworks show limits of modern scientific methodology. The main argument is “the experience of art is the very experience that uncovers the essence of the experience of truth.” And this is principal theme in Truth and Method(Wahrheit und Methode, 1960)by Gadamer. Gadamer criticize that modern aesthetics considered artworks as thingly object. According to Gadamer, Artworks reveal non-methodological truth that be connected with our living world. To understand artworks is not scientific cognition that analyze the ingredients of object but vibrant event(Geschehen) that couldn’t determined permanent meaning. To explain this character of artwork, Gadamer introduced concept the ‘play(Spiel)’, as non-thingly object, only exist in playing. Frankly speaking, the play is way of being of artworks. The play is restricted by effective-history, as a result could not only fix the temorality, but also fix the meaning. The important thing is engagement(Dabeiseins) with the play. Player who be engaging play of artworks could not be separated from play of artworks. So the structure of artworks could overcome cognitive problems that occurred in separating strictly both subjet and object in cognition. Through solving the problem of dualism, Gadamer could explain unique being of artworks that can’t be restricted in methodolgy. In playing Artworks has the character of a work, of an ergon and not only energia, which Gadamer called the transformation into structure(Gebilde). Transformation into structure is not simply transposition into another world. The structure means unique being of artworks that could not be estimated by other criteria. So artworks mean an closed world which measured itself by nothing outside it.

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