Earticle

숭고의 미학사에서 헤겔은 핵심 인물로 평가되지 않은 것은 물론, 현대로 올수록 그 반 대편 인물로 더 많이 언급된다. 그러나 헤겔 미학에서 숭고 개념은 의미와 표현의 불일치를 특징으로 하는 상징적 예술 형식의 주요 범주이고, 근년 들어 부정성이나 무 개념과 함께 재조명되고 있다. 숭고는 고대 그리스의 ‘탈아’나 ‘망아’ 등에서 기원하여 로고스적 합리성이나 고전주의의 한계를 보완하는 균형추 역할을 해왔다. 롱기누스의 수사학적 숭고를 거쳐 버크에 이르면, 숭고는 무질서하고 무형식적인 대상에서 촉발되는, 고통과 쾌락이 결합된 강렬한 감정으로 체계화되고, 칸트의 수학적․역학적 숭고로 이어진다. 칸트의 숭고는 ‘현시할 수 없는 것의 현시’로서, 오성의 범주를 벗어나는 대상을 상상력이 이성 개념과 연관시켜 일어나는 무규정적 이성 개념의 현시이다. 헤겔 미학에서 숭고는 상징적 예술 형식의 주요 범주를 이룬다. 헤겔은 예술을 이념의 구현으로서 가상으로 규정하고, 예술 형식 또한 이념(내용)과 형태(형식)의 통일(구현)인 가상의 정도에 따라 구분한다. 상징적 예술 형식은 내용과 형식이 일치를 이루지 못하는, ‘불완전’하고 ‘불충분’한 가상으로서 예술, 예컨대 이집트나 동방의 종교적 예술과 문학, 알레고리나 비유적 표현들이 전형을 이루며, 장르로는 재료적 특성이 정신성의 구현에 한계로 작용하는 건축이 대표적이다. 헤겔의 숭고개념은 상징적 예술 형식이 갖는 내용과 형식, 구현 이념과 질료적 형태의 불일치를 의미하므로, 예술 작품의 의미 내용과 표현 사이의 불일치를 주로 표현하는 현대예술 일반과 연관된다. 리오타르는 칸트의 숭고에 주목하여 묘사할 수 없는 것, 즉 인식 능력 밖에 있는 것을 묘사하고자 하는 모순적 시도의 가능성을 숭고에서 찾는 반면, 지젝은 헤겔의 부정성과 무 개념을 소환하여, 물자체가 실은 근본적인 부정성이라는 것, 즉 표상 너머에 존재하는 것은 물자체가 아니라 순수 무이므로, 주관과 대상의 불일치를 통한 물자체의 경험이라는 칸트적 숭고는 ‘무의 구현물’에 다름아닌 것이라 진단함으로써, 헤겔의 숭고를 재해석할 통로를 만든다.

In the aesthetic history of sublime, Hegel is not the key, and as it comes to contemporary times, it is more often referred to as the opposite. However, in Hegel’s aesthetics, the concept of sublime is a major category of symbolic art-type characterized by a disharmony of meaning and expression, and recently it is newly considered with the concept of negativity and nothing. Sublime from ancient Greece has played a role in complementing the limits of logos or classicism. When it reaches Burke through the rhetorical sublime of Longinus, the sublime is organized into intense emotions combined with pain and pleasure, triggered by disordered and informal objects, and embodied by Kant’s mathematical and mechanical sublime. Kant’s sublime is a manifestation of the undefined concept of reason, which occurs when the imagination associates the concept of reason with an object outside the category of understanding. Hegel defines art as the unity of the idea (Idee) and the configuration (Gestalt), that is, appearance (Schein). The symbolic art-type is a step in which the content and form of art do not coincide. Here, art remains with an ‘incomplete’ or ‘insufficient’ appearance that has not fully realized the idea. Hegel seeks the typical models of symbolic art in Egyptian and Eastern religious arts and literature, allegories and allegorical expressions. The genre is an architecture in which material properties act as a limit to the realization of mentality. Hegel’s concept of sublime means the disharmony between the content and form, that is, the idea and expression of the symbolic art-type. Therefore, it is related to the general art of contemporary art, which mainly expresses the disagreement between the meaning content and the object of expression. Lyotard pays attention to Kant’s sublime and finds the possibility of contradictory attempts to describe what cannot be described, that is, beyond what he perceives. On the other hand, Žižek reinterprets Hegel’s concepts of negativity and nothing, revealing that ‘thing-in-itself’ is in fact a fundamental negativity, that is, what exists beyond the representation is ‘pure nothing’ rather than ‘thing-in-itself’. Through this, Kant’s sublime, that is, the ‘thing-in-itself’ experienced through the disagreement between the subject and the object, is diagnosed as a composition of nothing, thereby creating a pathway to reinterpret Hegel’s sublime.

The research is on the grammatical mismatch phenomenon found in multiplicational expressions that are inadvertently but widely misused in modern Korean. The multiplicational expressions are such phrases composed of the noun ‘배’(bae, meaning ‘multiple times’) with its case-marker and a verb that follows denoting the change of original sum or amount. In this expression the sense shift of the noun ‘배’ is supposed to have some peripheral influence with regard to the meaning confusion. The most problematic usages are found among the phrases with the case-marker ‘-가’(-ga, subject case-marker) and with null-marked noun. In these cases almost all the usages bring about the effect of meaning confusion in that the actual amount does not match with the amount that the speaker originally intended to express. In this paper some preliminary prescriptions are offered to amend the phenomenon, among them are the meaning settlement of the noun ‘배’, and the substitution of the case-marker ‘-로’ for ‘-가’ and null-marked case. (Youngsan University)

This paper covers the following three topics. The first topic is about the case of ‘-wieo’(-ㅟ어), which seems to be reducible, but in reality, it is difficult to decide how to reduce it. The second topic is about the case of ‘gatjanhda’(같잖다), where the relationship between the meaning of the form constituting the word and the interpretation of the meaning of the word as a whole is inconsequential. And the third is to discuss the meaning of ‘weekend’ and the marking of digit comma, which are not true to the name. First of all, as long as we accept the synchronically fossilized form ‘dwae’(돼) as the abbreviation of ‘doeeo’(되어), based on the fact that the synchronically fossilized form ‘jwe’(줴) is the abbreviation of ‘jwieo’(쥐어), the abbreviation of ‘-wieo’(-ㅟ어) can be the synchronically fossilized form ‘-we’(-ㅞ) since ‘eo’(ㅓ) after ‘wi’(ㅟ) can be said that it becomes a synchronically fossilized form ‘we’(ㅞ). Next, regarding ‘gatjanhda’(같잖다) which has the meaning of <not in a proper place and disgusting>, it is considered to be made from ‘gajda’(갖다) meaning <satisfied, equipped> in terms of the composition form, syntax structure, meaning, and pronunciation of the word. Therefore, the distinction was made between ‘gatjanhda’(같잖다) which is interpreted as a meaning of <not the same> and ‘gajjanhda’(갖잖다) which is interpreted as a meaning of <insufficient, defective>. Lastly, the meaning of 'weekend' according to the form of week from Monday to Sunday should be clearly stated and rearranged. In other words, Monday should be positioned at the first place of the week in the calendar. In addition, as the digit comma with a comma every three digit was for the division of number units in English, a comma should be placed every four digit to match the division of number units in the Korean language.