Earticle

초록

영어

1799 Francisco de Goya published Los Caprichos with 80 aquatint etchings. On 6 February he advertised it on the front page of the Diario de Madrid. The long advertisement which began with "a collection of prints of capricious subjects, invented and etched by Don Francisco Goya" informed purpose, themes and methods of this collection of prints. According to this advertisement Goya "has chosen as subjects for his work, from the multitude of follies and mistakes common in every civil society and from the vulgar prejudices and lies authorized by custom, ignorance or self-interest, those that he has thought most fit to provide material for ridicules, and at the same time to exercise the artist's imagination." The text emphasized that the 'author' of this series didn't to want to criticise any individual and to be a copyist. From his phantasy Goya invented many creatures like the anthropic, humanized animals etc.. With Los Caprichos he stood on the threshold to Romanticism. The early researchers of Los Caprichos classified its author, Goya as an enlightened intellectual. The similarity of the themes of the series with the subjects of the Enlightenment, his some enlightened 'friends' and the idea to avoid the prevalent mystification of his life supported this theory. But this trend became revised since the 80's of the last century. This made possible to research Goya's works in new perspective and to see that Goya didn't criticise the Spanish society and his contemporaries. Rather he showed its reality and parodied through creatures which are mixtures of the reality that he observed, and visions that he invented. Characters and scenes in Goya's prints are ambiguous and equivocal. They have the values which are defined by the dualistic metaphysic in Europe as oppositional, like good and evil for example, at the same time. Goya himself also appeared in various types in this series. This ambiguousness, or "polyphony", as Jennis Tomlinson defined, is a symptom of the decay of the belief in the Enlightenment which spreaded in Europe as a result of the attack of Bastille and the French Revolution. Goya's self-portrait in pl. 43 of this series, "El sueño de la razon produce monstruos" shows the complex psychology of him and his contemporaries as well. As the rest etchings after this print show witchcraft and monsters reside in the world in which the reason of the Enlightenment and the through the reason weakened God's rule lost their authority. In this thesis I will examine and analyse how Goya represented in Los Caprichos the nature of man and its society, as complex being in which the 'antagonistic' value couple as good and evil couldn't be divided, but are united.

목차

I. 계몽사상의 쇠퇴와 『카프리초스』
 II. 『카프리초스』와 스페인의 계몽주의와 교회
  1. 계몽주의적 정책의 실제
  2. 『카프리초스』 속의 귀족, 관료, 성직자, 농민
  3. 『카프리초스』 속의 비계몽/민중/전통 vs 계몽/부르주아 식의 범주화의 가치 전도
 III. 『카프리초스』 속의 인간과 사회의 복합적 양상
  1. 여러 모습의 고야
  2. 야누스적인 젊은 여자와 남녀 사이의 이중성
 IV. 이원론의 불가능함: 자웅동체인 여자와 카니발이 된 일상
 참고문헌 Bibliography

키워드

카프리초스 계몽사상 선과 악 이성의 꿈/잠 괴물 카니발 복수 음성 캐리커쳐 caprichos Enlightenment good and evil dream/sleep(sueño) of reason monster carnival polyphony caricature

저자

• 김정희 [ Kim, Jung Hee | 서울대학교 ]

참고문헌

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