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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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The purpose of this thesis is to investigate and consider the aestheticism pursued by the Pre-Raphaelites from a revisionist perspective; analyzing the process and purpose of the transformation brought about by the Pre-Raphaelites’constructive use of characteristics catering to both popular tastes and sensationalism. By making the connection between popular culture and aestheticism, this dissertation aims to explore the perspective that the Movement was not merely an exclusive intellectual struggle away from common culture towards artistic purity, but rather a societal result of the balanced integration of elite approaches and popular inclinations regarding art.
While the public’s growing consumption and possession of art proved to be somewhat of a burden in 19<SUP>th</SUP> century England, simultaneously there was also concern regarding the degrading impact of the undeveloped artistic sense of the masses on British art. During this era, conservative critics expressed concern regarding the unwelcome intrusion of inferior working-class culture on national standards of cultivation. Such critics firmly believed in the separation classy art from those favored by the masses. The Pre-Raphaelites emerged from the background of such debates, and was established as a compromise between the era’s growing demands for popular art and ideals hailing pure artistic merit and value.
Although the Pre-Raphaelites initially possessed an aim to reform the Royal Academy of Arts, a victory on academic terms was not what would leave a mark in the history of art. In addition, the concept that art should ultimately become differentiated from the everyday life, and the formalist belief that the form is indeed superior to the subject imposed a serious regulation to the development of modernism and strive toward independent expression. The character of British modernism is defined by the composite, yet dynamic relationship between art and society. The Pre-Raphaelites did not discover aesthetic potential through a confining process of anti-public characteristics and purism, but rather contributed to the advancement and transformation of modern art by recognizing and incorporating popular culture into the pursuit of aestheticism. Therefore, English aestheticism can be stated to have constructively reflected the trends of the era while simultaneously resisting societal value and advocating the liberation of the artist as well as uncovering true aesthetic potential.
While the public’s growing consumption and possession of art proved to be somewhat of a burden in 19<SUP>th</SUP> century England, simultaneously there was also concern regarding the degrading impact of the undeveloped artistic sense of the masses on British art. During this era, conservative critics expressed concern regarding the unwelcome intrusion of inferior working-class culture on national standards of cultivation. Such critics firmly believed in the separation classy art from those favored by the masses. The Pre-Raphaelites emerged from the background of such debates, and was established as a compromise between the era’s growing demands for popular art and ideals hailing pure artistic merit and value.
Although the Pre-Raphaelites initially possessed an aim to reform the Royal Academy of Arts, a victory on academic terms was not what would leave a mark in the history of art. In addition, the concept that art should ultimately become differentiated from the everyday life, and the formalist belief that the form is indeed superior to the subject imposed a serious regulation to the development of modernism and strive toward independent expression. The character of British modernism is defined by the composite, yet dynamic relationship between art and society. The Pre-Raphaelites did not discover aesthetic potential through a confining process of anti-public characteristics and purism, but rather contributed to the advancement and transformation of modern art by recognizing and incorporating popular culture into the pursuit of aestheticism. Therefore, English aestheticism can be stated to have constructively reflected the trends of the era while simultaneously resisting societal value and advocating the liberation of the artist as well as uncovering true aesthetic potential.
목차
Ⅰ. 머리글: 라파엘전파의 시대성
Ⅱ. 동시대 삽화적 소재의 차용
Ⅲ. 대중적 선정주의의 수용
Ⅳ. 순수한 미적 가치로의 승화
Ⅴ. 맺는글: 대중성을 반영한 유미주의
참고문헌
Abstract
참고문헌 (17)
참고문헌 신청
1. [학술지(정기간행물)] - / 1991. / Patricia. The Printed Image and the Transformation of Popular Culture 1790-1860. Oxford
2. [학술지(정기간행물)] - / 1978. / Peter. Leisure and Class in Victorian England Rational Recreation and the Contest for Control
3. [학술지(정기간행물)] - / 1871.07 / Thomas. “Swinburne's Poems
4. [학술지(정기간행물)] - / 1998. / The Pre-Raphaelite Body: Fear and Desire in Painting, Poetry, and Criticism
5. [학술지(정기간행물)] - / 1975. / J. B. “The Palace of Art 102
2. [학술지(정기간행물)] - / 1978. / Peter. Leisure and Class in Victorian England Rational Recreation and the Contest for Control
3. [학술지(정기간행물)] - / 1871.07 / Thomas. “Swinburne's Poems
4. [학술지(정기간행물)] - / 1998. / The Pre-Raphaelite Body: Fear and Desire in Painting, Poetry, and Criticism
5. [학술지(정기간행물)] - / 1975. / J. B. “The Palace of Art 102
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