KCI등재후보
보들레르와 근대 : 1846 미술비평」을 중심으로 A Reading of "Salon de 1846" = Baudelaire and the Modern
저자
양효실 (서울대학교)
발행기관
학술지명
권호사항
발행연도
2002
작성언어
Korean
KDC
601.000
등재정보
KCI등재후보
자료형태
학술저널
수록면
199-241(43쪽)
KCI 피인용횟수
0
제공처
소장기관
New approaches to Charles Baudelaire's texts since 1970, more correctly since the experience of the 1968 revolution, are generally originated from the reading of Baudelaire texts in relation to the political and social context of the period. Until then, Baudelaire had been positioned as one of the literary origins of Modernism. Regarding Modernism as the theory making the concepts of progress or History absolute, the interpreters of Baudelaire with new methods attempt to insert him into the context of the mid-1800s European modern society.
In this new interpretations "Salon de 1846" is regarded not as an art criticism but as a reference to the reality of 1846, especially the regime of Bourgeois Monarchy. Interpreters concentrate primarily on three sections of that text, which have not yet attracted critics attention because of their uncertainty in meaning or its irrelevance to the art criticism of the modern period. The difficulty of reading those sections lies in the way Baudelaire wrote. He uses ironies, ambivalence, or paradoxes for the understanding of the ambivalence of human beings and the world, and for the hatred to logical writing. His text is unclear and open to double or multiple readings.
The first section, 'Au Bourgeois' can be primarily read as Baudelaire preferring bourgeois, the dominant class. He accepts the political and economical power of the bourgeois class, and he ascribes its inability of art appreciation to the society of artists. The latter society does not want the bourgeois class to enjoy authentic works of art, and even does not want to try to educate them and to give them an opportunity to appreciate art. But is this the real intention of Baudelaire? Does he just criticize artists instead of bourgeois' bad understanding of art? Thus, we attempt to see the other side of the text or the deep side of the text, the first reason of the apparent admiration of bourgeois by Baudelaire can be traced in the political censorship. The regime of Bourgeois Monarchy makes eclecticism, that is juste milieu its political ideal. And that regime makes it illegal to say or write any political intent Any writer who wants to make political comments must use secret reference, a joke, or a paradox Baudelaire pretends as if he flatters bourgeois. But his real readers can catch the real meaning of his text In short, he brings bourgeois into contempt by using double writing.
The 17th section, "Des Ecoles et Des Ouvriers" begins with reference to a street scene relating to a policeman attacking a republican. Baudelaire is on the side of the policeman because in his opinion the republican is against Art. From the next sentence on, he separates trivial present art from great art in the past. The latter is great because it is the art of great genius possessing power and sovereignty. But the former is made by apes or emancipated laborers, that is, atomistic individuals. Baudelaire's attitude towards his contemporary bourgeois individuals is largely influenced by Fourierism. It insists that the great past is gone, the present little individual society is passing, and its ideal society, that is, Phalange made of association community is soon coming. Baudelaire agrees on the diagnosis of his time by Fourierism, but he withdraws himself from Fourierism about the art society of the future. He wants art in the future to be led by great elitist artists such as Delacroix or Ingres. His antipathy towards the republican seems to agree to the attitude of Fourierism towards the republican. In 1846, being a republican meant a legitimist republican. They did not intend to overthrow the regime, but just wanted to reform the laws. In the Fourierist's eye, therefore, they are the same individuals as the ones from the bourgeois class. But does Baudelaire take sides of the policeman attacking a republican just because of his antipathy to the republican? Or is it possible to interpret his action as staging a confrontation between the police and the republican that will throw into the face of bourgeois a dilemma of their own making, a dilemma to which they can offer no response save that of violence, which can only exacerbate tensions and risk precipitating civil war? Baudelaire's prosaic poem, "Assommons les Pauvres!", published in 1865, portrays the same thoughts about the poor. Hence, we interpret Baudelaire's attitudes towards the poor in two different ways. Fist, he anticipated the 1848 revolution in 1846, and after the failure of that revolution he became an anti-political man. Second, not only in 1846 but also in 1865, he is apolitical and just reflects the contradiction and misery of actual reality. His antipathy to bourgeois society makes his art writing a kind of political activity. He doesn't believe actual political change contributes to the authentic development of human beings.
The last section, "H'eroisme de la vie imoderne" is also ambiguous. There appears actual documents of the event in 1844. Baudelaire calls two persons heroes : the one is the Prime Minister Guizot, and the other Poumlann, the assassin of an old man, sentenced to death. According to some interpreters, Baudelaire says there are no modern heroes because Guizot is a bourgeois hero and Poulmann is a proletariat hero. Thus, they cannot be compatible. According to other interpreters, He says there are modern heroes because they are not heroes, compared to the ancient ones. Baudelaire's anti-heroic heroes correspond with the modern society and Baudelaire's anti-artistic painter, Constantin Guys. Baudelaire wants to say that modern life, modern heroes, and modern painters are all unimportant. Paris as modern city is full of modern poetic subjects.
In conclusion, in "salon de 1846", Baudelaire reflects his contemporary society, that is, the actual influential power of bourgeois, his antipathy to that class, contemporary situation of the artist society and the subjects of modern art. He always uses ironies, and makes his writing unreadable and paradoxical. The complete understanding of his text might be impossible. His texts awaits yet another reading.
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2005-06-17 | 학술지등록 | 한글명 : 미학외국어명 : The Korean Journal of Aesthetics | KCI후보 |
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