KCI등재
E. Panofsky의 미술사학에 대한 재고찰 : K. Moxey의 문화정치학적 입장을 중심으로 On the Basis of K. Moxey's Cultural Politics = Reconsideration on Art History of E. Panofsky
저자
강미정 (서울대 미학과)
발행기관
서울大學校 人文學硏究所(Seoul National University Institute of Humanities)
학술지명
권호사항
발행연도
2003
작성언어
Korean
주제어
KDC
609.000
등재정보
KCI등재
자료형태
학술저널
수록면
211-240(30쪽)
제공처
소장기관
Panofsky is one of the influential figures in the field of art history. But the nature of his thinking was rarely explored until 1980s when poststructualism has been introduced into art historical discipline. His methodology and theory in art history have attracted considerable attention as he was regarded to provide a methodological system that could be said semiotic. Keith Moxey is one of the new art historians who have adopted the poststructual theories of Derrida, Lacan, and etc., and considered art history as one of the practice of cultural politics. He has examined the writings of Panofsky in order to reveal that the positivist belief of the traditional historians is no more than a myth that can not be substantiated, and to show how Panofsky invested his own personal and cultural values into his interpretation of art works. This thesis was intended to reconsider art history of Panofsky in the light of Moxey's art historical strategy that can be called cultural politics.
Panofsky had contrived the methodology called 'iconology' that can be used to interpret the works of art from all of the nations and ages. He thought it could provide the universal principle for treating every artwork properly, and by using it art historians could get to reach the truth about the work. However, according to Moxey, Panofsky was not so neutral in choosing and treating his subjects of analysis that he betrayed his own ideological bias in his writings. Moxey has observed that Panofsky preferred the subjects connected with Renaissance Humanism and made a personal commitment to reason and rationality. Why did Panofsky do that? Moxey has found his answer in Panofsky's private history. German Jewish cultural identity was constituted in the beginning of 19th Century when Enlightenment ideals were valued. As a member of German Jews, Panofsky valued rationality and the educational process by which his cultural identity might be acquired. When he left Nazi Germany to the United States before World War II, he should have felt the threat of destruction of humanistic values at the hand of irrational forces.
As for Moxey, historical interpretation is not the task of treating truth about past. Traditional historians share positivist position that if they are faithful to empirical evidence they can reach the truth of the subjects. Nowadays, however, many historians don't believe that objectivity of historical writing is attainable. They don't think they can elaborate narratives that correspond perfectly with the circumstances they purport to describe. Like White and LaCapra, Moxey regards as a metaphysical fiction the epistemological foundation which traditional historians have been maintaining in historical interpretations. He believes historians do not deal with what might be called the raw facts of history. Instead, he argues, historians' understanding of the past is always mediated by the texts. According to his opinion, historical interpretation is recreative dialogues between the historian and the text in question. That is to say, a historian interprets the text on his own historical horizon and inevitably reflects the values derived from his own historical circumstances while he struggles to understand the strangeness and 'otherness' of the historical horizon of the text.
Rejecting positivism of traditional art history, Moxey suggests politically committed form of art historical interpretation based on the theoretical developments of structuralism and poststructuralism. He conceives of art history as a form of political intervention. According to Moxey, art historical discourse must become cognizant of the historical circumstances in which it currently finds itself. He argues that what art historians have to do is not to search for the theories that can validate our historical interpretation but rather to evaluate and to select the theoretical alternatives that are most useful for a politically informed approach to historical interpretation. In the course of searching for a 'critical theory' that assumes knowledge which incorporates the values of the circumstances in which it is created, Moxey finds several semiotic theories most useful theoretical alternatives for his art history as a practice of cultural politics.
Moxey was deeply influenced by Panofsky's theoretical and practical strategies. His analysis of Panofsky's art history can be regarded as the manifestation of his respect to him. However, his interpretative strategies are differentiated from Panofsky's on several points. While Panofsky had preferred to analyze 'great' works of art within traditional aesthetic canon, Moxey left the aesthetic standards of 19th Century and tried to explore the works that could not enter the place of aesthetic canon. Unlike Panofsky who believed he had been objective in choosing and dealing with the subjects, Moxey acknowledges that every perspective including his own is ideological. In conclusion, Panofsky's iconological methodology was received by Moxey with his semiotic position in a radically revised form.
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