CAJ | 학술논문

20世纪中叶以来，怪诞逐渐凸显为西方文艺美学研究的核心范畴，对其内涵的界定和阐发已然成为考量当代文艺文化的必要尺度。怪诞溢出了“美的艺术”的传统美学边界而表现出丰富的感性学特征，即可笑可怕性、经验可感性、异质杂合性等三个层面及三者之间的混杂缠绕。可笑可怕性指主体对怪诞审美对象的混杂感受；经验可感性从主客互动层面呈现怪诞审美经验的基本要素；异质杂合性则从怪诞艺术内部构成原则出发，指出其独特的感性学内涵，即媒介、元素、形式、主题与身份的异质混杂性。怪诞对于上述三个层面的共同诉求，开启了一个新颖的审美领域和广阔的阐释空间。
20세기중협이래，괴탄축점철현위서방문예미학연구적핵심범주，대기내함적계정화천발이연성위고량당대문예문화적필요척도。괴탄일출료“미적예술”적전통미학변계이표현출봉부적감성학특정，즉가소가파성、경험가감성、이질잡합성등삼개층면급삼자지간적혼잡전요。가소가파성지주체대괴탄심미대상적혼잡감수；경험가감성종주객호동층면정현괴탄심미경험적기본요소；이질잡합성칙종괴탄예술내부구성원칙출발，지출기독특적감성학내함，즉매개、원소、형식、주제여신빈적이질혼잡성。괴탄대우상술삼개층면적공동소구，개계료일개신영적심미영역화엄활적천석공간。
Since 1950 , Grotesque has been highlighted as a core category in western aesthetics and literary research , and some scholars believe it is a necessary dimension to study contemporary literatures and arts by defining and interpreting the term . Grotesque overflows the traditional definition of the Aesthetics that refers to fine art since Hegel , and appears three levels :ludicrousness and fearfulness , sensibility ,and hybridity . The first level emphases the feelings mixed with both “being ridiculous and terrible .” The second , from mutually constructing point of view , analyzes four significant factors influencing the sensibility of grotesque works . The last one , based on the inner structure of grotesque literary works , concentrating on hybridity of grotesque itself , including media , elements , forms , themes , and identities , determines the unique characteristics of grotesque . It is because the three levels describe the above that may well open up a new realm of aesthetics and broad hermeneutic space in literatures and arts .