K-미학으로서의 ‘멋’과 그 의미 - 조지훈의 ‘멋의 연구’를 중심으로

초록

‘Meot’(Style) is a product of our culture and art that represents the aesthetic conscious- ness of Koreans. This means that the style has been created and enjoyed in the lives of our people. It is often said that our people are those who know the style and how to be stylish. As the word ‘pungryu’ written in Choi Chi-won’s Nanrangbiseo (鸞郞碑序) clearly shows, our people have maintained a lifestyle sensitive to style for a long time. It can be said that the orientation toward style and taste gave rise to appropriate culture and arts. And it became the foundation of the Korean Wave or K-culture, which people around the world are pas- sionate about today. There has been a discussion about style for a long time, and the person who studied it most deeply at an academic level is Jo Ji-hoon. By examining and studying the meaning structure of style in detail in terms of form, expression, and spiritual beauty, he provides an important foundation for revealing the universality and specificity of style. Each of the elements revealed by the dimensions of form, expression, and spiritual beauty he presented - irregularity, diversity, rhythm, curvedness, maturity, distortion, smoothness, im- practicality, harmony, neutrality, optimism, etc. It has significant implications in that it sub- divides and embodies the specificity and universality of style. Through these facts he presented, we can gauge the identity of style as K-culture. The style of K-culture is not established solely through Korean uniqueness. And it is created through the participation and production of people from all over the world who enjoy it. In K-culture, K no longer signifies closed and narrow Korean style. It is a concept that was created and developed based on global universality. The fact that K’s identity is ‘hybrid’ has significant implications. This means that ‘style as K-aesthetics’ must also be hybrid. Truehybridization refers to tension while maintaining a sense of offbeat or a tilted balance be- tween things that are mixed, rather than absorption into one side or the other. The style is not just for us, it is an unknown ‘K’ that is open to everyone who enjoys it. Anyone can participate in creating the meaning of the style and create its identity. In this process, the style based on new cultural hybridity is born. K as hybridity means the style as K-aesthetics.

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