• 제목, 요약, 키워드: Walter benjamin

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도시아카이브의 방향과 "파사주프로젝트" 적용에 관한 연구 - 발터 벤야민의 사상을 중심으로 - (A Study on the Urban Archives Building Direction and Application Method: Walter Benjamin's Thought)

  • 여진원;장우권
    • 한국도서관정보학회지
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    • v.44 no.2
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    • pp.293-313
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    • 2013
  • 도시는 일상생활을 영위하는 단순한 공간이 아니다. 도시는 문화적 기억과 흔적을 고스란히 드러내는 공간이다. 이 연구는 발터 벤야민의 "파사주프로젝트"를 살펴보고, 벤야민의 도시읽기와 기록방법에 대해 고찰하였다. 이와 더불어 도시아카이브의 사례조사와 분석을 바탕으로 현재 이루어지고 있는 도시아카이브에 적용시키는 방법을 연구하고, 도시를 담는 미래의 아카이브 방향을 제시하고자 한다.

번역자의 책무-발터 벤야민과 문화번역 (The Task of the Translator: Walter Benjamin and Cultural Translation)

  • 윤조원
    • 영어영문학
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    • v.57 no.2
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    • pp.217-235
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    • 2011
  • On recognizing the significance of Walter Benjamin's "The Task of a Translator" in recent discourses of postcolonial cultural translation, this essay examines the creative postcolonialist appropriations of Benjamin's theory of translation and their political implications. In an effort to dismantle the imperialist political hierarchy between the West and the non-West, modernity and its "primitive" others, which has been the operative premise of the traditional translation studies and anthropology, newly emergent discourses of cultural translation actively adopts Benjamin's notion of translation that does not prioritize the original text's claim on authenticity. Benjamin theorizes each text-translation as well as the original-as an incomplete representation of the pure language. Eschewing formalistic views propounded by deconstructionist critics like Paul de Man, who tend to regard Benjamin's notion of the untranslatable purely in terms of the failure inherent in the language system per se, such postcolonialist critics as Tejaswini Niranjana, Rey Chow, and Homi Bhabha, each in his/her unique way, recuperate the significatory potential of historicity embedded in Benjamin's text. Their further appropriation of the concept of the "untranslatable" depends on a radically political turn that, instead of focusing on the failure of translation, salvages historical as well as cultural potentiality that lies between disparate cultural entities, signifying differences, or disjunctures, that do not easily render themselves to existing systems of representation. It may therefore be concluded that postcolonial discourses on cultural translation of Niranhana, Chow, and Bhabha, inspired by Benjamin, each translate the latter's theory into highly politicized understandings of translation, and this leads to an extensive rethinking of the act of translation itself to include all forms of cultural exchange and communicative activities between cultures. The disjunctures between these discourses and Benjamin's text, in that sense, enable them to form a sort of theoretical constellation, which aspires to an impossible yet necessary utopian ideal of critical thinking.

발터 벤야민의 보들레르 연구와 아우라 (Walter Benjamin's Baudelaire Studies and the Aura)

  • 이윤영
    • 철학연구
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    • v.143
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    • pp.245-266
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    • 2017
  • 발터 벤야민의 독특한 개념인 아우라는 주로 "사진의 작은 역사" (1931), "기술복제" 시대의 예술작품 (1935-1939), "보들레르의 몇 가지 모티프에 관하여"(1939)에서 제시되지만, 지금까지 연구는 주로 앞의 두 텍스트에 의거하여 논의되었다. 그러나 벤야민이 보들레르 연구를 통해 아우라 개념을 심화시켰다는 점에서 이 개념은 "보들레르의 몇 가지 모티프에 관하여"의 논의를 중심으로 다시 검토될 필요가 있다. 그는 "아케이드 프로젝트" 의 구상 아래 보들레르 연구에 몰두했지만, 1938년 보들레르 연구를 독자적인 저작으로 낼 생각을 하면서 이 연구는 새로운 지평을 획득하게 되며, "보들레르에게서 제2제정기의 파리"(1938)를 거쳐 이 연구의 최종 결과물인 "보들레르의 몇 가지 모티프에 관하여"로 수렴된다. 벤야민에게 보들레르는 후광을 상실한 시대의 시인이며 자본주의 전성기에 대도시와 군중이라는 새로운 시적 모티프를 전면적으로 발전시켰고 나아가 아우라의 상실을 누구보다 예리하게 증언한 시인이다. 그는 대도시의 충격 체험을 시적 양분으로 받아들여 대도시의 군중 속에서 시를 찾는다. "보들레르의 몇 가지 모티프에 관하여"에서 아우라는 시선의 응답, 또는 시선을 부여할 수 있는 능력으로 규정되는데, 이렇게 인간뿐만 아니라 동물, 심지어 사물에게도 시선을 열 수 있는 능력을 부여하는 것은 시적 능력이다. 벤야민에 따르면, 하나의 시선이 그 시선의 대상에게 시선의 응답을 받을 때 우리는 그 대상의 아우라를 체험한다. 반면에 사진이나 영화 같은 기술복제 매체는 시선을 돌려받고자 하는 기대 자체를 좌절시키기 때문에 아우라의 붕괴를 가져온다.

초기 디즈니 애니메이션의 유토피아적 가능성 : 미키 마우스에 관한 벤야민의 사유를 중심으로 (Utopianess in the Early Disney Animation: Focusing on Benjamin's thought on Mickey Mouse)

  • 최정윤
    • 한국콘텐츠학회논문지
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    • v.10 no.7
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    • pp.142-148
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    • 2010
  • 20세기 초 근대성의 모순이 첨예하게 드러나고 테크놀로지의 발달에 따라 문자문화에서 시각문화로의 패러다임이 전환하는 사회 속에서 벤야민은 당대가 직면한 사회 역사적인 문제들의 해결책을 실천적으로 제시하고자 했다. 문화산업을 비판한 아도르노와는 대조적으로 그는 새로운 테크놀로지의 발달에 의해 등장한 대중예술매체에서 기존의 고정된 가치질서들을 전복시키고 현실을 변혁하는 가능성을 발견한다. 그리고 이러한 유토피아적 가능성은 비록 파편적이기는 하나 디즈니 초기 애니메이션에 대한 그의 사유에서 나타난다. 본 논문은 벤야민이 사유했던 유토피아적 가능성이 초기 디즈니 애니메이션에서 어떻게 구현되고 있는지를 고찰한다.

비판이론을 통해서 본 리베스킨트의 베를린 유태인 박물관 연구 (A Study on Daniel Libeskind's Jewish Museum in Berlin viewed from critical theory)

  • 이경창
    • 건축역사연구
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    • v.24 no.3
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    • pp.7-16
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    • 2015
  • It is not easy to clarify the historical perspective of architect through his architecture. Exceptional cases, it will be the time to design a history museum. As an institution, a Museum already became an apparatus to represent the history to it itself. Libeskind's Jewish museum Berlin has been presented as the controversial case most of all. In particular, in that it instead of dealing with history positive, that contains a tragic history, this building is a building that history a unique interpretation of the architect has been a problem. Therefore, it is difficult to find a suitable example to Libeskind's Jewish museum in Berlin to try and look at the problem of the history of contemporary history and interpretation of the architect. In this paper, I am trying to interpret Libeskind's Jewish Museum Berlin through the aesthetics and history philosophy of Theodor Adorno and Walter Benjamin. They are Jewish and the central figures of the Frankfurt School, known as 'critical theorists'. Their critical theory was formed based on the experience of the Jewish genocide and war.

Walter Benjamin′s Unacknowledged Romanticism

  • Halmi, Nicholas
    • 인문언어
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    • v.2 no.2
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    • pp.163-182
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    • 2002
  • In Origin of the German Mourning Play(1928), the critic Waltre Benjamin strongly criticized the German Romantic concept of the symbol, according to which the universal and ideal can be represented wholly in the particular and empirical by virtue of an ontological connection between them. Yet this criticism did not prevent Benjamin, in his epistemological preface to the book, from availing himself of the same monadological model (derived from Leibniz and Goethe) on which the Romantics had relied. Although he specifically rejected their insistence on the fusion of the phenomenal and the ideal in the symbol, his own theory of Ideas and their presentation in criticism nonetheless requires just such a fusion. This is not immediately apparent for two reasons: first, Benjamin proposes, in contrast to Platonic and Romantic theory, that Ideas themselves are subject to historical change, and therefore not capable of manifesting themselves fully in any given historical phenomenon; and second, he proposes that Ideas rather than phenomena are monads, individually representing the whole of the world in which they participate. The task of the critic, which Benjamin calls Darstellung("presentation"), consists in revealing Ideas by reducing historical phenomena to their constituent elements and reassembling those elements in what amounts to a mosaic of quotations. But this task is possible only if the critic has a preconception of the Idea he is trying to reveal-a possibility that Benjamin′s theory of knowledge does not allow for at all- or if he can discern the Ideas in the individual phenomenal fragments from which he creates his mosaic, in which case phenomena and Ideas must be related monadologically after all. Benjamin seems to admit the latter possibility in a cryptic sentence in the manuscript draft of his preface to the Origin, but he does not do so in the final printed version. Thus he effectively deprived the critic of an epistemological basis for the presentation of Ideas.

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벤야민의 「번역가의 과제」와 폴 드만, 들뢰즈, 보르헤스 (The Problem of Pure Language in Walter Benjamin's "The Task of the Translator" from the Perspectives of Paul De Man, Gilles Deleuze, and Jorge Luis Borges)

  • 김지영
    • 비교문화연구
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    • v.33
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    • pp.309-330
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    • 2013
  • This paper explores the concept of pure language introduced in Walter Benjamin's "The Task of the Translator" and looks at various perspectives on this concept represented in theories of Paul De Man and Gilles Deleuze and a short story of Jorge Luis Borges. According to "The Task of the Translator," pure language is defined as a vessel of which fragments are the original and the translation. Just as fragments are part of a vessel, so the original and the translation are fragments of a greater language, which is pure language. On the other hand, De Man, from a deconstructive criticism, says that pure language does not exist except as a permanent disjunction, which inhabits all languages as such, and that any work is totally fragmented in relation to this pure language and every translation is totally fragmented in relation to the original. While De Man consider pure language incorporeal, Deleuzian interpretation regards it as a virtual object or differenciator in relation to which the two series of the original and the translation coexist and resonate. Finally in Borges's "Pierre Menard, Author of the Quixote" Menard attempt to translate Cervantes's Don Quixote identically in every detail. By showing a case in which the original and the translation are the same, Borges raises a question what would take place in relation to pure language if the original and the translation were identical. In Deleuze, identity and resemblance are the result of a differenciator, but in Borges, identity is a differenciator which produces differences. If we apply this logic to the last paragraph of "The Task of the Translator," we can say the interlinear version of Scriptures, as the prototype or ideal of all translation, in the form of which the original and the translation must be one, is a differenciator, an endless difference-making machine.

The Education of Henry Adams: The Theme of Aura and Tradition in the Context of Modernity

  • Kim, Hongki
    • 영어영문학
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    • v.55 no.6
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    • pp.961-973
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    • 2009
  • Walter Benjamin expresses his concern that the new technologies of mechanical reproduction robs the artwork of its own uniqueness, its "aura." Benjamin uses the word "aura" to refer to the sense of awe or reverence one presumably experiences in the presence of works of art. This aura does not merely inhere in the works of art themselves, because Benjamin extends his notion of aura to the level of how he both understands and positions the modern subject in the world of uncertainty and transitoriness. The theoretical framework of Benjaminian aura becomes a crucial and efficient strategic apparatus to read The Education of Henry Adams. As for Benjamin the modern implies a sense of alienation, a historical discontinuity, and a decisive break with tradition, Adams observes that modern civilization has wiped out "tradition," a mythic home in which man can experience order and unity. Adams claims that the growth of science, reason, and multiplicity at the expense of religion, feeling, and unity has been accompanied by a parallel growth in individualism at the expense of community and tradition. To Adams the collapse of traditional values such as maternity, fecundity, and security in America is a waking nightmare of the moral dilemmas of a capitalist society, in which the cruel force of the modern Dynamo is becoming a prime governing principle.

Hamlet's (Un)manly Grief: the Cult of the Past in the Age of Theatrical Power

  • Choi, Jaemin
    • 영미문화
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    • v.17 no.1
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    • pp.163-189
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    • 2017
  • The mourning and grief practice richly registered in Shakespeare's Hamlet is one of the abiding themes that critics have been fascinated with. This paper attempts to take a fresh look at the issue by building its arguments on Benjamin's insight that the modern art (mechanically) reproducing the exhibition value brings about the destruction of the ritual value and favors the conditions of melancholy. Instead of taking for granted that Hamlet's performance of grief is fundamentally different from those of other characters such as Gertrude, Ophelia, and Laertes, this paper argues that Hamlet's performance comes to be recognized masculine and different from others, only because he presents himself to be so through his theatrical performance as well as his princely power that the subjects (others in the story) ought to ascribe to. To prove this point, this paper closely analyzes Hamlet's rhetorics and the ways he constructs his mourning self, which is emblematic of the shift in art history that Benjamin has characterized with the terms of "ritual value" and "exhibition value." In conclusion, this paper suggests that Shakespeare's Hamlet marks the change of the historical horizon, a permanent removal from the past in which the ritual value had been once protected, pushing us to a new age to live with melancholy and the disconnection from things and their muted language.

<친절한 금자씨>와 역사적 알레고리 ( and Historical Allegory)

  • 한상언
    • 한국콘텐츠학회논문지
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    • v.13 no.6
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    • pp.86-94
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    • 2013
  • 2000년대 한국영화는 자본의 영향으로 인해 민감한 문제를 정면에서 이야기 하는 대신 알레고리로 우회하는 것이 하나의 특징으로 나타났다. 복수3부작을 연출한 박찬욱은 이를 대표하는 감독이다. 박찬욱의 복수3부작 중 <친절한 금자씨>는 바로크 미학이 두드러진 작품으로, 이 논문에서는 발터 벤야민의 알레고리 개념을 중심으로 분석했다. 벤야민에 의하면 알레고리는 총체성으로 대표되는 상징과 달리 파편화된 것들을 직관에 의해 재구성하는 것으로 가상의 논리적 일관성을 위해 억압된 것들을 드러내는 작업이다. 이러한 모습이 잘 드러난 것이 바로크 시대 독일 비애극이다. 독일 비애극의 모습을 차용한 <친절한 금자씨>에서 박찬욱은 해방과 건국의 신화를 해체하여 오랫동안 역사서술에서 배제되어 왔던 사회주의자들과 무정부주의자들을 역사의 전면에 복원했다.