발터 벤야민은 도시를 연구한 가장 뛰어난 ‘고전적’ 현대사상가에 속한다. 지금까지 벤야민에 관한 연구가 상당수 나왔으나 벤야민을 정신분석학적 관점에서 고찰한 연구는 그리 많지 않으며, 있다 하더라도 정신분석학을 벤야민 이론의 핵심적인 ‘본질적’ 부분으로 간주하는 해석을 제시한 저자는 거의 없었다. 이 논문은 벤야민 이론과 방법론을 정신분석적 관점에서 재구성할 때에만 벤야민 이론의 정확한 모습을 파악할 수 있다는 것을 보일 뿐만 아니라, 더 나아가 변증법적 이미지와 알레고리적 이미지를 결코 다른 것으로 파악해서는 안 된다는 사실을 보이고자 한다. 지금까지의 상당수의 연구가 사유/행동, 혹은 알레고리(멜랑꼴리)적 상념(관조)/정치적 행동이라는 이분법을 제시함으로써 바로크 알레고리와 멜랑콜리에 관한 벤야민의 연구를 그의 이론의 예비단계에 지나지 않는 것으로 간주해왔기 때문이다. 이 논문은 벤야조건에 해당하며, 이러한 파편화와 상실의 경험을 통해서만 억압된 과거를 해방하는 유토피아적 의지를 가질 수 있다는 것을 보임으로써 발터 벤야민의 도시미학에 대한 정신분석적 해석을 모색하고 있다.
발터 벤야민은 도시를 연구한 가장 뛰어난 ‘고전적’ 현대사상가에 속한다. 지금까지 벤야민에 관한 연구가 상당수 나왔으나 벤야민을 정신분석학적 관점에서 고찰한 연구는 그리 많지 않으며, 있다 하더라도 정신분석학을 벤야민 이론의 핵심적인 ‘본질적’ 부분으로 간주하는 해석을 제시한 저자는 거의 없었다. 이 논문은 벤야민 이론과 방법론을 정신분석적 관점에서 재구성할 때에만 벤야민 이론의 정확한 모습을 파악할 수 있다는 것을 보일 뿐만 아니라, 더 나아가 변증법적 이미지와 알레고리적 이미지를 결코 다른 것으로 파악해서는 안 된다는 사실을 보이고자 한다. 지금까지의 상당수의 연구가 사유/행동, 혹은 알레고리(멜랑꼴리)적 상념(관조)/정치적 행동이라는 이분법을 제시함으로써 바로크 알레고리와 멜랑콜리에 관한 벤야민의 연구를 그의 이론의 예비단계에 지나지 않는 것으로 간주해왔기 때문이다. 이 논문은 벤야조건에 해당하며, 이러한 파편화와 상실의 경험을 통해서만 억압된 과거를 해방하는 유토피아적 의지를 가질 수 있다는 것을 보임으로써 발터 벤야민의 도시미학에 대한 정신분석적 해석을 모색하고 있다.
Walter Benjamin is one of the most important modem "classic" thinkers who took cities as their central theme, as we can read it especially in his unfinished masterpiece "Passagen-werk". However, even though many studies have been made on Benjamin"s "city philosophy" so far, we seem to be far away fr...
Walter Benjamin is one of the most important modem "classic" thinkers who took cities as their central theme, as we can read it especially in his unfinished masterpiece "Passagen-werk". However, even though many studies have been made on Benjamin"s "city philosophy" so far, we seem to be far away from the complete and systematic understanding of his thought. Examining critically the way how Benjamin has been received in the academic and cultural field, this paper proposes a psychoanalytical perspective for understanding his works and philosophy, especially by focusing on some important key-concepts of Benjamin: dialectical image, allegorical image and melancholy For Benjamin, the city is a space, in which a capitalistic phantasmagoria and spectacles etc. made possible by new technology function to keep people in an eternal sleep and hinder them from waking up from the myth created by capitalism. But he does not give up hope. Historical ruins, everyday appliance, monuments, arcades, buildings, advertisement posters, beggars, whores, fl？eurs, etc. can be "constructed" as a dialectical image that will be blastered out of the continuum of history and this dialectical image "destroys" the myth of progress, and rescues the past from the oppression. Then this paper also shows the dialectical image as the contradictory co-existence of the past and now can be interpreted as an allegorical image contrary to for example that of Susan Buck-Morss. The city is according to Benjamin not only the space, in which the capitalists ring the bell of triumph, but also a space through which the repressed wish of the oppressed can finally come true. It is possible, because due to the developed technology is everything in the city in rapid changes and people in the city feel afflicted with the sense of loss, so become melancholic. Seen from this perspective, the feeling of the spleen or melancholia is not just a pathological state that should be avoided, but a necessary condition for the future revolutionary action, and in this sense I interpret the melancholia as being integrated into Benjamin"s thought as a new category of "concrete" subject. Benjamin found out this concrete subject through the study of the baroque Trauerspiel and he replaced the traditional subject concept of idealism with it.
Walter Benjamin is one of the most important modem "classic" thinkers who took cities as their central theme, as we can read it especially in his unfinished masterpiece "Passagen-werk". However, even though many studies have been made on Benjamin"s "city philosophy" so far, we seem to be far away from the complete and systematic understanding of his thought. Examining critically the way how Benjamin has been received in the academic and cultural field, this paper proposes a psychoanalytical perspective for understanding his works and philosophy, especially by focusing on some important key-concepts of Benjamin: dialectical image, allegorical image and melancholy For Benjamin, the city is a space, in which a capitalistic phantasmagoria and spectacles etc. made possible by new technology function to keep people in an eternal sleep and hinder them from waking up from the myth created by capitalism. But he does not give up hope. Historical ruins, everyday appliance, monuments, arcades, buildings, advertisement posters, beggars, whores, fl？eurs, etc. can be "constructed" as a dialectical image that will be blastered out of the continuum of history and this dialectical image "destroys" the myth of progress, and rescues the past from the oppression. Then this paper also shows the dialectical image as the contradictory co-existence of the past and now can be interpreted as an allegorical image contrary to for example that of Susan Buck-Morss. The city is according to Benjamin not only the space, in which the capitalists ring the bell of triumph, but also a space through which the repressed wish of the oppressed can finally come true. It is possible, because due to the developed technology is everything in the city in rapid changes and people in the city feel afflicted with the sense of loss, so become melancholic. Seen from this perspective, the feeling of the spleen or melancholia is not just a pathological state that should be avoided, but a necessary condition for the future revolutionary action, and in this sense I interpret the melancholia as being integrated into Benjamin"s thought as a new category of "concrete" subject. Benjamin found out this concrete subject through the study of the baroque Trauerspiel and he replaced the traditional subject concept of idealism with it.
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