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The impoverished young poet Malte, who arrives in the typically modem metropolis Paris, is confronted with the terrible large city reality. This city is indicative of the alienation of humans, the degradation of the individual for role function and the social problems caused by industrialization. Therefore his past view of the world and his artistic self understanding are shaken in such a way, that he must develop a new way of seeing. It becomes clear that he does not describe the outside world in accordance with the objective reality, rather strives to see therein something cipher for himself. It is characteristic of him to project his own reality into the observed reality.
The modem self-alienation, which is caused by the instrumentalization of reason, presents itself pointedly to problem of death. In contrast to the 'own death', which appears as the coronation and completion of life, the anonymous 'entindividualisierte' death prevails in the modem metropolis. This experience of reality leads Malte to the radical self criticism at his past literary work and to the comprehensive culture criticism, which deals with the crisis of meaning by the 'disenchantment of the world'.
Despite the terrible reality Malte catches sight of the possibility of a positive tum in a seemingly objectionable matter, as the description of the dying man and 'Veitstaenzer' shows. They are cipher for him to depart from all accustomed and acquainted poinst of view and separate from the interpreted world. Admittedly he suspects that the dissolution of the used meaning world can cause in tum a new blessedness and also that the destruction of self is thus only the other side of the enormous expansion and elevation of self. However he is afraid of this change because his self, which is accustomed to the old meanings, will be thus destroyed.
But Malte's identity-play in front of the mirror shows that the self, which Malte wants to hold on to, is constituted in truth by the mind and self-regulation and is based on the convention. This experience of the 'Entgrenzung' calls into question the traditional, idealistic concept of the subject. While Malte's clothing play represents the passive side of this experience, which leads to the dissolution of the self, the history of the false Demetrius shows the active side. The contents of his life exists in the extension of the self and the realization of new possibilities. He implements the existential truth of his inner self against the outside limitations and the identity ascribed to him from the outer world. Thus he achieves the paradoxical possibility that he overcomes the contradiction of truth and fraud, appearances and reality.
Similarly, in the history of the Prodigal Son his refusal of Jove, which his identity determines, is brought up for discussion. The identity is not something to find or even to be determined. It is rather, a process, an aimless work. Therefore God is to the Prodigal Son only a direction of love, not the object of love.
The modem self-alienation, which is caused by the instrumentalization of reason, presents itself pointedly to problem of death. In contrast to the 'own death', which appears as the coronation and completion of life, the anonymous 'entindividualisierte' death prevails in the modem metropolis. This experience of reality leads Malte to the radical self criticism at his past literary work and to the comprehensive culture criticism, which deals with the crisis of meaning by the 'disenchantment of the world'.
Despite the terrible reality Malte catches sight of the possibility of a positive tum in a seemingly objectionable matter, as the description of the dying man and 'Veitstaenzer' shows. They are cipher for him to depart from all accustomed and acquainted poinst of view and separate from the interpreted world. Admittedly he suspects that the dissolution of the used meaning world can cause in tum a new blessedness and also that the destruction of self is thus only the other side of the enormous expansion and elevation of self. However he is afraid of this change because his self, which is accustomed to the old meanings, will be thus destroyed.
But Malte's identity-play in front of the mirror shows that the self, which Malte wants to hold on to, is constituted in truth by the mind and self-regulation and is based on the convention. This experience of the 'Entgrenzung' calls into question the traditional, idealistic concept of the subject. While Malte's clothing play represents the passive side of this experience, which leads to the dissolution of the self, the history of the false Demetrius shows the active side. The contents of his life exists in the extension of the self and the realization of new possibilities. He implements the existential truth of his inner self against the outside limitations and the identity ascribed to him from the outer world. Thus he achieves the paradoxical possibility that he overcomes the contradiction of truth and fraud, appearances and reality.
Similarly, in the history of the Prodigal Son his refusal of Jove, which his identity determines, is brought up for discussion. The identity is not something to find or even to be determined. It is rather, a process, an aimless work. Therefore God is to the Prodigal Son only a direction of love, not the object of love.
목차
1. 들어가는 말
2. 정체성의 위기
3. 주관적 변용과 새로운 가능성의 세계
4. 정체성의 본질 및 확대
5. 돌아온 탕아
6. 맺는 말
[Abstract]
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UCI(KEPA) : I410-ECN-0101-2012-705-003655651