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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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Throughout the history of the twentieth century literary and cultural theory, perhaps no one has more exerted him/herself to the wide range of intellectual pursuits than Benjamin. The aim of this paper is to examine the ways in which the destruction motif culled from the Romantic spirit becomes a guiding principle in Benjamin’s philosophy of history. This study focuses upon Benjamin’s study of Trauerspiel and his interactions with some other theorists. Benjamin’s conception of history is basically dependant on the denial of any genetic, organic totalization that envisions a homogeneous flow of time toward a predestined telos. For Benjamin, the baroque Trauerspiel manifests itself as an exact representation of man’s historical conditions. The world of the baroque allegory is characterized by such negative terms as death, decay, and destruction, and Benjamin understood this signifies that human historicity is also under the impact of the same force. The gloomy vision of history proceeds in Benjamin’s later years into a position of extremist historical pessimism. Putting theology and historical materialism together, Benjamin constitutes his own brand of materialist historiography vividly theorized in his seminal essay, “Theses on the Philosophy of History,” where the categories of messianism, apocalypse and redemption run counter to historicism’s naive idealistic faith in progress. This study also examines how the extreme interpretation of Benjamin by Paul de Man can provide a new vision to see Benjamin’s philosophy of history from a post-structuralist perspective.
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UCI(KEPA) : I410-ECN-0101-2013-840-000315194