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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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American-born Jewish painter R. B. Kitaj was active primarily in London, where he continued the British tradition of figurative painting. His early works, painted between the early 1960s and the mid-1970s, focus on historical subjects such as the socialist revolutions, wars and fascist horrors of the early 20th century. These historical subjects were both removed from Kitaj’s spatial and temporal experience and independent of his relationships with other artists. In this respect, it can be said that Kitaj’s early works emerged as new representation of a history observed indirectly by a public witness.
This study focuses on three of Kitaj’s early works: The Murder of Rosa Luxemburg(1960), which depicts the 1919 assassination of the European socialist revolutionary; Kennst Du das Land?(1962), on the subject of the Spanish Civil War of 1936~39; and If Not, Not(1975~76), which addresses the genocide perpetrated against Jews in the early 1940s. An analysis of motifs in the three works shows that they all portray the tragedy of those sacrificed and forgotten in the course of early-20th century history. Most existing studies, however, go no further than superficial analysis of the motifs found in the works, or depend excessively on texts quoted by the artist; such approaches cannot produce an understanding of the paradoxical nature of the works or the complex relationships they involve.
This study therefore moves beyond the limits of previous research, examining the visual expressions and historical narratives in Kitaj’s early works in conjunction with the historical view of Walter Benjamin, a hugely influential figure in the artist’s intellectual background. Based on a “catastrophic” concept of history, Benjamin posited allegory as a perspective capable of overcoming the harm of historicism. The fragmented and multi-layered nature of allegory, with disjointed relationships between the signifier and the signified, is clearly visible in the overlapping of fragmented views and meanings in Kitaj’s works. This study identifies the connections between Benjamin’s theories and Kitaj’s works, while revealing the allegorical devices contained in the three paintings described above.
Based on the this discussion, The Murder of Rosa Luxemburg addresses collective memory of the assassinated revolutionary in an allegorical fashion, while demonstrating a concept of history that denounces the fabrications of symbolic expression. Kennst Du das Land? can be fundamentally understood as a work of memory that attempts to visually redeem those forgotten amid historical catastrophe. When it comes to the paradox of remembering the forgotten, Kitaj’s work uses traces to evoke the absent. The indistinct images of If Not, Not show “incomplete experience” of a history that cannot be described in words. The temporal gaps manifested in visual symbols of this work through the application of Paul de Man’s theory of allegory evoke forgotten Jews, thus demonstrating an attempt to remember.
This study examines the aforementioned three early works by Kitaj within the context of historical philosophy, analyzing them as pictorial expressions of an allegorical concept of history that attempts to overcome the harm of traditional historicism and remember historical events from the perspective of the vanquished. This approach enables us to move beyond short-sighted interpretations that focus only on the interior of the works or biographical details of the artist, instead using various theories and methodologies to shine new light on Kitaj’s work.
This study focuses on three of Kitaj’s early works: The Murder of Rosa Luxemburg(1960), which depicts the 1919 assassination of the European socialist revolutionary; Kennst Du das Land?(1962), on the subject of the Spanish Civil War of 1936~39; and If Not, Not(1975~76), which addresses the genocide perpetrated against Jews in the early 1940s. An analysis of motifs in the three works shows that they all portray the tragedy of those sacrificed and forgotten in the course of early-20th century history. Most existing studies, however, go no further than superficial analysis of the motifs found in the works, or depend excessively on texts quoted by the artist; such approaches cannot produce an understanding of the paradoxical nature of the works or the complex relationships they involve.
This study therefore moves beyond the limits of previous research, examining the visual expressions and historical narratives in Kitaj’s early works in conjunction with the historical view of Walter Benjamin, a hugely influential figure in the artist’s intellectual background. Based on a “catastrophic” concept of history, Benjamin posited allegory as a perspective capable of overcoming the harm of historicism. The fragmented and multi-layered nature of allegory, with disjointed relationships between the signifier and the signified, is clearly visible in the overlapping of fragmented views and meanings in Kitaj’s works. This study identifies the connections between Benjamin’s theories and Kitaj’s works, while revealing the allegorical devices contained in the three paintings described above.
Based on the this discussion, The Murder of Rosa Luxemburg addresses collective memory of the assassinated revolutionary in an allegorical fashion, while demonstrating a concept of history that denounces the fabrications of symbolic expression. Kennst Du das Land? can be fundamentally understood as a work of memory that attempts to visually redeem those forgotten amid historical catastrophe. When it comes to the paradox of remembering the forgotten, Kitaj’s work uses traces to evoke the absent. The indistinct images of If Not, Not show “incomplete experience” of a history that cannot be described in words. The temporal gaps manifested in visual symbols of this work through the application of Paul de Man’s theory of allegory evoke forgotten Jews, thus demonstrating an attempt to remember.
This study examines the aforementioned three early works by Kitaj within the context of historical philosophy, analyzing them as pictorial expressions of an allegorical concept of history that attempts to overcome the harm of traditional historicism and remember historical events from the perspective of the vanquished. This approach enables us to move beyond short-sighted interpretations that focus only on the interior of the works or biographical details of the artist, instead using various theories and methodologies to shine new light on Kitaj’s work.
목차
Ⅰ. 머리말
Ⅱ. 역사적 주제의 비극성
Ⅲ. 키타이의 회화와 벤야민의 미학적 개념
Ⅳ. 억압된 기억과 흔적의 이미지
Ⅴ. 맺음말
참고문헌
〈Abstract〉
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UCI(KEPA) : I410-ECN-0101-2016-650-002331243