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Literature as a Philosophy: Benjamin and Deleuze
이택광(Taek-Gwang Lee) 한국비평이론학회 2004 비평과이론 Vol.9 No.2
대체로 프랑크푸르트학파의 일원으로 간주되는 발터 벤야민(Walter Benjamin)은 정신분석학과 맑스주의를 서로 연결시켰다는 측변에서 자크 라캉(Jacques Lacan)과 그 연관성을 더 많이 발견할 수 있을 것이다. 그러나 정신분석학에 대한 벤야민의 이해는 정통 프로이트주의라기보다 오히려 당시 실증주의에 대항하는 이론의 한줄기를 담당했던 삶의 철학 (Lebensphilosophie), 그 중에서도 특히 앙리 베르그송(Henri Bergson)과 마르셀 프루스트(Marcel Proust)의 관점을 통해 이루어 졌다. 본 논문은 이런 사실에 착안해서, 벤야민과 질 들뢰즈(Gilles Deleuze)의 유사성을 탐구해보고자 한다. 이런 탐구에 근거를 제공하는 것은 벤야민과 들뢰즈가 공히 베르그송과 프루스트의 시간관을 빌려 와서 기존의 인식론을 재구성하고 있기 때문이다. 이런 입장에서 두 철학자들은 헤겔적 개념의 재현(Vorstellung)을 거부하고 매개 없는 재현 또는 내적 체험의 구현 (Darstellung)을 지지한다. 흥미롭게도 이런 주장을 뒷받침하기 위해 두 이론가들이 활용하는 문화형식이 바로 문학이다. 벤야민의 경우 문학비평은 문학작품 속에 내재한 내적 체험을 발굴해내는 사유행위이다. 문학 내지는 문학비평이야말로 근대에 위기를 맞이한 철학을 구원 해낼 돌파구였던 셈이다. 들뢰즈 또한 철학은 개념을 만들어내는 창조 행위로서 예술과 동격을 이룬다. 들뢰즈에게 예술은 창조적이고 살아있는 사유를 시간 속에 풀어놓는 사유기계이다. 벤야민에게 문학비평은 문학작품에 드러나는 문화적 코드를 읽어내는 행위였던 것인데, 비슷한 맥락에서 들뢰즈는 문학을 일종의 징후학(symptomatology)으로 보고 있다. 이렇게 두 철학자들 사이에 유사성이 존재하는 것은 단순한 우연이 아니다. 문학 또는 문학비평의 사유를 철학적 사유와 동일시 히는 관점은 벤야민과 들뢰즈에 고유한 것이 아니라 신칸트주의에서 발원한 것이기 때문이다. 물론 본 논문은 벤야민과 들뢰즈의 철학 자체가 영향의 불안에 시 달리고 있다는 주장을 펼치지 않는다. 오히려 본 논문은 벤야민과 들뢰즈의 철학적 배경을 구성하는 사상적 스펙트럼을 분석함으로써 지금 현재 제도적 학문 연구에 갇혀 물화되어가는 비평이론을 역사적 맥락 속에서 실천적으로 재구성해낼 수 있을 것이라는 입장을 취한다. 또한 이런 재구성을 통해 비평이론이 최근 운위되는 이론의 종언을 넘어 새로운 비평의 차원을 획득할 수 있을지, 그 가능성을 타진해 보는 것이 본 논문의 취지이다.
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이택광(Taek-Gwang Lee) 한국비평이론학회 2008 비평과이론 Vol.13 No.2
My essay is to discuss Walter Benjamin's strategies of reading. Benjamin is a philosopher who intervenes the relationship between modernity and cultural production and his way of reading cultural phenomena seems to serve as the useful methodology of cultural studies. In this way his project analyzing 19th century arcades in Paris can be seen a precursory research on the phantasmagoria of modernity. M y discussion focuses on the way in which Benjamin develops the interpretation of modern cultural phenomena and attempts to reveal the secret of high capitalism. What Benjamin tries to set out is to find out the new path in order to understand a capitalist system which would be shown in the cultural sphere rather than in the socio-economic one. For Benjamin the act of reading is not only related to the symbolic but also combined with the impulsive and the unconscious. Reading is to interpret a dream of capitalism and produce a shock by which people would be awakened. The awakened is the very product of reading in such a way that psychoanalysis teaches as the truth of the real. Benjamin's reading is a strategy to avoid the problem of totalization coupled with the limit of representation. To solve this, what Benjamin comes up with is to conceptualization of constellation. The concept of constellation is a way in which a reader as an interpreter can reveal the social and cultural materiality to skirt the problem of representation. Thus, Benjamin's reading is a political action proposing to set out the revolutionary and radical criticism by introducing a shock into the habitual perception. This might be called the estrangement effect of Benjaminian reading in the field of cultural production. From this perspective, it would be right to say that Benjamin's reading is an effective way for cultural critics who want to search for a method to analyze the cultural logic of late capitalism.
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이택광(Lee Taek-Gwang) 한국비평이론학회 2006 비평과이론 Vol.11 No.2
The aim of my essay is to examine the concept of science in Lacanian psychoanalysis and to search for possible critical subjectivity. The essay focuses on the way in which Jacques Lacan reformulates the modern science of subjectivity based on Descartes, and argues that Lacan"s conceptualization of science can provide a useful category for critical theory ― a subject beyond Newtonian science. For this, the essay accounts the relationship between the ethic and the scientific by analyzing Lacan"s “Kant with Sade.” This leads to scrutinizing what Lacan puts in terms of “the conjectural science of the subject,” a science that doubts the certainty of Cartesian subjectivity constructing modern physical science. My argument is that Lacan"s theorization of psychoanalysis as the science of the subject gives rise to the new possibility of critical subject against the grain. From this perspective, the essay claims that psychoanalysis paves a way toward the return of the subject in literary and cultural criticism by producing the logical foundation of critique, at the moment when theory ends and nothing comes out yet. The end of theory implies various meanings: on the one hand, it indicates the return of Marxism, on the other hand, it illustrates the moment calling for the restoration of humanism. The essay suggests that Lacanian concept of science implicates the third way between them; it is not the problem of choice, but rather a compulsory pursuit for truth. The essay also explores the similar aspect revealed in the conceptualization of science in Lacan and neo-Kantianism. The purpose is not so much to say that the Lacanian concept of science is directly influenced by neo-Kantian theorists as that there might be a similarity between Lacan and neo-Kantian understandings of science. Alongside this, the essay attempts to recount the way in which Alain Badiou uses Lacan for his philosophical project, a project that restores the condition of philosophical truth.
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이택광(Taek-Gwang Lee) 한국비평이론학회 2009 비평과이론 Vol.14 No.1
It is not unusual to regard Jacques Derrida, the founder of Deconstruction, as de-Marxified philosopher, who attacks the any doctrine of politics, not to mention Marxism. However, the essay considers another aspect of his theory, related to the alternative politics in terms of the ethic. What must be stressed is that Derrida adapts Walter Benjamin's perspective and develops the political concept of justice in terms of the ethic. Therefore, the aim of the essay is to explore Derrida's conceptualization of justice in his formulation of the ethic. He involves the traditional discourse of politics by raising the argument of a spectre and claims that mourning, a spectre, and justice are relevant to each other, the binding those is the very point of thinking justice against the conventional concept of the relationship between justice and law. The essay shed light on the way in which Derrida reads Marx with this own perspective, and argues that the political, the one in which we can overcome the ossified status of politics by introducing the messianic dimension into the political discourse-it is the very attempt that Theodor W. Adorno defends the category of critique in terms of the aesthetic. From this perspective, it is not wrong to say that Derrida's politics is firmly constructed on the context of Western radical philosophy.
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이택광(Taek-Gwang Lee) 한국비평이론학회 2010 비평과이론 Vol.15 No.2
The purpose of my essay is to explore the similarity and the difference between Deleuze and Ranicére in their discussions of literature in relation to politics. In a short interview with Le Magazine Litteraire's 2002 issue, specially dedicated to Deleuze, Ranicére suggests an interesting explanation of Deleuze's aesthetics; Ranciére argues that Deleuze is a philosopher who identifies the end of representative aesthetic regime, a regime that desires to break with the representative tradition. In this way Ranciére continues to say that Deleuze completes the destiny of aesthetics in the name of philosophy. Ranciére's opinion on Deleuze seems to provide an idea for understanding Deleuze's aesthetics in particular and analyzing the relationship between aesthetics and 'the political' in general. What is at stake here is that Ranciére points out the aspect of Deleuze's aesthetics in terms of 'figuration.' Deleuze, one of the most sophisticated Spinozist aesthetes, yet, always presupposes a pre-figurative dimension, even if he clearly adapts 'figures' for the way of thinking. Similar to Heidegger's notion of sousrature (undererasure), Deleuze's concept of figures implies a preliminary mode of life before and after thinking –what Deleuze argues isnot to postulate any separation between life and thinking such as the biological theory of human beings, but rather 'a life' as pure immanence. For Deleuze, immanence is not immanence to life, but immanence that is in nothing is itself a life. For Ranicére, an aesthetic dimension is to cancel the social discrimination and status differentiation and serves as another distribution of aesthetical senses which de-construct and re-construct the habitual knowledge. My presentation focuses on the likeness between Deleuze and Ranciére for reformulating the concept of an aesthetic dimension that Ranciére puts importantly the condition of the political. Furthermore, I argue that Ranciére's conceptualization of an aesthetic dimension is theoretically original, but seems not to answer a question as to what makes the dimension to be the political suggested by Deleuze.
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