비판이론을 통해서 본 리베스킨트의 베를린 유태인 박물관 연구
(주)코리아스칼라
- 최초 등록일
- 2023.04.05
- 최종 저작일
- 2015.06
- 10페이지/ 어도비 PDF
- 가격 4,000원
* 본 문서는 배포용으로 복사 및 편집이 불가합니다.
서지정보
ㆍ발행기관 : 한국건축역사학회
ㆍ수록지정보 : 건축역사연구 / 24권 / 3호
ㆍ저자명 : 이경창
목차
1. 서 론
2. 발터 벤야민의 “파편”과 “미로”를 통해본유태인 박물관
2.1 발터 벤야민의 “파편”적 역사
2.2 벤야민의 “미로”
3. 아도르노의 “아우슈비츠 이후의 시”
3.1 계몽의 변증법과 유태인 박물관
3.2 ‘아우슈비츠 이후의 시’
4. 유태인 박물관에 대한 최근의 재평가
5. 맺음말
References
영어 초록
It is not easy to clarify the historical perspective of architect through his architecture. Exceptional cases, it will be the time to design a history museum. As an institution, a Museum already became an apparatus to represent the history to it itself. Libeskind’s Jewish museum Berlin has been presented as the controversial case most of all. In particular, in that it instead of dealing with history positive, that contains a tragic history, this building is a building that history a unique interpretation of the architect has been a problem. Therefore, it is difficult to find a suitable example to Libeskind’s Jewish museum in Berlin to try and look at the problem of the history of contemporary history and interpretation of the architect. In this paper, I am trying to interpret Libeskind’s Jewish Museum Berlin through the aesthetics and history philosophy of Theodor Adorno and Walter Benjamin. They are Jewish and the central figures of the Frankfurt School, known as ‘critical theorists’. Their critical theory was formed based on the experience of the Jewish genocide and war.
참고 자료
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