CAJ | 학술논문

德国文化批评家瓦尔特·本雅明将巴黎当作19世纪的首都所展开的城市现代性批判,开辟了研究城市现代性的新途径.他对19世纪的巴黎拱廊街的闲逛者、拾垃圾者、妓女、人群等现代性主体的深刻洞见以及对“豪斯曼风格”功能主义城市观的批判,不仅表现了一个人文知识分子对历史与社会的高度伦理责任感,而且对于我国当下的城市化和文化建设具有一定的启发意义.
덕국문화비평가와이특·본아명장파려당작19세기적수도소전개적성시현대성비판,개벽료연구성시현대성적신도경.타대19세기적파려공랑가적한광자、습랄급자、기녀、인군등현대성주체적심각동견이급대“호사만풍격”공능주의성시관적비판,불부표현료일개인문지식분자대역사여사회적고도윤리책임감,이차대우아국당하적성시화화문화건설구유일정적계발의의.
By writing about urban space, German critic Walter Benjamin provides a unique theoretical perspective on the issue of urban modernity. Benjamin singles out the fláneur, the ragpicker, the prostitute and the crowd in Paris as representative modern subjects. His excavation of the overlooked aspects of modern urban life, along with his criticism of Haussmann＇s dehumanizing reconstruction of Paris, reflects the intellectual foresight of a socially and historically responsible writer in the face of speeding urban modernization. To some extent, Benjamin＇s thought on urban space also sheds light on issues of urbanization and cultural construction in China.