Mahalel Anat Tzur
Bucerius Institute, University of Haifa, Israel Psychoanalytic Society, Haifa, Israel.
Int J Psychoanal. 2023 Jun;104(3):527-545. doi: 10.1080/00207578.2023.2204921.
The present paper offers a comparative reading of Sigmund Freud's and Walter Benjamin's thoughts on remembrance and history. Freud's dream thought, constructed from visual images, and Benjamin's dialectical image, and the Denkbild as its literary form, are presented as intriguingly intertwined concepts. They both refer to residues of regressive thought expressed through the medium of the German , which can be translated as image, picture or figure. The visual image (visuelles ) and the Denkbild are presented as crucial to the construction of history because they present a dialectic between a condensed experience of the past (beyond the scope of words and representation) and the inevitable transformation of experience into language. Freud's and Benjamin's late writings are read in the historical context of European Jewish intellectuals facing the rise of the Nazi regime. The images discussed comparatively here are Freud's last Moorish king and Benjamin's angel of history. These condensed images are presented as lamenting figures, images of despair and struggle. They serve as examples of the visual image's ability to represent the unrepresentable and capture hidden mnemic traces at traumatic times.
本文对西格蒙德·弗洛伊德和沃尔特·本雅明关于记忆与历史的思想进行了比较性解读。弗洛伊德由视觉意象构建的梦的思想，以及本雅明的辩证意象及其文学形式“思想图像”，被呈现为相互交织的有趣概念。它们都指向通过德语媒介表达的退行性思想的残余，德语中的这个词可译为意象、图像或形象。视觉意象（visuelles）和思想图像被认为对历史的构建至关重要，因为它们呈现了过去的浓缩经验（超越了语言和表征的范畴）与经验不可避免地转化为语言之间的辩证法。弗洛伊德和本雅明的晚期著作是在欧洲犹太知识分子面对纳粹政权崛起的历史背景下进行解读的。这里进行比较讨论的意象是弗洛伊德的末代摩尔国王和本雅明的历史天使。这些浓缩的意象被呈现为悲叹的形象、绝望与挣扎的图像。它们作为视觉意象能够表征不可表征之物并捕捉创伤时刻隐藏的记忆痕迹的能力的例证。
