Relevant bibliographies by topics / Walter Benjamin

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Walter Benjamin'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Walter Benjamin"

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Camêlo, Francisco. "A miniaturização como procedimento de escrita / Miniaturization as a Writing Procedure." Cadernos Benjaminianos 15, no. 1 (October 8, 2019): 203. http://dx.doi.org/10.17851/2179-8478.15.1.203-226.

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Resumo: Propõe-se uma reflexão cruzada entre Walter Benjamin e Robert Walser, a partir de suas micrografias. Dentre os muitos objetos que colecionou durante a vida, Benjamin tinha especial apreço por livros infantis, miniaturas e brinquedos. Esse interesse pelo diminuto também se manifestava na extrema pequenez de sua letra e no desejo de chegar a cem linhas numa folha de carta de tamanho convencional, feito conseguido por Walser, que escrevia microtextos com uma grafia minúscula e sobre quem o próprio Benjamin redigiu um curtíssimo ensaio em 1929. Se, por um lado, a letra miniaturizada de Benjamin e de Walser aponta para um gesto de escrita que parece cifrar o conteúdo do texto, por outro lado, a micrografia de ambos diz do interesse mútuo de se esconder nas malhas textuais através de um apequenamento do eu pela escrita. Pode-se, ainda, aproximar a miniaturização da letra de uma estreita vinculação com o universo da infância, seja pelos personagens crianças e fracassados presentes na obra de Walser; seja pelo protagonismo que a infância como Denkbild (imagem de pensamento) assume nos escritos de Benjamin. A partir dessas afinidades eletivas, o artigo procura mostrar a miniaturização como um procedimento de escrita de Benjamin e de Walser através de paralelos entre suas micrografias e de comentários analítico-especulativos de ensaios de Benjamin e de contos de Walser.Palavras-chave: Walter Benjamin; Robert Walser; escrita; miniaturização, infância.Abstract: The article proposes a cross-reflection between Walter Benjamin and Robert Walser and finds its first intersection in the micrographs produced by them. Among the many objects collected during his lifetime, Benjamin seems to have had a special appreciation for children’s books, miniatures and toys. This interest in small items was also manifested in the extreme smallness of his handwriting and in the desire to write one hundred lines in a conventional-size paper – this last one achieved by Walser, who wrote microtexts in a miniscule handwriting and was also the subject of a short essay Benjamin wrote in 1929. If, on the one hand, the miniaturized handwritings of both Benjamin and Walser point to a manner of writing that seems to encrypt the content of texts, on the other hand, the micrographies constructed by both men state a mutual interest in hiding amongst the textual mesh through the suppression of the self in writing. One can, still, liken the miniaturized handwriting with the universe of childhood, be it by the character of the child or the character of the so-called underdog (both present in the works of Walser) or by the protagonism that a childhood-as-Denkbird (image of thought) assumes in Benjamin’s work. Based on these elective affinities, the article seeks to show the miniaturization as a writing procedure employed by both Benjamin and Walser, and it will do so by establishing parallels between the micrographs of the latter and the analytical-speculative commentaries present in Benjamin’s essays and in Walser’s tales.Keywords: Walter Benjamin; Robert Walser; writing; miniaturization; childhood.
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Sodeika, Tomas. "SAKRALUMAS JO TECHNINIO REPRODUKUOJAMUMO EPOCHOJE." Religija ir kultūra 7, no. 1-2 (January 1, 2010): 83–90. http://dx.doi.org/10.15388/relig.2010.1.2763.

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Studijoje apie „Meno kūrinį jo techninio reprodukuojamumo epochoje“ Walteris Benjaminas analizuoja auros nunykimą atsiradus fotografijai ir kinematografui. Auros sąvoka Benjaminui reiškia nereprodukuojamo meno kūrinio originalumą ir autentiškumą. Tačiau sykiu ji reiškia ir meno sąsają su šventybės patirtimi. Straipsnyje nagrinėjama auros nunykimo ir šiuolaikinio pasaulio desakralizacijos koreliacija.Pagrindiniai žodžiai: desakralizacija, Walteris Benjaminas, medijos.Secularization, Art and Religion or – What it is – San Sebastian? Tomas Sodeika SummaryIn his essay “The Work of Art in the Age of Mechanical Reproduction” Walter Benjamin discusses a loss of the aura through the rise of photography and cinema. The notion of aura for Benjamin represents the originality and authenticity of a work of art that has not been reproduced. But at the same time it represents connection of the realm of art to the experience of the sacrum. The article deals with the correlation between the loss of aura and the desacralisation of the contemporary world.Keywords: desacralisation, Walter Benjamin, media.
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Paškevica, Beata. "THE ROLE OF ANNA (ASJA) LĀCIS IN THE GENESIS OF WALTER BENJAMIN’S PHILOSOPHICAL THOUGHT." Culture Crossroads 8 (November 13, 2022): 70–78. http://dx.doi.org/10.55877/cc.vol8.162.

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Walter Benjamin’s collection of articles, Passagenwerk (The Arcades Project), is regarded as the quintessence of his philosophical thought and aesthetical beliefs. A forerunner of this monumental work is the travel description entitled “Napoli”, written in co-authorship with Anna Lācis, where the keyword is porosity, which is a metaphor for the specific way of thinking for Walter Benjamin. The collection of literary sketches “One Way Street” and “Moscow Diary”, created in cooperation with Anna Lācis, are also important records of the 20th century aesthetical perceptions and ideological considerations. There exists an interesting intertextual link between the images of cities in various Benjamin’s works – Naples, Rīga, Moscow. The article is an attempt to discover the “unclear” influence of Asja Lācis on the philosophical thought of Walter Benjamin and is based on Beata Paškevica’s monograph “In der Stadt der Parolen. Asja Lacis, Walter Benjamin und Bertolt Brecht” published in Germany in 2006. The conclusion is that Asja Lācis has not had a great influence on Benjamin’s political views but on his aesthetical views. This has been metaphorically formulated by Benjamin himself in the dedication text of his book “One Way Street”.
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Lohtaja, Aleksi, and Taneli Viitahuhta. "Walter Benjamin, taiteen toinen tekniikka ja avantgarden kulttuuripolitiikka." Kulttuuripolitiikan tutkimuksen vuosikirja 3, no. 1 (May 2, 2018): 38–50. http://dx.doi.org/10.17409/kpt.63289.

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This article provides a fresh look into Walter Benjamin’s famous essay, “Artwork in the Age of Mechanical Reproduction” (1936). Following Benjamin scholar Esther Leslie, we claim that Benjamin’s lesser-known concept of “second technique” is integral for understanding both the meaning of essay as well as mapping the political and artistic aims of the 1920’s avant-garde movements in general. The article is structured around two cases of avant-garde, both of which are central already for Benjamin, but remain somewhat under-theorized in connection to Benjamin. These are the Soviet constructivist film and the idea of glass construction in Weimar-era German architecture. Keywords: Walter Benjamin, second technique of art, avantgarde, film, architecture
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Barbisan, Léa. "Walter Benjamin liest Georg Simmel. Über Walter Benjamin und Georg Simmel von Marian Mičko." Simmel Studies 20, no. 1-2 (June 12, 2017): 180–89. http://dx.doi.org/10.7202/1040123ar.

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Marian Mičko’s book Walter Benjamin und Georg Simmel (2010) gives a precise insight into Benjamin’s debt towards Simmel’s philosophical method and characterization of modern experience. Centered on the similarities between their “phenomenology of modernity”, Mičko’s analysis widely disregards the discrepancies between Simmel’s and Benjamin’s assessments of modern experience, culminating in Benjamin’s criticism of the bourgeois concept of individuality and his commitment to a Marxist approach.
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Wizisla, Erdmut. "„Wann aber wird man soweit sein, Bücher wie Kataloge zu schreiben?“: Das Beispiel Walter Benjamin." Zeitschrift für Germanistik 32, no. 1 (January 1, 2022): 126–32. http://dx.doi.org/10.3726/92171_126.

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Walter Benjamin hatte eine enge Beziehung zu Katalogen: Er nutzte die Findhilfsmittel öffentlicher Bibliotheken, er studierte Auktionsverzeichnisse, er besprach Ausstellungskataloge. Als Archivar seiner eigenen Arbeit fertigte er Kataloge seiner Texte, Projekte, Briefschaften und Buchbestände an. Der Aufsatz zeigt, dass Kataloge nicht nur eine Voraussetzung von Benjamins Arbeit waren, sondern dass sein Schreiben katalogisch ist – als lebendig gewordene Durchdringung seiner Materialsammlungen. Walter Benjamin had a close relationship with catalogues: he used the catalogues of public libraries, he studied auction lists, he reviewed exhibition catalogues. As an archivist of his own work, he produced catalogues of his texts, projects, correspondence, and of his library. The essay shows that catalogues were not only a prerequisite of Benjamin’s work, but that his writing is catalogue-like – as a living penetration of his collections of material.
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Schad, John. "‘All at Sea’: Virginia Woolf, Walter Benjamin, and the Unknown German." CounterText 7, no. 2 (August 2021): 206–33. http://dx.doi.org/10.3366/count.2021.0230.

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On July 10, 1940, amidst fear of Nazi invasion, a prison ship, of sorts, left Liverpool, England, crammed full of over two thousand male ‘Enemy Aliens’ – Germans, Austrians, and some Italians. They were herded together, below deck, with all hatches sealed. Some were prisoners of war, some were passionate Nazis, but most were Jewish refugees. Among them was Walter Benjamin's estranged son, a young man of 22 years, Stefan Rafael Schoenflies Benjamin. Soon after boarding, however, the authorities mistakenly recorded his surname as Benjamini. ‘All at Sea’, John Schad's critical-creative piece, recounts events around ‘the unknown German’ on the vessel, playing richly on, and with, recognition effects around what is (un)familiarly known about Virginia Woolf, Walter Benjamin, and various kinds of connection between them and other figures from the period.
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Löwy, Michael. "Walter Benjamin’s Archive: Images, Texts, Signs Walter Benjamin Benjamin Handbuch. Leben-Werk-Wirkung." Historical Materialism 19, no. 2 (2011): 129–36. http://dx.doi.org/10.1163/156920611x573842.

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AbstractWe are used to classifying different thinkers according to their general orientation: progressive or conservative, revolutionary or nostalgic of the past, materialist or idealist. Walter Benjamin does not fit into these categories. He is a revolutionary critic of the ideologies of progress, a materialist theologian, and his nostalgia for the past is at the service of his Marxist dreams for the future. It is therefore not surprising that so many different and conflicting readings of his work have developed since his death, some trying to bring him back into the usual frames of thinking, others trying to recruit him for the newest philosophical fads, and many simply damning him as ridden with contradictions and therefore an intellectual failure. But there are also some happy exceptions: those who try to take into account the irreducible singularity of his intellectual and political endeavours. These three books, quite different in object and method ‐ a collection of documents from his archives, a biography, and a ‘Benjamin Handbook’ ‐ belong to these exceptions.
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Moir, Cat. "Walter Benjamin and the Remains of a Philosophy of History." Historical Materialism 24, no. 4 (December 2, 2016): 221–33. http://dx.doi.org/10.1163/1569206x-12341463.

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Uwe Steiner’s Walter Benjamin: An Introduction to His Work and Thought is a comprehensive and compelling account of Walter Benjamin’s life and work, which will satisfy both newcomers to Benjamin and those with an existing interest. In this review, I argue that Steiner’s account goes beyond similar encounters with Benjamin in two main ways: first, by focusing specifically on Benjamin’s personal and intellectual relationship with ‘modernity’ and, second, by presenting Benjamin’s enduring appeal as a result of the creative interpretation of his work according to changing times and tastes. Yet Steiner’s historicising account of Benjamin also somewhat neutralises his critical potential as a historical-materialist thinker. Drawing on the work of Benjamin’s erstwhile friend and contemporary Ernst Bloch, as well as on Peter Osborne’s concept of modernity as a specific consciousness of time, I argue that the act of interpretation itself requires a weakly teleological concept of history, such as we find with Bloch and, between the lines perhaps, also with Steiner’s Benjamin.
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Curtis, Richard. "Walter Benjamin." Radical Philosophy Review of Books 14, no. 14 (1996): 32–34. http://dx.doi.org/10.5840/radphilrevbooks19961414.

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Dissertations / Theses on the topic "Walter Benjamin"

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Homburg, Phillip. "Walter Benjamin and 'materialism'." Thesis, University of Sussex, 2016. http://sro.sussex.ac.uk/id/eprint/63975/.

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This thesis examines the emergence of Walter Benjamin's materialism, within his early thought, from within the context of post-Kantian philosophy. The original contribution made by this thesis is that it differentiates Benjamin's materialism from both Romanticism and neo-Kantianism, on the one side, and empiricism, on the other. In contrast to those who identify Benjamin as a practitioner of a Romantic form of immanence, a neo-Kantian or a mystical empiricist, I place Benjamin's materialism within the context of the conflict between an empiricist form of materialism and post-Kantian idealism. This thesis is divided into four chapters. In the first chapter, I examine the history of materialism and its critical reception in the Kantian idealist tradition. The second chapter examines of the development of Karl Marx's materialism. I show that Marx's conception of reality fundamentally challenges traditional conceptions of idealism and materialism. In the third chapter, I show that Benjamin's critique of neo-Kantianism necessarily points towards a concept of knowledge that can encompass the particularity of experience qua sense experience within itself, something that is closed off in the neo-Kantian attempt to secure the objective validity of knowledge. The final chapter focuses on Benjamin's attempt to locate an expanded concept of experience. I look at several instances of how this concept manifests itself in the poem, life and language. I develop a materialist account of the idea that runs counter to the neo-Kantian one. Finally, I conclude by showing the limits of the Romantic concept of immanence for Benjamin. Throughout this thesis, I examine how Benjamin breaks out of both the neo- Kantian and Romantic strands of post-Kantian idealism. I also pay close attention to Benjamin's critique of empiricism. This thesis demonstrates that Benjamin's materialism emerges out of a serious engagement with that tradition, yet it remains irreducible to a form of neo-Kantianism, Romanticism, or empiricism.
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Meiffert, Torsten. "Die Enteignete Erfahrung : zu Walter Benjamins Konzept einer "Dialektik im Stillstand" /." Bielefeld : Aisthesis Verl, 1986. http://catalogue.bnf.fr/ark:/12148/cb34939206w.

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Menke, Bettine. "Sprachfiguren : Name, Allegorie, Bild nach Benjamin /." München : W. Fink, 1991. http://catalogue.bnf.fr/ark:/12148/cb36957263x.

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Lavelle, Patricia. "Religion et histoire : sur le concept d'expérience chez Walter Benjamin /." Paris : les Éd. du Cerf, 2008. http://catalogue.bnf.fr/ark:/12148/cb41259471s.

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Lanfranconi, Ana. "Walter Benjamin: infancia y politización." Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/461379.

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El presente trabajo de investigación traza un recorrido por ciertos momentos de la producción textual de Walter Benjamin siguiendo el hilo trenzado entre nuestro autor y las nociones de infancia y politización. Nuestro análisis toma como eje tres modos distintos de abordar la cuestión de la infancia, desde tres modalidades enunciativas divergentes. Del modo abiertamente político y partidista inaugurado por el Programa de teatro infantil proletario y las reseñas pedagógicas de finales de los años veinte, a la politización larvada e insidiosa de los textos sobre la infancia propia que componen Infancia en Berlín hacia 1900 y de las emisiones radiofónicas dirigidas al público infantil agrupadas en Aufklärung für Kinder, la infancia va ganando consistencia y complejidad, problematizando cada vez con más ahínco todos los elementos que los textos le arriman. Asimismo lo político, a la vera de la infancia, cambia de términos y fórmulas, sigue manteniendo su pulso aunque busque otros fundamentos y prácticas en los que asentarse y desplegarse. Hemos primado en nuestros análisis, pues, formas de abordar la infancia que permiten tender puentes a la reelaboración y cuestionamiento de nociones políticas con las que nos confrontamos a diario: lo colectivo, la masa, la acción y la decisión, la relación con los discursos de tintes emancipatorios o abiertamente reaccionarios, la persistencia de la destrucción y la guerra, la transformación de los modos de vida. Sin caer en el adoctrinamiento, la infancia se va fraguando caminos propios desde donde cuestionar el orden de cosas dado. Dirección única se convierte, aquí, en nuestra guía de lectura. Por un lado, abordamos los textos sobre la infancia propia y lo propio a la infancia agrupados en torno a Infancia en Berlín hacia 1900. Las escrituras de la historia se pondrán en entredicho a partir de este trabajo de elaboración del pasado que excede los límites de lo autobiográfico. El recorrido es de largo alcance y amplio espectro: la infancia se entrelaza, aquí, al trabajo sobre los lugares de la historia que en paralelo Benjamin está elaborando en el proyecto de los pasajes y que entronca, aun, con el trabajo sobre el tiempo histórico del ensayo sobre el drama barroco. El siglo XIX será el espacio de tiempo en el que despleguemos estas cuitas histórico-políticas: Auguste Blanqui, Johann Jakob Bachofen y Claire Démar, las figuras que cabe poner en situación, leídas al amparo del arco que se traza, en los textos de Benjamin, entre el surrealismo y el materialismo antropológico. En un segundo momento abordamos los textos que Benjamin redacta y performa para la radio entre 1927 y 1933. El recorrido general sobre las prerrogativas propias a los aparatos de comunicación de masas desemboca en un análisis más pormenorizado sobre las tentativas críticas que subyacen a los trabajos radiofónicos de Benjamin. Propondremos una lectura de las emisiones dirigidas en exclusiva al público infantil y juvenil editados en Aufklärung für Kinder. Estos textos interrumpen el quehacer habitual de la radio, como correa de transmisión de valores y formas de comunicación presente. El gesto infantil atravesado por la práctica teatral apuntará, por otro lado, al quiebre de la compacidad del presente de la comunicación: el Programa de teatro infantil proletario será el encargado de desplazar la cuestión de la transmisión de discursos al ámbito más lábil, y polémico, de los comportamientos. Los modos de transmisión son, pues, un espacio preponderante desde donde modular respuestas políticas. El terreno de las conductas, donde de facto se juegan las formas de gobierno, que eclosionará en los textos sobre la mímesis de los años treinta, será el último lugar de disputa que cristalice la relación fehaciente entre infancia y politización.
This research project traces a line through specific moments of Walter Benjamin’s textual production, following the thread interwoven between the author and the notions of childhood and politicization. My analysis is sustained using three different means to tackle the issue of childhood, which result in three divergent expository methods. From the manifestly political and biased method portrayed in the Program for a Proletarian Children’s Theater and the pedagogical reviews of the late twenties, to the veiled and cunning politicization of the texts within Berlin Childhood Around 1900 on the author’s own childhood and the radiocasts addressed to children that make up Aufklärung für Kinder, childhood becomes ever-increasingly consistent and complex, further problematizing all the elements brought by the texts. Furthermore, the political aspect, in tangent with the issue of childhood, changes its terms and manners, maintaining its firmness despite trying to find other grounds and practices on which to settle and unfold. Thus, my analysis brings to the fore those ways to tackle childhood that enable the possibility of remaking and questioning political notions that we face in our every-day life: the collective, the masses, the notions of action and decision, the relationship to either discourses with emancipatory touches or blatantly reactionary ones, the persistence of destruction and war and the transformation of lifestyles. Without ever becoming indoctrinating, childhood gradually sets its own ways from where to question the given order of things. At this point, One-Way Street becomes my reading guide.
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Kageura, Ryohei. "Walter Benjamin et la sécularisation." Phd thesis, Université de Strasbourg, 2012. http://tel.archives-ouvertes.fr/tel-00712074.

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Cette thèse de doctorat fournit une lecture cohérente de la théorie de l'art et de la théorie politique de Walter Benjamin, et elle montre que son idée de sécularisation est décisive. Par la lecture de Critique de la violence, le premier chapitre clarifie la méta-physique du droit selon laquelle dans la modernité, le droit est dialectiquement produit par la violence. Cette production s'appuie sur la sacralisation de la vie en tant que transfert du théologique dans la politique. Ce que veut Benjamin est la rupture de la dialectique de droit et de violence. Il clarifie que toute violence est hantée par sa dissolution lors de son exercice. Le second chapitre clarifie l'indissociabilité de la question du droit et de la question de l'art ou du langage chez Benjamin : dans la modernité, le langage ou l'œuvre d'art devient indissociable de la connaissance, laquelle est le jugement selon une loi extérieure. En refusant la sacralisation romantique de l'œuvre d'art, Benjamin trouve dans le Trauerspiel ce qui finit la dialectique du droit et de la violence. La sécularisation est alors redéfini comme l'exclusion absolue du théologique de la politique. Le troisième chapitre clarifie la vue de Benjamin sur le double mouvement de la modernité : le transfert du théologique dans la politique et l'exclusion du théologique de la politique. Ce que clarifie Benjamin est que l'œuvre d'art moderne est de nature à favoriser cette exclusion et à rendre le transcendant à sa place transcendante. La postmodernité sans le transcendant permet de rencontrer avec le transcendant en tant que l'autre.
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MacFarlane, Dana. "Walter Benjamin and art history." Thesis, University of Essex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.419285.

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FRANCO, ANA LUIZA VARELLA. "WALTER BENJAMIN: TRUTH IN IMAGES." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2010. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=16662@1.

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FUNDAÇÃO DE APOIO À PESQUISA DO ESTADO DO RIO DE JANEIRO
Meu trabalho, Walter Benjamin. A verdade em imagens, procura mostrar a especificidade da filosofia de Walter Benjamin. Essa filosofia dirige-se à plenitude da experiência humana, guiada por sua convicção de que a dimensão expressiva da linguagem é o campo histórico, no qual a verdade pode ser construída em imagens. Benjamin valoriza a natureza simbólica da linguagem percorrendo o caminho que se desvia tanto das teorias clássicas como das teorias linguísticas que marcaram o início século XX. O filósofo articula experiência e linguagem e enfrenta a questão de a linguagem ser, ao mesmo tempo, comunicação e expressão, imergindo em uma reflexão sobre a força da imagem e sua temporalidade: sua possibilidade de eterna atualização na história como um nome que acabou de nascer, como o radicalmente novo. Na palavra, o mundo é percebido, da palavra saltam as imagens obscuras que constroem a escrita da memória humana. As raízes de seu pensamento se encontram na mística judaica, na filosofia kantiana, no romantismo alemão e no encontro com as obras de sua contemporaneidade. Escavando os vários extratos de significação desse terreno com o rigor de sua crítica, Benjamin apresenta um novo modo de conceber o conhecimento e um novo conceito de história e de tempo. A partir de um paradigma epistemológico, estético-teológico-político, o filósofo une o espiritual e o histórico, recusa as ideias de continuidade, de causalidade e de progresso, que selam os preceitos do século XIX, e propõe que a filosofia seja um exercício de apresentação da verdade. O conhecimento só pode ser pensado como experiência da verdade que aparece num instante, em toda sua beleza e mistério. Trata-se de um processo de leitura e escrita, a partir do presente do filósofo/historiador que promove a redenção do passado, do presente e do futuro, pela ruptura. A categoria estética da alegoria vai atender à quintessência das suas interrogações: buscar na relação linguística entre tempo e imagem a objetividade capaz de responder ao caráter destrutivo da crítica filosófica. A forma alegórica expressa a fragmentação do pensamento, da linguagem e do tempo, a incompletude da história e da verdade. A forma alegórica atende à exigência de, no agora de uma cognoscibilidade, apresentar a verdade em imagens.
My work, Walter Benjamin. Truth in Images, intends to convey specificities of Walter Benjamin’s philosophy, which is directed to the plenitude of the human experience. This philosophy is guided by his conviction that the expressive dimension of language is the historical field, in which truth may be construed in images. Benjamin values the symbolic nature of language while investigating the path that deviates both from classical theory, such as the linguistic theories that marked the beginning of the 20th Century. The philosopher articulates experience and language and takes on the issue of language as being, at the same time, communication and expression, diving into a reflection about the power of images and its temporality: its possibility of eternally updating history as a name that has just been born, as the radically new. In the realm of words, the world is perceived; from words, obscure images derive, making up the written form of the human memory. The basis of his thinking may be found in Jewish mysticism, in Kantian philosophy, in German romanticism and in his encounter with contemporary works. While excavating various extracts of meaning in this field with the rigorousness of his criticism, Benjamin presents a new means of conceiving knowledge and a new concept of history and time. By means of an epistemological paradigm, at the same time aesthetic, theological and political, the philosopher unites the spiritual and the historic, refuses the ideas of continuity, of causality and of progress, which characterizes the conceptions of the 19th Century, and proposes that philosophy be an exercise of presenting the truth. Knowledge may only be thought of as an experience of truth that appears in an instant, with all its beauty and mystery. It is a process of reading and writing, starting with the present of the philosopher/historian that promotes redemption from the past, from the present and the future, through rupture. The aesthetic category of the Allegory will attend to the quintessential aspect of his interrogations: to seek objectivity capable of responding to the destructive character of philosophical criticism through the linguistic relationship between time and imagery. The Allegorical form expresses the fragmentation of thought, of language and of time, the incompleteness of history and of truth. The Allegorical form attends to the demand of - in the now of cognoscibility - presenting truth in images.
Ma thèse, Walter Benjamin: la vérité en images, essaie de montrer la spécificité de la philosophie de Walter Benjamin, qui s’adresse à la plenitude de l’expérience humaine, guidée par sa conviction que la dimension expressive du langage est le champ historique, dans lequel la vérité peut être construite en images. Benjamin valorise la nature simbolique du langage, parcourt le chemin qui se détourne aussi bien des théories classiques que des théories linguistiques qui ont marqué le début du XXe. Le philosophe articule l’expérience et le langage et fait face à la question du langage comme étant, en même temps, communication et expression, en plongeant dans une réflexion sur la forme de l’image et de sa temporalité: sa possibilité d’une éternelle mis-à-jour dans l’histoire comme un nom qui vient de naître, comme le radicalement neuf. À l’intérieur du mot, le monde est perçu; des images obscures surgissent du mot et construisent l’écriture de la mémoire humaine. Les racines de sa pensée se trouvent dans la mystique juive, dans la philosophie kantienne, dans le romantisme allemand et dans la rencontre avec les oeuvres de sa contemporaineté. En fouillant les divers extraits de la signification de ce terrain avec la rigueur de sa critique, Benjamin présente une nouvelle manière de concevoir la connaissance et un nouveau concept de l’histoire et du temps. À partir d’un paradigme épistémologique, à la fois esthétique, théologique et politique, le philosophe réunit le spirituel et l’historique, refuse les idées de continuité, de causalité et de progrès qui marquent les préceptes du XIXe, et propose que la philosophie soit un exercice de présentation de la vérité. La connaissance ne peut être pensée que comme expérience de la vérité qui apparaît dans un instant, en toute sa beauté et mystère. Il s’agit d’un processus de lecture et d’écriture, à partir du présent du philosophe/historien qui réalise la rédemption du passé, du présent et du futur par la rupture. La catégorie esthétique de l’allégorie va à la rencontre de la quintessence de ses interrogations: chercher dans la relation linguistique entre le temps et l’image l’objectivité capable de répondre au caractère destructif de la critique philosophique. La forme alégorique exprime la fragmentation de la pensée, du langage et du temps, l’incomplétude de l’histoire et de la vérité. La forme allégorique répond à l’exigence de, dans le maintenant d’une connaissabilité, présenter la vérité en image.
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Borges, Anderson. "Alegoria redimida em Walter Benjamin." Universidade Federal de Minas Gerais, 2012. http://hdl.handle.net/1843/ECAP-8R3HX8.

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Este estudo apresenta o decurso da alegoria na obra benjaminiana circunscrevendo a investigação a três momentos principais: o livro Origem do drama barroco alemão, em que a alegoria é resgatada do esquecimento e, considerando a significativa expressividade do luto (Trauer) e da melancolia na constituição do teatro barroco, ganha um lugar cativo no âmbito estético, bem como, além disso, funciona como representação da história na perspectiva de literatos do século XVII; Rua de mão única, em que Benjamin faz uso de recursos das vanguardas, sobretudo, do surrealismo para construir um amálgama de expressão artística e crítica de cultura, uma obra que pode ser lida como uma alegoria per se; e por último, o olhar sobre as transformações vistas na Paris do século XIX nas Passagens, de forma semelhante àquela investigação a respeito do drama barroco, em que o alegórico aparece como importante elemento constituinte de sua análise, em especial, a partir da poética de Baudelaire. Assim, considerando três momentos fundamentais da empreitada crítica e filosófica benjaminiana, analiso como a alegoria, inicialmente tomada como objeto de estudo, se torna, a certa altura, um significante constituinte de seu procedimento crítico.
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Pethes, Nicolas. "Mnemographie : Poetiken der Erinnerung und Destruktion nach Walter Benjamin." Tübingen : M. Niemeyer, 1999. http://catalogue.bnf.fr/ark:/12148/cb37321019x.

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Books on the topic "Walter Benjamin"

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Kohlenbach, Margarete. Walter Benjamin. London: Palgrave Macmillan UK, 2002. http://dx.doi.org/10.1057/9780230511279.

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Steiner, Uwe. Walter Benjamin. Stuttgart: J.B. Metzler, 2004. http://dx.doi.org/10.1007/978-3-476-05073-1.

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Steiner, Uwe. Walter Benjamin. Stuttgart: Metzler, 2004.

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Leslie, Esther. Walter Benjamin. London: Reaktion, 2007.

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Bolz, Norbert W. Walter Benjamin. Atlantic Highlands, N.J: Humanities Press, 1996.

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1892-1940, Benjamin Walter, ed. Walter Benjamin. Paris: Éditions de l'Herne, 2013.

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Richard, Appignanesi, Klimowski Andrzej, and Coles Alex, eds. Introducing Walter Benjamin. Cambridge, UK: Icon, 1998.

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Alex, Coles, Klimowski Andrzej, and Appignanesi Richard, eds. Introducing Walter Benjamin. New York: Totem Books, 1998.

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1892-1940, Benjamin Walter, Unseld Siegfried, Menninghaus Winfried, Scheurmann Ingrid, Scheurmann Konrad, and Karavan Dani, eds. For Walter Benjamin. Bonn: AsKI, 1993.

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Hart Nibbrig, Christiaan L., 1944-, ed. Übersetzen, Walter Benjamin. Frankfurt am Main: Suhrkamp, 2001.

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Book chapters on the topic "Walter Benjamin"

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Duttlinger, Carolin. "Walter Benjamin." In W. G. Sebald-Handbuch, 285–90. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-05395-4_45.

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Tambling, Jeremy. "Benjamin, Walter." In The Palgrave Encyclopedia of Urban Literary Studies, 1–3. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-62592-8_51-1.

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Horst, Thomas. "Benjamin, Walter." In Metzler Philosophen Lexikon, 102–4. Stuttgart: J.B. Metzler, 1995. http://dx.doi.org/10.1007/978-3-476-03642-1_38.

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Meder, Norbert. "Walter Benjamin." In Handbuch Medienpädagogik, 217–23. Wiesbaden: VS Verlag für Sozialwissenschaften, 2008. http://dx.doi.org/10.1007/978-3-531-91158-8_29.

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Hieber, Lutz. "Walter Benjamin." In Springer Reference Sozialwissenschaften, 1–14. Wiesbaden: Springer Fachmedien Wiesbaden, 2018. http://dx.doi.org/10.1007/978-3-658-10947-9_2-1.

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Tambling, Jeremy. "Benjamin, Walter." In The Palgrave Encyclopedia of Urban Literary Studies, 191–93. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-319-62419-8_51.

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Palaver, Wolfgang. "Benjamin, Walter." In Lexikon der Geisteswissenschaften, 1147–50. Wien: Böhlau Verlag, 2011. http://dx.doi.org/10.7767/boehlau.9783205790099.1147.

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Emerling, Jae. "Walter Benjamin." In Theory for Art History, 104–10. Second edition. | London; New York: Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780203113899-14.

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Vogt, Jochen. "Benjamin, Walter." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_5914-1.

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Modick, Klaus. "Benjamin, Walter." In Metzler Autoren Lexikon, 52–53. Stuttgart: J.B. Metzler, 1997. http://dx.doi.org/10.1007/978-3-476-03720-6_27.

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Conference papers on the topic "Walter Benjamin"

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auteur, Sans. "Discussion 2." In Enfance. Autour de Walter Benjamin. Fabula, 2014. http://dx.doi.org/10.58282/colloques.2308.

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Perrier, Florent. "Méprises et déprises dans Enfance berlinoise de Walter Benjamin." In Enfance. Autour de Walter Benjamin. Fabula, 2014. http://dx.doi.org/10.58282/colloques.2293.

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Boucheron, Patrick. "Encore la trace, encore l’aura : Walter Benjamin et l’obsession de l’historien." In Enfance. Autour de Walter Benjamin. Fabula, 2014. http://dx.doi.org/10.58282/colloques.2299.

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Ivernel, Philippe. "Au sujet du fragment, de la monade et de l’image dialectique." In Enfance. Autour de Walter Benjamin. Fabula, 2014. http://dx.doi.org/10.58282/colloques.2305.

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Boulanger, Alison. "Conclusion." In Enfance. Autour de Walter Benjamin. Fabula, 2014. http://dx.doi.org/10.58282/colloques.2309.

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Dupart, Dominique. "Avant-propos." In Enfance. Autour de Walter Benjamin. Fabula, 2014. http://dx.doi.org/10.58282/colloques.2274.

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auteur, Sans. "Discussion 1." In Enfance. Autour de Walter Benjamin. Fabula, 2014. http://dx.doi.org/10.58282/colloques.2298.

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Golgotiu, Corina. "Des mécanismes de défiguration et de distorsion, failles fécondes dans l’appropriation de soi et du monde." In Enfance. Autour de Walter Benjamin. Fabula, 2014. http://dx.doi.org/10.58282/colloques.2278.

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Wiser, Antonin. "Constellations marginales : Roland Barthes avec Walter Benjamin." In Roland Barthes, contemporanéités intempestives. Fabula, 2018. http://dx.doi.org/10.58282/colloques.5767.

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André Lourenço, Allan, and Douglas Ferreira Barros. "A modernidade em Baudelaire por Walter Benjamin." In XXV Congresso de Iniciação Cientifica da Unicamp. Campinas - SP, Brazil: Galoa, 2017. http://dx.doi.org/10.19146/pibic-2017-78147.

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