Made available in DSpace on 2016-04-28T19:58:41Z (GMT). No. of bitstreams: 1 Rene Rogerio Pereira.pdf: 419447 bytes, checksum: d1fd57acc8db4fd440676e83d39fcec2 (MD5) Previous issue date: 2011-07-12 / This paper offers a reading of the novel Leite derramado (2009) by Chico Buarque in light of the narrative theory of Walter Benjamin and his concept of allegory. From the diagnosis of the philosopher that the traditional form of narrative, as the art of giving advice and transmissibility of authentic experience, would be in danger of extinction, the study aims to investigate the possibility of its survival in contemporary society. To this end, the study covers two parallel paths: the critical heritage dedicated to highlighting aspects Chico Buarque ethical and aesthetic concerns that the approach of the philosopher and the concept of allegory and narrative in Walter Benjamin. The analysis of the novel picks up in the discontinuous and fragmentary account of the narrator, themes like death, memory, old age and language Eulálio, a narrator on his deathbed, whose speech followed the pattern of the more traditional grammar, in order to raise the contrasts between ancient and modern. The concept of allegory, far from following the classical rhetoric implies, in Benjamin's conception, the transplantation of an image, inscribed in a given context, and its insertion into another, that now receive new direction, creating an ambivalent tissue between said and suggestive. This is what happens to the context of a narrator archaic, based on the transmission of authentic experience, when transplanted to the modern context, adverse to narrative art. The results show that the allegorical element, as a method of composing prose Buarque, and assume a character of complaint about the treatment of death and old age in modern plays also a role of preserving the art of giving advice nowadays / Este trabalho oferece uma leitura do romance Leite derramado (2009) de Chico Buarque à luz da teoria narrativa de Walter Benjamin e seu conceito de alegoria. A partir do diagnóstico do filósofo de que a forma tradicional de narrativa, como arte de dar conselhos e transmissibilidade de experiência autêntica, estaria em vias de extinção, o trabalho propõe-se a investigar a possibilidade de sua sobrevivência na contemporaneidade. Para tanto, o estudo percorre dois caminhos paralelos: a fortuna crítica dedicada a Chico Buarque destacando aspectos ético-estéticos que o aproximam das preocupações do filósofo e o conceito de alegoria e narração em Walter Benjamin. A análise do romance recolhe no relato descontínuo e fragmentário do narrador, temas como a morte, a memória, a velhice e a língua de Eulálio, um narrador no leito de morte, cuja fala segue os padrões da gramática mais tradicional, de modo a suscitar os contrastes entre o antigo e o moderno. O conceito de alegoria, longe de seguir a retórica clássica, implica, na concepção benjaminiana, o transplante de uma imagem, inscrita em determinado contexto, e sua inserção em outro, no qual passa a receber novo sentido, gerando um tecido ambivalente entre o dito e o aludido. Tal é o que se dá com o contexto de um narrador arcaico, fundado na transmissão da experiência autêntica, quando transplantado para o contexto moderno, adverso à arte narrativa. Os resultados demonstram que o elemento alegórico, como método composicional da prosa buarqueana, além de assumir um caráter de denúncia sobre o tratamento da morte e da velhice na modernidade, desempenha, também, uma função preservadora da arte de dar conselhos na contemporaneidade

Made available in DSpace on 2016-04-26T20:22:39Z (GMT). No. of bitstreams: 1 Adriana Francisca Souza Pena.pdf: 915057 bytes, checksum: 307687ff81bf78819a09c40ee9083859 (MD5) Previous issue date: 2014-04-01 / The present work has the aims to bring to light evidences that the relationship between the dominant nation-states, dominated nation-states and human rights is today presented in a distorted way: the sovereign entity that was created to protect the interests of nations, in practice, when acts, does so as an agent of coercion. The situation is that we live in a state of emergency, a state of war in which the military and economic power dominates the world of fear. Using the writings of Walter Benjamin and his notion of Erfahrung (crossing) as well as the critique of mythologem of sovereignty and social contract theory we intend to show the need for behavioral change through education for peace with the aim of forming a culture of peace and not an institutional program that will regulate the war, as occurred with the production of peace treaties and institutions created from them, especially in the period of World War II / O presente trabalho tem como objetivo trazer à luz a evidência de que a relação entre estados-nações dominantes, estados-nações dominados e os direitos humanos está, hoje, apresentada de forma distorcida: o ente soberano que surgiu para tutelar os interesses das nações, na prática, quando atua, o faz como agente de coação. A constatação é a de que vivemos num estado de exceção, num estado de guerra, no qual o poder bélico e econômico domina o mundo do medo. Utilizando o pensamento de Walter Benjamin e a sua noção de Erfahrung (travessia), bem como a crítica ao mitologema da soberania e à teoria do contrato social pretendemos mostrar a necessidade de uma mudança comportamental por meio da educação para a paz, com o objetivo de formar uma cultura para paz e não um programa institucional que normatize a guerra, como ocorreu com a produção dos tratados de paz e as instituições a partir deles criadas, em especial, no período da segunda guerra mundial

Submitted by Liliane Ferreira (ljuvencia30@gmail.com) on 2018-04-19T11:54:17Z No. of bitstreams: 2 Dissertação - Fernando Ferreira da Silva - 2018.pdf: 1654717 bytes, checksum: 74fc34f20a97fdb6cf5ee975cc6b9c3d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-04-19T12:28:39Z (GMT) No. of bitstreams: 2 Dissertação - Fernando Ferreira da Silva - 2018.pdf: 1654717 bytes, checksum: 74fc34f20a97fdb6cf5ee975cc6b9c3d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-04-19T12:28:39Z (GMT). No. of bitstreams: 2 Dissertação - Fernando Ferreira da Silva - 2018.pdf: 1654717 bytes, checksum: 74fc34f20a97fdb6cf5ee975cc6b9c3d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-03-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The present thesis proposes to investigate the aesthetic-philosophical programme developed by Walter Benjamin for the critique of art as outlined in his writings as a youth. The first part of this itinerary consists of the philosopher's doctoral dissertation entitled The Concept of Art Criticism in German Romanticism (Der Begriff der Kunstkritik in der deutschen Romantik). In this work, written between the years 1917 and 1919 and published in 1920, Benjamin reconstructs the concept of art criticism in the German first-romanticism [Frühromantik], according to the art theory of Friedrich Schlegel and Novalis. Although conceived as an analysis of romantic theory, the philosopher’s understanding in the context of his doctoral dissertation approximates the romantic assumptions of his own theoretical positioning, especially with regard to the requirement of objectivity in the task of artwork’s interpretation. At a later point in the essay Goethe's Elective Affinities [Goethes Wahlverwandtschaften], written during 1921 and 1922 and published in two parts in the years 1924 and 1925, Benjamin presents his own conceptual apparatus for the determination of that task, delineating more fully his conception of criticism. This essay is even defined as a philosophical critique of Goethe's novel The Elective Affinities, and thus his theory of art criticism is developed in parallel with the examination of the novel’s elements. Finally, his postdoctoral major academic work (Habilitation), Origin of the German Tragic Drama (Ursprung des deutschen Trauerspiels), written between 1916 and 1925 and published in 1928, presents in its preface a methodology of philosophical investigation directed to the representation (Darstellung) of the truth. As we shall try to show throughout this thesis, Benjamin's procedure for art criticism is characterized by a dialectical movement in which the interpreter delves deeper into the artistic object’s materiality, oscillating between its apparent beauty and its essential truth. Thus, Benjamin's conception of art criticism articulates, on a metaphysical plane, the ideas of truth and beauty, as well as determining the understanding of works of art through their historicity. / A presente dissertação propõe investigar o programa estético-filosófico desenvolvido por Walter Benjamin para a crítica de arte, conforme delineado em seus escritos de juventude. O primeiro momento deste percurso consiste na dissertação de doutoramento do filósofo, intitulada O conceito de crítica de arte no romantismo alemão [Der Begriff der Kunstkritik in der deutschen Romantik]. Nesta obra, escrita entre os anos de 1917 e 1919 e publicada em 1920, Benjamin reconstrói o conceito de crítica de arte do primeiro-romantismo [Frühromantik] alemão, segundo a teoria da arte de Friedrich Schlegel e Novalis. Embora concebido como uma análise da teoria romântica, a leitura efetuada pelo filósofo em sua dissertação de doutoramento aproxima os pressupostos românticos de seu próprio posicionamento teórico, especialmente no que se refere à exigência de objetividade no ofício de interpretação das obras de arte. Num momento posterior, no ensaio As afinidades eletivas de Goethe [Goethes Wahlverwandtschaften], escrito entre 1921 e 1922 e publicado em duas partes nos anos de 1924 e 1925, Benjamin apresenta seu próprio aparato conceitual para a determinação da tarefa de interpretação das obras de arte, delineando de modo mais completo sua concepção de crítica. Este ensaio define-se, inclusive, como uma crítica filosófica ao romance de Goethe, As afinidades eletivas, de modo que sua teoria da crítica de arte é desenvolvida em paralelo com o exame dos elementos do romance. Por fim, a tese de livredocência Origem do drama barroco alemão [Ursprung des deutschen Trauerspiels], elaborada entre 1916 e 1925 e publicada em 1928, traz em seu prefácio uma metodologia de investigação filosófica voltada para a apresentação da verdade. Como procuraremos mostrar ao longo deste trabalho, o procedimento atribuído por Benjamin à crítica de arte caracteriza-se por um movimento dialético, no qual o intérprete aprofunda-se na materialidade do objeto artístico, oscilando entre sua beleza aparente e sua verdade essencial. Desse modo, a concepção de crítica de arte do jovem Benjamin articula, num plano metafísico, as ideias de verdade e beleza, bem como determina a compreensão das obras de arte através de sua historicidade.

Dresden's historic reconstructions bring up questions that reach far beyond the city's new/old Neumarkt district. In this thesis, I would like to take a closer look at the current ideological discourse surrounding the reconstruction of destroyed historic buildings in Dresden and other cities in the former DDR. What seems at first to be a simple culture war between progressive and reactionary city planners is actually, I will argue, a unique historical moment that blurs the dogmatically held ideas of rationality and nostalgia, ornament and function, and high art and kitsch. From the uncanny shadow of a church recently raised from the dead, I will explore the aesthetic and ethical ramifications of the technologically reproduced building.

Syftet med uppsatsen är övergripande att undersöka hur den tekniska mekaniseringen av samhället kommit att påverka synen på konstens och kulturens värde, vilket rört sig från det ursprungliga rituella värdet till dagens ekonomiska bytesvärde. Den undersöker även hur detta kom att påverka synen på människan som subjekt, då det inte enbart är det tekniska som innebär en mekanisering utan även samhällssystemet i sig. För att utröna på vilket sätt detta kunde komma till uttryck redan i början av 1900-talet, då mekaniseringen ännu var tämligen ny, utgår analysen från romanen Kameran går (1915) av Luigi Pirandello vari han låter filmvärlden representera hela den framväxande kulturindustrin. Genom att analysera Kameran går mot bakgrund av den därefter framväxande industrialiseringen och de politiska faktorer som rådde, samt mot teorierna kring kulturindustrin och mekaniseringen framställda av Walter Benjamin och Theodor W. Adorno, har en slående likhet gått att skönja som tyder på att dessa idéer om bland annat naturbehärskning, objektifiering, värdeförlust och kulturindustrin är tydliga redan i mekaniseringens början. De maskiner som skapas för att vara till hjälp tar istället över produktionen och både människan och konsten objektifieras. Eftersom Kameran går är skriven av en dramatiker som står mellan den allvarliga konstens scen, teatern, och den roande kulturindustrin i form av den framväxande filmindustrin ger analysen även en mer subjektiv upplevelse av denna utveckling och därmed en intressant vinkel på konstens betydelse i samhället.

Walter Benjamin, in Thesis IX of his “Theses on the Philosophy of History,” wrote of the angel of history looking back at the past from the now-time of the present moment, at the historical wreckage, a single catastrophe as it were, piling in front of its feet, as it gets pulled forward facing back into the temporality of the future and the space of modernity’s violent excesses, heralded by the promise of apparent progress. As the title to my dissertation suggests, my study begins, following the angel’s look, with these three words, seeing what remains, and as such it is structured around the very nature of this arresting “look back” and that which is being regarded, the ruins, or the remains and remainders that exist after, and in the aftermath of, traumatic loss. Working with and across a variety of mediums, I conduct a series of exegetical studies of recent “texts” – literary, photographic, and cinematic – within which, I argue, this look back figures as central to the concern of how we might understand the simultaneous existence of the forces of remembrance and forgetting, and of mourning and melancholia in memory-work. The various “texts” within which I explore this look back are Anne Michaels’s novel Fugitive Pieces, the photographic series titled Library of Dust by David Maisel, the movies Hiroshima, mon amour by Marguerite Duras and Alain Resnais and Amour by Michael Haneke. I situate my exploration of the enigmatic nature of the look back in these different textual scenes alongside Sigmund Freud’s critical work on transference and transference love and Kaja Silverman’s rigorous expansion of the psychoanalytic objective of the “cure by love.” Here, it is my intention, as such, to work toward and expand on my thesis that this look, of the angel (or the materialist historian or the artist as witness), is a look of redemptive love, both against erasure and against the possibility of invisibility, “to awaken the dead” as it were, so as to address the loss inscribed in historical experiences with catastrophic temporality and to thereby redeem the ethical from within the scene of trauma.

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.

Submitted by Andrea Hayashi (deachan@gmail.com) on 2016-06-28T14:25:13Z No. of bitstreams: 1 dissertacao-oberdan-quintino.pdf: 31660066 bytes, checksum: 0233f21319b66c6d85809cddb67dd636 (MD5) / Approved for entry into archive by Andrea Hayashi (deachan@gmail.com) on 2016-06-28T14:28:34Z (GMT) No. of bitstreams: 1 dissertacao-oberdan-quintino.pdf: 31660066 bytes, checksum: 0233f21319b66c6d85809cddb67dd636 (MD5) / Made available in DSpace on 2016-06-28T14:28:34Z (GMT). No. of bitstreams: 1 dissertacao-oberdan-quintino.pdf: 31660066 bytes, checksum: 0233f21319b66c6d85809cddb67dd636 (MD5) Previous issue date: 2012-11 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O célebre ensaio “A obra de arte na era de sua reprodutibilidade técnica” de Walter Benjamin salienta a transformação do conceito de obra de arte sob um viés histórico e de produção. Neste sentido, a reprodutibilidade técnica representa uma ruptura com o conceito tradicional de obra de arte quanto aos elementos espaço-temporais que lhe conferem o caráter de obra original e aurática. Nesse contexto, se inserem a fotografia e o cinema que, devido a suas particularidades técnicas, exigem uma nova forma de percepção e recepção da obra de arte, que Benjamin busca caracterizar por meio do conceito de choque. Movimentos de vanguarda do início do século XX, como dadaísmo e surrealismo, exploraram e anteciparam o efeito de choque em suas opções estéticas. Tais fenômenos artísticos se originaram num momento histórico das sociedades modernas industrializadas e de massas, marcado, entre outros, pelo desenvolvimento acelerado da técnica a partir do século XIX e pela crescente penetração desta na vida cotidiana, o que trouxe alterações comportamentais sob vários aspectos, dentre eles a relação entre a experiência individual e coletiva. / The celebrated essay “The work of art in the age of mechanical reproduction” by Walter Benjamin points out the transformation of the concept of work of art under a historical bias, as well as a bias of production. In that sense, the mechanical reproduction represents a break off the traditional concept of work of art as for the space and time elements that give it the character of an original work with aura. The photography and the cinema are inserted in that context due. The technical characteristics of both of them require a new perception and reception of the work of art. Benjamin characterizes that through the concept of shock. Early twentieth-century avant-garde movements as dadaism and surrealism explored and antecipated the shock effect in their aesthetic options. Those artistic phenomena originated in the modern industrialized and mass societies historical moment characterized by the fast development of the technique from the nineteenth century and the increasing penetration of such a technique in daily life, wich brought with them different changes in behavior, as the relationship between the individual experience and collectiv one.

Submitted by Franciele Moreira (francielemoreyra@gmail.com) on 2017-09-11T14:58:22Z No. of bitstreams: 2 Dissertação - Mariana Andrade Santos - 2017.pdf: 1386807 bytes, checksum: 22ee65b7d938fed2e5fc6416b0b5be92 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-09-15T15:46:38Z (GMT) No. of bitstreams: 2 Dissertação - Mariana Andrade Santos - 2017.pdf: 1386807 bytes, checksum: 22ee65b7d938fed2e5fc6416b0b5be92 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-09-15T15:46:38Z (GMT). No. of bitstreams: 2 Dissertação - Mariana Andrade Santos - 2017.pdf: 1386807 bytes, checksum: 22ee65b7d938fed2e5fc6416b0b5be92 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-08-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The present research proposes an investigation on the question of “presentation” [Darstellung] in the philosophical discourse. Walter Benjamin highlights the centrality of the presentation in the construction of philosophical thought, notably in the “Epistemo-Critcal Prologue” of his work The Origin of German Tragic Drama [Ursprung des deutschen Trauerspiels] written in 1925. The importance conferred by the philosopher on the issue of presentation is related to how Benjamin constructs his philosophy from a rescue of the linguistic essence of philosophical thought: for Benjamin, philosophical thinking is elaborated within language as a practice of the form in presentation. When we consider the deep relationship between thought and language as the starting point for philosophizing, the form of presentation carries out an indispensable reflexive movement in the configuration of philosophical thought. In this sense, the questions of philosophical writing become fundamental and, in turn, lead to the thresholds between philosophy and literature. The question of presentation characterizes the way in which the philosopher understands philosophical practice, philosophy as the practice of presentation claims the historical and linguistic nature of philosophical thought, and requires that philosophical thought should be attentive to the historicity of language and the materiality of words. The presentation as a main characteristic of philosophy points out, through Benjamin, the possibility of a different way in philosophy from that one traced by the tradition of the philosophy of representation. For this reason, we propose a course to show the opposed sense of presentation [Darstellung] and representation [Vorstellung], as necessary in the attempt to comprehend the question of presentation in Benjamin. Thus, we argue, throughout this thesis, how presentation operates a defense of the linguistic character of philosophical thought, as well as a rehabilitation of the historical and aesthetic dimensions in philosophy. / A presente pesquisa propõe uma investigação sobre a questão da apresentação [Darstellung] do discurso filosófico. Walter Benjamin evidencia a centralidade da apresentação na construção do pensamento filosófico, notadamente, no prefácio crítico-epistemológico do seu livro Origem do drama barroco alemão [Ursprung des deutschen Trauerspiels] escrito em 1925. A importância conferida pelo filósofo ao tema da apresentação está relacionada ao modo como Benjamin constrói sua filosofia a partir de um resgate da essência linguística-expressiva do pensamento filosófico: para Benjamin o pensamento filosófico é elaborado no interior da linguagem enquanto exercício da forma na apresentação. Ao se colocar como ponto de partida para o filosofar essa relação profunda entre pensamento e linguagem, a forma de apresentação realiza um movimento reflexivo indispensável na configuração do pensamento filosófico. Desse modo, as questões relativas à escrita filosófica se tornam fundamentais e desembocam, por sua vez, nos limiares entre a filosofia e a literatura. A questão da apresentação caracteriza o modo como o filósofo compreende o fazer filosófico, a filosofia enquanto exercício da apresentação reivindica a natureza histórica e linguística do pensamento filosófico e impõe a exigência de um pensamento atento à historicidade da linguagem e à materialidade das palavras. A apresentação como marca da filosofia expõe, em Benjamin, a possibilidade de um caminho diferente daquele trilhado pela tradição da filosofia da representação. Por esta razão, propomos um percurso no sentido de mostrar a relação de oposição que a apresentação [Darstellung] estabelece com a representação [Vorstellung], como necessário na tentativa de compreensão da questão da apresentação em Benjamin. Assim, procuramos expor, ao longo do trabalho, o modo como a apresentação opera uma defesa do caráter linguístico do pensamento filosófico e uma reabilitação das dimensões histórica e estética da filosofia.

Le corps constitue un leitmotiv discret mais persistant dans l’oeuvre de Walter Benjamin : ce travail se propose d'en relever l'importance. La question du corps ouvre un point d'accès privilégié à la réflexion anthropologique de Benjamin, déterminant tout à la fois les problématiques épistémologique, éthique et politique qui structurent son oeuvre et lui donnent sa cohérence. La première partie de ma thèse s'attache à la théorie de la connaissance : j'y montre comment le corps, se dégageant progressivement de la philosophie benjaminienne du langage, s'impose comme la matrice d'une intention irréductible à la subjectivité, apte à en subvertir les catégories et les hiérarchies. Le trouble que le corps ni sujet ni objet, lieu disloqué tout à la fois intime et étranger, jette dans la division entre l'ego et le monde amène Benjamin à réévaluer la partition entre l'être humain et la nature. La deuxième partie met en évidence le rôle du corps dans l'éthique benjaminienne, qui interroge, à partir d'une réflexion sur la vulnérabilité somatique, la ligne de partage entre l'autonomie et l'hétéronomie et, partant, l'idéal de la souveraineté. Le corps, part de « nature » dont l'humain ne peut se défaire, est ce par quoi l'être humain éprouve le temps et peut comprendre sa propre historicité. La troisième partie s'intéresse à la façon dont Benjamin pense la compénétration de la nature et de l'histoire à partir des effets que la technique déploie dans la chair de ses contemporains. De là, il s'efforce de penser l'émancipation des masses, corps collectifs excentriques, affectibles, sans silhouette ni identité déterminées, que menacent l'exploitation capitaliste et la captation fasciste. / The body constitutes a discreet but persisting leitmotiv in Walter Benjamin's work. The question of the body is a privileged approach to Benjamin's anthropological thought, of great importance for the epistemological, ethical and political issues which structure and give consistency to his work. The first part of my thesis is about the theory of knowledge. I describe how the body, gradually leaving Benjamin's philosophy of language, becomes the matrix of an intention that cannot be reduced to subjectivity and is capable of subverting its categories and hierarchies. The body, neither subject nor object, close and disquieting at the same time, a place for suffering and desire, blurs the borderline between the ego and the world. This observation leads Benjamin to a reassesment of the division between the human being and nature. The second part puts into evidence the role played by the body in Benjamin's ethics which, starting from a reflection about somatic vulnerability, examines the separation between autonomy and heteronomy. As the part of nature that we cannot dispose of, the body is what gives us the feeling of time and enables us to understand our own historicity. The third part deals with Benjamin's thought upon the interpenetration of nature and history, as he witnesses the way technology affects the bodies of his contemporaries. Hence, he reflects on the emancipation of the masses, defined as excentric collective bodies without a precise identity or outline, threatened by capitalist exploitation and fascist domination.