Orientador: Márcio Orlando Seligmann Silva / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-22T18:20:08Z (GMT). No. of bitstreams: 1 Loterio_GuaraciaraR._M.pdf: 1174598 bytes, checksum: 565d71131e7ef358643c47e9f2eba8d4 (MD5) Previous issue date: 2013 / Resumo: A intenção inicial desta pesquisa era analisar a maneira como se constitui o sujeito ao longo dos escritos confessionais de Walter Benjamin, levando em consideração os movimentos e possíveis transformações que lhe seriam essenciais. Para tanto, pretendi levar em conta a forma peculiar pela qual Benjamim se constrói como sujeito nessas narrativas, isto é, rompendo com a ideia de linearidade e transparência de si. Deste modo, o autor parece possibilitar o desenvolvimento de uma leitura alçada na imagem e na representação desse sujeito dentro da autoescritura. Tal leitura visa lidar com as constantes transformações - que, por vezes, chegam até mesmo a expressar contradições - sofridas pelo sujeito benjaminiano ao longo dos textos. No princípio, parti da hipótese de que o termo "confessional" e o termo "autobiográfico" seriam sinônimos. Deste modo, a pergunta pela "escrita confessional" benjaminiana se confundiria com a questão da autobiografia na obra do autor. Posteriormente, e por uma questão paradigmática no que tange ao andamento do trabalho, percebi que a escrita do sujeito benjaminiano mescla momentos confessionais e testemunhais, inaugurando, segundo creio, um novo viés dentro da escritura autobiográfica. Proponho-me a desenvolver este trabalho a partir da leitura das seguintes obras de Walter Benjamin: Infância em Berlim por Volta de 1900 (Berliner Kindheit um Neunzehnhundert); Crônica Berlinense (Berliner Chronik) e Diário de Moscou (Moskauer Tagebuch). Tal recorte foi feito tomando por base o realizado por Gerhard Richter em seu artigo "Acts of Self-Portraiture: Benjamin's Confessional and Literary Writings", publicado pela primeira vez em 2004 no The Cambridge Companion to Walter Benjamin1 / Abstract: The original intention of this research was to examine how the subject constitutes itself through the confessional writings of Walter Benjamin, taking into consideration the movements and possible changes that would be essential to it. Therefore, I wanted to take into account the peculiar way in which Benjamin constitutes it as a subject into these narratives, i.e., rupturing the idea of linearity and transparency of it. Thus, the author appears to enable the development of competence in a read image and a representation of the subject within his 'self writing'. This reading aims to deal with the constant transformations - which sometimes even expresses contradictions - suffered by Benjamin's subject over the texts. At the beginning, I staged the hypothesis that the term "confessional" and the term "autobiographical" were synonymous. Thus, the question of Benjamin's "confessional writing" became merged with the matter of autobiography in his works. Later, as a paradigm regarding the working process, I realized that Benjamin's 'self writing' and its subject merge confessional and testimonial moments, presenting what I think it is a new bias into the autobiographical writing. I propose to develop this work from the following works of Walter Benjamin: Berlin Childhood around 1900 (Berliner Kindheit one Neunzehnhundert); Berliner's Chronicle (Berliner Chronik) and Moscow's Diary (Moskauer Tagebuch). This selection was done by taking the base held by Gerhard Richter in his article "Acts of Self-Portraiture: Benjamin's Confessional and Literary Writings", first published in 2004 in The Cambridge Companion to Walter Benjamin.2 / Mestrado / Teoria e Critica Literaria / Mestra em Teoria e História Literária

Tesis para optar al grado de Magister en Axiología y Filosofía Política / El siguiente trabajo versará sobre la crítica a la concepción tradicional de historia, entendida por Nietzsche, como parte de una enfermedad, una enfermedad producida por el exceso de estudios históricos en una época que favorece a la ciencia (haciendo de la historia historicismo) desmereciendo de lado a la vida. Así también, nos ocuparemos de mostrar la recepción y productividad que ha tendido el planteamiento, respecto de la historia, de nuestro pensador, tanto en Foucault, como en Benjamin. Considerando que ambos, de diferentes formas, continuaron tratando dicho problema, recepcionándolo, como hemos dicho, a partir de un elemento en común, a saber, la desconfianza.

Demuestra la influencia de la cultura judía en la obra filosófica de Walter Benjamin tomando como referencia el concepto de aura desde un enfoque hermenéutico. Presenta una visión general sobre la cultura judía y el Talmud con la finalidad de elucidar los conceptos que Benjamin extrae de dicha tradición para elaborar su obra. Analiza concepto de “aura” tal como aparece en algunos textos del filósofo: Dirección única (1928); «Pequeña historia de la fotografía» (1930); «La obra de arte en la época de su reproductibilidad técnica» (1936); y en «Sobre algunos temas en Baudelaire» (1939). Establece la vinculación entre el Talmud, los principales conceptos del judaísmo y las categorías más importantes de la cultura judía en el concepto de aura. La investigación busca mitigar la carencia respecto a los estudios benjaminianos en la academia peruana, someter a discusión los principales presupuestos de su obra y poner de manifiesto las dificultades, riesgos y responsabilidades que esto entraña. / Tesis

Walter Benjamin (1892-1940), a twentieth-century Jewish-German intellectual, has recently achieved iconic status; however, during his lifetime, many scholars considered him to be a failure. This substantial shift in scholarly attitude invites questions concerning how intellectual figures are understood and constructed within academia. Cultural studies has renewed and enlarged the sphere of interest in Benjamin's work while, at the same time, canonizing and thus freezing it. This dissertation addresses the non-canonical side of the production of Walter Benjamin and, in so doing, shows what traditional scholarship has overlooked — the effect of the so-called "private" sphere on so-called "public" intellectuals. The dominant model for traditional scholarly studies remains both abstract and linear: it consists of tracing the influence of one (usually male) scholar upon another. This dissertation disrupts the tacit assumptions behind such an approach to knowledge by showing how intellectuals are produced both by and at the intersections o f the public and the private. The general scholarly acceptance of this false dichotomy, commonly referred to as the public/private split, has resulted in viewing scholars as though they exist in an abstract realm of ideas rather than in a concrete realm of lived reality. I draw on and add to the insights of feminist and cultural studies scholars who have attempted to show how people's interested contradictory locations, defined, as they are, by class, religion, ethnicity, gender, and so on, intersect with and affect their publicly constructed identities. To this end, my study provides a concrete example of how one particular intellectual, Walter Benjamin, has been (and continues to be) produced within specific historical, social, and cultural contexts. / Education, Faculty of / Educational Studies (EDST), Department of / Graduate

Orientador: Jeanne Marie Gagnebin / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-04T02:05:09Z (GMT). No. of bitstreams: 1 LopezGallucci_NatachaMuriel_M.pdf: 8238986 bytes, checksum: 19cc229a9ac35ae1c299faa43ae45ff8 (MD5) Previous issue date: 2003 / Resumo: A presente pesquisa parte do interesse de Walter Benjamin (1892-1940) em redor do problema da origem e da essência espiritual da linguagem no período de sua juventude. Em 1916, Benjamin escreve o ensaio 'Sobre a linguagem em geral e sobre a linguagem humana', fonte principal deste estudo. Mostraremos que, uma referência de crucial importância para a compreensão desse controvertido ensaio, é a figura do escritor préromântico Johann Georg Hamann (1730-1788). A menção benjaminiana de Hamann opera, neste sentido, como ponto de apoio provocador e imprescindível para nossa análise. Em seus próprios contextos históricos, Benjamin e Hamann, fazem uma forte crítica aos conceitos de conhecimento e de experiência sustentados pela Aufkliirung e condensados por Kant. Na crítica dirigida por Benjamin e Hamann ao primado do fenômeno processual kantiano, tomam relevância as 'Idéias das Teologia' e a 'experiência mágica da Revelação', formando parte de um percurso extremamente provocador para a Füosofia Contemporânea. A abordagem benjaminiana da linguagem, em confluência explícita e implícita com Hamann, possibilita o desenvolvimento do presente estudo filosófico de ambos autores. Porém, para uma melhor compreensão do ensaio benjaminiano Sobre a linguagem, levaremos especialmente em conta dois textos bamannianos citados por Benjamin: 'Estética in nuce. Rapsódia em prosa cabalística' (1762) e 'O cavalheiro rosacruz, última opinião sobre a origem divina e humana da linguagem' (1772) / Mestrado / Filosofia / Mestre em Filosofia

No description available.

No description available.

« Imaginez que vous pouviez construire une ville qui est partagée. »L’image d’un monde partagé, séparé, voilà ce qu’il nous reste. Finalement,c’est tout ce qu’il y a dire. Chaque chose est bien à sa place. Tout est bien en mouvement. Sous le son de la lyre et l’ombre de l’épée, la frontière se pousse toujours vers l’avant. Et elle reste. Elle fonce vers un avenir toujours jamais là. Au-delà de l’Arbre sec, elle ne trouve jamais que le même. Et de ce côté-ci, celui de la ville, jamais n’a-t-on été autant réunie en si grande proximité… en si grande promiscuité. En 1941, entre l’Espagne et la France, Benjamin compose ses dernières lignes : « Il ne me reste pas assez de temps pour écrire toutes ses lettres que j’eusse voulu écrire » (Adorno & Benjamin, 2006, p. 390). Il laisse derrière lui son Livre des passages, monumental projet inachevé dont le temps alimentera l’aura. Composé d’images en apparence éloignées - structures de métal, jeu, Baudelaire, caricatures– mais rapprochés par leur collage minutieux, à leur rencontre nous y trouvons pourtant la fulgurante lumière de la connaissance. 70 ans plus tard, la méthode comme les réflexions de Benjamin restent imprimées sur le ciel contemporain,porteuses d’une richesse toujours actuelle. Ce mémoire situé dans la tradition matérialiste, entre empirie et théorie, propose le collage de cinq situations : Second Life, Etsy, Voyage, Airbnb et l’oeuvre de Benjamin. Les uns au côté des autres, ils apportent un éclairage à la fois sur eux-mêmes, réalité matérielle, que sur une dialectique entre technologie, techniques, espace et lieu : le rapport entre le proche et le lointain. Guy Debord, le Nouveau Testament, la mystique juive et, bien sûr, Walter Benjamin seront nos guides dans cette quête dont le sens est défini par l’impératif de l’action. / « Imagine if you could build a city that is shared. »The image of a shared, separated, world, is what we have left. Finally, thisis the only thing that should be said. Everything at his right place. Everything in movement. Under the sound of the lyre or the shadow of the sword, the frontier is pushed forward. And it lives, charging to a future always never there. Beyond the Dry tree, it finds nothing but the same. And on this side, in the city, never were wegathered in so much proximity… and yet drifted so much further apart. In 1941, between Spain and France, Benjamin write his last lines : « I haveno more time left to write all those letters that I wanted to write ». He leaves behind his Passagenwerk, monumental unfinished projects but whose time will feed theaura. Made from images see mingly distant from each other - metal structures, panoramas, game, Baudelaire, caricatures – but brought closer by their collage, at their meeting, however, we find the brilliant light of knowledge. 70 years later, the method as for the reflexions of Benjamin illuminate the contemporary night sky, of an ever-persisting richness. This thesis in the materialist tradition, between empiry and theory, proposes the collage of five situations : Second Life, Etsy, Voyage,Airbnb and the work of Benjamin itself, which one beside the other brings lighting simultaneously on themselves, material reality, and on a dialectic between technology, technic, space and place : the relationship between the nearby and thefaraway. Guy Debord, the New Testament, the Jewish mystic and, of course, Walter Benjamin will be our guides in that quest whose meaning will be defined by the imperative of action.

Thesis (doctoral) - Universität, Heidelberg, 2000. / Includes bibliographical references (p. 389-417) and index.

Denna kandidatuppsats består av en egen översättning från engelska till svenska av första kapitlet från författaren Jesse Lee Petersons verk From Rage to Responsibility: Black Conservative Jesse Lee Peterson and America Today. Uppsatsen består dessutom av en källtextanalys samt översättningskommentarer som exemplifierar och diskuterar översättarens tillvägagångssätt i att åstadkomma en översättning som uppnår dess syfte. Syftet har primärt varit att överföra källtextinnehållet till måltexten och den djupare förståelse som förmedlas relaterat till ilska, självinsikt, förlåtelse och ansvar, på ett sätt som samtidigt bevarar författarstilen i möjligaste mån. Detta inkluderar en överföring av författarens lättsamma stil och användning av verbala och talspråkliga drag, idiom och kulturreferenser, samt en anpassning av syntax. För att åstadkomma detta har framförallt översättningsteorier och begrepp från Benjamin Walter och Theo Hermans tillämpats under översättningsprocessen och i översättningskommentarerna. / This essay is based on my own translation of the first chapter of author Jesse Lee Peterson’s work From Rage to Responsibility: Black Conservative Jesse Lee Peterson and America Today, in the language pair English to Swedish. The essay also includes a source text analysis, as well as a commentary on my own translation, where the translator’s approach in achieving a target text that accomplishes its aim is discussed and exemplified. The aim has primarily been to transfer the source text’s ideational core to the target text and the deeper understanding that is being conveyed, regarding rage, insight, forgiveness and responsibility, in an equivalent manner which stays faithful to the style of the author, to the extent that is considered possible. This includes the transference of the author’s cultural references, easy going and simple stylistic approach, along with the informal and colloquial language use, as well as a syntactic target language adaptation. To achieve this, the ideas and terms from the translation theorists Benjamin Walter and Theo Hermans have been applied during the translation process and in the commentary.