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Religion et histoire : sur le concept d'expérience chez Walter Benjamin /Lavelle, Patricia, January 2008 (has links)
Texte remanié de: Thèse de doctorat--Philosophie.
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On the Metapolitics of Decay: Walter Benjamin's Will to HappinessMcKinney, Jason 19 June 2014 (has links)
This dissertation analyzes the early work of Walter Benjamin (ca. 1916 – 1926). The
period under consideration falls between Benjamin’s break from the German Youth Movement (which also coincides with the beginning of the Great War) and his turn to Marxism. Benjamin’s life and work during this period is characterized by, on the one hand, an intensified interest in theological concepts and, on the other hand, the apparent refusal of concrete political
engagement. It is the claim of the dissertation that what Benjamin elaborates – in the absence of a concrete political program and with the aid of theological concepts – is a metaphysical conception of politics: what I call a metapolitics of decay.
This metapolitics is informed by a certain theological understanding of transience: the
decay that attends to a creation which has “fallen” from its original condition. While Benjamin’s metapolitics is oriented towards redemption – to the lossless consummation of historical life – it pursues this goal, not by circumventing transience, but by concentrating on the decay of nature –
and by extension, of history.
The metapolitical limit upon concrete politics, however, does not foreclose the possibility of the latter. In 1919, in a text posthumously named the “Theologico-Political Fragment,” Benjamin does in fact spell out what I call a politics of transience. One of the major historical
and conceptual trajectories that the dissertation traces, therefore, is the movement from the metapolitics of decay to the politics of transience.
The political significance of transience and decay reveals itself in the profane and
melancholic fixation upon the decay of nature and of history. And yet it is only with the concept of happiness that both the metapolitical and the political dimensions of Benjamin’s work become most clear. Happiness (Glück), which is manifestly not the bliss (Seligkeit) of the prelapsarian condition, is no escape from the melancholy situation of historical life. It remains definitively profane and capable of taking an “elegiac” form. But it is precisely by way of its profanity and its melancholy that happiness comes to signify the idea of redemption. The will to happiness, for Benjamin, is a (weak) messianic force.
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On the Metapolitics of Decay: Walter Benjamin's Will to HappinessMcKinney, Jason 19 June 2014 (has links)
This dissertation analyzes the early work of Walter Benjamin (ca. 1916 – 1926). The
period under consideration falls between Benjamin’s break from the German Youth Movement (which also coincides with the beginning of the Great War) and his turn to Marxism. Benjamin’s life and work during this period is characterized by, on the one hand, an intensified interest in theological concepts and, on the other hand, the apparent refusal of concrete political
engagement. It is the claim of the dissertation that what Benjamin elaborates – in the absence of a concrete political program and with the aid of theological concepts – is a metaphysical conception of politics: what I call a metapolitics of decay.
This metapolitics is informed by a certain theological understanding of transience: the
decay that attends to a creation which has “fallen” from its original condition. While Benjamin’s metapolitics is oriented towards redemption – to the lossless consummation of historical life – it pursues this goal, not by circumventing transience, but by concentrating on the decay of nature –
and by extension, of history.
The metapolitical limit upon concrete politics, however, does not foreclose the possibility of the latter. In 1919, in a text posthumously named the “Theologico-Political Fragment,” Benjamin does in fact spell out what I call a politics of transience. One of the major historical
and conceptual trajectories that the dissertation traces, therefore, is the movement from the metapolitics of decay to the politics of transience.
The political significance of transience and decay reveals itself in the profane and
melancholic fixation upon the decay of nature and of history. And yet it is only with the concept of happiness that both the metapolitical and the political dimensions of Benjamin’s work become most clear. Happiness (Glück), which is manifestly not the bliss (Seligkeit) of the prelapsarian condition, is no escape from the melancholy situation of historical life. It remains definitively profane and capable of taking an “elegiac” form. But it is precisely by way of its profanity and its melancholy that happiness comes to signify the idea of redemption. The will to happiness, for Benjamin, is a (weak) messianic force.
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Die Enteignete Erfahrung : zu Walter Benjamins Konzept einer "Dialektik im Stillstand" /Meiffert, Torsten, January 1986 (has links)
Diss.--Philosophie, 1986. / Bibliogr. p. 187-191.
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Discrimen der Zeit : zur Historiographie der Moderne bei Walter Benjamin /Eidam, Heinz. January 1900 (has links)
Diss.--Fachbereich für Erziehungswissenschaft und Humanwissenschaft--Kassel--Gesamthochschule-Universität, 1991.
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Sprachfiguren : Name, Allegorie, Bild nach Benjamin /Menke, Bettine. January 1991 (has links)
Texte remanié de: Diss.--Philosophische Fakultät--Universität Konstanz. Titre de soutenance : Sprachfiguren, Figuren des Umwegs in der Theorie Benjamins. / Bibliogr. p. 435-444. Index.
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A Fotografia como ruínaOliveira, Elane Abreu de 31 January 2009 (has links)
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Previous issue date: 2009 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Com base no pensamento benjaminiano sobre a imagem e o tempo, traçamos um paralelo
entre o conceito de fotografia e a noção de ruína. Evidenciamos o que há de comum nessa
analogia com o objetivo de aprofundar a discussão da questão: como a fotografia, ao se
caracterizar como ruína, dialoga com a descontinuidade do tempo? Nesse caminho,
percebemos no legado de Walter Benjamin pontos-chave para construirmos nossa
fundamentação, tais como: o conceito de história, a memória, a ruína alegórica barroca e a
própria fotografia. A contribuição do filósofo nos permitiu ligar tais temas aos liames da
teoria fotográfica tão discutida por Roland Barthes, Philippe Dubois, André Bazin, dentre
outros que balizaram a fotografia sob a ótica do vestígio, do rastro do real. Interessou-nos
perceber a proximidade entre imagem fotográfica e o tempo descontínuo que se estabelece na
dialética entre passado e presente, aparência e ocultação, morte e vida. Indo além, também
relacionamos fotografia e história, que põem em evidência duplos como:
documento/monumento e verdade/mentira. Ao longo do texto, dedicamo-nos a apresentar
imagens de fotógrafos que trabalham, de formas diversas, com a fotografia como ruína. São
eles: Eugène Atget, Christian Boltanski e Rosângela Rennó. Essa seleção de imagens,
sobretudo, reforça temas benjaminianos que abordamos. Buscamos, então, construir e
fundamentar um texto com o intuito de chegar mais próximo daquilo que seria, para
Benjamin, a imagem fotográfica de seu pensamento
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William Faulkner's "Lizards in Jamshyd's Courtyard": a critical and textual studyDawson, Seth William 01 May 2010 (has links)
This research represents the first complete attempt to deal solely with “Lizards in Jamshyd’s Courtyard” as an autonomous text. The format is based on the chapters of Hans Skei’s Reading Faulkner’s Best Short Stories. The first part presents a detailed description of the most complete manuscript and typescript versions of “Lizards,” most of which are held in the University of Mississippi’s Rowan Oak Papers collection. The second part presents a critical reading of “Lizards in Jamshyd’s Courtyard,” based on the published version of the story, using the textual study for support. I draw on Walter Benjamin’s essay “The Storyteller” to provide perspective on the function of storytelling in the modern world and Faulkner’s use of storytelling as something more than a simple integration of Southwestern humor motifs, illuminating how Flem corrupts/disrupts the community’s oral traditions to achieve his goals.
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Towards redemption : Walter Benjamin and Roland Barthes on photographyYacavone, Kathrin January 2008 (has links)
This thesis compares and contrasts the multiple discourses on photography found in the critical and theoretical writings of Walter Benjamin and Roland Barthes. It seeks to demonstrate that despite the different historical, philosophical, cultural, and linguistic contexts of their work, Benjamin and Barthes engage with a similar constellation of questions and problems that photography uniquely poses. It argues that each author moves towards a practice of redemptive criticism as foregrounded in relation to one privileged photograph in each case (the childhood portrait of Franz Kafka, for Benjamin, and the photograph of the mother-as-child for Barthes). Dedicated to a close reading of relevant texts by each author, the study is divided into three parts, with each corresponding to a different set of themes to which the photographic is related. The first part focuses on the historical and evolutionary development of Benjamin’s and Barthes’s view of photography in the context of wider shifts in their critical practice and methodology, and then in comparison with each other. The second part investigates the complex historical and philosophical influence of Proustian aesthetics on their writing on photography. Suggesting that Proust’s philosophy of memory provides an apt point of departure for Benjamin’s and Barthes’s discussion of photography in relation to memory, it traces how each thinker then moves beyond the Proustian conceptual framework towards similar ends. The third and final part is devoted to Benjamin’s and Barthes’s conceptualisation of photography in relation to singularity. Specifically, it centres on how certain photographs convey singularity as a function of the relation between the photograph, its referent, and its beholder. In total, this study argues that Benjamin and Barthes rightly deserve their often acknowledged places as pioneering figures in the theory of photography. However, while both theorists provide numerous important insights into the historical, cultural, and phenomenological nature and function of the medium, their writing on photography is also marked (perhaps necessarily, in some cases) by ambiguities, contradictions, and problematic evaluative judgements (with respect to both the medium and to particular photographs) which must be acknowledged in order to gain a proper appreciation of their work in this area.
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Farbphantasien, Dingallegorese und Raumzeit : Studien zur Melancholie bei Walter Benjamin /Bauer, Markus, January 1900 (has links)
Texte remanié de: Dissertation--Marburg--Philipps-Universität, 2005. / Bibliogr. p. 261-278.
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