scholarly journals ALEGORIJA KAIP KALBĖJIMAS APIE KITYBĘ

2009 ◽  
Vol 6 (1-2) ◽  
pp. 117-133
Author(s):  
Lina Vidauskytė
Keyword(s):  
Walter Benjamin ◽  
The Other ◽  
Philosophical Concept ◽  
Indirect Speech ◽  
The One

Šiame straipsnyje aptariama Walterio Benjamino alegorijos samprata, kuri gali būti suprantama ir kaip jo taikomas filosofinis alegorinis metodas. Šis metodas traktuojamas kaip būdas kalbėti apie kitybę. Alegorija, kuri reprezentuoja barokinį Trauerspiel (tai savarankiškas žanras, o ne antikinės tragedijos tąsa), pasižymi tam tikru pertrūkiu tarp formos ir turinio, arba tarp reikšmės ir išraiškos. Benjaminas siekia reabilituoti alegoriją – romantikai buvo pradėję ją nuvertinti. Čia pasirodo svarbi Benjamino kalbos samprata, o tiksliau – nuopuolio situacija, kuri atsispindi ir kalboje. Alegorija pasirodo kaip vienintelė įmanoma tokioje situacijoje. Alegorijos fragmentiškumas, konvencijos ir išraiškos dialektika, priklausomybė nuo reikšmę suteikiančio autoriteto, kilmė iš liūdinčio / gedinčio žvilgsnio, kuriam pasaulis suskyla į atskirybes, formali giminystė tokiems turiniams kaip irimas (Verfall) ir mirtis, kilmė iš „kalbos dvasios nuopuolio“ („Sündenfall des Sprachgeistes“), kurį alegorija ir išreiškia, alegorijos sąsaja su kita nei žmogiška būtimi yra pagrindinės filosofinio alegorinio metodo ypatybės.Pagrindiniai žodžiai: alegorija, simbolis, Barokas, Romantizmas, netiesioginis kalbėjimas, kitybė, Trauerspiel, tiesa.Allegory as representation of the OtherLina Vidauskytė SummaryThis article deals with German philosopher’s Walter Benjamin philosophical concept of allegory. The concept of allegory is aplied as method in the main works of Benjamin. This method is concidered as a way of speaking about the Other. Allegory represents Baroque Trauerspiel (it is an autonomous genre rather than continuation of Anciet Tragedy) and have interruption between form and content, meaning and expression. Benjamin seaks the rehabilitation of allegory from its humiliation since Romanticism. Benjamin’s notion of language after the Fall is one of the most important issues for using allegory, or indirect speech. Allegory is nearly the one way of expression in such historical (not mythological) situation. Allegory’s fragmentation, its dialectics of convention and expression, its origin from mourning gaze, formal kinship to such contents as decay and death, its origin from “the Fall of language spirit” etc. are the main characteristics of such philosophical method.Keywords: allegory, symbol, Baroque, Romanticism, indirect speech, Other, Trauerspiel, truth.

Allegory at the Limits of Classicism: EUGENIO MONTALE'S LA BUFERA E ALTRO

2009 ◽  
Vol 43 (2) ◽  
pp. 405-417
Author(s):  
Elias Polizoes
Keyword(s):  
James Joyce ◽  
Walter Benjamin ◽  
The Other ◽  
Work Of Art ◽  
The World ◽  
The One

This article offers a reading of the “Conclusioni provvisorie,” the last section of Eugenio Montale's La bufera e altro. It takes its lead from notion of Classicism outlined by T.S. Eliot in his 1923 review of Ulysses and argues that the recourse Montale makes to Dante in particular, and to Christian symbolism in general, is structurally akin to the parallel James Joyce draws between Homer's Odyssey and the world of the early 1920s. In Eliot's view, it is by invoking the coherence of ancient myth that a writer can lend shape and significance to the chaos of the modernity. In Montale's case, however, rather than work to organize the chaotic present according to the idealized image of form and order Classicism promises, the structural use the poet makes of Christianity serves a demythologizing function. On the one hand, it exposes how Classicism is unable to marshal the chaos of the present beyond transforming it into a work of art; on the other, it shows that ideas of order are in fact allegories of the kind elaborated by Walter Benjamin, that is to say, provisional, makeshift, and ultimately empty.

scholarly journals From Displacements of Form to Auratic Trace: Notes on Didi-Huberman’s Thinking on Images

2020 ◽  
Vol 14 (26) ◽  
pp. 248-272
Author(s):  
Alice Mara Serra
Keyword(s):  
Jacques Derrida ◽  
Walter Benjamin ◽  
The Other ◽  
Dialectical Image ◽  
Other Hand ◽  
Nous Voyons ◽  
The One ◽  
The Way

This text underlines the way in which, for Georges Didi-Huberman, topics including matter, symptom and memory become primordial to the thinking of images. But as Didi-Huberman proceeds, the course that leads him to highlight such topics first addresses other topics that, inphilosophy and iconography, sought to deny such readings, namely: image as form and its correlative meanings, that is, image as symbol and image as visibility. Didi-Huberman, however, argues that the notion of form may no longer be merely opposed to that of matter, nor be considered as solely idealistic. If, on the one hand, Didi-Huberman presents the insufficiency of the deconstruction of the notion of form presented by Jacques Derrida, on the other hand, the displacements of the notion of form proposed specially in Ce que nous voyons ce qui nous regardepoint to an approximation to deconstruction, mostly to the themes of trace, index and “the belows” (les dessous) of images. In addition, passages of this and other works of Didi-Huberman may insinuate a connection between the notions of trace and aura, which refer to convergences concerning the deconstruction of the visible and the dialectical image. This text seeks to reconstruct such directions from writings of Didi-Huberman and, in this way, restores other writings that border on them: specially from Jacques Derrida and Walter Benjamin.

Introduction

2020 ◽  
pp. 1-18
Author(s):  
David Anderson
Keyword(s):  
Walter Benjamin ◽  
The Other ◽  
Spatial Turn ◽  
Landscape Art ◽  
History Of ◽  
The One

The introduction commences with a ‘detour’ into the history of landscape art and the picturesque, suggesting ways that this mode pre-empted what may seem like more modern ideas about the interference between perception and representation. This discussion is folded into a brief account of the so-called ‘spatial turn’ and the interventions of theorists including Doreen Massey and Marc Augé, establishing an immediate context for the work of Keiller, Sebald, and Sinclair. Suggesting a twin heritage of the ‘English Journey’ on the one hand and the French Surrealists and Situationists on the other, the introduction then offers the tension between amant and amateur as a way of characterizing the balance of exotic/everyday, plan/coincidence, and high-brow/low-brow in these figures’ work. It considers the role of pedestrianism and melancholia before closing with a discussion of Walter Benjamin and Gustave Doré’s ‘New Zealander’.

Huo 或 in Heng Xian of the Shanghai Museum’s Edition of Chu Bamboo Slips

2019 ◽  
Vol 46 (3-4) ◽  
pp. 182-190
Author(s):  
Sixin Ding
Keyword(s):  
The Other ◽  
Material Force ◽  
Philosophical Concept ◽  
Other Hand ◽  
Heng Xian ◽  
Shanghai Museum ◽  
Bamboo Slips ◽  
Indefinite Pronoun ◽  
The One

“Huo” 或 in “Heng Xian” 恆先 of the Chu bamboo slips in the Shanghai Museum is a significant concept in cosmology and cosmogony. “Huo,” as a cosmogonic period, is after “heng” 恆 (the permanent), but prior to qi 氣 (material force), hence it is relatively important. This term in the manuscript is used as an indefinite pronoun, meaning “something”, rather than “exist” (as a verb), “indefinitely/ maybe” (as an adverb) or “a state between being and nothingness”. However, in the cosmogonic sequence, it is indeed intermediate between nothingness (“heng xian”, the permanent beginning) and being (qi, or you 有, being/to be). That “huo,” as an indefinite pronoun, can be used as a philosophical concept is testified by “Bai Xin” 白心(Purifying the Heart-mind) in the Book of Guanzi 管子 and “Ze yang” 則陽 in the Book of Zhuangzi, in which the term “huo” also means “something.” “Heng Xian” uses an indefinite pronoun “huo” to refer to a stage in the genesis of the cosmos. This shows, on the one hand, that its author has contemplated cosmology more profoundly; on the other hand, it shows that the author’s knowledge about the structure of cosmogony has not yet been fully developed. Moreover, the concepts “huo” and “heng xian” both develop the notion implicit in the concept of “heng.”

Inventory of a Century

2019 ◽  
pp. 462-483
Author(s):  
Alexander Kluge
Keyword(s):  
Walter Benjamin ◽  
The Other ◽  
The Past ◽  
Arcades Project ◽  
Present Tense ◽  
Alexander Kluge ◽  
The One ◽  
As If

This chapter looks at the dialogue between Prof. Dr. Burkhardt Lindner, editor of the Benjamin Handbook, and Alexander Kluge wherein they talked about Walter Benjamin's Arcades Project (1982). According to his exposé of 1939, Walter Benjamin divided Arcades Project into six parts and called the first “Arcades,” the second “Panoramas,” and the next “World Expositions.” And then came “Interiors,” “Streets,” and then finally “Barricades.” He wrote his exposé incidentally in the present tense such that it did not appear like a story from the past, but rather as if he were an eyewitness of something taking place now. He then assigned a figure to each of these six keywords such that there was within Benjamin's imagination one person who did, planned, or achieved something, on the one hand, and an object world naturally far more powerful, on the other. Lindner and Kluge also considers Benjamin's anthropological materialism.

scholarly journals Walter Benjamin and Erich Kästner. The Story of Two Moralists

2021 ◽  
Vol 6 (4) ◽  
pp. 142-163
Author(s):  
Ekaterina B. Kriukova ◽  
Oxana A. Koval
Keyword(s):  
Weimar Republic ◽  
Walter Benjamin ◽  
Real Life ◽  
Moral Values ◽  
The Other ◽  
The Novel ◽  
Cultural Life ◽  
The One ◽  
Literary Quality ◽  
Key Characters

The article focuses on the life and work of two German intellectuals, the philosopher Walter Benjamin and the writer Erich Kästner, who played a prominent role in the cultural life of Berlin in the 1920s. The idea of a comparative analysis of these two figures was prompted by Kästner’s novel Fabian. The Story of a Moralist. This novel is of interest due to its high literary quality, on the one hand, and the authenticity of the representation of the Weimar Republic on the other, which allows us to consider Kästner’s book as a document of the era. According to German researchers, the main characters of the novel have real-life prototypes, namely the author himself and the famous philosopher Walter Benjamin. This idea is developed and reinforced in the article. Therefore, the article parallels draws parallels between biographical facts and plot devices while reconstructing the context of the novel’s creation and highlighting events that occurred after its appearance. Based on this analysis, we argue that the key characters represent two ways of ethical existence in a society where moral values are negated by cynical reason. Thus, involving Benjamin’s philosophical theories, as well as Kästner’s war diaries, we outline the background of the debate on moral priorities that takes place in the pages of the novel.

scholarly journals Payador: Considerações sobre oralidade, experiência e memória em Buenos Aires, la novela, de Pedro Orgambide / Payador: The Consideration of Orality, Experience, and Memory in Buenos Aires, la Novela by Pedro Orgambide

2019 ◽  
Vol 15 (1) ◽  
pp. 263
Author(s):  
Fernanda Palo Prado
Keyword(s):  
Buenos Aires ◽  
Walter Benjamin ◽  
The Other ◽  
Contact Zones ◽  
Present Essay ◽  
Porous Surfaces ◽  
The One

Resumo: O presente ensaio tem por objetivo refletir sobre o estabelecimento de possíveis paralelos entre Pedro Orgambide e Walter Benjamin por meio da figura do payador e do contador de histórias [narrado] a partir do tripé: oralidade, experiência e memória que possuem, entre si, margens porosas que promovem zonas de contato nas quais características de uma e das outras se imiscuem e que servem de base para o traçado dessas considerações. Parte-se do texto “O narrador: Considerações sobre a obra de Nikolai Leskov” de Benjamin, por um lado, e de Buenos Aires la novela, de Orgambide, por outro. A análise não se pretende definitiva ou única, busca-se apresentar uma forma de leitura do escritor argentino sendo certo que embora tenham percorrido caminhos distintos [em diversos pontos], a leitura mais sistemática de ambos fez com que fosse possível ensaiar uma série de considerações entre um e outro.Palavras-chave: oralidade; experiência; memória; Walter Benjamin, Pedro Orgambide.Abstract: The present essay aims to reflect on the establishment of possible parallels between Pedro Orgambide and Walter Benjamin through the figure of the payador and the storyteller [narrator] from the tripod: orality, experience and memory that have, between them, margins porous surfaces that promote contact zones in which characteristics of one or the other are involved and which serve as the basis for the tracing of these considerations. Part of the text “The narrator: Considerations on the work of Nikolai Leskov” of Benjamin, on the one hand, and of Buenos Aires la novela, of Orgambide, on the other. The analysis is not intended to be definitive or unique, it is sought to present a form of reading of the Argentine writer being certain that although they have crossed different paths [in several points], the more systematic reading of both made it possible to rehearse a series of considerations between them.Keyword: orality; experience; memory; Walter Benjamin, Pedro Orgambide.

Vergangene Vergängnis: Für eine Philologie des Stattdessen

2017 ◽  
Vol 52 (1) ◽  
pp. 74-94 ◽  
Author(s):  
Hyowon Cho
Keyword(s):  
Dante Alighieri ◽  
Walter Benjamin ◽  
Franz Kafka ◽  
Divine Comedy ◽  
Philosophy Of History ◽  
The Other ◽  
Michel De Montaigne ◽  
Literary Achievement ◽  
The One ◽  
Tragic Drama

AbstractBetween Erich Auerbach and Walter Benjamin, there existed a remarkable friendship, which on the one hand manifested itself as an unobtrusive disputation, and yet which on the other hand could be considered an unintended collaboration toward an old-new ideal of philology. Auerbach claims that with the Divine Comedy of Dante Alighieri, Western European literature reached the climax of the figuralism that Auerbach, if belatedly, wants to bring to the fore. Benjamin, in contrast, finds energy for the revolution in the surrealistic love that traces back not to Dante, but to the Provençal poetry which Auerbach regards merely as preliminary to Danteʼs literary achievement. In his The Origin of German Tragic Drama, Benjamin highlights the concept of creatureliness, whose significance for his philosophy of history is no less than that of justice. Auerbach, for his part, does not find its expression in the Germany of the 17th century, but in the France of the 16th century, namely in the work of Michel de Montaigne. However, Montaigneʼs creatureliness is rooted in sermo humilis, which is best embodied in the story of Peter who denied his Lord Jesus Christ three times. By contrast, German creatureliness detects its dissolution in the idea of natural theatre that Benjamin locates in the work of Franz Kafka. Sermo humilis is the perfection of figuralism, whereas the idea of natural theatre means reversal of allegory. The perfected figuralism and the reversed allegory cooperate in the idea of the philology of instead (Philologie des Stattdessen), whose task it is to make bygone the futility of worldly things.

scholarly journals Corpo-caleidoscópio: as siluetas de Mendieta

2020 ◽  
Vol 2 (2) ◽  
pp. 44-56
Author(s):  
Sarah Marques Duarte
Keyword(s):  
Walter Benjamin ◽  
The Other ◽  
Dialectical Image ◽  
Ana Mendieta ◽  
The One

The article is developed based on the hypothesis that the Silueta’s series (1973-1979) of Ana Mendieta (1948-1985) can be thought through the relation with the kaleidoscope. On the one hand, as a paradigm of thinking about the dialectical image present in Walter Benjamin's thesis, and on the other, as a metaphor for sensible understanding the series created by the Cuban artist. The text is grounded in the thought of four of these works and relates them with reflections presented in the writings, mainly of Georges Didi-Huberman and Walter Benjamin.

scholarly journals «The Master and Margarita» of M. A. Bulgakov: word that became truth

2021 ◽  
Vol 4 (121) ◽  
pp. 168-174
Author(s):  
Ekaterina P. Aristova ◽  
Keyword(s):  
Distinctive Feature ◽  
The Other ◽  
The Novel ◽  
Philosophical Concept ◽  
Sense Of Reality ◽  
The One ◽  
The Master And Margarita ◽  
European Thought ◽  
Death Of The Author ◽  
Master And Margarita

The article presents a reading of the novel by M. A. Bulgakov «The Master and Margarita» as an interpretation of the philosophical problem of the connection between word and reality discussed in European thought in the second half of the 20th century in the works of J. Derrida, J. Baudrillard, R. Barthes and others. In «The Master and Margarita», the loss of a sense of reality is shown through the fine line between fiction and prophecy. The writer appears, on the one hand, as an obsessed and insane, on the other hand, as one who is able to speak truthfully when reality is fictitious, just as the ideological and bureaucratic atmosphere of the USSR in the 1930s (it is shown in the novel as a space of signs that have lost the signified, as fiction and theater). A distinctive feature of M. A. Bulgakov’s novel is attention to the destiny of the speaking person. The religious motive of personal speech as a personal response to God can be opposed to the philosophical concept of the «death of the author» by R. Barthes and M. Foucault. This personality of speech is important in the situation of the Stalinist period, when a person could disappear forever. Interpretations of the key figures of the novel are given: Woland as a liar-teller, the Master as a writer, capable of telling not a lie, but the truth through his fiction, Margarita as a force of love, capable of recklessly choosing her subject and giving it meaning even among general nonsense. The images of the execution of Pontius Pilate and the Master's award reflect the two destinys of the ambiguous speaker: the torment of a coward who does not dare to speak openly and a cosy space for creativity that gives freedom and hope.

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