Download Benjamin's Library: Modernity, Nation, and the Baroque by Jane O. Newman PDF
By Jane O. Newman
In Benjamin's Library, Jane O. Newman bargains, for the 1st time in any language, a examining of Walter Benjamin's notoriously opaque paintings, beginning of the German Tragic Drama that systematically attends to its position in discussions of the Baroque in Benjamin's day. bearing in mind the literary and cultural contexts of Benjamin's paintings, Newman recovers Benjamin’s courting to the ideologically loaded readings of the literature and political idea of the seventeenth-century Baroque that abounded in Germany throughout the political and financial crises of the Weimar years.
To date, the importance of the Baroque for foundation of the German Tragic Drama has been glossed over through scholars of Benjamin, so much of whom have neither learn it during this context nor engaged with the customarily incongruous debates concerning the interval that stuffed either educational and well known texts within the years major as much as and following global struggle I. Armed with awesome old, bibliographical, philological, and orthographic examine, Newman indicates the level to which Benjamin participated in those debates via reconstructing the literal and figurative heritage of 16th- and seventeenth-century books that Benjamin analyzes and the literary, artwork old and paintings theoretical, and political theological discussions of the Baroque with which he was once prevalent. In so doing, she demanding situations the exceptionalist, even hagiographic, ways that experience turn into universal in Benjamin reviews. the result's a deeply discovered ebook that might infuse much-needed existence into the learn of 1 of the main influential thinkers of the 20th century.
"Jane O. Newman's erudite and eye-opening Benjamin’s Library bores into the Trauerspiel e-book with enough unbending get to the bottom of to disencumber an figuring out of its availability as a uniquely worthwhile crux within the self-understanding of literary-historical experiences as a complete. Newman skillfully lines the citational internet of literary students and paintings historians jostling for cognizance in Benjamin’s account of the baroque, highlighting the untold tale of that period’s pivotal significance within the conceptualization of modernity within the past due 19th and early 20th centuries. fairly impressive is her acceptance case research of precisely the one publication Newman treats might produce this kind of large and built-in trend of implications. This operating version of the method of disciplinary self-reflection might be famous as itself a milestone in that process."—Citation from the 2012 Committee of the Aldo and Jeanne Scaglione Prize for experiences in Germanic Languages and Literatures (Modern Language Association)
"Newman's research deals an astonishingly thorough reconstruction of the Trauerspiel book’s permitting highbrow stipulations, paying detailed recognition to the debates in artwork historical past, literary background, and theology because the 19th century and round international warfare I. . . . Newman’s provocative learn bargains a picture of Benjamin that runs counter to the permitted model of the author because the quintessentially cosmopolitan, border-crossing highbrow . . . [and] units information criteria for a go back to archival study, ancient reconstruction, and philological rigor in Benjamin studies."—Rolf J. Goebel, Monatshefte (Spring 2013)
Read or Download Benjamin's Library: Modernity, Nation, and the Baroque (Signale: Modern German Letters, Cultures, and Thought) PDF
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Additional resources for Benjamin's Library: Modernity, Nation, and the Baroque (Signale: Modern German Letters, Cultures, and Thought)
R]eason . . shows in what we call “ideas” a spontaneity so pure that it thereby goes far beyond anything that sensibility can ever afford it. . Because of this a rational being must regard himself as intelligence (hence not from the side of his lower powers) as belonging not to the world of sense but to the world of understanding. . As a rational being, and thus as a being belonging to the intelligible world, the human being can never think of the causality of his own will otherwise than under the idea of freedom’ (GMS 4: 452).
O]ur cognition of the unconditionally practical . . cannot start from freedom, for we can neither be immediately conscious of this, since the ﬁrst concept of it is negative, nor can we conclude to it from experience, since experience lets us cognize only the law of appearances and hence the mechanism of nature, the direct opposite of freedom. It is therefore the moral law, of which we become immediately conscious (as soon as we draw up maxims of the will for ourselves) that ﬁrst offers itself to us and, inasmuch as reason presents it as a determining ground not to be outweighed by any sensible conditions and indeed quite independent of them, leads directly to the concept of freedom.
The question of transcendental freedom is a matter for speculative knowledge only, and when we are dealing with the practical we can leave it aside as being an issue with which we have no concern’ (KrV A803–4/B831–2). ⁸ Though his early commentator Bernhardi does, on the grounds that comparative freedom requires both the capacity to represent and the capacity to deliberate, only the former of which he sees Kant as ascribing to animals. Cf. Bernhardi (1796: 245–6). ⁹ A second reason is that beings who are practically free are subject to oughts of some sort (cf.