|Terminologies: here, special features of the language use of the individual authors are explained._____________Annotation: The above characterizations of concepts are neither definitions nor exhausting presentations of problems related to them. Instead, they are intended to give a short introduction to the contributions below. – Lexicon of Arguments. |
|Norbert Bolz, Willem van Reijen, Walter Benjamin Frankfurt 1991
Paris Passages/Benjamin: the Paris Passages are documents of a society in which the economic order has assumed the function of the old myths.
Flaneur: he looks at the goods and becomes the goods themselves. Reincarnation of Odysseus. Consideration of everyday objects like in a dream.
Glass Palaces: glass palaces are the continuation of the precariously shaping of the relationship between inside and outside from time immemorial, it is the mythical constitution of our nature-degenerate thinking.
Primordial experience/Benjamin: Cave, Underworld, Labyrinth, Chaos, Ruin. In them the understanding of the present is articulated.
Allegory/Benjamin: the mythical spell of the allegory breaks through the power of the chock and the discontinuity. Benjamin hopes to bring the momentum of the historical dialectic to a standstill.
Benjamin: "Anthropological materialism": the misguided reception of technology in the 19th century and in the First World War compels us to think of the relationship between human and nature not as a mastery of nature through the human, but as a mastery of the entire relationship.
Teaching is abolished critique, critique is inverse theology and religion is the "concrete totality of experience".
The origin of the German tragedy: the image of the baroque world is born from the absolutely evil. It turns into an allegory of resurrection.
Magic/Benjamin: The communicability of the mental being is limited by the linguistic nature. Immediate knowledge by naming the name.
Tragedy: "idea", a "linguistical". Essence: the form, in the language, not through the language. Language is the essence of the German tragedy.
The bourgeois world is developing into totalitarianism.
Baroque: the topos of transience is central.
Fear: To be overthrown at the Last Judgment.
There is no Assurance in the Baroque.
Baroque: is quoted in the 19th century (ruin, labyrinth).
Tragedy/Benjamin: the German tragedy, unlike the Greek tragedy, knows no cosmic order, which reconciles the human with his destiny.
Allegory/Benjamin: Grief, Transience, Descriptive Representations of an Abstract Concept. "One of the strongest motives in the allegorical is the insight into the transient and that concern to save things into the eternal." The power for this salvation has been discovered by the Baroque. It is only possible if the organic and the living have been destroyed before. The object becomes allegorical in the sight of melancholy.
Allegory: (literally: "to say something else" introduces incompatible opposites, e.g. the abstract and the sensibly perceptible antithetical.) Tendency from the general to the particular (derogatory). Allegory constitutes a totality in which the extremes are preserved. Baroque allegory reacts to a crisis experience. Unreconciled unity of opposites (e.g. city).
Baroque: Antiquity remains a contrast to Christianity.
Allegory: an allegory has an analytical meaning and relationship between dream and being awake:> Paris (compared with Babylon) capital, in which all the languages of the world are spoken. At the same time hell. Nothing degrades things as much as the world of things itself. (> Passages).
Underworld/Marx: the underworld has hidden place of capitalist production: "unauthorized access is prohibited".
Labyrinth/Benjamin: (large city): "the right way for the person who always arrives at the destination early enough."
"Dialectic at a standstill": not reaching the goal. The movement continues, but on the spot. Eternal passage. "Nu": "The past thing is connected flashingly with the "Now" into a constellation."
Fashion: Eternal return of the same.
Ruins/Baroque/Benjamin: fascination, not by nostalgia, but in which the fragment is seen as a necessary counterpart to the whole.
Baudelaire/Benjamin: for Benjamin, he represents most clearly the ruinous development. He is not a pessimistic, but an allegorical artist. In the original sense, he is a melancholic, torns the objects out of their context and gives them meaning.
"Profane Enlightenment"/Benjamin: profane Enlightenment is to be inspired by the phenomena themselves. Destruction of the modern myth.
Montage/Benjamin: montage makes a never-written story readable. "To quote art without quotation marks". The > name stands "lonely and expressionless".
(This was already tried by the early Romantics: the past should be cited so that it would become the historical condition of the possibility of present-day knowledge.)
One-way street/Benjamin: is an ancient delirium experience of the cosmos, returns disfigured in the bloodlust of the war.
"Profane Enlightenment": to oppose the rapture of technique with the technique of rapture. Intelligible structure.
Mass/Bernjamin: the mass is a good, the latest asylum of the outlaw.
The collective body is technically organized.
"To act with films and radio on such collectives is one of the greatest peoples psychological experiments now being done in the giant laboratory of Russia".
In the fascist ornament, the masses look themselves in the faces, but they do not meet.
Mass: Benjamin still sees utopian features of the mass behavior, which is characterized by panic, terror and horror, as in the world war. Unconscious exercise in collective maturity.
Three related thinking figures:
a) Surrealism: the bourgeois individual disintegrates into creature and collective body
b) in the form of Baudelaire and the film actor, he illustrates how the self-alienation of man can be productively used.
c) To Brecht, he prepares the "destructive character" for Loos and Salomon Friedlaender.
Destructiveness is the ideal solution from the mass of the petty bourgeoisie to the collective body of a renewed humanity. (This idea was very common in the twenties (> Heidegger, Freud).
Benjamin: "Destructive Humanity": "The destructive character knows only one slogan: creating space, there is only one activity: clearing up, its need for fresh air and free space is stronger than any hate, the destructive character is young and cheerful." It does not think of anything. It is ready for reconciliation in its core.
"Election": election is for Benjamin in principle only an apparant freedom.
Reconciliation: (essay on the elective affinities: reconciliation can only be with God; it can only be achieved if in it "everything is destroyed, in order to find it first before God's reconciled face."
Majesty of the allegorical intention: "destruction of the organic and living extinction of appearance."_____________Explanation of symbols: Roman numerals indicate the source, arabic numerals indicate the page number. The corresponding books are indicated on the right hand side. ((s)…): Comment by the sender of the contribution. The note [Author1]Vs[Author2] or [Author]Vs[term] is an addition from the Dictionary of Arguments. If a German edition is specified, the page numbers refer to this edition.
|Link to abbreviations/authors|