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Periodization, Modernity, Nation: Benjamin Between Renaissance and Baroque
- Author(s):
- Jane O. Newman
- Date:
- 2009
- Subject(s):
- Baroque literature, Benjamin, Walter, 1892-1940, Ursprung des deutschen Trauerspiels (Benjamin, Walter), Civilization, Baroque, German literature--Early modern
- Item Type:
- Article
- Tag(s):
- Warburg, Barocktragödie
- Permanent URL:
- https://doi.org/10.17613/dv4c-nn54
- Abstract:
- [Opening paragraph] Herder’s claim already more than two hundred years ago that the history of the Baroque was ‘obscure’ (the German reads: ‘im Dunkeln’, in the dark) is just as appropriate in our early twenty-first century as it was in his day, this in spite of the enormous amount of attention devoted by literary, art historical, and art theoretical scholars to both the period (c. 1550-1700) and its styles in the intervening years. Walter Benjamin was one of those engaged in the debates about the Baroque that were conducted with particular intensity beginning in the last decades of the nineteenth century and on into the early part of the twentieth century. The period and the concept are in fact at the centre of his (in)famously obscure The Origin of the German Tragic Drama (1928), which Benjamin often referred to as his ‘Barockbuch’, as, for example, in a letter to Gershom Scholem of 19 February, 1925 (Benjamin 1993: I, 374). Debates about the Baroque spread from the German-speaking countries of central Europe into the United States along with many of the European émigrés who found their new academic homes and livelihoods there [...]
- Metadata:
- xml
- Published as:
- Online publication
- Status:
- Published
- Last Updated:
- 12 months ago
- License:
- Attribution-NonCommercial-NoDerivatives
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