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The gesture of collecting: Walter Be...

Emerling, Jae.

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The gesture of collecting: Walter Benjamin and contemporary aesthetics.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The gesture of collecting: Walter Benjamin and contemporary aesthetics./
作者:	Emerling, Jae.
面頁冊數:	149 p.
附註:	Source: Dissertation Abstracts International, Volume: 68-04, Section: A, page: 1191.
Contained By:	Dissertation Abstracts International68-04A.
標題:	Art History. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3257178

The gesture of collecting: Walter Benjamin and contemporary aesthetics.
Emerling, Jae.

The gesture of collecting: Walter Benjamin and contemporary aesthetics. - 149 p.

Source: Dissertation Abstracts International, Volume: 68-04, Section: A, page: 1191.

Thesis (Ph.D.)--University of California, Los Angeles, 2007.

This dissertation explicates the German-Jewish philosopher Walter Benjamin's theory of collecting. I argue that one of the primary aesthetic figures of Benjamin's philosophy is the "genuine collector," a debased figure who is nevertheless charged with the redemptive task of a critical historian and an allegorist. Through this "genuine collector" Benjamin posits a theory of memory premised on the very language of things. From the kitsch and cast-off detritus of nineteenth-century capitalist modernity he desires "to read what was never written" in what he calls the "scorned and apocryphal." This is the wager of Benjamin's work: through a critical philology of the material world, there appears potentiality, another narration of experience, another re-collection of redemption or happiness: the "as-yet unlived" that remains immanent in the present.Subjects--Topical Terms:

635474
Art History.

The gesture of collecting: Walter Benjamin and contemporary aesthetics.
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245 1 4 $a The gesture of collecting: Walter Benjamin and contemporary aesthetics.
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502 $a Thesis (Ph.D.)--University of California, Los Angeles, 2007.
520 $a This dissertation explicates the German-Jewish philosopher Walter Benjamin's theory of collecting. I argue that one of the primary aesthetic figures of Benjamin's philosophy is the "genuine collector," a debased figure who is nevertheless charged with the redemptive task of a critical historian and an allegorist. Through this "genuine collector" Benjamin posits a theory of memory premised on the very language of things. From the kitsch and cast-off detritus of nineteenth-century capitalist modernity he desires "to read what was never written" in what he calls the "scorned and apocryphal." This is the wager of Benjamin's work: through a critical philology of the material world, there appears potentiality, another narration of experience, another re-collection of redemption or happiness: the "as-yet unlived" that remains immanent in the present.
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