Abstract

Despite Benjamin's importance to contemporary allegory studies, his understanding of allegory has been widely misconstrued in ways that diminish its applicability to current problems in the field. I attribute this in large part to a failure to integrate his early writings on the subject in The Origin of German Tragic Drama with his later views, expressed in both his writings on Baudelaire and the recently-translated Arcades Project. An examination of this last text in light of the others yields a theory of allegory as a dialectical mode that responds to the destabilization of, or contradiction within, the historically-specific situation from which it emerges. This in turn accounts for the apparent contradictions between Benjamin's several treatments of the topic, each of which considers a unique moment of cultural production.

pdf

Additional Information

ISSN
1080-661X
Print ISSN
0028-6087
Pages
pp. 285-298
Launched on MUSE
2006-08-18
Open Access
No
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.