By Kathleen Kerr-Koch
Romancing Fascism argues that highbrow accountability can simply be safeguarded if feedback is mobilised either as a poetic and as a significantly enlightened endeavour. during this research of allegory as a functionality of modernity, what's made transparent is the trouble, if no longer impossibility, of definitively picking the genealogical antecedents of highbrow developments, quite these thought of pernicious to transparent considering.
Thus Kerr-Koch takes a wide-ranging method of the research of allegory because it is handled through 3 arguable writers whose works flank the 19th and 20th centuries, the center and past due sessions of what we name modernity--Walter Benjamin, Paul de guy and Percy Bysshe Shelley. those 3 writers were selected simply because they've been sooner or later recuperated for a idea of 'postmodernism', a time period that for a few theorists represents liberal loose play, and for others represents a scarcity of rigour and a pernicious corruption of thought.
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Additional info for Romancing Fascism: Modernity and Allegory in Benjamin, de Man, Shelley
The major positive consequence of the secularising impulse of enlightened 28 Romancing Fascism modernity for the Jews was the emergence of a German-Jewish dialogue which produced a culture of German-Jewish Bildung. The attraction of this somewhat lop-sided dialogue (German-Jews alone had to redefine themselves) was, according to George Mosse, the desire to find a personal identity that superseded religion and nation,45 and German-Jewish Bildung was clearly profitably rewarded in the works of important nineteenth-century thinkers such as Marx, Freud and Einstein, to mention only a few.
His eyes are staring, his mouth is open, his wings are spread. This is how one pictures the angel of history. His face is turned towards the past. Where we perceive a chain of events, he sees one single catastrophe which keeps piling wreckage upon wreckage and hurls it in front of his feet. The angel would like to stay, awaken the dead, and make whole what has been smashed. But a storm is blowing from Paradise; it has got caught in his wings with such violence that the angel can no longer close them.
Everything about history that, from the very beginning, has been untimely, sorrowful, unsuccessful, is expressed in a face – or rather a death’s head. And although such a thing lacks all ‘symbolic’ freedom of expression, all classical proportion, all humanity – nevertheless, this is the form in which man’s subjection to nature is most obvious and it significantly gives rise not only to the enigmatic question of the nature of human existence as such, but also of the biographical historicity of the individual.