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"Theses on the Philosophy of History" or "On the Concept of History" (German: Über den Begriff der Geschichte) is an essay written in early 1940 by German philosopher and critic Walter Benjamin. It is one of Benjamin's best-known, and most controversial works. [1]
Margaret Cohen writes in the Cambridge Companion to Walter Benjamin: In the "Concept of History" Benjamin also turned to Jewish mysticism for a model of praxis in dark times, inspired by the kabbalistic precept that the work of the holy man is an activity known as tikkun. According to the kabbalah, God's attributes were once held in vessels ...
Benjamin presents the thematic bases for a theory of art by quoting the essay "The Conquest of Ubiquity" (1928), by Paul Valéry, to establish how works of art created and developed in past eras are different from contemporary works of art; that the understanding and treatment of art and of artistic technique must progressively develop in order to understand a work of art in the context of the ...
Walter Benjamin in Theses on the Philosophy of History described the Gotha Programme's "defin[ition] [of] labor as 'the source of all wealth and all culture '" as a "vulgar-Marxist concept of what labor is, [which] does not bother to ask the question of how its products affect workers". The Gotha programme to Benjamin "wishes to perceive only ...
In the ninth thesis of his 1940 essay “Theses on the Philosophy of History”, Benjamin describes Angelus Novus as an image of the angel of history: A Klee painting named Angelus Novus shows an angel looking as though he is about to move away from something he is fixedly contemplating. His eyes are staring, his mouth is open, his wings are ...
The word Zertrümmerung (fragmentation, dismemberment, or transformation into ruins, ruins) clearly anticipates the IXth thesis of On the Concept of History, where the word Trümmern [164] [163] [128] was used to describe the ruins of progress. According to Bolz, it is the mountain of ruins of capitalism as a religion that the angel of history ...
Benjamin said that fascism tends towards an aestheticization of politics, in the sense of a spectacle in which it allows the masses to express themselves without seeing their rights recognized, and without affecting the relations of ownership which the proletarian masses aim to eliminate. [2] Benjamin said:
Walter Benjamin adopted the concept of the urban observer both as an analytical tool and as a lifestyle. From his Marxist standpoint, Benjamin describes the flâneur as a product of modern life and the Industrial Revolution without precedent, a parallel to the advent of the tourist .