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Titlebook: Nietzsche’s Nihilism in Walter Benjamin; Mauro Ponzi Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 nihilism.avant-garde.p

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樓主: Malevolent
31#
發(fā)表于 2025-3-27 00:29:59 | 只看該作者
32#
發(fā)表于 2025-3-27 01:18:30 | 只看該作者
The Cry of Marsyas: History as a Place of Permanent Catastrophe,ion to one other, but simply treated as materials that have to be assembled. In a tragic way, historical time and subjective time reunite with one another at the point of death and send a signal, now deprived of all hope, in which desecrating irony becomes the force of an alarm signal, that last desperate “cry of Marsyas”.
33#
發(fā)表于 2025-3-27 09:07:22 | 只看該作者
34#
發(fā)表于 2025-3-27 09:43:39 | 只看該作者
Organizing Pessimism, interpretation of modernity. All of the mythology, the vision of Surrealists undergoes a “reversal” in political action. Organizing the pessimism therefore means “to win the power of rapture for the revolution”.
35#
發(fā)表于 2025-3-27 14:07:42 | 只看該作者
Nietzsche: Editions and Interpretations of His Works,ne of Western Civilization and feeling of end of time. Nietzsche’s thought builds the theoretical issue for the production of art in the modernity: namely the “translation” of pathos-forms into allegories. Benjamin perceive Nietzsche’s ambiguity and considers his philosophy as a mythical representation of modern.
36#
發(fā)表于 2025-3-27 20:31:35 | 只看該作者
Hidden Refusal,age magic” consists in the immediacy of the correspondence between name and named on the one hand and between name and the act of naming on the other. It is also the “evocative sorcery” of which Baudelaire speaks.
37#
發(fā)表于 2025-3-28 00:42:21 | 只看該作者
38#
發(fā)表于 2025-3-28 05:23:04 | 只看該作者
39#
發(fā)表于 2025-3-28 09:58:23 | 只看該作者
40#
發(fā)表于 2025-3-28 14:18:49 | 只看該作者
Book 2017e, and his approach to political action. It?retraces the eccentric route of Benjamin‘s philosophical discourse in the representation of the modern as a place of “permanent catastrophe”, where he attempts to overcome the Nietzschean nihilism through messianic hope. Using conventions from literary cri
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