Walter Benjamin is often viewed as a cultural critic who
produced a vast array of brilliant and idiosyncratic pieces of
writing with little more to unify them than the feeling that they
all bear the stamp of his "unclassifiable" genius. Eli Friedlander
argues that Walter Benjamin's corpus of writings must be recognized
as a unique configuration of philosophy with an overarching
coherence and a deep-seated commitment to engage the philosophical
tradition.
Friedlander finds in Benjamin's early works initial
formulations of the different dimensions of his philosophical
thinking. He leads through them to Benjamin's views on the
dialectical image, the nature of language, the relation of beauty
and truth, embodiment, dream and historical awakening, myth and
history, as well as the afterlife and realization of meaning. Those
notions are articulated both in themselves and in relation to
central figures of the philosophical tradition. They are further
viewed as leading to and coming together in "The Arcades Project."
Friedlander takes that incomplete work to be the central theater
where these earlier philosophical preoccupations were to be played
out. Benjamin envisaged in it the possibility of the highest order
of thought taking the form of writing whose contents are the
concrete time-bound particularities of human experience. Addressing
the question of the possibility of such a presentation of
philosophical truth provides the guiding thread for constellating
the disparate moments of Benjamin's writings.
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