‘Trauerspiel’ e tragedia nell’«Origine del dramma barocco tedesco» di Walter Benjamin
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L’essai propose une hypothèse pour l’interprétation de l’Origine du drame baroque allemand de Walter Benjamin. L’histoire et l’analyse des formes dramatiques, contenues ici, sont considérées comme le moyen pour l’affichage d’une philosophie de l’histoire théologique mais pas téléologique. L’essai se concentre premièrement sur l’analyse de la notion d’origine (Ursprung), et explique ensuite les grandes lignes de l’oeuvre de Benjamin: la tragédie grecque est considérée comme la rédemption limitée et la prophétie d’un nouvel ordre, le Trauerspiel comme expression d’un regard et mélancolie qui émane de la sécularisation de la perspective religieuse médiévale. Dans le cadre de l’Exposition, une attention particulière doit être consacrée à trois moments: l’influence de Florens Christian Rang, avec une attention particulière à la signification des concepts d’agon et prophétie; l’interprétation de la fin de la tragédie et le personnage de Socrate; la présentation de la forme d’expression allégorique et de sa dialectique. L’essai tente de montrer, à travers ces trois étapes, l’horizon à partir duquel Benjamin pense l’histoire, la complexe articulation historico-critique de la tragédie et Trauerspiel dans l’oeuvre, et, enfin, l’importance historique et politique de l’interprétation offerte par Benjamin.
SUMMARY
The essay provides a hypothesis for the interpretation of the Origin of the German Mourning Play, written by Walter Benjamin. The history and analysis of the dramatic forms, contained herein, are seen as a medium to enunciate a philosophy of History in a theological rather than teleological terms. The essay focuses on the analysis of the concept of origin (Ursprung) and goes on to explain the main themes of Benjamin’s work: the Greek tragedy is viewed as a limited redemption and the prophecy of a new order, Trauerspiel, as an expression of a melancholic outlook that originates from the secularization of the medieval religious perspective. Special attention is devoted to three moments: the influence of Florens Christian Rang, with particular regard to the meaning of the concepts of agon and prophecy; the interpretation of the end of the tragedy and the role of Socrates; the presentation of the allegorical form of expression and its dialectic. The essay tries to show, through these three stages, the point of reference from which Benjamin conceived the story, the complex historical- critical formulation of tragedy and Trauerspiel within the work, and finally, the historical and political meaning of the interpretation offered by Benjamin.
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