LEADER 04179oam 22006734a 450 001 9910457779103321 005 20210915034832.0 010 $a0-8014-6136-7 010 $a0-8014-6088-3 024 7 $a10.7591/9780801460883 035 $a(CKB)2550000000074477 035 $a(OCoLC)769190454 035 $a(CaPaEBR)ebrary10515998 035 $a(SSID)ssj0000566127 035 $a(PQKBManifestationID)11380500 035 $a(PQKBTitleCode)TC0000566127 035 $a(PQKBWorkID)10533960 035 $a(PQKB)10021183 035 $a(StDuBDS)EDZ0001517301 035 $a(MiAaPQ)EBC3138274 035 $a(MdBmJHUP)muse28876 035 $a(DE-B1597)478437 035 $a(OCoLC)979577054 035 $a(DE-B1597)9780801460883 035 $a(Au-PeEL)EBL3138274 035 $a(CaPaEBR)ebr10515998 035 $a(CaONFJC)MIL767795 035 $a(EXLCZ)992550000000074477 100 $a20110617d2011 uy 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aBenjamin's Library$eModernity, Nation, and the Baroque /$fJane O. Newman 210 1$aIthaca, N.Y. :$cCornell University Library,$d2011. 210 4$dİ2011. 215 $a1 online resource (261 p.) 225 0 $aSignale : modern German letters, cultures, and thought 300 $aBibliographic Level Mode of Issuance: Monograph 311 1 $a0-8014-7659-3 320 $aIncludes bibliographical references and index. 327 $tFrontmatter --$tContents --$tPreface --$tAcknowledgments --$tTextual Note --$tIntroduction: Benjamin's Baroque: A Lost Object? --$t1. Inventing the Baroque: A Critical History of Nineteenth- and Early Twentieth-Century Debates --$t2. The Plays Are the Thing: Textual Politics and the German Drama --$t3. Melancholy Germans: War Theology, Allegory, and the Lutheran Baroque --$tConclusion: Baroque Legacies: National Socialism's Benjamin --$tBibliography --$tIndex 330 $aIn Benjamin's Library, Jane O. Newman offers, for the first time in any language, a reading of Walter Benjamin's notoriously opaque work, Origin of the German Tragic Drama that systematically attends to its place in discussions of the Baroque in Benjamin's day. Taking into account the literary and cultural contexts of Benjamin's work, Newman recovers Benjamin's relationship to the ideologically loaded readings of the literature and political theory of the seventeenth-century Baroque that abounded in Germany during the political and economic crises of the Weimar years.To date, the significance of the Baroque for Origin of the German Tragic Drama has been glossed over by students of Benjamin, most of whom have neither read it in this context nor engaged with the often incongruous debates about the period that filled both academic and popular texts in the years leading up to and following World War I. Armed with extraordinary historical, bibliographical, philological, and orthographic research, Newman shows the extent to which Benjamin participated in these debates by reconstructing the literal and figurative history of sixteenth- and seventeenth-century books that Benjamin analyzes and the literary, art historical and art theoretical, and political theological discussions of the Baroque with which he was familiar. In so doing, she challenges the exceptionalist, even hagiographic, approaches that have become common in Benjamin studies. The result is a deeply learned book that will infuse much-needed life into the study of one of the most influential thinkers of the twentieth century. 410 0$aSignale (Ithaca, N.Y.) 606 $aBaroque literature$xHistory and criticism 606 $aGerman literature$yEarly modern, 1500-1700$xHistory and criticism 607 $aGermany$xIntellectual life 608 $aElectronic books. 615 0$aBaroque literature$xHistory and criticism. 615 0$aGerman literature$xHistory and criticism. 676 $a838/.91209 700 $aNewman$b Jane O$0983881 801 0$bMdBmJHUP 801 1$bMdBmJHUP 906 $aBOOK 912 $a9910457779103321 996 $aBenjamin's Library$92430761 997 $aUNINA