For complete author names, titles, and publication data for the works
cited here in short form, see the Bibliography, pp. 293-303.
Kristeva, La révolution, p. 58.
Benjamin ( Origin, p. 166): "Whereas in the symbol destruction is idealized and the transfigured face of nature is fleetingly revealed in the light of
redemption, in allegory the observer is confronted with the facies hippocratica
of history as a petrified, primordial landscape. Everything about history that,
from the very beginning, has been untimely, sorrowful, unsuccessful, is expressed in a face -- or rather in a death's head. And although such a thing
lacks all 'symbolic' freedom of expression, all classical proportion, all humanity -- nevertheless, this is the form in which man's subjection to nature is
most obvious and it significantly gives rise not only to the enigmatic question
of the nature of human existence as such, but also of the biographical historicity of the individual. This is the heart of allegorical way of seeing. . . . The
greater the significance, the greater the subjection to death, because death
digs most deeply the jagged line of demarcation between physical nature and
significance." Benjamin links history to a modern concept of allegory, which
insists on the gap between representation and historical materials. See also Benjamin, "Theses on the Philosophy of History" and The Story-Teller, in
idem, Illuminations, pp. 253-64, 83-109.
Jameson, The Political, p. 35.
Questia, a part of Gale, Cengage Learning. www.questia.com
Book title: The Sublime Figure of History:Aesthetics and Politics in Twentieth-Century China.
Contributors: Ban Wang - Author.
Publisher: Stanford University.
Place of publication: Stanford, CA.
Publication year: 1997.
Page number: 271.
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