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Infancia Berlinesa Hacia Mil Novecientos
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Esta obra central en el universo benjaminiano se empez?a escribir en los a隳s treinta del pasado siglo como contrapeso al m癃ico (y extra鎙do) proyecto del Libro de los Pasajes y al ascenso de los nazis al poder. Benjamin se torna a mirar su propia infancia: el nacimiento del «apetito de historias en un ni隳 enfermizo. No obstante, influido por Proust (de quien fue traductor), el autor alcanza una resonancia mayor y le devuelve su libertad fundacional a la forma ensay疄tica: capta la compleja trama de temporalidades que nos conforma, la resistencia del pasado a marcharse y su promesa de futuro. Con un acercamiento detallista y enso鎙do, Benjamin observa un tel嶨ono, un costurero o un parque en medio de la ciudad, y extrae de ellos el fundamento de la imaginaci鏮 infantil, la magia de un pensar en im墔enes, porque este libro es un mapa de la ciudad y un manual de instrucciones de la infancia en un momento en que ambas, ciudad y ni鎑z, han desaparecido. Sin embargo, como siempre en Benjamin, lo extinguido adquiere una sita modernidad. Y su mirada, entrenada en el arte de la espera, se transforma en una cartograf燰 de los sue隳s contempor嫕eos.
This central work in the Benjaminian universe began to be written in the 1930s as a counterweight to the mythical (and missed) project of the Book of Passages and the rise of the Nazis to power. Benjamin turns to look at his own childhood: the birth of the "appetite for stories" in a sickly child. However, influenced by Proust (of whom he was a translator), the author reaches a greater resonance and returns his foundational freedom to the essay form: he captures the complex web of temporalities that shapes us, the resistance of the past to leave and its promise of future. With a detailed and dreamy approach, Benjamin observes a telephone, a sewing shop or a park in the middle of the city, and extracts from them the foundation of children's imagination, the magic of thinking in images, because this book is a map of the city and a childhood instruction manual at a time when both city and childhood have disappeared. However, as always in Benjamin, the extinct acquires a sudden modernity. And his gaze, trained in the art of waiting, is transformed into a cartography of contemporary dreams.
This central work in the Benjaminian universe began to be written in the 1930s as a counterweight to the mythical (and missed) project of the Book of Passages and the rise of the Nazis to power. Benjamin turns to look at his own childhood: the birth of the "appetite for stories" in a sickly child. However, influenced by Proust (of whom he was a translator), the author reaches a greater resonance and returns his foundational freedom to the essay form: he captures the complex web of temporalities that shapes us, the resistance of the past to leave and its promise of future. With a detailed and dreamy approach, Benjamin observes a telephone, a sewing shop or a park in the middle of the city, and extracts from them the foundation of children's imagination, the magic of thinking in images, because this book is a map of the city and a childhood instruction manual at a time when both city and childhood have disappeared. However, as always in Benjamin, the extinct acquires a sudden modernity. And his gaze, trained in the art of waiting, is transformed into a cartography of contemporary dreams.
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