By Robert S. Lehman
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Impossible Modernism: T. S. Eliot, Walter Benjamin, and the Critique of Historical Reason
Very unlikely Modernism reads the writings of German thinker and critic Walter Benjamin (1892–1940) and Anglo-American poet and critic T. S. Eliot (1888–1965) to envision the connection among literary and ancient shape throughout the modernist interval. It focuses rather on how they either resisted the sorts of narration demonstrated through nineteenth-century educational historians and became as a substitute to conventional literary devices—lyric, satire, anecdote, and allegory—to reimagine the kinds that ancient illustration may possibly take.
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Extra info for Impossible Modernism: T. S. Eliot, Walter Benjamin, and the Critique of Historical Reason
Sample text
Nonetheless, Nietzsche does not conclude that history ought to be jettisoned—for, he notes, “the unhistorical and the historical are equally necessary for the health of an individual, a people, and a culture”—but argues instead that history must be put in the service of “life,” which would entail “history being transformed into a work of art” (39). What this transformation of history into art might look like will be my focus in the chapters to follow. For now, it is worth stressing that the choice faced by modernists after Nietzsche is not between historicism and a naïve presentism—the presentism of Nietzsche’s happily unhistorical cows, for example—but one between an uncritical acceptance of existing models of history and a newly imagined history, one more amenable to modernism’s diverse artistic and political goals.
As the few surviving fragments of the dialogue On Poets evince, Aristotle rejected his teacher’s criticisms of poetry, going so far as to note that the “form of [Plato’s own] dialogues is between poetry and prose” (Poetics 56). Before the force of Aristotle’s challenge to Plato’s criticisms can be measured, however, the meaning of what Aristotle calls poetry’s “universality” needs to be unpacked. Aristotle provides a straightforward definition of universal and particular in his work On Interpretation: “By the term ‘universal,’ I mean that which is of such a nature as to be predicated of many subjects, by ‘particular’ that which is not thus predicated.
Of course, for Hegel the emphasis is on poetry’s sensuousness. The embodied, properly aesthetic character of poetry is what consigns it to the past. For Marx, the problem with poetry is just the opposite. Poetic representation is mere representation, form or phrase without corporeal content, something immaterial. None of this is terribly surprising. Hegel is an idealist, while Marx is a materialist; their discussions of poetry’s overcoming differ accordingly. Even so, the essential character of this overcoming remains more or less constant when we pass from the one to the other.