Metropolis Paris

The baroque drama is seen by Benjamim while idea. Thus the idea possesss a intemporal constitution that allows a phenomenon of the past if to recognize in the one of the gift. The described medieval mosaic for Benjamim in the reading of its fragmentos allows, in its exegese, that perpetual and transitory if they complete and if they find in the redemption, the death means life and salvalo. The Allegorie in its profane roupagem catches the aporia of history to decipher the enigmatic one of the form. That is, it becomes possible the reading of the elements gifts in the historical context and its face politics.

From there to extract a wisdom capable to illuminate the darknesses of the nature. The language, in modernity, when investigating the ideology in its roupagem of fetiche sample that this if trai in its ambiguity. Disclosed then one becomes would free when showing the object as it really is, without the appearance of sacred. The author comments the idea of accepted Hofmannsthal for Benjamim on the antagonism of the sacred one, that distance the measure that sets the espiritualidade an exceeding value places that it in the atmosphere of the fear. He would be this the same felt of criticizes of Lutero the religion and the man transformed into merchandise in the Metropolis Paris.Segundo Tereza Callado, Benjamim places Baudelaire that it rejects all nuisance and it places the image to the service of the thought.

In contrast of what it happens in the imagstica contemporary used for the ideology of the same, the images of the baroque Allegorie are not emptied. The baroque imagstica had the capacity to decide moral conflicts, different of the method of the production where the reality is copy and constitutes at the same time reality and truth. The vulnerable aspect of the culture registered for the new Allegorie reevaluates the dogmtica nature of the system that had reached the art in that movement.

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