ABSTRACT

In this article, I wish to elaborate on Benjamin’s reading of so-called “dark thinkers,” i.e. those radical thinkers of the fin de siècle whose cultural criticism willingly or not reinforced and reiterated what they actually criticized. I will refer to Benjamin’s early writings on the German youth movement as well as to his later writings on Baudelaire, Jugendstil, and Lebensphilosophie and thereby focus on motives that connect these diverging periods of Benjamin’s oeuvre, notably contemporaneous gender relations, gender identity, and images of the feminine, which Benjamin used in order to delineate an immanent messianism. In this way I want to demonstrate that while Benjamin followed Nietzsche in understanding history as loss and decline, he nonetheless insisted on moments of becoming intrinsic to this very understanding of history. In this dialectical turn the Nietzschean cultural criticism, just as the criticized itself, emerge as two connected sides of one coin.

摘要

在本文中，我想详细阐述本雅明对所谓“黑暗思想家”的解读，即那些世纪末的激进思想家，他们的文化批评愿意或不愿意强化和重申他们实际批评的内容。我将参考本雅明关于德国青年运动的早期著作，以及他后来关于波德莱尔、青年风格和生活哲学的著作并因此关注将本雅明作品的这些不同时期联系起来的动机，特别是同时代的性别关系、性别认同和女性形象，本雅明用这些来描绘内在的弥赛亚主义。通过这种方式，我想证明，尽管本雅明追随尼采将历史理解为失落和衰落，但他仍然坚持要成为这种对历史的理解所固有的时刻。在这个辩证的转向中，尼采式的文化批评，就像被批评的本身一样，作为一枚硬币的两个相连的面出现。