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The Origin of German Tragic Drama Walter Benjamin
Publisher: Verso

John Osborne (London: New Left Books, 1977). In The Origin of German Tragic Drama, Walter Benjamin speaks of the ruin as a form of allegory, a ruin pointing beyond itself to 'an other text' or absent totality. 'Early in his introduction to The Origin of the German Tragic Drama, Walter Benjamin describes the method of a treatise as digression. On the contrary – Benjamin's Origins of German Tragic Drama had gone out of stock, hence why we have done this new edition. In English as Origin of German Tragic Drama, trans. A close reading of selections from the two authors' works (in particular Benjamin's The Origin of German Tragic Drama and de Man's Blindness and Insight) complicate this distinction, and the stereotypes supporting it. Yet the symbol, as Benjamin reminds us, is antithetical to historicisation and therefore to cultural materialism. The ruin is a structure comprising layers of texts or histories. In so doing, I want to invoke Walter Benjamin's analysis of allegory in The Origin of German Tragic Drama. Walter Benjamin: excerpt from Ursprung des deutschen Trauerspiels (Origin of the German Tragic Drama), 1928, translated by John Osborne, 1977. The Origin of German Tragic Drama (1916, 1925) by Walter Benjamin and The Star of Redemption (1921) by Franz Rosenzweig are kissing cousins. (Walter Benjamin, The Origin of German Tragic Drama) Look ye, countrymen and Thebans, this is Oedipus the great, / He who knew the Sphinx's riddle and was mightiest in our state. Walter Benjamin wrote about the evocative character of the ruin in The Origin of German Tragic Drama. The starting point of the discussion is normally located in Benjamin's reading of Political Theology in 1923, and in the many citations from Schmitt's theory of sovereignty that appeared in The Origin of German Tragic Drama.