For Walter Benjamin, Charles Meryon becomes a prime source of iconographic passage between the first and second half of the nineteenth and not only from the book on Baudelaire but also for a series of theoretical problems: the allegory, the relationship between modernity and antiquity the critique of progress, the report text to images and text in the image, the complex issues between photography and printmaking. Benjamin learns to "look" Etchings of Paris (3) through Edgar Allan Poe, Charles Baudelaire and Blanqui: the case of the first board, the Stryge, phantasmagoria nineteenth century is exemplary.
Le regard de Walter Benjamin sur Le Stryge de Charles Meryon: antiquité, modernité, allégorie
VILLARI, ELISABETTA
2010-01-01
Abstract
For Walter Benjamin, Charles Meryon becomes a prime source of iconographic passage between the first and second half of the nineteenth and not only from the book on Baudelaire but also for a series of theoretical problems: the allegory, the relationship between modernity and antiquity the critique of progress, the report text to images and text in the image, the complex issues between photography and printmaking. Benjamin learns to "look" Etchings of Paris (3) through Edgar Allan Poe, Charles Baudelaire and Blanqui: the case of the first board, the Stryge, phantasmagoria nineteenth century is exemplary.
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