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Begun in Poveromo, Italy, in 1932, and extensively revised in 1938, Berlin Childhood around 1900 remained unpublished during Walter Benjamin's lifetime, one of his "large-scale defeats." Now translated into English for the first time in book form, on the basis of the recently discovered "final version" that contains the author's own arrangement of a suite of luminous vignettes, it can be more widely appreciated as one of the masterpieces of twentieth-century prose writing. Not an autobiography in the customary sense, Benjamin's recollection of his childhood in an upper-middle-class Jewish home in Berlin's West End at the turn of the century becomes an occasion for unified "expeditions into the depths of memory." In this diagram of his life, Benjamin focuses not on persons or events but on places and things, all seen from the perspective of a child--a collector, flaneur, and allegorist in one. This book is also one of Benjamin's great city texts, bringing to life the cocoon of his childhood--the parks, streets, schoolrooms, and interiors of an emerging metropolis. It reads the city as palimpsest and labyrinth, revealing unexpected lyricism in the heart of the familiar. As an added gem, a preface by Howard Eiland discusses the genesis and structure of the work, which marks the culmination of Benjamin's attempt to do philosophy concretely.… (altro)
aileverte: As an epigraph to the translator's Foreword, Howard Eiland used a quote from "On Hashish" which encapsulates the essence of Benjamin's small book: "I'd like to write something that comes from things the way wine comes from grapes." The same sensuous attentiveness to objects can be found in the poetry of Francis Ponge, although with the added spice of the poet's wry humor.… (altro)
aileverte: Sebald shares with Benjamin a keen sensitivity to the sensory aspects of the most neglected things and places, allowing them to unfold the secret layers of their history and their mythology, thus retracing an invisible nerve network that connects them often in uncanny ways.… (altro)
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un bambino che gioca e cresce in una Berlino a cavallo di due secoli, che ci racconta le sue strade, e anche se ci avverte che non possiamo mai recuperare interamente quanto si è dimenticato, lui ci racconta molti dei suoi ricordi infantili, ci fa rivere quello stupore, quella magia con la quale spesso, fortunatamente, i bambini guardano al mondo intorno a loro. ( )
Dati dalle informazioni generali inglesi.Modifica per tradurlo nella tua lingua.
Oh, columna de la Victoria, dorada en el horno con el azúcar invernal de los días de la infancia.
Dedica
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A mi querido Esteban
Incipit
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Im Jahre 1932, als ich im Ausland war, begann mir klar zu werden, daß ich in Bälde einen längeren, vielleicht einen dauernden Abschied von der Stadt, in der ich geboren bin, würde nehmen müssen.
En 1932, estando en el extranjero, comencé a vislumbrar claramente que pronto tendría que despedirme durante un tiempo, tal vez duradero, de la ciudad donde nací.
Citazioni
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O braungebackene Siegessäule mit Winterzucker aus den Kindertagen.
Here reigned a type of furniture that, having capriciously incorporated styles of ornament from different centuries, was thoroughly imbued with itself and its own duration. Poverty could have no place in these rooms, where death itself had none. ... That is why they appeared so cozy by day and became the scene of bad dreams at night.
Ultime parole
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"Reza, ay, te lo pido, caro niñito, reza también por el jorobadito"
Begun in Poveromo, Italy, in 1932, and extensively revised in 1938, Berlin Childhood around 1900 remained unpublished during Walter Benjamin's lifetime, one of his "large-scale defeats." Now translated into English for the first time in book form, on the basis of the recently discovered "final version" that contains the author's own arrangement of a suite of luminous vignettes, it can be more widely appreciated as one of the masterpieces of twentieth-century prose writing. Not an autobiography in the customary sense, Benjamin's recollection of his childhood in an upper-middle-class Jewish home in Berlin's West End at the turn of the century becomes an occasion for unified "expeditions into the depths of memory." In this diagram of his life, Benjamin focuses not on persons or events but on places and things, all seen from the perspective of a child--a collector, flaneur, and allegorist in one. This book is also one of Benjamin's great city texts, bringing to life the cocoon of his childhood--the parks, streets, schoolrooms, and interiors of an emerging metropolis. It reads the city as palimpsest and labyrinth, revealing unexpected lyricism in the heart of the familiar. As an added gem, a preface by Howard Eiland discusses the genesis and structure of the work, which marks the culmination of Benjamin's attempt to do philosophy concretely.
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