To articulate the past historically does not mean recognizing 'how it actually was'. It means seizing hold of a memory as it flashes up in the moment of danger.
Walter Benjamin, On the concept of history (1940), VI.
Negative print of the library
Scholem is available noté, en revoyant son ami en 1938, après plus de dix ans d'éloignement, que ses cheveux avaient blanchi et qu'il avait pris du poids. Je ne peux m'empêcher d'imaginer la figure grotesque d'un Benjamin démesurément grossi jusqu'à occuper tout le volume de la Bibliothèque Nationale — un Benjamin en papier mâché ou en cire perdue formant l'empreinte negative de la bibliothèque, mais qui aurait trouvé in extremis, sans pouvoir helas les utiliser pour lui-même, des issues de secours au cauchemar de Babel.
Aurélien Bellanger, The 20th century.
When Scholem saw his friend again in 1938 after more than ten years, he noticed that his hair had turned white and he had gained weight. I cannot help but imagine the grotesque figure of a Benjamin who has grown disproportionately and occupies the entire volume of the National Library—a Benjamin made of papier-mâché or wax melts, forming the negative imprint of the library, but who, in extremis, would have found escape routes from the nightmare of Babel, without, unfortunately, being able to use them for himself.
Aurélien Bellanger was born in 1980. After Information Theory (2012) L'Aménagement du territoire (2014) Le Grand Paris (2017) Le continent de la douceur (2021) and Reality show (2022) is The 20th century His sixth novel: On August 8th, after giving a lecture on Walter Benjamin at the Bibliothèque Nationale in Paris, which marked the end of his last visit, the poet François Messigné throws himself into the planted forest in the heart of the library. This is the starting point for Aurélien Bellanger's Le vingtième siècle: roman (Gallimard, 2023).
“It was nowhere to be found, his name was nowhere to be seen.” Gershom Scholem concludes the story of his friendship with Walter Benjamin with this statement by Hannah Arendt, who searched in vain for his grave in Portbou, but instead found a cemetery which she describes as “by far one of the most fantastic and beautiful places I have ever seen in my life,” hewn into the rock in terraces, facing directly onto the Mediterranean. Because travelers repeatedly asked the cemetery caretakers about Walter Benjamin’s grave, they, according to Scholem, invented one. Scholem’s final sentence: “Certainly, the place is beautiful; the grave is apocryphal.” 1 In his text on Baudelaire, Benjamin explained suicide as an understandable gesture in the face of the resistance of modernity. 2 The suicide would subsequently lead to the creation of Aurélien Bellanger's apocryphal book on Benjamin.
In Bellanger's novel, a radical group occupies the central garden of the Bibliothèque Nationale after Messigné's suicide, as a "surreal action aimed at freeing the angel of history from the prison in which he was held" and intended to honor the poet François Messigné, who died there. Thus, the New angel Paul Klee's interpretation of history, as interpreted by Benjamin, has been frequently quoted and set to music by Laurie Anderson in "The Dream Before":
There is a painting by Klee called Angelus Novus. It depicts an angel who looks as if he is about to move away from something he is staring at. His eyes are wide open, his mouth is agape, and his wings are outstretched. The angel of history must look like this. He has turned his face toward the past. Where a chain of events before us appears, there it looks er A single catastrophe, relentlessly piling wreckage upon wreckage and hurling it at his feet. He would like to linger, awaken the dead, and piece together what has been shattered. But a storm blows from Paradise, caught in his wings, so strong that the angel can no longer close them. This storm drives him inexorably into the future to which he turns his back, while the pile of debris before him grows skyward. This is what we call progress. this Storm.
Walter Benjamin, On the concept of history (1940), IX.
In Bellanger's novel, Céline Persan typeset the posthumous Benjamin novel by hand in a separate printing house, using the typeface AngelusThe narrator calls the printed sheets, which hang to dry in her house, "the most beautiful tombstone, the most beautiful shroud, which one can imagine" 3, and she symbolically throws one of the few precious copies into the inner forest of the Bibliothèque nationale.
Le roman, Benjamin l'a si scrupuleusement évité qu'il en a plutôt dessiné, de l'extérieur, la forme aveuglante — le roman, c'est la littérature transformée en théologie négative, c'est l'unique rebondissement qui pourrait encore nous faire sursauter: celui du passage soudain de l'immanence à la transcendance. Et il reste bien en cela encore peu diabolique, diabolique comme la posture renversée de l'ange déchu ou de this plume retournée qui permet, un instant, d'apercevoir ou de nommer le Dieu inexprimable.
Aurélien Bellanger, The 20th century.
Benjamin so meticulously avoided the novel that he instead sketched its dazzling form from the outside – the novel is literature transformed into negative theology; it is the only turn that could still startle us: the sudden transition from immanence to transcendence. And in this, it is still somewhat diabolical, diabolical like the inverted posture of the fallen angel or the reversed feather that allows us, for a moment, to glimpse or name the ineffable God.
Wim Wenders' film The sky over Berlin He quoted countless literary, pictorial, musical and cinematic texts, including, besides Handke and Rilke, also Walter Benjamin. 4 The angels in the film cannot change the course of history; they can only be witnesses and companions. When a young man throws himself from the Europa-Center in Berlin, the angel can neither alleviate past or present suffering nor avert the tragedy, saying: "To do nothing more than observe, gather, bear witness, authenticate, preserve, remain spirit, keep your distance, remain in word." Damiel longs for human existence.
I don't want to float above it all so endlessly anymore. I want to feel a weight against me that counteracts the boundlessness and grounds me. I want to be able to say "now," "now," and "now" with every step or gust of wind, and not, as always, "since time immemorial and forevermore." To sit down in the empty seat at the card table, to be greeted, even if only with a nod. All this time, when we did participate, it was always just for show.
Wenders' film, set in a (still) divided Berlin, exists between historical pessimism and the hope for a new beginning and a future. Benjamin's On the concept of history It was written in the darkest of times, shortly before his suicide. While the universal history of historicism merely accumulates facts additively (like the angels in Wim Wenders' film), Benjamin argues, materialism constructively recognizes a revolutionary opportunity in a messianic stilling of events:
The historical materialist approaches a historical object solely where it confronts him as a monad. In this structure, he recognizes the sign of a messianic cessation of events, in other words, a revolutionary opportunity in the struggle for the suppressed past. He perceives this opportunity in order to shatter a particular epoch from the homogeneous course of history; thus, he shatters a particular life from the epoch, a particular work from the life's work. The result of his method is that im The work, the life's work, im Life's work, the era and in The entire course of history is preserved and retained within this era. The nourishing fruit of historical understanding has time as its precious, yet flavorless seed. Inside.
Walter Benjamin, On the concept of history (1940), XVII.
Roger F. Cook interpreted Wenders' film as an allegory for Benjamin's philosophical theories on history: The angel turned man shifts the historical perspective and makes hope possible. While initially the freely floating camera can be understood as a kind of angelic historicism, the man-made Damiel no longer possesses the former detached perspective on history, but grounded in Berlin, a city bearing the scars of history, he now has the foundation to effect historical change.
The free-floating camera in the first part of the film, with its arbitrarily recording eyes and ears that could move back into time, would be the ideal vehicle for the historian steeped in nineteenth-century positivistic historicism. When Damiel becomes human he can no longer function as a pure recorder of history. Tied to the present with all its personal and collective concerns, he possesses a more restricted and biased point of view, but, along with it, the basis for generating change. While the constructed point of view of the angels represents this idealized view of history, Damiel's decision to give it up suggests that hope for mankind lies in other forms of representation. As an angel of peace in a city that lives from day to day with the scars and consequences of the warrior epic, Damiel brings the needed impulse for a new epic whose heroes are, as Homer declares, “no longer the warriors and kings”.
Roger F. Cook, “Angels, Fiction, and History in Berlin.” 5
Aurélien Bellanger's novel incorporates (fictional) documents, including a text that could be read just as easily as the historico-philosophical interpretation of Sky over Berlin, here is the death of Fritz Heinle, the poet friend of Walter Benjamin, written by his brother Wolf:
Tombeau d'un poète, Wolf Heinle, fonds de Moscou, Archives Nationales.
This scene is seen from the skin without the fact that it is the point of view of the world or the medicine.
The two corps are all along the car, a man and a woman who are still in the main. This is the poet Christoph Friedrich Heinle and his companion Friederike Seligson. Fritz and Rika.
The war was in Europe and on the other hand, the pressure of the gas in the cuisine began.
[...]
Il n'y a plus rien à faire. The creature has its own face on the face of the face, but the face of the face of the face is approaching and inspires the gaze that remains in the face of the face.
The creature is alive and regards a distinct coin of the piece on the ceiling. The three lines are rejoined in a white plate and white painting.
Les deux lignes du haut s'écartent comme les ailes d'un ange.
The troisième ligne, qui part du sol et qui vient disparaître où les deux other lignes se rejoignent, lui tiendrait lieu de corps. L'ange, cariatide de this scène, critique de l'image, gardien de son horreur, témoin de sa beauté aux lèvres real estate et cassantes.
Ce n'est plus la pièce, alors, que l'ange tient entre ses bras dévastés, c'est l'Europe, comme un dé, qui tombe sous ses yeux, c'est un monde, tout petit, qui roule dans le néant.
The idea of the life is constituted and celui-ci peut se retirer, rappelé par Dieu, en entraînant les deux morts avec lui.
La créature reste seule.
You can also accompany yourself to the country where you can see the children in Berlin.
Elle reconnaît, malgré l'angle inédit, la Savignyplatz and les grands toits de son lycée de la Kaiser-Friedrich-Straße. C'est le plus triste des panoramas: celui de la jeunesse disparue à jamais. Les cafés s'éteignent les us après les other, plus rien ne parviendra à réchauffer les cendres du vieil Ouest.
Les humans ont disparu in les allées du jardin zoologique, et les animaux reparaissent, dans les allées du Tiergarten, between les grandes statues de chasse.
Cela n'est plus Berlin. This is a cauchemar de ville. The ville du vingtième siècle ne sera pas une féerie à la Jules Verne, mais un moulage en plâtre de la vie, comme on en fait avec les corps de Pompéi.
Berlin is the city of death, the capital of Enfers.
Aurélien Bellanger, The 20th century.
A poet's tomb, Wolf Heinle, Moscow Fund, National Archives.
The entire scene is viewed from above, without knowing whether it is the viewpoint of the angel or the medical examiner.
Two bodies lie on the tiled floor, a man and a woman, holding hands. They are the poet Christoph Friedrich Heinle and his partner Friederike Seligson. Fritz and Rika.
War has just broken out in Europe, and in the kitchen you can hear the hissing of the gas.
[...]
There is nothing more to be done. The creature kneels over their faces, daring not to touch them, but brings its face closer to theirs as if it wanted to inhale the gas that remained in their lungs.
The creature stands up and looks clearly into a corner of the room, at the ceiling. There, where three lines meet in a void of plaster and white paint.
The two upper lines spread out like the wings of an angel.
The third line, which rises from the ground and disappears where the other two lines meet, would function as a body. The angel, the caryatid of this scene, is a critic of the image, a guardian of its terror, a witness to its beauty with immobile, brittle lips.
It is no longer the piece that the angel holds in his devastated arms, but Europe, which falls like a cube before his eyes; it is a world, very small, rolling into nothingness.
The idea of the angel is established, and he can withdraw, recalled by God, by taking the two dead ones with him.
The creature remains alone.
Or rather, she accompanies in her thoughts the angel who ascends to heaven and petrifies the Berlin of his youth.
Despite the unusual angle, she recognizes Savignyplatz and the large roofs of her high school on Kaiser-Friedrich-Straße. It is the saddest of all panoramas: the panorama of youth forever gone. The cafés are dying out one after another; nothing will ever be able to warm the ashes of the old West.
The people have disappeared into the avenues of the Zoological Garden, and the animals reappear in the avenues of the Tiergarten, between the large hunting statues.
This is no longer Berlin. It is a city's nightmare. The city of the twentieth century will not be a fairy tale à la Jules Verne, but a plaster cast of life, like those made from the corpses in Pompeii.
Berlin has become a city of death, the capital of hell.
And Walter Benjamin was left alone.
Crime scene, surreal
Here, the realm of poetry was shattered from within, as a circle of closely connected people pushed "poetic life" to the very limits of what was possible.
Walter Benjamin, Surrealism: The Last Snapshot of European Intelligence (1929)
As in Hofmannsthal's Thor and Death When the nobleman Claudio is finally struck down by death, it becomes clear that, like a dandy, he had never formed any deeper bonds throughout his life; Hermann Broch called the play "a knowing indictment of aestheticizing bourgeois society". 6Finally, Claudio sinks down at the feet of Death, who shakes his head and leaves, saying:
How wonderful these beings are!
Hugo von Hofmannsthal, Thor and Death (1893)
Those who cannot be interpreted, nevertheless interpret,
Read what was never written.
To masterfully bind the confused
And to find paths even in eternal darkness.
Walter Benjamin developed the idea of an unsensuous resemblance with reference to this passage in order to highlight writing and language as the highest stage of mimetic behavior: “‘Read what was never written.’ This reading is the oldest: reading before all language, from the gut, the stars, or dances. Later, mediating elements of a new reading, runes and hieroglyphs, came into use.” 7 And so Walter Benjamin reads in his A Short History of Photography Eugène Atget's Paris photographs: He interprets him as a precursor of surrealist photography, who, instead of offering grand views of Paris and its landmarks, "disinfected" the stuffy atmosphere of conventional images and initiated "the liberation of the object from its aura":
Strangely enough, almost all of these images are empty. Empty the Porte d'Arcueil at the fortifs, empty the grand staircases, empty the courtyards, empty the café terraces, empty, as it should be, the Place du Tertre. They are not lonely, but rather devoid of atmosphere; the city in these pictures is cleared out like an apartment that has yet to find a new tenant. It is through these achievements that Surrealist photography prepares the ground for a salutary alienation between environment and humanity. It clears the field for the politically astute gaze, which sacrifices all intimacy in favor of illuminating detail.
Walter Benjamin, Small History of Photography (1931)
As in Broch's speech, quoted at the beginning, about an 'aestheticizing bourgeoisie' that is to be condemned, Benjamin's view of the medium is linked to the political. Salvific alienation becomes the task of the avant-garde, and for Benjamin, Atget's photographs are comparable to a crime scene, every passerby a perpetrator. "Surrealism would have been spared much of the hostility from which it, incidentally, derived the greatest possible benefit, had its origin truly been unequivocally political," writes Walter Benjamin in On the current social standing of the French writer (1934), emphasizing the “difference in standards between France and Germany”:
It is typical of this left-wing French intelligentsia—just as with its Russian counterpart—that its positive function stems entirely from a sense of obligation, not against the revolution, but against the established culture. Their collective achievement, insofar as it is positive, approaches that of conservatives. Politically and economically, however, one must always reckon with the danger of sabotage among them.
The defining characteristic of this entire left-leaning bourgeois position is its incurable conflation of idealistic morality with political practice. Only in contrast to the helpless compromises of "conviction" can certain core tenets of Surrealism, indeed of the Surrealist tradition, be understood. Much remains to be done to achieve this understanding. It was too tempting to categorize the Satanism of Rimbaud and Lautréamont as a counterpart to art for art's sake in an inventory of snobbery. But if one decides to open this romantic facade, one finds something useful within it. One finds the cult of evil as a kind of romanticized disinfection and isolation apparatus for politics against all moralizing dilettantism.
Walter Benjamin, Surrealism: The Last Snapshot of European Intelligence (1929)
In fact, Aurélien Bellangers The 20th century A radical left-wing group named after Walter Benjamin carries out actions that remain enigmatic. The poet and Walter Benjamin scholar François Messigné has taken his own life. He had given a lecture on Benjamin to a mere three listeners. Messigné, a name that evokes messianism and signature, perhaps a messenger.
Preparait-il this fois un poème sur le philosophe? Rien n'interdit de le penser.
À moins que son suicide, acte surréaliste suprême et irreversible, soit ce poème.
Aurélien Bellanger, The 20th century.
Was he preparing a poem about the philosopher this time? There's no reason not to assume so.
Unless, of course, his suicide, the highest and irreversible surrealist act, is this poem.
Infinite fulfillment
Mail from Ivan Lepierrier to Edith Gerson and Thibault Massy. 13 aout 2014.
Est-ce que vous avez lu 2666 de Bolaño — one of the plus memorable excursions of a poet repenti in the Romanesque champion? Notre adventure pourrait ressembler à ça.
Aurélien Bellanger, The 20th century.
Mail from Ivan Lepierrier to Edith Gerson and Thibault Massy. August 2014.
Do you have Bolaños? 2666 Have you read – one of the most remarkable forays into the field of the novel by a reformed poet? Our adventure could look like this.
Tiphaine Samoyault interprets Bellanger's novel title The 20th century Referring to Benjamin's death, but also as a novel within a novel: "One reads the history of the century from its most tragic core: the development of critical thinking in the Europe of emerging National Socialism between 1932 and 1938. The second novel, which is interpolated into the first, leads three people fascinated by Walter Benjamin – a film critic, a philosopher and an architectural historian – on a search for Messigné's lost novel about Benjamin: They bear witness to what it means to live after Benjamin at the beginning of the 21st century." 8
There are several reasons for this. What would Walter Benjamin have written about Auschwitz, we ask with Bellanger:
Mort en 1940, Benjamin n'a rien su des chambres à gaz. This guerre aura été doublement sans images: à la fois car le plus grand massacre de l'histoire universale sera resté jusqu'à la fin presque invisible, et parce que celui qui aurait pu reveal This image is available in a very radiant way in the black room that is located in the continent of Europe - but it is also available in the redaction of the modern history along the long descent aux enfers. Walter Benjamin is dead at the moment and his wife's raison d'être is: this is his example of this oeuvre without exemple, his argument for the philosophy of his style is apodictique - the debate is admirable, but the oeuvre is not written in the demonstrations. Ainsi Walter Benjamin donne parfois l'impression de s'être retiré au moment où les événements parlaient pour lui. C'est en tout cas comme cela que nombre d'exilés, ses amis, ont reçu la new de sa mort: à la fois comme le premier signe irréfutable que tout était perdu et comme un très obscur et très amer symbole d'espoir. Car c'était la première faute impardonnable des Nazis — faute non pas seulement morale, comme nous étions jusque-là habitués, mais stratégique aussi, sinon métaphysique. Le prisonnier, this fois, leur avait échappé. Sous la forme la plus desespérée d'un suicide et la plus concrète d'un bref manuscrit.
Aurélien Bellanger, The 20th century.
Benjamin died in 1940 and knew nothing about the gas chambers. This war was imageless in two senses: firstly, because the greatest massacre in world history remained almost invisible until the very end, and secondly, because the one who would have had this image enthullen He could have been erased at the last minute from the darkroom into which the European continent had become—and this despite having begun writing a history of modernity as a long descent into hell. Walter Benjamin died the moment everything seemed to vindicate him: this is the only example of his unparalleled work, the sole argument of this philosopher with the apodictic style—who debated admirably, yet whose written work dispensed with demonstrations. Thus, Walter Benjamin sometimes gives the impression that he withdrew the moment events spoke in his favor. At least, this is how many exiles, his friends, received the news of his death: both as the first irrefutable sign that all was lost, and as a very dark and very bitter symbol of hope. For this was the first unforgivable mistake of the Nazis—not merely a moral one, as we had come to expect, but also a strategic, if not a metaphysical, one. This time, their prisoner had escaped. In the most desperate form of suicide and in the most concrete form of a short manuscript.
But here we should remember the hope that Stéphane Mosès does not want to see abandoned, even in the face of a story without meaning:
By abandoning the idea of the meaning of history, Rosenzweig, Benjamin, and Scholem by no means relinquished the concept of hope as a historical category. On the contrary, for them, hope as a historical category arises precisely from the ruins of historical reason. The concept of utopia, no longer understood as a belief in the necessary realization of the ideal at the end of history, reappears—in the category of redemption—as if it could be possible at any moment. In this model of an uncertain time, open at every moment to the unforeseeable intrusion of the new, the imminent realization of the ideal becomes conceivable as one of the possibilities offered by the unfathomable diversity of the historical process.
Stéphane Mosès, The Angel of History. 9
Expecting historical salvation in a coming redeemer, this messianism, along with Romanticism in Walter Benjamin's work, constitutes the idea of art in modernity, an endless process of fulfillment:
It is therefore not a matter of progressing into emptiness, of a vague, ever-improving poetry, but rather of a steadily more comprehensive unfolding and intensification of poetic forms. The temporal infinity in which this process takes place is also a matter of media and quality. Therefore, progressiveness is by no means what is understood by the modern term "progress," not a certain merely relative relationship between stages of culture. It is, like all of human life, an infinite process of fulfillment, not merely a process of becoming.
Walter Benjamin, The concept of art criticism in German Romanticism (Bern: Verlag von A. Francke, 1920), “III. The Idea of Art”.
Bellanger's novel discusses, in a polyphonic and labyrinthine way, the (un)completion of the project – the book by Messigné and Benjamin and Bellanger:
Ce roman, sobrement titré The 20th century, Messigné devait hélas le laisser, par sa mort, volontairement inachevé. May the radical character be achieved by this death nous oblige à regarder celui-ci comme un livre for : now a succession of fragments that the reconstitution archéologique d'une vie à partir d'une sélection de ready-mades prétendument puisés dans les œuvres, les journaux et la correspondance de ceux qu'avait croisés son paradoxal héros — le philosophe et critique Walter Benjamin, auquel Messigné avait par ailleurs consacré sa dernière conference.
Aurélien Bellangers, The 20th century.
This novel with the sober title The twentieth century Messigné, unfortunately, had to be deliberately left unfinished through his death. But the radically complete nature of this death compels us to consider it a finished To consider the book: It is less a sequence of fragments than the archaeological reconstruction of a life based on a selection of ready-mades, supposedly taken from the works, diaries and letters of those whom its paradoxical hero had encountered – the philosopher and critic Walter Benjamin, to whom Messigné had also dedicated his last lecture.
The book itself also concludes with an outlook, in the form of a fictional press report from the magazine. Le Matricule des Anges The publisher of [newspaper name] announces in January 2023 The 20th century another project, essentially a new edition of the present book, expanded to include critical apparatus and correspondence of the three discoverers, who are identical with the three last listeners of François Messigné's lecture before his suicide:
[…] a vie of Walter Benjamin prize, like a fossil, in a material of months and months of exterior à elle. A roman in the roman dont on ne saurait plus lequel enveloppe, lequel dédouble l'autre.
Aurélien Bellanger, The 20th century. Conclusion, “Le Matricule des Anges, January 2023.”
[…] a life of Walter Benjamin, like a fossil, contained in a material that is increasingly less external to this life. A novel within a novel, in which one no longer knows which novel envelops the other, which doubles it.
This article is written in German and can be found at https://rentree.de. Automatic translations into English and French are available. English, French.
Notes- Gershom Scholem, Walter Benjamin: The Story of a Friendship (Frankfurt am Main: Suhrkamp, 1975, 41997), 282.>>>
- "The obstacles that modernity places against humanity's natural productive drive are disproportionate to its strength. It is understandable that people grow weary and seek refuge in death. Modernity must be marked by a kind of suicide, which seals a heroic will that grants nothing to its hostile sentiments. This suicide is not renunciation but heroic passion. It is credentials for The conquest of modernity in the realm of passions. Thus, namely as the passion particulière de la vie moderne, suicide appears in the classical place devoted to the theory of modernity. The suicide of ancient heroes is an exception.” Walter Benjamin Charles Baudelaire: a lyric poet in the age of high capitalism"Modernity".>>>
- "le plus beau tombeau, le plus beau linceul qu'on puisse imaginer". Aurélien Bellanger, The 20th century.>>>
- See Martin Brady and Joanne Leal, Wim Wenders and Peter Handke: Collaboration, Adaptation, Recomposition (Rodopi, 2011), 19.>>>
- Roger F. Cook, “Angels, Fiction, and History in Berlin,” in The Cinema of Wim Wenders: Image, Narrative, and the Postmodern Condition, edited by Roger F. Cook and Gerd Gemunden (Wayne State University Press, 1997), cited on pp. 185f. See also Ralf Zschachlitz, “New angel - Angelus Postnovus"The Sky Over Berlin" Weimar Contributions 40 (1994): 29-43.>>>
- Hermann Broch Hofmannsthal and his time (Frankfurt am Main: Suhrkamp, 1974), 81.) >>>
- Walter Benjamin, On mimetic power (1933)>>>
- “On y lit l'histoire du siècle depuis son cœur le plus tragique: le déploiement d'une pensée critique dans l'Europe de la montée du Nazisme, entre 1932 et 1938. Le deuxième roman, interpolé dans le premier, conduit trois personnages fascinés par Walter Benjamin – a critique de Cinema, a philosopher and a history of architecture –, à la recherche du roman disparu de Messigné sur Benjamin: ils témoignent de ce que signifie vivre selon Benjamin au début du XXIe siècle.” Tiphaine Samoyault, “« Le Vingtième Siècle », d'Aurélien Bellanger”, Le Monde, January 12, 2023.>>>
- Stéphane Mosès, The Angel of History: Franz Rosenzweig, Walter Benjamin, Gershom Scholem (Jewish Publishing House, 1994), 21.>>>
