ABSTRACT
The article aims to show how Benjamin's effort to found a new art criticism goes back to the first romanticism of Iena and to Hegel's philosophy. While Hegel proclaims the end of aesthetics and of the traditional work of art, the romantics, in the figure of F. Schlegel and Novalis, point to the continuation of a philosophical art discourse that ignores the traditional presuppositions, using concepts such as immanent criticism and medium-of-reflection. Based on that, this article seeks to show how this double heritage remains throughout the main works of Benjamin, especially the “German Tragic Drama” and the work of the “Passages”, at the center of which is the concept of montage. Finally, resorting to Marxist influence, the text outlines some political consequences of this art criticism that, developed from youth, remains in the texts of maturity.
Keywords:
End of art; art criticism; immanence; reflection; assemblage