NOTES
Introduction
Benjamin,
The
Origin
of the German Tragic Drama,
trans. John Osborne (Lon-
don and New York: Verso, 1977), 166.
2 Ibid., 217.
3 Paul de Man, 'The Rhetoric of Temporality" (1969), in
Blindness and Insigilt
Essays
in
the Rhetoric of Contemporary CritiCISm
(1971), rev. 2d ed. (Minneapolis:
U of Minnesota P, 1983), 207.
4
It
should be pointed out that as far as Marx is concerned, what appears to
be a symmetrical dichotomy between use and exchange is in fact a critical
operation in which only the latter has a real epistemic status. As Jameson
notes, "[use value] is 'always-already' if there ever was one: The minute com-
modities begin to speak ... they have already become exchange-values.
Use value is one of those lateral or marginal concepts which keeps mov-
ing to the edge of your field of vision as you displace its centre around the
field, always a step ahead of you, never susceptible of being fixed or held."
Frederic Jameson, "Marx's Purloined Letter,"
New Left Review
209 (1995): 92.
5 Jacques Derrida,
Cinders
(1987), trans. Ned Lukacher (Lincoln: U of Ne-
braska P, 1991), 55.
6 Quoted in Benjamin, Origin, 161.
7 Georg Wilhelm Friedrich Hegel,
Aesthetics
(1835), trans.
T.
M. Knox, vol. 1
(Oxford, England Oxford UP, 1975), 399.
8 Ibid., 400.
9 TImothy Bahti,
Allegories of History: Literary Historiography after Hegel
(Baltimore
and London Johns Hopkins UP, 1992),110.
10 "An allegory is but a translation of abstract notions into a picture-language,
which is itself nothing but an abstraction from objects of the senses; the
principal being more worthless even than its phantom proxy, both alike
unsubstantial, and the former shapeless to boot. On the other hand a sym-
bol ... is characterized by a translucence of the special in the individual,
or of the general in the special, or of the universal in the general; above
all
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