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- W1851335920 abstract "Ibsen's use of the studio in The Wild Duck offers the opportunity for exploring an explicitly modernist approach to allegory. I intend to take advantage of this opportunity by appealing to Walter Benjamin's commentaries on two allegorists of industrial society, the amateur collector and the photographer. Old Ekdal, Hedvig, and Hjalmar take possession of the captain's treasure, enrich his collection, and ultimately construct a human habitat from the poverty of objects at their disposal. The photo apparatuses strewn about the studio point beyond the semiotics of professional classification to an estranged mode of making and a crisis of experience subjected to control by technology. The dramatic and theoretical texts are sufficiently complex to warrant a gradual and patient exposition. I hope that by first developing the general contours of modern allegory from the dramatic text with a minimum of theory, it will be easier to follow the broader theoretical premises later. But I should point out now that I will give a materialist reading of modern allegory~as distinguished from theological or psychological readings-based on the allegorical hermeneutics of the Economic and Philosophical Manuscripts of 1844 by the early Marx. I will therefore only concentrate on the materialist implications of Benjamin's commentaries, ignoring the more recondite messianic speculations and the distinctly surrealist sensibility that color his understanding of allegory." @default.
- W1851335920 created "2016-06-24" @default.
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- W1851335920 date "1992-03-01" @default.
- W1851335920 modified "2023-09-26" @default.
- W1851335920 title "Allegory in the Technological Age: A Case Study of Ibsen's The Wild Duck" @default.
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