Abstract

SummaryIn his doctoral dissertation—The Concept of Criticism in German Romanticism, finished in 1919 and published as a book in 1920—Walter Benjamin explores the epistemological and aesthetic foundations of the concept of criticism expounded by the early German Romantics Friedrich Schlegel and Novalis. Many of the themes in the dissertation recur in his later work, which has led scholars to believe that much of Benjamin's thought is directly influenced by the Romantics. However, a detailed investigation of the origins and development of the dissertation reveals that the picture is much more complicated. Reading the dissertation alongside the biographical material now available, this article argues that the major themes which preoccupy Benjamin in The Concept of Criticism in German Romanticism, including his theories of language and knowledge as well as his messianic philosophy of history, in fact predate his study of the Romantics. As well as being a potential entry ticket to an academic career, the dissertation constitutes Benjamin's first sustained attempt to develop and consolidate his own epistemology and aesthetics in a more or less systematic way. He does so through a series of ‘judicious interpretations’ of the Romantics, whose work he reads selectively, anachronistically and creatively to provide a vehicle for his own thought.