CHAIANNE MARIA DA SILVA FARIA

The research focuses on the concept of monad in the work of Walter Benjamin, taking as the articulating point of its occurrences Origin of German tragic drama. Concentrated on the contribution of the monad to the theory of history, I examine it in its mobility, investigating the points of persistence and the transformations it undergoes between Origin of the German Tragic Drama and Passages. Configuring itself as a quotation, first to Leibniz, then, in the 1930s, the Tragic Drama, the monad of the 1925 book behaves in relation to the Leibnizian one, as well as that of the Passages in relation to that of the Tragic Drama, bringing together the poles of origin and destruction. Benjamin rips the concept out of its context and makes it resurface in his writings; thus, the monads of Leibniz and Tragic Drama find a new stage in their after history. The textual structure in whose plot the monad reappears is described by a set of lines of force organized differently in each phase of Benjamin's work. The hypothesis is that the book on the Baroque organizes a certain grammar of the monad that allows us to think of history in Benjamin as a movement of objects between their pre and posthistory