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Resumo : Este artigo busca evocar as dimensoes politica, poetica e filosofica na escrita de Walter Benjamin, trabalhando as concepcoes de apresentacao (Darstellung) da verdade, constelacao e critica, como dimensoes constitutivas de seu exercicio de pensamento, praticado na linguagem. Para isso, trabalhamos: as concepcoes de tratado, fragmento e constelacao, em sua critica a escrita sistematica, em paralelo ao seu modo de pensar a filosofia como apresentacao (Darstellung) da verdade, presentes no Prefacio do Drama Tragico Alemao (1928); a sua concepcao de linguagem como arquivo de semelhancas nao sensiveis, evocada na Doutrina das Semelhancas e em Sobre a faculdade mimetica (1933); e sua distincao entre o quimico e o alquimista, assim como a relacao entre o comentario e a critica, presentes no ensaio sobre as Afinidades Eletivas de Goethe (1922). Por fim, afirmamos seu modo ensaistico de escrita como locus de um exercicio de critica imanente, exposicao e desvio, na construcao de um metodo, uma politica de leitura e escrita do mundo, que nasce como tarefa de “ler o que nunca foi escrito”, daquele nao tem nada a dizer, somente a mostrar. Palavras chave : escrita; apresentacao; constelacao; critica; desvio. Abstract: This article seeks to evoke the political, poetic and philosophical dimensions in the writing of Walter Benjamin, working the concepts of presentation (Darstellung) of truth, constellation and criticism, as constitutive dimensions of his exercise of thought, practiced in language. Therefore, we worked on: the conceptions of treaty, fragment and constellation in its critique of systematic writing, in parallel with its mode of thinking philosophy as presentation (Darstellung) of truth, present in the Preface of German Tragic Drama (1928); his conception of language as an archive of nonsensuous similarities, evoked in the Doctrine of Similarities and On mimetic faculty (1933); and his distinction between the chemist and the alchemist, as well as the relation between comment and criticism, present in the essay about Goethe’s Elective Affinities (1922). Finally, we affirm his essayistic mode of writing as the locus of an exercise of immanent critique, exposition and detour, in the construction of a method, a policy of reading and writing the world, born as a task of “reading what was never written” by the one who has nothing to say, only to show. Keywords : writing; presentation; constellation; criticism; detour.

cadernos benjaminianos

Walter Benjamin e a filosofia da escrita: apresentação, constelação e crítica/ Walter Benjamin and the philosophy of writing: presentation, constellation and criticism