Abstract
Having just recently passed away at the age of one-hundred-and-one, Ernst Jiinger was truly a witness to the twentieth century. Given his official recognition as a major literary figure throughout Europe (wellwishers for his hundreth birthday in 1995 included former French President Mitterand and German Chancellor Kohl), Jiinger's work has sparked a renewed debate among literary scholars that often focuses on his personal contribution to proto-fascism.1 According to Russell Berman, Jiinger's texts unveil a specifically politics of symptomatic of a fascist modernism, a specific branch of German modernist aesthetics existing simultaneously alongside an epic leftism and a liberal modernism.2 While his characterization of representation remains accurate and insightful, Berman nonetheless relies on a questionable source for his analysis. To regard
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