In this book, Alison Ross engages in a detailed study of Walter Benjamin’s concept of the image, exploring the significant shifts in Benjamin’s approach to the topic over the course of his career. Using Kant’s treatment of the topic of sensuous form in his aesthetics as a comparative reference, Ross argues that Benjamin’s thinking on the image undergoes a major shift between his 1924 essay on ‘Goethe’s Elective Affinities ,’ and his work on The Arcades Project from 1927 (...) up until his death in 1940 . The two periods of Benjamin’s writing share a conception of the image as a potent sensuous force able to provide a frame of existential meaning. In the earlier period this function attracts Benjamin’s critical attention, whereas in the later he mobilises it for revolutionary outcomes. The book gives a critical treatment of the shifting assumptions in Benjamin’s writing about the image that warrant this altered view. It draws on hermeneutic studies of meaning, scholarship in the history of religions and key texts from the modern history of aesthetics to track the reversals and contradictions in the meaning functions that Benjamin attaches to the image in the different periods of his thinking. Above all, it shows the relevance of a critical consideration of Benjamin’s writing on the image for scholarship in visual culture, critical theory, aesthetics and philosophy more broadly. (shrink)

This book places Benjamin’s writing on revolution in the context of his conception of historical knowledge. The fundamental problem that faces any analysis of Benjamin’s approach to revolution is that he deploys notions that belong to the domain of individual experience. His theory of modernity with its emphasis on the disintegration of collective experience further aggravates the problem. Benjamin himself understood the problem of revolution to be primarily that of the conceptualization of collective experience (its possibility and sites) under the (...) conditions of modern bourgeois society. The novelty of his approach to revolution lies in the fact that he directly connects it with historical experience. Benjamin’s conception of revolution thus constitutes an integral part of his distinctive theory of historical knowledge, which is also essentially a theory of experience. Through a detailed study of Benjamin’s writings on the topics of the child and the dream, and an analysis of his ideas of history, the fulfilled wish, similitude and communist society, this book shows how the conceptual analysis of his corpus can get to the heart of Benjamin’s conception of revolutionary experience and distil its difficulties and mechanisms. (shrink)

What does ‘communism’ mean in Walter Benjamin’s writing? It has been used in some quarters to claim that Benjamin has a quasi-Marxist theory of communist society. This paper will argue instead that Benjamin’s communism is framed by his distinctive conception of experience and that it is understandable only through that conception. Benjamin’s image of ‘communist society’ refers to a specific type of experience rather than a type of social organization. The paper discusses the conceptual background of that image and (...) also points out a number of the difficulties that Benjamin’s conception of collective experience faces given its genesis in a model of individual experience. (shrink)

If stem cell-based therapies are developed, we will likely confront a difficult problem of justice: for biological reasons alone, the new therapies might benefit only a limited range of patients. In fact, they might benefit primarily white Americans, thereby exacerbating long-standing differences in health and health care.

From the comparative framework of writing on the meaning of ritual in the field of the history of religions, this essay argues that one of the major problems in Benjamin’s thinking is how to make certain forms of materiality stand out against other forms. In his early work, the way that Benjamin deals with this problem is to call degraded forms “symbolic”, and those forms of materiality with positive value, “allegorical”. The article shows how there is more than an incidental (...) connection with the recent approach to ritual in the field of history of religions, seeing that Benjamin too wants to set out the significance of certain material forms against those that are “ritualistic” and hence false. It is argued that he treats the latter in his essay on Elective Affinities and the former in his Trauerspiel. The key claim is that the way material forms stand out as meaningful is akin to the Kantian description of the aesthetic attitude, which identifies how certain formations warrant and attract reflective attention and underpin moral orientation. The point is significant since Kantian aesthetics is an object of polemical attention across Benjamin’s heterogeneous corpus. Moreover, the approach shows the main difficulty in Benjamin’s treatment of sensible forms: what are the criteria he uses to distinguish the “bad” way a sensible form has of being meaningful from the “good”? (shrink)

In this volume specialists of medieval music and philosophy put the medieval 'musica' into the context of ideas and institutions in which it existed. The significance of 'musica' cannot be understood from a modern point of view since 'music' does not match the medieval 'musica'.

Why Revisit Classics Like Antigone? Sophocles’ dramatic depiction of the myth of Antigone has undergone a range of theatrical reincarnations over the centuries, from the tellingly entitled Antigone ou le piete by Robert Garnier to versions and free translations by Vittorio Alfieri , Friedrich Hölderin , Johann Wolfgang Goethe , Walter Hasenclaver , Jean Coc- teau , Jean Anouilh , Bertolt Brecht , Tom Paulin , Athol Fugard , Miro Gavran and Seamus Heaney – to name just a few. (...) It is the contention of this analysis that dramatic reinterpretations of Sophocles’ Antigone have fallen into two very distinct phases; firstly those comprising predominantly reverential appropriations of the ancient classic which tap into the source text’s cultural cachet to bolster the cultural, religious and political aims of the society in which it was currently being performed; and secondly, the post 1945 appropriations. It is the sec- ond phase that will provide the particular focus for this discussion. (shrink)

In this essay, I do not want to focus on performativity as such and understand it as an aesthetic expression; instead, I would like to illustrate how performativity takes on the role consequential to an aesthetic experience. Specifically, I want to highlight how aesthetic experience takes place in the spatial contexts of the city. In this regard, I want to define the aesthetic-practical-sensory relationship of the soma, understood as a paradigm of a living body, that is, a body that moves (...) and acts in space, by declining three historical moments that tell the story. I want to define three historical moments from the early twentieth century to the present through the soma-city relationship: 1) The first moment is inscribed in the emergence of the Baudelairian concept of the flâneur, a symbolic figure who introduces a relationship with the city characterized by a disenchanted gaze and a slow, wandering movement picked up, especially by Walter Benjamin in the Paris Passages; 2) The second moment is that of Situationism, in which Guy Debord introduces the concept of dérive, understood as an approach to the city marked by the experiential and emotional relationship; 3) The third and most recent moment concerns Richard Shusterman's embodiment of the somaesthetic exercise, in which the Avatar of the Man in Gold, enters into a relationship with the city, aspiring to reconnect urban spheres and not to a pure somaesthetic experience of the city. The last point to be made is that these three historical and aesthetic experience-based moments of the body in the city are marked by the body moving in space. In the case of the flâneur, the body wanders in an unresolved manner without a precise destination; in the case of the drift, the body is propelled by the many sensations and expressions of the city that are expressed through walking (urban Walkscapes); finally, in the case of the Man in Gold, there is a movement totally absorbed in the experience of places. (shrink)

This article defends the thesis that there are multiple points of exchange between the categories of “word” and “image” in Walter Benjamin’s Arcades Project. Benjamin describes the truth of the articulate wish of the past as “graphically perceptible” and the image as “readable.” In this respect the vocabulary of “word” and “image” that Benjamin’s early work had opposed are not just deployed in concert, but specific features of the vocabulary of “word” and “image” become exchangeable. The distinctive features of (...) this exchange can be used to expound on Benjamin’s peculiar understanding of revolutionary experience and the significance of the break that it marks with his early way of opposing the word and the image. In particular, the exchange of features between word and image can explain the mechanics and intended effect of his idea that the meaning of history can be perceived in an image. The study of this exchange also shows that although the framework of “graphic perception” entails an experience of motivating meaning that is epistemologically grounded, the citation model of history is unable to secure the extension of the sought after legibility of the nineteenth century to a recipient. (shrink)

Jim Jarmusch's Dead Man is a modern myth. Like many ancient myths it seems to have the structure of a rite of passage analysed by van Gennep into three stages: separation, marginal existence and reintegration. Separation is precipitated by a traumatic event and the marginal state is characterized by extraordinary experiences and feats. However, Jarmusch's tale does not quite fit the ancient initiation pattern since the last stage, reintegration, is at least prima facie missing. This already undermines the social function (...) of initiation and warps the significance of the myth. The modern town of ?Machine?, where the marginal existence of Blake is sealed, looms in the background of the story of his final journey to the world of spirits whence he had come. But Blake cannot quite embrace the story in which he plays the protagonist. The story is cobbled together by the Native American called ?Nobody.? Blake sceptically resigns himself to his fate. Why does Blake do this? Jarmusch manipulates the generic structure of the initiation tale in order to say something culturally significant about the possibility of living a meaningful life in a world dominated by the machine. In other words, he tells a modern myth. What does his tale say? (shrink)

Kants Theorie des reinen Geschmacksurteils By Christel Fricke Verlag Walter de Gruyter, 1990 (Quellen und Studien zur Philosophie, 26). Pp. 196. ISBN 3?11?012585?4. DM98.00 The Ontology of Physical Objects By Mark Heller Cambridge University Press, 1990. Pp. iv + 162. ISBN 0?521?38544?X. £25.00. Theory of Knowledge By Keith Lehrer Routledge, 1990. Pp. xii + 212. ISBN 0?415?05407?9. £30.00 hbk. £9.99 pbk. Disciplining Foucault: Feminism, Power and the Body By Jana Sawicki Routledge, 1991. Pp. xii + 130. ISBN 0?415?90187?1. £30.00 (...) hbk. £8.99 pbk. (shrink)

The human genome project's lasting legacies are the emerging insights into human physiology and disease, and the ascendance of biology as the dominant science of the 21st century. Sequencing revealed that >90% of the human genome is not coding for proteins, as originally thought, but rather is overwhelmingly transcribed into non‐protein coding, or non‐coding, RNAs (ncRNAs). This discovery initially led to the hypothesis that most genomic DNA is “junk”, a term still championed by some geneticists and evolutionary biologists. In contrast, (...) molecular biologists and biochemists studying the vast number of transcripts produced from most of this genome “junk” often surmise that these ncRNAs have biological significance. What gives? This essay contrasts the two opposing, extant viewpoints, aiming to explain their bases, which arise from distinct reference frames of the underlying scientific disciplines. Finally, it aims to reconcile these divergent mindsets in hopes of stimulating synergy between scientific fields. (shrink)

In these studies of the relationships between poetry, religion, and philosophy, and of the background and development of existentialism, Walter Kaufmann has produced a book which is challenging and important on many different levels. --.

Western moral and political theorists have devoted much attention to the victimization of women by non-western cultures. But, conceiving injustice to poor women in poor countries as a matter of their oppression by illiberal cultures yields an imcomplete understanding of their situation.

Views from one of the most original cultural critics of the twentieth century, Walter Benjamin.

A virtuous person has a distinctive grasp of what is important in the light of which she chooses what to do. In what does this grasp consist? According to the intellectual tradition, moral virtue requires you always to be able to have an explicit, conscious grasp of the reasons why your action is right. Recently, this view has been defended by Julia Annas. I do not think that her argument establishes her conclusion, and I provide further defense of intellectualism, finishing (...) with some conclusions about the importance of moral philosophy. (shrink)

A survey of Western feminist ethics over the past thirty years reveals considerable diversity; nonetheless, much recent work in this area is characterized by its adoption of a naturalistic approach. Such an approach is similar to that found in contemporary naturalized epistemology and philosophy of science, yet feminist naturalism has a unique focus. This paper explains what feminist naturalism can contribute to moral philosophy, both by critiquing moral concepts that obscure or rationalize women’s subordination and by paying attention to real-life (...) practices of moral inquiry, including those used by women. (shrink)

The feminist conception of discourse offered below differs from classical discourse ethics. Arguing that inequalities of power are even more conspicuous in global than in local contexts, I note that a global discourse community seems to be emerging among feminists, and I explore the role played by small communities in feminism's attempts to reconcile a commitment to open discussion, on the one hand, with a recognition of the realities of power inequalities, on the other.

The vagaries of evidential reasoning in archaeology are notorious: the material traces that comprise the archaeological record are fragmentary and profoundly enigmatic, and the inferential gap that archaeologists must cross to constitute them as evidence of the cultural past is a peren­nial source of epistemic anxiety. And yet we know a great deal about the cultural past, including vast reaches of the past for which this material record is our only source of evidence. The contents of this record stand as (...) evidence only under interpretation, but however much a construct it is, archaeological evidence has a striking capacity to disrupt settled assump­tions, redirecting inquiry and expanding interpretive horizons in direc­tions no one could have anticipated. It is this capacity for constraining inference and interpretation that I am concerned to understand. I outline a model of evidential reasoning based on archaeological practice that integrates insights drawn from philosophical theories of confirmation, model building and hypothesis testing. Given growing interest in the uses of material evidence in fields that had been resolutely text-based, the archaeological principles of evidential reasoning may have much wider reach than this particular social/historical discipline. (shrink)

This paper focuses on how Soldiers make hard choices between competing options. To understand the psychological processes behind these types of decisions, we present qualitative data collected from...

I address the problem of how to locate "traitorous" subjects, or those who belong to dominant groups yet resist the usual assumptions and practices of those groups. I argue that Sandra Harding's description of traitors as insiders, who "become marginal" is misleading. Crafting a distinction between "privilege-cognizant" and "privilege-evasive" white scripts, I offer an alternative account of race traitors as privilege-cognizant whites who refuse to animate expected whitely scripts, and who are unfaithful to worldviews whites are expected to hold.

This is the first of two companion articles drawn from a larger project, provisionally entitled Undisciplining Moral Epistemology. The overall goal is to understand how moral claims may be rationally justified in a world characterized by cultural diversity and social inequality. To show why a new approach to moral justification is needed, it is argued that several currently influential philosophical accounts of moral justification lend themselves to rationalizing the moral claims of those with more social power. The present article explains (...) how discourse ethics is flawed just in this way. The article begins by identifying several conditions of adequacy for assessing reasoning practices designed to achieve moral justification and shows that, when used in contexts of cultural diversity and social inequality, discourse ethics fails these conditions. It goes on to argue that the failure of discourse ethics is rooted in its reliance on a broader conception of moral epistemology that is invidiously idealized. It concludes by pointing to the need to rethink both the mission and the method of moral epistemology. (shrink)

Court cases involving sexual assault and police violence rely heavily on victim testimony. We consider what we call the “Traumatic Untrustworthiness Argument (TUA)” according to which we should be skeptical about victim testimony because people are particularly liable to misremember traumatic events. The TUA is not obviously based in mere distrust of women, people of color, disabled people, poor people, etc. Rather, it seeks to justify skepticism on epistemic and empirical grounds. We consider how the TUA might appeal to the (...) psychology and neuroscience of memory for empirical support. However, we argue that neither support the TUA. (shrink)

This article revisits the ethical and political questions raised by feminist debates over essentialism, the belief that there are properties essential to women and which all women share. Feminists’ widespread rejection of essentialism has threatened to undermine feminist politics. Re-evaluating two responses to this problem—‘strategic’ essentialism and Iris Marion Young’s idea that women are an internally diverse ‘series’—I argue that both unsatisfactorily retain essentialism as a descriptive claim about the social reality of women’s lives. I argue instead that women have (...) a ‘ genealogy’: women always acquire femininity by appropriating and reworking existing cultural interpretations of femininity, so that all women become situated within a history of overlapping chains of interpretation. Because all women are located within this complex history, they are identifiable as belonging to a determinate social group, despite sharing no common understanding or experience of femininity. The idea that women have a genealogy thus reconciles anti-essentialism with feminist politics. (shrink)