In this paper, I will focus on the nature of the modernity from the perspective of a «logical» square. On the basis of its vectorial orientation, I will show the value of Guy Debord’s work, according to which, undeniably, there is a need to articulate two core issues of our time: «How does a multitude turn into a class?» (Benjamin’s question) and «How does the individual become a subject?» (Althusser’s question). It is precisely the nexus between these questions that allows (...) us to draw the line between the modernity and the postmodernity. (shrink)

This article aims at presenting the concept of “phantasmagorical interpellation”. This theoretical effort is inspired by Walter Benjamin’s concept of “phantasmagoria” and Louis Althusser’s concept of “ideological interpellation”. The proposal is to ally their respective philosophical work-in-progress in their “anthropological” and “aleatory” materialisms in order to provide a socio-political analysis of today’s capitalist aesthetics as displayed in postmodern architecture or the design of everyday life. The aim is also to open new perspectives of resistance to the normativity of (...) the consumer imaginary using a critical interpretation of cultural creations which, following the inspiration of both authors, could reveal a new subject history capable of burst onto the scene of history. (shrink)

RESUMO Este artigo pretende introduzir o conceito de “interpelação fantasmagórica”. O esforço teórico se inspira nos conceitos de “fantasmagoria”, de Walter Benjamin, e de “interpelação ideológica”, de Louis Althusser. A proposta é aliar suas respectivas filosofias em processo a seus materialismos “antropológico” e “aleatório”, a fim de fazer uma análise sociopolítica da estética capitalista de hoje, tal como ela aparece na arquitetura pós-moderna e no design da vida cotidiana. Trata-se também de abrir novas perspectivas de resistências a normatividade (...) do imaginário consumista com uma interpretação crítica das criações culturais que, conforme a inspiração dos autores, pode desvelar um novo sujeito capaz de surgir na cena da história. ABSTRACT This article aims at presenting the concept of “phantasmagorical interpellation”. This theoretical effort is inspired from Walter Benjamin’s concept of “phantasmagoria” and Louis Althusser’s concept of “ideological interpellation”. The proposal is to connect their respective philosophical work-in-progress in their “anthropological” and “aleatory” materialisms for a socio-political analysis of today’s capitalist aesthetic as displayed in postmodern architecture and the design of everyday life. It is also to open new perspectives of resistance to the normativity of the consumer imaginary with a critical interpretation of cultural creations that, following the inspiration of both authors, could reveal a new subject of history able to suddenly appear on the scene of history. (shrink)

Theodor Adorno and Walter Benjamin have emerged as figures of great importance in the current debates about modernity. The central and privileged place of the philosophical problem of modernity has been threatened by the possibility advanced by Jean-François Lyotard that modernity as a project is over and the new concern is the postmodern. The work of Adorno and Benjamin is the background against which the problems of modernity and postmodernity are addressed in this volume. This collection brings together (...) some of the most innovative academics working in the area of European radical philosophy. Issues covered range from art, literature and music to feminism and Judaism. (shrink)

Walter Benjamin proposed as aesthetic and political objective to determine the axis of the common sensibility of the nineteenth century, based on the work of Sigfried Giedion: Bauen in Frankreich. Giedion's works have since formed generations of architects, as a result of its international at the head of the International Congresses of Modern Architecture position.

This is the first serious intellectual biography of Guy Debord, prime mover of the Situationist International and author of _The Society of the Spectacle_, perhaps the seminal book of May 1968 in France. Anselm Jappe rejects recent attempts to set Debord up as a "postmodern" icon, arguing that he was a social theorist in the Hegelian-Marxist tradition—not a precursor of Jean Baudrillard but an heir of the young Georg Lukács of _History and Class Consciousness _. Neither hagiographical nor sectarian, _Guy (...) Debord_ places its subject squarely in his historical context: the politicizing Letterist and Situationist "anti-artists" who, in the European aftermath of World War II, sought to criticize and transcend the Surrealist legacy. The book offers a lively, critical, and unusually reliable account of Debord's "last avant-garde" on its way from radical bohemianism to revolutionary theory. Jappe also discusses Debord's films, which are largely inaccessible at present. This English language edition of the book has been revised by the author and features an updated critical bibliography of Debord and the Situationists. (shrink)

Long considered "the noblest of the senses," vision has increasingly come under critical scrutiny by a wide range of thinkers who question its dominance in Western culture. These critics of vision, especially prominent in twentieth-century France, have challenged its allegedly superior capacity to provide access to the world. They have also criticized its supposed complicity with political and social oppression through the promulgation of spectacle and surveillance. Martin Jay turns to this discourse surrounding vision and explores its often contradictory implications (...) in the work of such influential figures as Jean-Paul Sartre, Maurice Merleau-Ponty, Michel Foucault, Jacques Lacan, Louis Althusser, Guy Debord, Luce Irigaray, Emmanuel Levinas, and Jacques Derrida. Jay begins with a discussion of the theory of vision from Plato to Descartes, then considers its role in the French Enlightenment before turning to its status in the culture of modernity. From consideration of French Impressionism to analysis of Georges Bataille and the Surrealists, Roland Barthes's writings on photography, and the film theory of Christian Metz, Jay provides lucid and fair-minded accounts of thinkers and ideas widely known for their difficulty. His book examines the myriad links between the interrogation of vision and the pervasive antihumanist, antimodernist, and counter-enlightenment tenor of much recent French thought. Refusing, however, to defend the dominant visual order, he calls instead for a plurality of "scopic regimes." Certain to generate controversy and discussion throughout the humanities and social sciences, _Downcast Eyes_ will consolidate Jay's reputation as one of today's premier cultural and intellectual historians. (shrink)

Few twentieth-century thinkers have proven as influential as Walter Benjamin, the German-Jewish philosopher and cultural and literary critic. Richard Wolin's book remains among the clearest and most insightful introductions to Benjamin's writings, offering a philosophically rich exposition of his complex relationship to Adorno, Brecht, Jewish Messianism, and Western Marxism. Wolin provides nuanced interpretations of Benjamin's widely studied writings on Baudelaire, historiography, and art in the age of mechanical reproduction. In a new Introduction written especially for this edition, Wolin discusses (...) the unfinished _Arcades Project_, as well as recent tendencies in the reception of Benjamin's work and the relevance of his ideas to contemporary debates about modernity and postmodernity. (shrink)

Long considered "the noblest of the senses," vision has increasingly come under critical scrutiny by a wide range of thinkers who question its dominance in Western culture. These critics of vision, especially prominent in twentieth-century France, have challenged its allegedly superior capacity to provide access to the world. They have also criticized its supposed complicity with political and social oppression through the promulgation of spectacle and surveillance. Martin Jay turns to this discourse surrounding vision and explores its often contradictory implications (...) in the work of such influential figures as Jean-Paul Sartre, Maurice Merleau-Ponty, Michel Foucault, Jacques Lacan, Louis Althusser, Guy Debord, Luce Irigaray, Emmanuel Levinas, and Jacques Derrida. Jay begins with a discussion of the theory of vision from Plato to Descartes, then considers its role in the French Enlightenment before turning to its status in the culture of modernity. From consideration of French Impressionism to analysis of Georges Bataille and the Surrealists, Roland Barthes's writings on photography, and the film theory of Christian Metz, Jay provides lucid and fair-minded accounts of thinkers and ideas widely known for their difficulty. His book examines the myriad links between the interrogation of vision and the pervasive antihumanist, antimodernist, and counter-enlightenment tenor of much recent French thought. Refusing, however, to defend the dominant visual order, he calls instead for a plurality of "scopic regimes." Certain to generate controversy and discussion throughout the humanities and social sciences, _Downcast Eyes_ will consolidate Jay's reputation as one of today's premier cultural and intellectual historians. (shrink)

The aporia of violence is probably the single most important issue that defines the failure of the leftist revolutionary politics as was experienced in modern history. It is what prevented it from ultimately achieving its goal by entrapping it in the perverse effect of the sovereign violence. As is well known, Slavoj Žižek in his book, Violence, proposes us to return to the practice of messianic or divine violence that Walter Benjamin conceptualized in contrast to that of mythical violence. (...) But, such an idea of messianic violence was not just Benjamin’s, but in fact, a predominant one in the long tradition of Marxism including Marx himself. It is then hard to see how a simple return to the practice of messianic violence will assist us better than it used to in discovering alternative ways to think about violence. In this paper, I would like to engage myself in a close reading of Jacques Lacan and Louis Althusser’s discussions of violence, hoping to find such alternatives. On the issue of violence Lacan and Althusser both converge and diverge. While examining such a crossroad of sive— in both senses of the term: identity and difference—I will in the end emphasize the need to reconsider the notion of representation, which one may no longer easily put aside as opportunistic. (shrink)

Architecture and Deconstruction Case of Peter Eisenman and Bernard Tschumi -/- Introduction Towards deconstruction in architecture Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished: the first one, in which philosophy of deconstruction deals with architectural terms but does not interfere with real architecture, the second one, in which (...) a collaboration between Jacques Derrida and a group of architects interested in his concepts is commenced, and the third one, in which completed or only designed objects or new concepts of deconstruction created by architects gain their supremacy over philosophy. The following book analyses these three possible ways, first of all with the reference to Peter Eisenman and Bernard Tschumi. -/- Peter Eisenman -/- Misreading… and Other Errors -/- The issue of relations between Peter Eisenman’s work and philosophy of deconstruction may be referred to his activity more than ten years preceding his direct collaboration with Jacques Derrida (in 1985) and organisation of the exhibition Deconstructivist Architecture at Museum of Modern Art in New York (in 1988). As soon as at the stage of designing the first houses (House I-III, 1967-1970), which almost entirely inscribed in formalistic aesthetics of Modernism, the architect analysed the problem of architecture dependence on its assumptions. All his later designs may be treated as consequence of this initial interest in relations between practice and theory, and at the same time as an introduction to manipulations later on led at the level of metaphysics of architecture. Beginning with the issue of presence, considered in comments to House VI (1972), the number of ideas having their analogies in philosophy of deconstruction increased. The text entitled The End of the Classical: The End of the Beginning, The End of the End (1984), in which Eisenman criticised questions of representation in architecture, its delusive strive for truth and comparably unattainable attempts at ultimate definition of elementary rules, should be acclaimed the breaking point. This attitude was extended by numerous strategies disturbing architecture rules defined at metaphysical level in an essay Moving Arrows, Eros, and Other Errors: an Architecture of Absence (1986). The issue of Eisenman’s passage from formalism to deconstruction has already been much discussed in the literature (Rosalind Krauss, Thomas Patin among others), still it should be mentioned that the threads similar to Derrida’s concept included in Eisenman’s writing reveal untranslatability of architecture and philosophy. -/- Choral Works or Separate tricks -/- In 1985-1986 a series of seven disputes between Jacques Derrida and Peter Eisenman took place. The pretext for them were designs concerning Parc de la Villette in Paris. The situation of many months of collaboration between a notable philosopher of the second half of the 20th c. and an architect that already had a huge theoretical oeuvre, ended up with a publication of a large volume entitled Chora L Works and it became at the same time a vast study area for historians of contemporary architecture and philosophers. Derrida’s contribution to concept works were his considerations over the idea of chôra, the properties related to this concept were about to be reflected in shapes of the park. Therefore, Chora L Works became an example of the abilities of contemporary art, both in its capability of translation from philosophical ideas to artistic forms and its resistance to tradition of representing in architecture some phenomena and values originating outside this discipline. In the final period of their collaboration both interlocutors started to polemicise with each other more decidedly, what became a separate part of their thought exchange. The exchange of letters between Derrida and Eisenman at the turn of 1989 ended up the period of their direct contacts, nevertheless, at this time precisely a large group of experts in issues of deconstruction joined the discussion and extended the revealed in the former dispute problems into more than ten years of further considerations and publications. Except for a long text by Jeffrey Kipnis, who had participated in the meetings of the philosopher and the architect, there appeared also comments of researchers of artistic theories (K. Michael Hays, Thomas Patin), philosophers (Andrew Benjamin), and even experts in Greek literature (Maria Theodorou or Ann Bergren). Following these debates a contemporary reflection on architecture has saturated with indeed numerous concepts originating in philosophy of deconstruction. -/- Architecture which imitates mute philosophy -/- The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985-1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaeus. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays repetitions are attempts of a single being to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work. -/- Annex Architecture is still writing Balzac novels. Peter Eisenman and literature -/- Architecture’s approach to writing, script or literature, present within Peter Eisenman’s work, is an exceptional phenomenon, furthermore a complex one. The article considers four possible relations. The first one relates to Eisenman’s characteristics as a person extremely gifted with the ability to wordplay, which very ‘play’ reveals skills to create architectural images. In the second approach the attention has been paid to Eisenman’s interests – in the first period of his oeuvre – in linguistic works by Noam Chomsky and his transformational-generative grammar. The third kind of relations applied to overcoming the need for autonomy of architecture (and of modernist aesthetics at the same time) and renew interests in questions of meaning in architecture. The fourth sort of relations occurred when Eisenman started to create reflections of historic or literary narrations in architecture – ‘stone stories’ and architectural fictions of their kind. -/- Bernard Tschumi -/- From perversion to deconstruction In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings motre inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo Marxism and French Structuralism, mainly by the writings of Henri Levebre and Guy Debord. From the thought of Levebre Tschumi took interest for city as not only a question of urbanistics but also a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschumi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as ‘revolting analyses’ were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschudi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not losing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition. Crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that result from upsetting architectural order of a given building by its users and the one hand, and on the other from forcing the users to specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction. -/- Approaching deconstruction Tschumi in his theories developed in the 1980s presumed that the current social world had undergone a deep process of decay, and the reaction against which ought to be based on ordering-up actions, and also preserving the main outline of disintegration of the whole and its elements in the state of conflict. The statements concerning the nature of the contemporary to Tschumi social relations were applied by him to the world of architecture, this led him to coming up with designing strategies that took into consideration the destabilised character of conditions in which works of architecture were created. New ways of conduct invented by Tschumi drew their inspiration from literature and research on literature, psychoanalysis, structural linguistics, structuralism and post structuralism, and eventually also deconstruction philosophy. The proposed methods were opposed by their author both to functionalism continuity trends and postmodern architecture. Tschumi’s proposals contradicted any forms of conservatism or traditionalism in political sphere as well as in reference to tendencies in architecture. They were not simple contradictions of social or architectural rules, they intrude them from the inside, weaken or escalate the already existing incongruities, they move the boundaries between the areas. Revolutionary illusions about the possibility of radical changes were replaced with strategies which completed, tainted or test former rules in the series of formal games of permutation and combination. Quite different from avant-garde formalism Tschumi’s games were not about maintaining the autonomy of a given area, but on the contrary – polluting it with other areas’ influences. Tschumi enjoyed demonstrating illusions of architecture concerning simple relations between form and function, or between form and meaning. Making use of Freud, Lacan and Foucault’s research he introduced a category of “madness” into architecture allowing an observation that the recognised norms are nothing but merely ones of many possible principles of behaviour, and their recognised status resulted from unjustified hindering innovativeness which is crucial for architecture. To reborn architecture’s capability of changing Tschumi also made use of Barthes’s discoveries concerning rules of narration and works by writers who applied in their writing knowledge on linguistics. Making a work’s author unclear by various mechanical transformations of its elements was however apparent only, and formal rigours imposed on the process of designing liberated possibilities difficult to obtain in more traditional creative action. Another mode of acting introduced by Tschumi was combining his work of elements deriving from outside architecture; joining space records with notation of motion and events accompanying architectural objects among others. These architectural and extra-architectural elements were not unified, on the contrary their heterogenous and conflictual character was stressed. This is how shock, anxiety and instability, typical for live in great metropolises, infiltrated architecture. Taking some ideas of deconstruction philosophy as a pattern Tschumi also took into critical consideration in his essays traditional in architecture oppositions between form and figuration, or theory and practice. By combining various inspirations he eventually worked out an idea of architectural event, which he understood as a series of actions contesting its own field, redefining its sources, principles and elements. An event, understood in this way, was not so much producing works as rather creating conditions of their production and at the same time designing the society different from a hierarchic one. -/- Park of deconstruction Among numerous philosophical strategies of deconstruction most frequently used was questioning the practice of strong opposition of two reasons. In many cases Bernard Tschumi’s writings just consider functioning of the conflict juxtaposition of the ideas of structure and ornament or theory and practice in history of architecture. Violation of traditional relations between terms of this kind, both old and modern, raised Jacques Derrida’s objections, when he was induced for the first time to co-operate with architects’ milieu. During this long lasting thought exchange the philosopher eventually acknowledged Bernard Tschumi’s arguments for reasoning the encroachment of architecture’s fundamental rules. Deconstruction applied in architecture was not a simple transposition or analogy of practices that had been applied by philosophy of deconstruction. We may even say that considering architectural terms became an important formula of deconstruction. Architecture understood in philosophical way became something beyond the practice and theory of its own discipline, a sort of metaphysics of both philosophy and architecture. The deliberate encroachment of simplicity of dividing architecture into theory and practice, for the first time became a clear aim for Tschumi in his drawings and texts entitled The Manhattan Transcripts. The contents of this series of works was a record of characteristic features of this New York district in such a way that not only objects were the subject of the record but also relations between objects, people and events. The record was about to take into consideration a conflict character of elements of this representation and at the same time to avoid applying to them the rule of mimetism. The record became a form of reflection over the very record by an increased control over the ways of representation. Architecture which was considered in the The Manhattan Transcripts was not directed to fulfill the needs of inhabitation or production, it was rather related with hitherto usually marginalised liminal situations: building ostentatiously big monuments, religious cult, war etc. Architecture operating in these relations focused also the attention on the included in it continuous tendency to overpass its own restrictions, the role of violence as its not recognised factor, or the meaning of excess and shock in its operation. Architecture moving from reason towards madness became even more visible in the design of Parisian Parc de la Villette, whose pavilions were defined as folies (in French it means both small park buildings and follies). The park was supposed to be on the one hand a reflection of traditional society disintegration while on the other it questioned basic rules of producing a work of architecture. The traditional rules of designing, based on ordering up, were replaced with the strategies of dysfunction and dissociation. In Tschumi’s opinion methods of this kind may be equivalent of what Derrida named différance. Instead of aiming at mergence, any diversity, plays or variations were strengthen. Tschumi’s texts, in which he explained his attitude, were completed by Derrida’s extent statement entitled Point de folie – Maintenant l’architecture. Derrida’s article is the most significant of all his statements on architecture as a form of thinking and activity. According to the philosopher, architecture should divide space (in French defined as espacement), what enables both thinking and action – it arranges the space of an event. Tschumi’s buildings, defined as folies, in an essential way destabilise any created order, and at the same time they refresh it. Derrida’s statement suggests that architecture may become both metaphor of an order merging a language or a society but also of inner forces which deconstruct and reconstruct it. Therefore architecture is at the same time a construction, a deconstruction and a reconstruction. Parc de la Villette stands out in this system with its attempt to step beyond the scheme of an easy repetition and its heading for chances of achieving more radical otherness. -/- Conclusion Destruction as construction. Paradoxes of deconstruction in architecture -/- Scepticism about persistence and common importance of fundamental values of human culture evinced in philosophers and writers’ works as early as in Greek antiquity, nevertheless it was not expressed so strongly as in the second half of the 20th century. Especially in Heidegger’s work Being and Time (although originated in 1927, still influential in all later philosophy) the following states were characterised: the state of losing the ground (Abgrund), of being out of sight (Unheimlichkeit) and of being out of dwelling (Un-zuhause-sein) – as the basis of self-confidence of conscious being there (Dasein). The entire criticism of philosophy of home and dwelling draws the inspiration from this early writing of the German philosopher, it combines crisis of basic terms of metaphysics with social conditions which are dictated by living in large metropolis. The crisis of both metaphysical foundation and home appears to be similar to the situation of weakening the relations between a man and his dwelling in extensively expanding cities. Whereas philosophy, as well as many disciplines of social sciences, have diagnosed for a long time the destabilisation of fundamental ideas of Western culture and crucial changes in the ways of dwelling, architecture itself occurred to be “the last fortress of metaphysics” (J. Derrida). Among contemporary architects, Peter Eisenman and Bernard Tschumi were the ones who engaged most decidedly in the issues of critical analysis of architecture foundation and its social role. Both the architects noticed new formulas of contemporary social and individual existence, tremendously different from the entire history, and at the same time they affirmed lack of adequacy of architecture concepts to new situations. Both Eisenman and Tschumi used to describe the existing architecture as a tool for consolidation of highly integrated and hierarchised societies, and also as a discipline extremely uncoincidental with the current character of social life based on ideas of freedom and diversity. The means to transform architecture and make a factor of further social changes out of it, was a concept that accentuated revealing the inner contradictions of this discipline, and considering them in designing strategies. Eisenman’s activity, in regard of what has just been noticed, was focused on questioning the basic rules of traditionally comprehended architecture, especially the rule of purpose. The American architect noticed that the concept of architecture as fulfilment the need of location, hides away the fact that the location has to be constantly reconsidered, and hence it is overtaken by change (dislocation). Therefore new concept of architecture propounded architectural activity to translocate the concept of location – more than before – but also to change its status perpetually. Such comprehended architecture should claim, as its main purpose, the constant revision of this purpose and create itself anew permanently. Even Eisenman’s earliest designs of houses nos. I-IV broke with such values as the sense of safety, closeness and familiarity, and just on the contrary they accentuated senses of strangeness, homelessness and loss of confidence. The contradictions within architecture noticed by Tschumi referred to combination of intellectual and sensual values in architecture, when their non-appropriation was defeated by an additional condition, namely the way of experience based on pleasure of excess, marked by insanity. The features of folly were especially visible in his designs of gardens, where the order of planning was mixed with sensual experience introduced by particular elements (both the ones created by nature, and the buildings defined as folies). Parc de la Villette designed by the French architect in Paris put in question not only the common understanding of purpose in architecture but also the ideas of order and integrity, as its plan was based on the combination of independent layers with records of grids of points, various lines and planes. The architecture that collides inadequate elements with each other was supposed to be a kind of an event with no beginning and no end. The architecture treated as an event became a form of a space weakened articulation that maintains its diversity and lack of accordance of the elements building it up. The analyses of Eisenman and Tschumi’s theoretical writings indicate how much the aims of architecture have actually changed; instead of supporting social persistence, the architecture is rather intensifying contradictions, and instead of providing people with the sense of safety, it sublimes danger. From simple acts of defamiliarisation, increasing the distance to itself and enhancing the role of theory, through discomfort, anxiety, not feeling someone at home, weirdness, excess, shock and violence, architecture reached the edge of stability and uncertainty, only to make an attempt at penetrating what is impossible and unutterable, and recording what cannot become the subject of any records. -/- . (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Christopher Norris IMAGE AND PARABLE: READINGS OF WALTER BENJAMIN Marxist literary criticism is a house with many mansions, most of diem claiming a privileged access to the great central chamber of history and truth. Only the most blinkered polemicist could nowadays attack "Marxist criticism" as if it presented a uniform front or even a clearly delineated target. Differences of oudook have developed to a point where debates within (...) Marxism are often more highly charged and polarized man anything brought to bear by its downright opponents. These differences will seem a crippling liability only from the viewpoint of a hard-line determinist creed which insists both on the rightness of its own reductive methodology and on a one-track notion of historical necessity and reason. The alternative, as New Left theorists have argued, is to examine the diversity of present-day Marxist thinking and show how its manifold traditions take rise from various backgrounds of political and cultural development. Perry Anderson's Considerations on Western Marxism is one such attempt to "situate" the work of thinkers like Sartre, Almusser, and Adorno in terms of their beleaguered position as left intellectuals outside the active mainstream of any revolutionary movement.1 Another example is Terry Eagleton's Criticism and Ideology, a book which sets out to rethink the bases of a Marxist-theoretical approach to English literary history.2 Eagleton, like Anderson, takes it as axiomatic that no such critique can get underway without first coming to terms with the problems and dilemmas which others have faced in trying to make new sense of a communal enterprise. For Eagleton this means a diagnostic treatment of the gaps and significant sUences which have marked the texts of those — like Arnold or Leavis — engaged in a class-based mystification ofliterary history and values. The critique extends to what Eagleton sees as the inbuilt problems of a homespun British Marxism, whedier of the crudely determinist variety (Caudwell) or the "left-Leavisite" amalgam of radical mêmes and traditionalist assumptions represented by Raymond Williams. Eagleton's approach lays claim to a power of unmasking die 15 16Philosophy and Literature latent ideology at work both in literary and critical texts. Ramer than simply collapse that distinction — as desired by the current post-structuralists, with whom he is wholly out of sympadiy — Eagleton strives to articulate the different structures and relations of discourse which situate criticism vis-à-vis literary history. He proposes a Marxist "science of the text" which would bring out its ideological modes of production, inscribed in the twists and unconscious blind-spots of meaning where a project comes up against its own impossibility. Criticism "deconstructs" the literary text, but not (like the Yale deconstructors) with a view to breaking down all possible distinctions between literature and commentary, merging both in the infinite freeplay of signs. For Eagleton there is indeed a knowledge of die text which stands at a definite remove from its object, just as literature itself"works" and transforms the raw stuffoflived ideology, mus offering it up to critical knowledge. Eagleton's theory of literary production was worked out in response to a powerful new current of Marxist thought, associated mainly with the French philosopher Louis Akhusser. What mis program involved, very briefly, was a rigorous re-reading of Marx's texts, aimed at defining their precise theoretical structure and die place within mem of such concepts as "knowledge," "ideology," and "structure" itself. Only thus could Marxist science attain the clarity and grasp of its own first principles which would set it apart from other, deviant or "ideological" discourses. This meant drawing a firm critical line (or "epistemological break") between the early, humanist Marx and the later productions —including Das Kapital— where his thought took on the full rigor of its scientific basis. Such a theory, in Althusser^ words, "makes it possible to distinguish a word from a concept, to distinguish the existence or non-existence of a concept behind a word, to discern the existence of a concept by a word's function in the dieoretical discourse...." 3 This structuralist reading of the Marxist text is intended as an immanent critique, a means of salvaging the essential Marx from fhose elements in his... (shrink)

“Paris, Capital of the Nineteenth Century” juxtaposes elliptical descriptions that reveal the interiorization of commodities in the economy of high capitalism. “Allegory in the nineteenth century vacated the outer world, to colonize the inner world.”32 Each of the exposé’s six sections consists of two parts: “Fourier, or the Arcades,” “Daguerre, or the Panoramas,” “Grandville, or the World Exhibitions,” “Louis-Philippe, or the Interior,” “Baudelaire, or the Streets of Paris,” “Haussmann, or the Baricades.”33The commercial arcade and not the factory is the (...) logical starting point for Benjamin. Paris, like London, the other capital of nineteenth-century capitalism, is an administrative and financial but not an industrial center. Paris is the locus classicus of bourgeois culture, which finds its most conspicuous expression in the arcade. The arcade cuts through and commercializes the residential block. It harnesses the technology of cast-iron “Pompeian” pillars, to offer in its enticing bay windows the latest, most sophisticated form of bourgeois merchandising. Fourier houses his “land of Cockaigne” in a “reactionary modification” of the arcade.34Parallel to the technical innovation of the arcades is that of the lifelike painted panoramas, which serve Jacques-Louis David’s pupils when they “draw from nature.” Politically superior, the city still dreams of the country. “The panoramas, which declare a revolution in the relation of art to technology, are at the same time an expression of a new feeling about life.”35 They drive a wedge between “plastic foreground” and “informational base.” The worker in the literary panorama is “a trimming for an idyll.” Technical innovations in photography reduce the representational significance of painting. Now photography “is given the task of making discoveries”: it explores the sewers and catacombs. It markets events. With impressionism and cubism, painting in turn transcends bourgeois conceptions of realism. 32. “Die Allegorie hat im neunzehnten Jahrhundert die Umwelt geräumt, um sich in der Innenwelt anzusiedeln” .33. Adorno objects to the use of people’s names in these titles and suggests that objects like dust or plush would bemore illuminating. Benjamin retains the names to evoke bourgeois interiorization. Louis-Philippe, however, is anomalous, since he is emblem rather than allegorist; the true allegorist of the “Louis-Philippe, or the Interior” section is the collector. Otherwise, the organization is strictly symmetrical: Benjamin discusses Charles Fourier, Louis Daguerre, and Grandville at the end of the sections in which they appear, the others at the beginning.34. Trans. Jephcott, p. 148. “Das Schlaraffenland,” “ihre reaktionäre Umbildung” . Anne Higonnet, formerly a student at the Ecole du Louvre, is a graduate student of art history at Yale University. Margaret Higonnet, professor of English and comparative literature at the University of Connecticut, has written on Romantic and modern literary theory. Patrice Higonnet is Goelet Professor of French History at Harvard University. He has written on the French Revolution and, with Margaret Higonnet, is coauthor of a forthcoming book on suicide in eighteenth-century France. (shrink)

The essays compiled in this book explore aspects of Walter Benjamin's discourse that have contributed to the formation of contemporary architectural theories. Issues such as technology and history have been considered central to the very modernity of architecture, but Benjamin's reflection on these subjects has elevated the discussion to a critical level. The contributors in this book consider Walter Benjamin's ideas in the context of digitalization of architecture where it is the very technique itself that determines the processes (...) of design and the final form. This book was published as a special issue of Architectural Theory Review. (shrink)

_Guy Debord: Complete Cinematic Works_ Translated and edited by Ken Knabb Oakland, California: AK Press, 2003 ISBN 1-902593-73-1 62 illustrations, 272 pp.

No figure among the western Marxist theoreticians has loomed larger in the postwar period than Louis Althusser. A rebel against the Catholic tradition in which he was raised, Althusser studied philosophy and later joined both the faculty of the Ecole normal superieure and the French Communist Party in 1948. Viewed as a "structuralist Marxist," Althusser was as much admired for his independence of intellect as he was for his rigorous defense of Marx. The latter was best illustrated in For (...) Marx (1965), and Reading Capital (1968). These works, along with Lenin and Philosophy (1971) had an enormous influence on the New Left of the 1960s and continues to influence modern Marxist scholarship. This classic work, which to date has sold more than 30,000 copies, covers the range of Louis Althusser's interests and contributions in philosophy, economics, psychology, aesthetics, and political science. Marx, in Althusser's view, was subject in his earlier writings to the ruling ideology of his day. Thus for Althusser, the interpretation of Marx involves a repudiation of all efforts to draw from Marx's early writings a view of Marx as a "humanist" and "historicist." Lenin and Philosophy also contains Althusser's essay on Lenin's study of Hegel; a major essay on the state, "Ideology and Ideological State Apparatuses," "Freud and Lacan: A letter on Art in Reply to Andre Daspre," and "Cremonini, Painter of the Abstract." The book opens with a 1968 interview in which Althusser discusses his personal, political, and intellectual history. (shrink)

Walter Benjamin's Politics of 'bad tasteMichael Mac Modernity as an unfinished Project: Benjamin and Political RomanticismRobert Sinnerbrink Violence, ...

ABSTRACT David Roberts’ History of the Present asks what comes after the grand narratives of European modernity. Progress is over, but without a past and with no assured future, the present remains in conceptual limbo. For Roberts, we are entering a new stage of a global cultural modernity marked by the end of European modernism. Taking a fresh look at the contested endings of the modern, Roberts suggests that an extended concept of contemporaneity might replace the problematic dualism of past (...) and present, modernity and post-modernity at the end of the twentieth century. This review article discusses Roberts’ argument with reference to the work of Budapest School members, Ágnes Heller and György Markus, with reference more broadly to seminal theorists such as Georg Lukács, Walter Benjamin, Theodor Adorno, Alain Touraine and Guy Debord, and to writers including Marcel Proust, Heinrich Mann, Aldous Huxley and Michel Houellebecq, in relation to the questions of cultural modernity. (shrink)

Literature and art have always depended on imitation, and in the past few decades quotation and appropriation have become dominant aesthetic practices. But critical methods have not kept pace with this development. Patrick Greaney reopens the debate about quotation and appropriation, shifting away from naïve claims about the death of the author. In interpretations of art and literature from the 1960s to the present, _Quotational Practices _shows how artists and writers use quotation not to undermine authorship and originality, but to (...) answer questions at the heart of twentieth-century philosophies of history. Greaney argues that quotation is a technique employed by art and philosophy to build ties to the past and to possible futures. By exploring quotation’s links to gender, identity, and history, he offers new approaches to works by some of the most influential modern and contemporary artists, writers, and philosophers, including Walter Benjamin, Guy Debord, Michel Foucault, Marcel Broodthaers, Glenn Ligon, Sharon Hayes, and Vanessa Place. Ultimately, _Quotational Practices_ reveals innovative perspectives on canonical philosophical texts as well as art and literature in a wide range of genres and mediums—from concrete poetry and the artist’s book to performance, painting, and video art. (shrink)

Analyzes the relationship of power, bureaucracy, and change in modern society.

Resumen: Este texto consiste básicamente en una presentación general de la corriente filosófica del nuevo realismo surgida en 2007 y en la que participan autores europeos y norteamericanos. Un punto en común de las diversas posiciones dentro de esta corriente es el deslinde crítico frente a la filosofía posmoderna y a la filosofía moderna en general. Explico esta crítica y sus implicaciones para la posibilidad de un restablecimiento en la filosofía contemporánea del pensamiento metafísico.: This text is basically an overview (...) of philosophical new realism which emerged in 2007 and involves European and American authors. A common point to the various positions within this current is a critical detachment from postmodern philosophy and modern philosophy in general. i explain this criticism and its implications for the possibility of a restoration in contemporary philosophy of metaphysical thought. (shrink)

What can psychoanalysis, a psychological approach developed more than a century ago, offer us in an age of rapidly evolving, hard-to-categorize ideas of sexuality and the self? Should we abandon Freud's theories completely or adapt them to new findings and the new relationships taking shape in modern liberal societies? In a remarkably prescient series of lectures delivered in the early 1960s, the French philosopher Louis Althusser anticipated the challenges that psychoanalytic theory would face as politics moved away from structuralist (...) frameworks and toward the elastic possibilities of anthropological and sociological thought. Psychoanalysis and the Human Sciences translates Althusser's remarkable seminars into English for the first time, making available to a wider audience the origins and potential future of radical political theory. Althusser takes the important step in these lectures of distinguishing psychoanalysis from psychology and especially psychiatry, which long resisted Freud's analytical concepts of the unconscious and overdetermination. By freeing psychoanalysis from this bind, Althusser can then apply these analytical concepts to the social and the political, integrated with Marxist theory. The result is an enlivened methodology for comprehending social organization and change that had a profound influence on the Frankfurt School and scholars who continue to work at the forefront of radical thought today: Judith Butler, Étienne Balibar, and Alain Badiou. (shrink)

Walter Benjamin’s oft-quoted 1936 essay “The Work of Art in the Age of Its Technological Reproducibility” advances the claim that, for the first time in history, the “function” of the work of art is political, as evidenced by cinema. For Benjamin, film is the “first art form whose artistic character is entirely determined by its reproducibility” and Giorgio Agamben, a contemporary Benjaminian philosopher, further elucidates this “function,” positing that cinema essentially ranks with ethics and politics, not solely with aesthetics, (...) and, consequently, is proximate to philosophy itself. Whereas Deleuze’s Cinema books posed cinema as enacting time in a pure state, Agamben, in his “Notes on Gesture,” breaches from Deleuze’s spatial and cartographic theory of cinema, drawing on Guy Debord’s “détournement via montage,” Simone Weil’s “decreation” and, perhaps most implicitly, from Benjamin. Agamben’s political theory of cinema, motivated by cinema’s “stoppage and repetition of time,” is directly informed by Benjamin’s: “optical unconscious,” appropriation of Brecht’s “social Gestus,” and the relationship between technological reproducibility and aura. Agamben’s “gesture” fastens cinema’s aesthetics not only to ethics and politics, but to the “ontological consistency of human experience,” or to a way of being. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Kant and the Possibility of Progress: From Modern Hopes to Postmodern Anxieties ed. by Paul T. Wilford and Samuel A. StonerBenedikt BrunnerPaul T. Wilford and Samuel A. Stoner, editors. Kant and the Possibility of Progress: From Modern Hopes to Postmodern Anxieties. Philadelphia: University of Pennsylvania Press, 2021. Pp. 328. Hardback, $65.00.Our present does not invite, let alone suggest, particularly optimistic expectations for the future. This volume, edited by (...) Paul Wilford and Samuel Stoner, not only analyzes the historical foundations of Kant's idea of progress but also explores contemporary reflections on such questions as the following: Do we still believe in the possibility of progress? And if not, why has this ability been lost? What about liberal democracy, which is contested from many sides?In addition to a lucid introduction, which clarifies the concepts of modernity and postmodernity, the volume assembles thirteen chapters. While the first seven chapters deal with the idea of progress in Kant, the remaining six contributions shed light on the history of that idea after Kant. Within the framework of this review, only selected articles can be discussed. In chapter 1, Oliver Sensen examines the idea of moral progress in the individual. In chapter 2, Kate Moran asks the fundamental question: should we believe in moral progress? According to Kant, the human being possesses "a duty to avoid despondency" (46). Following Kant, she encourages us not to go down the road of misanthropy as a consequence of one's own or others' moral failure, but "to be generous in our assessments of others" (46). In chapter 3, Jens Timmermann takes up this aspect again and illustrates clearly how complex Kant's concept of moral progress is. Moreover, he highlights that moral progress has a double meaning for Kant: "first in a fundamental change of priorities—privileging morality over self-interest—and then in an ever-closer approximation to a perfectionist ideal of virtue" (61). Like some of the other contributors to this volume, however, Timmermann remains rather vague regarding possible avenues for further research. Two other contributions deal specifically with Kant's relationship to religion. In chapter 5, Naomi Fisher asks how God, teleology, and progress are connected in the third Critique. She argues that in the 1790s, Kant made concrete new efforts to integrate different strands of his philosophy "and to develop a more unified view of the human being as free and natural" (93). Chapter 6 is a joint contribution by the two editors of this volume entitled "Realizing the Ethical Community." Their focus is on Kant's religious writings and their role in the context of a "Reformation of Culture." They notice—an observation as important as it is exciting—that Kant tempered his ambitious goal regarding the moral betterment of human beings with his ideas about radical evil. At the same time, Kant insisted that people must become aware of their duty to improve themselves.In the second section, Kant is brought into conversation with his contemporaries and some of his successors. In chapter 8, Karl Ameriks provides an overview of the relationship between history, progress, and autonomy in Kant, Herder, and beyond. In chapter 9, Richard L. Velkley analyzes the significance of language, embodiment, and the supersensual in Fichte. In chapter 10, Mark Alznauer examines the concept of philosophical history in Hegel.The volume concludes with three different but equally stimulating contributions. In chapter 11, Ryan S. Kemp argues that Kierkegaard "relocated" the concept of the Highest Good: "Unlike Kant, who regards happiness as realizable (if at all) only in an afterlife, Kierkegaard seems to think that the person who truly embraces the self-denial of Christian love, can, even now, receive the world in joy" (200). In this approach, Kierkegaard was clearly different from his predecessors in the German idealistic tradition. In chapter 12, entitled "Kant and Benjamin on Hope, History, and the Task of Interpretation," C. Allen [End Page 159] Speight shows that Walter Benjamin stands in Kant's tradition while also diverging from him in some important respects. From Kant's universalizing assumptions, especially in relation to progress, Benjamin moved "toward a distinctive, messianically influenced sense of time where interruption and immanent... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 30.4 (2000) 3-13 [Access article in PDF] Benjamin's Arcades Project and the Postcolonial City Rajeev S. Patke [Tables]Walter Benjamin. The Arcades Project. Trans. Howard Eiland and Kevin McLaughlin. Cambridge, MA: Harvard UP, 1999. [AP] Post-this, post-that, post-the-other, yet in the endNot past a thing. —Seamus Heaney, "On His Work in the English Tongue" Preamble Among the several Benjamins to be conjured from The Arcades Project is the (...) one who invites a speculative discourse on the idea of the postcolonial city. We can imagine him first conceding, and then qualifying, three propositions about himself: he mitigates the force of the first—that he was Eurocentric—with the counterproposition that the cities he wrote about were formative of a discourse that can be transposed to other cities whose patterns of urban development were shaped by forces analogous to those he studied in the period of their inception. He then concedes that his work on the city remains problematic in several ways related to an uncertain temperament and method, but urges the recognition that his method came to resemble his object of study; the fortuitous correspondence reinforces the self-reflexive relation between modern cities and the discourse they generate. His third concession—that his use of Marxian ideas mixes them with elements of bourgeois thought—is marginalized by the recognition that he always took his Marx with such a difference that to confine him within such a debate would be to take him in the wrong spirit. He then proceeds to reiterate in the specific instance of the postcolonial a more familiar general claim made by many contemporary readers of the metropolitan experience, that the set of approaches he uncovered continue to remain valid wherever the project of modernity is at work. They help us address "[t]he split image of modernity, modernity's promises for social and individual emancipation, as well as modernity's failures" [Paetzold 216a]. Modern Benjamin would begin by reminding us that his "modern" and "modernity" refer primarily to the industrial transformation of society by technology, as part of the Enlightenment project of progress through the application of reason to nature and society. He would [End Page 3] qualify his sense of the project of "modernity" through the image of "[t]he world dominated by its phantasmagorias" [AP 26]. He would then shrug off the cloak of the Eurocentric by turning, for illustration, to the many Asian manifestations of the postcolonial. Here, he would make the twofold claim that the postcolonial experience brings out the disillusionment latent in the myth of progress, just as the postmodern brings out the phantasmal that is incipient in the myth of an evenly distributed access to capital and goods in the era of globalization. He would argue that the cities of contemporary Asia are the sites for a partial and uneven overlap between the postmodern and the postcolonial. This overlap, he would say, invites us to treat the idea of the city in a generic mode, without discounting the fact that the diversity separating the metropolitan centers in Asia makes little sense of an Asian city except as banal literalism. He would note that colonialism did not affect all of Asia, nor did it follow quite the same course from colony to colony, though the term retains some usefulness in accounting for the general factors that link different cities in Asia to what happened after colonialism. He would treat the postcolonial and the postmodern as three-tiered phenomena: each is a historical phase of world history, a predicament affecting collectivities, and an attitude or state of mind. The aptness of the notion of the postcolonial city, he points out, increases in direct proportion to the degree to which a city has acquired a distinctive identity through colonial administration or commerce, and decreases in direct proportion to the degree of discontinuity between the colonial and postcolonial phases of its history. He would add the corollary that any contemporary city in the developing world approximates to the postcolonial condition when its role in the network of power relations negotiates... (shrink)

Marking the centenary of Walter Benjamin's immensely influential essay, "Toward the Critique of Violence," this critical edition presents readers with an altogether new, fully annotated translation of a work that is widely recognized as a classic of modern political theory. The volume includes twenty-one notes and fragments by Benjamin along with passages from all of the contemporaneous texts to which his essay refers. Readers thus encounter for the first time in English provocative arguments about law and violence advanced by (...) Hermann Cohen, Kurt Hiller, Erich Unger, and Emil Lederer. A new translation of selections from Georges Sorel's Reflections on Violence further illuminates Benjamin's critical program. The volume also includes, for the first time in any language, a bibliography Benjamin drafted for the expansion of the essay and the development of a corresponding philosophy of law. An extensive introduction and afterword provide additional context. With its challenging argument concerning violence, law, and justice-which addresses such topical matters as police violence, the death penalty, and the ambiguous force of religion-Benjamin's work is as important today as it was upon its publication in Weimar Germany a century ago. (shrink)

_The Arcades Project_, the monumental unfinished work of cultural criticism by Walter Benjamin, is the German philosopher’s effort to comprehend urban modernity through the 19th-century Parisian shopping arcade. _The Arcades: Contemporary Art and Walter Benjamin_ combines artworks with archival materials and poetic interventions to form an original, multifaceted response to this collagelike cultural text. Jens Hoffmann astutely pairs works by thirty-six well-known and emerging artists, including Lee Friedlander, Andreas Gursky, Pierre Huyghe, and Cindy Sherman, with the thirty-six “Convolutes,” (...) or themes, in Benjamin’s text. Bound into the main volume is a graphic novelette, from the imagination of Vito Manolo Roma, of Benjamin’s dream the night before he committed suicide while fleeing the Nazis. Scholarly essays by Hoffmann and Caroline A. Jones, texts selected by the poet Kenneth Goldsmith, reproductions of Benjamin’s handwritten notes, and a list of the main Paris arcades discussed by him round out this extraordinary publication. (shrink)

Origin of the German Trauerspiel was Walter Benjamin's first full, historically oriented analysis of modernity. Readers of English know it as "The Origin of German Tragic Drama," but in fact the subject is something else--the play of mourning. Howard Eiland's completely new English translation, the first since 1977, is closer to the German text and more consistent with Benjamin's philosophical idiom. Focusing on the extravagant seventeenth-century theatrical genre of the trauerspiel, precursor of the opera, Benjamin identifies allegory as the (...) constitutive trope of the Baroque and of modernity itself. Allegorical perception bespeaks a world of mutability and equivocation, a melancholy sense of eternal transience without access to the transcendentals of the medieval mystery plays--though no less haunted and bedeviled. History as trauerspiel is the condition as well as subject of modern allegory in its inscription of the abyssal. Benjamin's investigation of the trauerspiel includes German texts and late Renaissance European drama such as Hamlet and Calderón's Life Is a Dream. The prologue is one of his most important and difficult pieces of writing. It lays out his method of indirection and his idea of the "constellation" as a key means of grasping the world, making dynamic unities out of the myriad bits of daily life. Thoroughly annotated with a philological and historical introduction and other explanatory and supplementary material, this rigorous and elegant new translation brings fresh understanding to a cardinal work by one of the twentieth century's greatest literary critics.--. (shrink)

If modernity involves a view through which it is possible to read the uninterrupted historical continuity of social utopia and the harmony of class and the progress of the 19th century, it is fundamental to explore what is the other face of this fantasy of progress that places the individual in modernity in a situation of depression and debt, inasmuch as those promises are never fully fulfilled. Walter Benjamin builds his idea of history rethinking this legacy. He imagines the (...) way in which the materialist historian must act, that is, the one who will articulate justice and redemption of the past as it is proposed on the thesis of On the concept of history, a text of 1940 on which he worked until the end of his life. In this text, we can find what Michael Löwy called a critical constellation, which links the past with the present. Regarding these considerations, we pursue two main objectives: on the one hand, to delineate what a theory of modernity could mean in the frame of Benjamin's work; on the other, to examine the relationship between the experience of modernity, linked to melancholy and loss, and the aesthetic experience, understood as a privileged device to make thinkable the human doing. (shrink)

Desde finales del siglo XX, las investigaciones sobre modernidad, orientadas hacia distintos segmentos del campo cultural, han venido ganando un enorme terreno. Las obras de Walter Benjamin, leídas en esta perspectiva, cobran un gran valor. Se busca explorar cuatro temas benjaminianos: a) algunos aspectos de su concepto de historia; b) el concepto de experiencia, para mostrar su dimensión histórico-crítica con respecto al ascenso de la cultura moderna; c) las afinidades entre el modo en que se desarrolla la visión alegórica (...) en el drama barroco alemán y el modo en que Baudelaire afronta las problemáticas de la modernidad; d) elementos de algunas formas culturales del arte moderno que entusiasman a Benjamin. Since the end of the 20th century, there has been increasing research on modernity, especially on different segments of the cultural field. Read in this context, the works of Walter Benjamin acquire great value. The article explores four of Benjamin's themes: a) some aspects of his concept of history; b) the concept of experience, in order to show its historical-critical dimension regarding the rise of modern culture; c) the affinities between the way he allegorical view is developed in German Baroque drama and the way in which Baudelaire deals with the issues of modernity; and d) elements of some cultural forms of modern art that Benjamin is interested in. Desde o final do século XX, as pesquisas sobre modernidade, orientadas a diferentes segmentos do campo cultural, vêm ganhando um enorme terreno. As obras de Walter Benjamin, lidas nessa perspectiva, ganham um grande valor. Neste artigo, procura-se explorar quatro temas benjaminianos: a) alguns aspectos de seu conceito de história; b) o conceito de experiência, para mostrar usa dimensão histórico-crítica a respeito da ascensão da cultura moderna; c) as afinidades entre o modo em que se desenvolve a visão alegórica no drama barroco alemão e o modo no qual Baudelaire enfrenta as problemáticas da modernidade; d) elementos de algumas formas culturais da arte moderna que entusiasmam Benjamin. (shrink)

This book provides a highly original approach to the writings of the twentieth-century German philosopher Walter Benjamin by one of his most distinguished readers. It develops the idea of "working with" Benjamin, seeking both to read his corpus and to put it to work - to show how a reading ofBenjamin can open up issues that may not themselves be immediately at stake in his texts.The defining elements in Benjamin's writings that Andrew Benjamin isolates - history, experience, translation, technical (...) reproducibility and politics - are put to work; that is, their utility is established in engaging the works of others. The question is how utility is understood. As AndrewBenjamin argues, utility involves demonstrating the different ways in which Benjamin is a central thinker within the project of understanding the nature of modernity. This is best achieved by noting connections and points of differentiation between his work and the writings of Adorno and Heidegger.However, the more demanding project is that "working with" Benjamin necessitates deploying the implicit assumptions within his writings as well as demanding of his formulations more than is provided by their initial presentation. What is at stake is not the application of Benjamin's thought. Ratherwhat counts is its use.Working with Benjamin engages with the themes central to Benjamin's work with deftness, daring and critical insight while at the same time situating those themes within current academic and cultural debates. (shrink)

In this essay the visual arts of the machine age morph into literature and theory and then back again to images, gestures, and thought.

The aim of this article is to show how philosopher and critic Walter Benjamin related to the hermeneutical tradition — and tried to move beyond it by ‘redeeming’ human experience, while avoiding the pitfalls of the philosophy of ‘authenticity’. Though convinced that questions relating to historicity were central to any understanding of modern human experience, Benjamin explicitly rejected the Heideggerian alternative, and chose a path closer to Hans-Georg Gadamer’s. He attempted to combine theological interpretation with dialectical materialism, always grounding (...) hermeneutics in the concrete manifestations of social life, inaugurating a method which I suggest could be called ‘hermeneutical materialism’. At stake was a politically motivated defence of the ‘mimetic faculty’ — understood as (re)interpretation — in the modern, technologically organized world. (shrink)

Few modern thinkers have been as convinced of the necessity of recovering the past in order to redeem the present as Walter Benjamin (1892-1940). Benjamin at once mourned and celebrated what he took to be an inevitable liquidation of traditional culture, and his determination to think both of these attitudes through to their conclusions lends his work its peculiar honesty, along with its paradoxical, antinomial coherence. In a landmark interpretation of the whole of Benjamin's career, John McCole demonstrates a (...) way of understanding Benjamin that both contextualizes and addresses the complexities and ambiguities of his texts. Working with Pierre Bourdieu's concept of the "intellectual field," McCole traces Benjamin's deep ambivalence about cultural tradition through the longterm project-an immanent critique of German idealist and romantic aesthetics-which unites his writings. McCole builds a sustained reading of Benjamin's intellectual development which sheds new light on the formative role of early influences—particularly his participation in the pre-World War I German youth movement and the orthodox discourse of German intellectual culture—and shows how Benjamin later extended the strategies he learned within these contexts during key encounters with Weimar modernism, surrealism, and the fiction of Proust. The fullest account of Benjamin available in English, this lucid and penetrating book will be welcomed by intellectual historians, literary theorists and critics, historians of German literature, and Continental philosophers. (shrink)

Seven decades after his death, German Jewish writer, philosopher, and literary critic Walter Benjamin continues to fascinate and influence. Here Uwe Steiner offers a comprehensive and sophisticated introduction to the oeuvre of this intriguing theorist. Acknowledged only by a small circle of intellectuals during his lifetime, Benjamin is now a major figure whose work is essential to an understanding of modernity. Steiner traces the development of Benjamin’s thought chronologically through his writings on philosophy, literature, history, politics, the media, art, (...) photography, cinema, technology, and theology. Walter Benjamin reveals the essential coherence of its subject’s thinking while also analyzing the controversial or puzzling facets of Benjamin’s work. That coherence, Steiner contends, can best be appreciated by placing Benjamin in his proper context as a member of the German philosophical tradition and a participant in contemporary intellectual debates. As Benjamin’s writing attracts more and more readers in the English-speaking world, Walter Benjamin will be a valuable guide to this fascinating body of work. (shrink)

Crisis jargon has become endemic in modernity. Whether in radical or in affirmative versions, the idea that ‘crisis’ offers ‘opportunity’, in accordance with the meaning of crisis as ‘decision’, is widespread. This paper questions the relationship between modernity and crisis, first by highlighting the ways in which modernity itself has been cast as ‘crisis’: first as crisis of tradition, then as crisis of modernity itself. The main part of this paper then consists of a reading of modernity-as-crisis inspired by (...) class='Hi'>Walter Benjamin, most notably by his Passagen-Werk. It consists of an attempt to consider ‘crisis’ as what Benjamin calls a ‘wish image’, an image that contains hidden utopian ideals. In invoking ‘crisis’, I argue, a conception of modernity as shock, raised to the level of the collective, becomes apparent. Crisis jargon thereby remains wedded to what Benjamin calls a mythical conception of history. The paper ends with a discussion of the political consequences that follow from this that are grounded in the relation between messianism and profane politics in Benjamin. (shrink)

The art historian Aby M. Warburg and the philosopher Walter Benjamin are widely respected as two of the most significant cultural theorists of the twentieth century. Their common interests in historiography, the function of collective memory, and the relation of modern society to earlier stages of human social existence, were important examples of the attempt to articulate, analyse and represent the experience of modernity. Drawing on a variety of discourses from aesthetics, art history, anthropology and psychology, they presented an (...) account of modernity and human development that represented an important counter to the optimistic belief in progress prevalent amongst their contemporaries. Rarely, however, have the connections between these two thinkers been explored in depth. This volume consists of an exploration of the intellectual relation between them, considering their varying responses to the question of the meaning of modernity, and above all their common legacy for the present. (shrink)

Following the spirit of Walter Benjamin’s Arcades Project, this volume acts as a kaleidoscope of change in the 21st century, tracing its different reflections in the international contemporary while seeking to understand both individual and collective reactions and adjustments to change through a series of questions: Is there something significantly different about the way in which ‘change’ occurs in the 21st century?; Is change mainly reflected in the material and visual environment surrounding us or someplace else?; What are the (...) sensibilities through which we perceive change, and more importantly, have those sensibilities been increased or dulled by modern technology? (shrink)

Louis Althusser is the blemish on the field of political theory. His barely explored and partly forgotten contributions are nonetheless formative for contemporary critical thought. Interestingly, at their very core his interventions are based on his own extensive readings of early modern political thought. Therefore, this study traces Althusser's readings of Machiavelli, Hobbes, Locke, Rousseau and Montesquieu and is the first to do so. Building on this, the study demonstrates how Althusser's new foundation of Marxism, which is very much (...) alive today, arises from this part of his work. Thereby, it becomes visible how the post-Marxist paradigm, which Althusser's many important students further developed, is formed through his readings of the classic thinkers of the bourgeois state. (shrink)

RESUMEN El artículo analiza la interpretación que Walter Benjamin ofrece de la modernidad capitalista en Capitalismo como religión. Se indaga el sentido del carácter religioso del capitalismo y se muestra que la primera elaboración sobre el capitalismo en términos de religión dio paso a una aproximación complementaria en términos de fuerzas míticas. Si bien este desplazamiento es visible ya en Capitalismo como religión, cobra nitidez en el Libro de los pasajes, con la introducción del concepto de lo "siempre igual" (...) [immergleich] para describir la dinámica del modo de producción y la experiencia de la historia en el capitalismo. ABSTRACT The article analyzes Walter Benjamin's interpretation of capitalist modernity as set forth in Capitalism as Religion. It inquires into the religious character of capitalism and shows that the initial elaboration of capitalism in terms of religion gave way to a complementary approach in terms of mythical forces. While this shift is already visible in Capitalism as Religion, it becomes clear in The Arcades Project, with the introduction of the concept of the "ever selfsame" [immergleich] to describe the dynamics of the capitalist mode of production and the experience of history. (shrink)

Die Untersuchung gliedert sich in einen allgemeinen und einen besonderen Teil. Der allgemeine Teil, der die ersten neun Kapitel umfasst, hat es mit den Veränderungen zu tun, denen die Funktion des Kunstwerkes in seiner technisch reproduzierten Gestalt unterworfen ist. Die Qualität seiner technischen Reproduktion und die Geschwindigkeit ihrer Herstellung sind seit den einschlägigen Erfindungen des letzten Jahrhunderts in schnellem Wachstum begriffen. Die Zeit, die zwischen der Erfindung der Lithographie und der des Tonfilms liegt, umfasst kaum mehr Jahrzehnte als die zwischen (...) der Erfindung des Holzschnitts und der der Lithographie liegenden Jahrhunderte. Der Film ist die derzeit fortgeschrittenste künstlerische R ‘produktionstechnik. Er bedeutet in der Geschichte der Kunst etwas grundlegend Neues, nämlich die Reproduktion eines auf Reproduzierbarkeit angelegten Kunstwerkes. Der besondere Teil der Untersuchung hat es mit dem Film als der der Kunst in der Epoche ihrer technischen Reproduzierbarkeit spezifischen Form zu tun.Das erste Kapitel der Untersuchung entwickelt den Unterschied zwischen manueller und technischer Reproduktion des Kunstwerkes. Das zweite* umschreibt den jeder Reproduktion entzogenen Bereich der Echtheit, der die Aura des Kunstwerkes bildet. Das dritte bestimmt den Charakter der gegenwärtigen Wahrnehmung als bestimmt durch den Verfall der Aura. Das vierte weist die Fundierung der Echtheit in den Zusammenhängen des Rituals auf. Das fünfte hat es mit dem Unterschied des auf dem Ritual beruhenden Kultwertes des Kunstwerks von seinem Ausstellungwert zu tun. Das sechste zeigt, welchen verschiedenen Entwicklungsstufen der Technik Kultwert und Ausstellungswert des Kunstwerkes entsprechen. Das s'ebte handelt von dem beginnenden Übergewicht des Ausstellungswertes über den Kultwert in der Photographie. Das achte beleuchtet die Sonderstellung der griechischen Kunst durch ihren fast völligen Mangel an technischen Reproduktionsverfahren. Das neunte weist auf die Schwierigkeiten hin, die der überkommenen Aesthetik durch die Photographie und den Film erwachsen.Der zweite Teil der Untersuchung zieht aus den Analysen des ersten Teils die Folgerungen für die Filmtheorie. Er beschäftigt sich mit den Umständen, die aus dem Film dasjenige Kunstwerk machen, an dem die derzeitige Funktionsänderung sich am deutlichsten abnehmen lässt. Diese Funktionsänderung besteht in der Überführung des Kunstwerkes aus der ritualen in die politische Praxis.The investigation is divided into two parts, the first conceived on general lines and the second dealing with one specific aspect of the question. The general part deals with the changes to which the function of a work of art is subjected in its technically reproduced form. The quality of its technical reproduction and the speed with which the same is established have made great progress since the inventions of last century in that sphere. The period of time existing between the invention of lithography and that of the sound film contains scarcely more decades than there are centuries between the invention of the wood-cut and that of lithography. The film, at present, has the most highly developed technic of artistic reproduction. In the history of art the film represents something fundamentally new, namely, the reproduction of a work of art which aims precisely at such reproducibility. The second part of the investigation deals with the film as the specific form of art in the era of technical reproducibility.The first chapter develops the difference between manual and technical reproduction of a work of art. The second delimits the sphere of authenticity which forms the aura of a work of art and which is withdrawn from every reproduction. The third defines the character of modern perception as determined by the deterioration of the aura. The fourth chapter shows that the foundation of authenticity lies in the associations of ritual. The fifth deals with the difference between the cult-value based on ritual and the exhibition-value of a work of art. The sixth shows the various stages in the development of technical art to which the cult-value and the exhibition-value of a work of art correspond. The seventh treats the beginnings of the predominance of the exhibition-value over the cult- value in photography. The eighth throws light on the special position of Greek art due to its being almost completely lacking in methods of technical reproduction. The ninth draws attention to the difficulties which arise for traditional esthetics Through photography and the film.The second part of the investigation draws from the analyses of the first part certain conclusions concerning the theory of film-making. It concerns itself with the circumstances which make the film the work of art from which the modern change of function can be most clearly deduced. This change of function consists in the transference of the work of art from the realm of ritual to that of politics. (shrink)

The essay begins with the estrangement of the great lyrical poetry from the public since the middle of the 19th century. It is conceived in terms of an historical change in the structure of human experiencing.That is first demonstrated in Bergson. The autor interprets „Matière et Mémoire“ as the attempt to vindicate through the category of memory the possibility of genuine, that is, tradition-forming experience as against the mode of experience in the industrial age. Proust has more closely determined Bergson's (...) notion of memory as involuntary memory. Accordingly he seeks to reconstruct the aesthetic form of the narrative. Its industrial counterparts are information and sensation. Through shocks they threaten memory which B., in referring to psycho-analytical theories, conceives in terms of „protection against stimuli“.Erlebnis becomes the antithesis of experience (Erfahrung). In Baudelaire’s lyrical poetry the Erlebnis of shock occupies the center. In his portrayal of the fenser, Baudelaire identifies himself with the one who parries the shocks. These shocks occur when the individual is confronted with the amorphous multitude of the metropolis. In one chapter the author describes this clash and the shape it takes in Baudelaire's poetry. The subsequent chapter presents an analysis of Poe's „Man of the Crowd44, the city crowd portrayal which provides the clue for Baudelaire's and which is contrasted with the Biedermeier picture of Hoffmann's „Cousin's Corner Window“.The shock as the dominant form of Erlebnis is shown as grounded in the reified process of production in capitalist society. The discontinuity of the elements of shock has its basis in the discontinuity of the automatized process of labor which no longer admits of any „experience“, „practice“. The experience of shock of the member of a crowd corresponds to the experience of the worker who operates a machine. The reflectory mechanism of the victim of Modern Times appears in Baudelaire's work in the pattern of the hazard game which at the same time is the radical counterpart of „experience“.In Baudelaire, time is dissociated. Its power is absorbed by rare, „significant“ days. In them Baudelaire, through the „correspondances“4 seeks to save and restore the lost experience. The power of anamnesis is posited against the „swarm of seconds“. But the consolation of anamnesis remains impotent. In the dissociated shock moments of time, — the „spieen“ —, and the anamnesis of the vie antérieure, — the „idéal“ —, Baudelaire holds in his hands the débris of genuine experience.B. subordinates the representations constitutive of „experience“, that is, those of involuntary mefiiory, to his notion of „aura“. To experience the aura of a phenomenon means to endow it with the faculty of raising the eyes. The decay of aura is the foremost subject of Baudelaire : he summons eyes who have lost the faculty of raising themselves. He has designated the price for which the sensation of the Modern can be bought : the destruction of aura in shock experience.L'analyse débute par la constatation d'une scission entre la grande poésie lyrique et le public — scission qui se serait produite dès le milieu du xix® siècle. Cette séparation est interprétée comme la conséquence d'une transformation dans la structure même de l'expérience humaine.Cela est d'abord expliqué par l’oeuvre de Bergson. La théorie de la mémoire telle qu'elle a été développée dans Matière et mémoire se rattache à un type d'expérience qui, au cours du xixe siècle, a subi des atteintes profondes. Bergson tend, grâce à la catégorie de la mémoire, de restaurer le concept d'une expérience authentique. Cette expérience authentique existe en fonction de la tradition et s'oppose ainsi aux modes habituelles d'expérience propres à l'époque de la grande industrie. Proust a défini la mémoire bergsonienne comme une mémoire involontaire ; en son nom il avait essayé de reconstruire la forme de la narration. Le rival de cette dernière s'appelle, à l'époque de la grande industrie, l'information. Elle développe, par le moyen des chocs, une mémoire qui, par Proust, a été opposée à la mémoire bergsonienne sous le nom d'une mémoire volontaire. Il est permis de considérer, conformément à Freud, la mémoire volontaire comme étroitement liée à une conscience perpétuellement aux aguets. Plus la conscience sera obligée à parer aux chocs, plus se développera la mémoire volontaire, et plus périclitera la mémoire involontaire. L'expérience éminemment moderne du choc sera la norme de la poésie baudelairienne. Par l'image de l’escrimeur, Baudelaire qui, en flânant, était habitué d’être coudoyé par les foules des rues, s’identifie à l’homme qui pare aux chocs.Le choc en tant que forme prépondérante de la sensation se trouve accentué par le processus objectivisé et capitaliste du travail. La discontinuité des moments de choc trouve sa cause dans la discontinuité d’un travail devenu automatique, n’admettant plus l’expérience traditionnelle qui présidait au travail artisanal. Au choc éprouvé par celui qui flâne dans la foule correspond une expérience inédite : celle de l’ouvrier devant la machine.Le réflexe mécanisé de l’homme livré au monde moderne se traduit chez Baudelaire dans l’attitude du joueur. Pour l’homme qui s’est adonné au jeu, l’expérience du choc se présente en ce qu’elle a de plus essentiel* c’est-à-dire comme une façon d’éprouver le temps. Le spleenétique qui ne peut se dégager de la fascination exercée par le déroulement du temps vide est le frère jumeau du joueur. En face du Spleen, l’oeuvre baudelairienne évoque l’Idéal. L’Idéal, c’est la mémoire involontaire, initiatrice aux * correspondances ». Dépositaire des images d’une vie antérieure, l’Idéal serait le consolateur suprême s’il n’était tenu en échec par la « beauté moderne » qui est essentiellement spleenétique. Les souvenirs plus ou moins distincts dont est imprégnée chaque image qui surgit du fond de la mémoire involontaire peuvent être considérés comme son « aura ». Se saisir de l’aura d’une chose veut dire : l’investir du pouvoir de lever le regard. La déchéance de l’aura a des causes historiques dont l’invention de la photographie est comme un abrégé. Cette déchéance constitue le thème le plus personnel de Baudelaire. C’est elle qui donne la clé de ses poésies érotiques. Le poète invoque des yeux qui ont perdu le pouvoir du regard. Ainsi se trouve fixé le prix de la beauté et de l’expérience moderne : la destruction de l’aura par la sensation du choc. (shrink)

The analysis of the posthumous text of Benjamin, titled Capitalism as religion, show a certeral diagnosis about the progression of capitalism of XX and XXI century, in which its cult aspect have been attached to the images that dwell the city, and in some way, it constitute her, reconfigurating at the same time, his urban planning. The notion of phantasmagoria it is key to understand how this capitalistic religion has been introduced and totalized in men life, in the sense that (...) has transformed space in an image for-itself of capital, being, in conclussion, in an intrinsec union with a phantasmagorical politics that require the city for the perpetuation of his cult. (shrink)

Gilles Deleuze's two-volume theory of film, _Cinema 1: The Movement-Image_ and _Cinema 2: The Time-Image_, have slowly been making an impact on Anglo-American film studies. The special issue of _Film-Philosophy_ on his work (vol. 5, 2001) and David Rodowick's excellent introduction, _Gilles Deleuze's Time Machine_ (1997), are just two signs, among many, of the growing interest in Deleuze's writings on cinema. His work has also inspired the Italian philosopher Giorgio Agamben to propose a new theory of film that significantly departs (...) from Deleuze. Agamben has developed a new theory of 'gestural cinema', arguing that '*the element of cinema is gesture and not image*'. [1] He has also argued that this new theory of gestural cinema means that cinema belongs, essentially, to the realm of ethics and politics, and not aesthetics. It is this new theory that I want to introduce. (shrink)

Seven decades after his death, German Jewish writer, philosopher, and literary critic Walter Benjamin continues to fascinate and influence. Here Uwe Steiner offers a comprehensive and sophisticated introduction to the oeuvre of this intriguing theorist. Acknowledged only by a small circle of intellectuals during his lifetime, Benjamin is now a major figure whose work is essential to an understanding of modernity. Steiner traces the development of Benjamin’s thought chronologically through his writings on philosophy, literature, history, politics, the media, art, (...) photography, cinema, technology, and theology. _Walter Benjamin_ reveals the essential coherence of its subject’s thinking while also analyzing the controversial or puzzling facets of Benjamin’s work. That coherence, Steiner contends, can best be appreciated by placing Benjamin in his proper context as a member of the German philosophical tradition and a participant in contemporary intellectual debates. As Benjamin’s writing attracts more and more readers in the English-speaking world, _Walter Benjamin_ will be a valuable guide to this fascinating body of work. (shrink)

This book provides a study of Walter Benjamin's first philosophy in two senses: it focuses on his early philosophy as a source of insight into his later works, and it explores his thinking about the nature of truth, method, experience, the relation of body and mind, and the limits of human knowledge. While most attention is paid to Benjamin's later works, his writings from roughly 1914-1925 explore philosophical themes and develop a critical method. This book argues that this early (...) work founds a series of original and lasting questions and insights. Benjamin understands experience as a broken continuum of diverse forms of spiritual expression, each of which is ephemeral. This leads Benjamin to a series of thought figures: the notion of language as a medium of experience; a philosophy of perception based in the natural history of the human body; an emphasis on mimesis as a faculty of creative assimilation; and a discovery of memory as a power for excavation of meaning in past experience. This book demonstrates that the need for a new understanding of the metaphysical structure of experience, as well as a new conception of truth, play a special role in shaping Benjamin's subsequent work. Walter Benjamin's First Philosophy will be of interest to scholars and advanced students working on the thought of Walter Benjamin, 20th-century Continental philosophy, comparative literature, and modern German thought. (shrink)

Seven decades after his death, German Jewish writer, philosopher, and literary critic Walter Benjamin continues to fascinate and influence. Here Uwe Steiner offers a comprehensive and sophisticated introduction to the oeuvre of this intriguing theorist. Acknowledged only by a small circle of intellectuals during his lifetime, Benjamin is now a major figure whose work is essential to an understanding of modernity. Steiner traces the development of Benjamin’s thought chronologically through his writings on philosophy, literature, history, politics, the media, art, (...) photography, cinema, technology, and theology. _Walter Benjamin_ reveals the essential coherence of its subject’s thinking while also analyzing the controversial or puzzling facets of Benjamin’s work. That coherence, Steiner contends, can best be appreciated by placing Benjamin in his proper context as a member of the German philosophical tradition and a participant in contemporary intellectual debates. As Benjamin’s writing attracts more and more readers in the English-speaking world, _Walter Benjamin_ will be a valuable guide to this fascinating body of work. (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)