Assembled here for the first time in English translation, Sigrid Weigel and Georgina Paul offer illuminating new insights into Benjamin's theory, combining impulses from post-structuralism, feminism, cultural anthropology and psychoanalysis.
The Denktagebuch, kept by Hannah Arendt from 1950 until 1973, is not only a fascinating parergon, or secondary work, containing many reflections, observations, and notes on other articles that had not, or not yet, taken on their finished form as essays or books. It presents the foundations and premises of her writing that originate from her notebooks—foundations in a literal sense, i.e., those writings that preceded the author's work in political theory. Several entries contain methodological reflections, explanations of definitions, and (...) analyses of philosophical texts. These are self-commentaries on her own publications, such as reflections on the ambiguous and often…. (shrink)
Arguing that the importance of painting and other visual art for Benjamin's epistemology has yet to be appreciated, Weigel undertakes the first systematic analysis of their significance to his thought. She does so by exploring Benjamin's dialectics of secularization, an approach that allows Benjamin to explore the simultaneous distance from and orientation towards revelation and to deal with the difference and tensions between religious and profane ideas. In the process, Weigel identifies the double reference of 'life' to both nature and (...) to a 'supernatural' sphere as a guiding concept of Benjamin's writings. Sensitive to the notorious difficulty of translating his language, she underscores just how much is lost in translation, particularly with regard to religious connotations. The book thus positions Benjamin with respect to the other European thinkers at the heart of current discussions of sovereignty and martyrdom, of holy and creaturely life. It corrects misreadings, including Agamben's staging of an affinity between Benjamin and Schmitt, and argues for the closeness of Benjamin's work to that of Aby Warburg, with whom Benjamin unsuccessfully attempted an intellectual exchange. (shrink)
The last decade has seen a new wave of interest in philosophical and theoretical circles in the writings of Walter Benjamin. In _Body-and Image-Space_ Sigrid Weigel, one of Germany's leading feminist theorists and a renowned commentator on the work of Walter Benjamin, argues that the reception of his work has so far overlooked a crucial aspect of his thought - his use of images. Weigel shows that it is precisely his practice of thinking in images that holds the key to (...) understanding the full complexity, richness and topicality of Benjamin's theory. (shrink)
The caesura of tragedy, more precisely tragedy as the scene of a caesura upon which an interruption occurs in the relation between divine grounds and human will, stands at the center of Susan Taubes's confrontation with tragedy. Moving beyond an explication of generic history, she analyzed the “Nature of Tragedy” (1953) as a phenomenon emerging from a cultural-historical threshold situation, illuminating tragedy's origins in the framework of her approach to ritual, religion, and philosophy. In respect to the history of theory, (...) these reflections are located at a transition point between religious and cultural history. Her argument that tragedy maintains a…. (shrink)
Testimony/Bearing Witness establishes a dialogue between the different approaches to testimony in epistemology, historiography, law, art, media studies and psychiatry.
As regards Aby Warburg’s oeuvre, it is fascinating that three unfinished or unpublished projects have come to represent the very theorems now appearing of most interest for cultural historians and theorists: The Mnemosyne Atlas representing pictorial memory; the Serpent Ritual as theorem for a cultural-anthropological reading of pagan cultures; and the Nymph Fragment as a foundational figure of modern iconology. This essay undertakes an analysis of the fragmentary character of Warburg’s way of working, arguing that his search for an analytic (...) model to account for the interplay between Christian and pagan/polytheistic traditions displays striking asynchronies and displacements. Rather than explicating these irregularities biographically, the conceptual problems tied to his methods and cognitive interests are investigated. The article thus examines a set of conceptual questions whose relevance extends well past Warburg’s methodology, considering the dimensions of religious and cultural-historical theory within a broader history of European arts and media. Concentrating on probably the most cited figure from Warburg’s repertoire of images, the “nymph” figure on Ghirlandaio’s fresco The Birth of St John the Baptist, the essay focuses on Warburg’s borrowings from Heinrich Heine and reveals Heine to be a blind spot in research on Warburg up until now. (shrink)
Proceeding from the statement that «reading» images is not at all analogous to any culturally codified lecture of written texts, Sigrid Weigel develops a crucial critic of the anthropological paradigm linked to the left-right problem in the visual arts. Focusing on various examples of painted and sculpted Annunciations, the author argues how the decline of the traditional orientation, based on the figure of God in central position, leads to a growing importance of the spectator gaze and to a new relation (...) between iconic narration and symbolic meaning. (shrink)
This text was delivered as the laudatory speech on the occasion of Didi-Huberman’s receipt of the Adorno prize in 2015. The influence of Adorno’s work on Didi-Huberman’s methodology is clarified, especially Adorno’s reflections on montage, the essayistic style and the anachronism of time. Didi-Huberman thematizes and analyses anachronism as a specific time structure of images. His works stress the similarity of images with the literary montage technique to develop a comprehensive theory of the readability of images – a practice in (...) which we approach images, based on the combination of voir and savoir, of looking and knowing. Two books, dealing with images and the Holocaust, are specifically exemplary of this approach: Images in Spite of All and Bark. Images in Spite of All calls a halt to one of the crudest erroneous readings of Adorno’s work, since the theorem of the Unspeakable or Unrepresentable always referred to Theodor W. Adorno ; and it is remarkably resistant to nuanced philological–philosophical studies of Adorno’s writings. By attentively considering the conditions in which the four photographs taken in Auschwitz-Birkenau were produced, Didi-Huberman dares to imagine the unimaginable. In this and in his more personal work of Bark, he successfully avoids an impossible reconstruction but instead asks what happened in that other place, in the cultural and our personal and memory. This is the work of ‘readability’ in the Benjaminian sense. (shrink)
I. The New World Order The issue at the center of Giorgio Agamben's book Homo Sacer: Sovereign Power and Bare Life (1995), that of the relation of bare life to politics and the law, has, in the ten years since the book's appearance, been propelled so forcefully into the foreground by events on the world political stage that Agamben's central figure has taken on an uncanny actuality.1The images broadcast around the world of Guantánamo Bay appear like visualizations of the homo (...) sacer, the definition of which is he who “may be killed and yet not sacrificed.”2 Even more so…. (shrink)
This article analyses how Benjamin takes Kraus's reference to the creaturely as a symptom of an ahistorical attitude which projects the state of genesis, i.e. the world of God's creatures, into history. It reads the essay on Karl Kraus as a main site for Benjamin's dialectical approach to secularization, which is characterized by the distance both from genesis and redemption. The awareness of the fundamental difference which separates human concepts from biblical ideas or words which may be observed in many (...) of Benjamin's texts forms a kind of leitmotif of his work. It is only from this radical separation that he is able to deal with the echo realm of the sacred in modernity. (shrink)
Limits of a (historico-)philosophical discourse vis-a-vis the rutpure in the fabric of civilization marked by the shoah. Examines the textual place of those aspects of history which elude rational analysis.
