Hamlet’s character sets, under different shapes and extents, the benchmark against which a large part of the European philosophy of the very long «short twentieth-century» behind us has had to measure. In the name of Hamlet as the most enigmatic among Shakespeare’s creatures, even Europe, its spirit and destiny, is identified, according to the well-known claim by Paul Valery.Common trait to a big part of these interpretations – from the juvenile works of Pavel Florenskij and Lev S. Vygotskij (...) to Carl Schmitt’s Hamlet oder Ekuba. Der Einbruch der Zeit in das Spiel – is offered by the detection, in Hamlet’s figure, of the contradiction inherent to an epochal transition: the time of an unresolved passage between two ages that only knows the endless pain of an “interim”. My paper concerns the possibility to interpret Hamlet’s time as the time of an “interim” in light of Benjamin’s claims about Shakespeare’s drama contained in his book on the German Trauerspiel.While Florenskij interprets Hamlet’s time as tragic and the figure of Hamlet as a tragic one, in my essay - moving from some observations on the " Hamlet Problem " by the young Franz Rosenzweig - I consider the original Benjaminian thesis about the character and the drama of Hamlet as the end of the modern Trauerspiel. Starting from a statement by Theodor Adorno in the famed Hornberger Brief to Benjamin of August 2, 1935, I outline, therefore, how Benjamin characterizes the figure of Hamlet. This, from his early writings on the relationship between tragedy and Trauerspiel up to the great book on the Origin of the German Trauerspiel. In the frame of Benjamin’s interpretation, exactly by virtue of its distance from the thesis on the duality of tragedy, the Shakespearian theatrum of consciousness, paradigmatically represented in the figure of Hamlet and in the intimately dialectic character of his drama, is accounted for as necessary correlate of the Cartesian’s theatrum of consciousness. From a theoretical point of view, the Benjaminian characterization of Hamlet's figure reveals, therefore, something of the nature of modern consciousness and of consciousness in general in relation to the problem of truth and its representation. Hence the end of modern Trauerspiel coincides with the original incompleteness of its time. Consequently, I also claim Hamlet's dramatic figure to represent the aporetic characters of modern politics. This contrasts the thesis of Carl Schmitt who speaks, instead, of the Shakespearean drama as an expression of a pre-modern barbaric time. (shrink)

This article argues that Walter Benjamin’s aesthetico-political philosophy cannot be understood without reconsidering Hamlet. It elucidates Benjamin’s Hamlet via his theory of Baroque “mourning” and its counter-measure, the “Saturnine Dialectic.” It likewise offers an analysis of the 1877 Herman Ulrici edition of Hamlet, the German edition Benjamin cites exclusively. This analysis reconciles the differences in the secondary literature regarding Benjamin’s Hamlet, expounding upon the edition’s singular use of the word “foreordination”. Finally, by rereading Benjamin’s Hamlet through Carl Schmitt’s (...) Hamlet or Hecuba, it argues that Fortinbras’s succession, effectuated by Hamlet’s dying voice, conditions the repetition of sovereignty in Hamlet, betraying the emergence of the new. Despite this betrayal, the revolutionary potential that is sunken into the content of Hamlet is disjunctively brought to the surface by examining the “dialectical image” of Laertes’s rebellion, rescuing what I term the revolutionary-new from the jaws of defeat. (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)

El artículo analiza el vínculo entre derecho y violencia en Walter Benjamin y Franz Rosenzweig. Primero, se estudia la relación entre Benjamin, Rosenzweig y Carl Schmitt, y, a continuación, la proximidad entre las concepciones benjaminiana y rosenzweiguiana de la historia y de la temporalidad mesiánica, así como la relación entre justicia, derecho y eternidad. Finalmente, se presenta la propuesta derridiana de una deconstrucción de la crítica benjaminiana de la violencia y su antecedente en _La estrella de la (...) redención_. (shrink)

This paper deals with the intellectual relationship between Walter Benjamin and Carl Schmitt. It takes as starting point Benjamin’s famous letter to Schmitt on The Origin of German Tragic Drama as well as Benjamin`s mentions of Schmitt’s Political Theology in his work on the Baroque. Nevertheless, I prove the importance of Schmitt’s book on Dictatorship for Benjamin’s portrayal of sovereignty during the Baroque period and therefore its character of hidden reference for the Jewish thinker. The last section is (...) devoted to Schmitt`s public and private reading of The Origin of German Tragic Drama and to his critique of Benjamin’s Habilitationsschrift, namely his incapacity of understanding the difference between Shakespeare’s Hamlet and Hobbes’s Leviathan. (shrink)

Hannah Arendt, Walter Benjamin, and Theodor W. Adorno were intellectual giants of the first half of the twentieth century. The drama _Foreplay_ explores their deeply human and psychologically intriguing private lives, focusing on professional and personal jealousies, the mutual dislike of Theodor Adorno and Hannah Arendt, the association between Walter Benjamin and Georges Bataille, and the border between erotica and pornography. Djerassi’s extensive biographical research brings to light many fascinating details revealed in the dialogues among the (...) characters, including Adorno’s obsession with his dreams, Benjamin’s admiration for Franz Kafka, and the intimate correspondence between Gretel Adorno and Walter Benjamin. The introduction of a fictitious character, Fräulein X, intensifies the complex interplay among the four lead protagonists and allows for a comparison of Adorno’s philandering and the similar behavior of Martin Heidegger, whose affair with Hannah Arendt is well known. _Foreplay_ brims with intrigue and the friction created when strong personalities clash. (shrink)

_This book features a CD of rarely performed music, including a specially commissioned rap by Erik Weiner of Walter Benjamin's "Thesis on the Philosophy of History." _ Theodor W. Adorno was the prototypical German Jewish non-Jew, Walter Benjamin vacillated between German Jew and Jewish German, Gershom Scholem was a committed Zionist, and Arnold Schönberg converted to Protestantism for professional reasons but later returned to Judaism. Carl Djerassi, himself a refugee from Hitler's Austria, dramatizes a dialogue between (...) these four men in which they discuss fraternity, religious identity, and legacy as well as reveal aspects of their lives-notably their relations with their wives-that many have ignored, underemphasized, or misrepresented. The desire for canonization and the process by which it is obtained are the underlying themes of this dialogue, with emphasis on Paul Klee's _Angelus Novus _, a canonized work that resonated deeply with Benjamin, Adorno, and Scholem. Basing his dialogue on extensive archival research and interviews, Djerassi concludes with a daring speculation on the putative contents of Benjamin's famous briefcase, which disappeared upon his suicide. (shrink)

Avec Walter Benjamin, Franz Rosenzweig (1886-1929) est sans conteste l'une des figures les plus originales de la pensée allemande du début du XXe siècle. Les effets de ses œuvres ont été immédiatement sensibles dans toutes les orientations du judaïsme allemand, au cours même de l'identité allemande lorsqu'avec Martin Buber il donna une nouvelle traduction de la Bible, et, plus généralement, dans la philosophie qui voulait, comme la pensée de Heidegger, rompre avec l'idéalisme, la tradition métaphysique ou avec les (...) illusions du positivisme d'avant-guerre ; mais c'est surtout dans la controverse avec le christianisme que se précise peu à peu une nouvelle conception de l'existence juive, une nouvelle perspective messianique. La genèse de son livre majeur, L'Étoile de la Rédemption, est, elle aussi, peu commune puisque Rosenzweig l'a d'abord ébauché, dans les tranchées où il était mobilisé, à travers des conversations, des correspondances - en situation de dialogue donc -, puis l'a poursuivi en en rédigeant une partie sur des cartes postales adressées à sa mère. Le présent recueil rassemble ces textes préparatoires de même qu'une sorte de longue postface explicative, des cours qu'il donna dans le nouvel institut d'enseignement qu'il avait fondé à Francfort, ainsi que des extraits du journal de l'auteur. Autant d'éclairages qui permettent de mieux comprendre L Étoile de la Rédemption, ses présupposés comme ses points de fuite, et qui esquissent les perspectives politiques, esthétiques et philosophiques dont un second volume se fera plus précisément l'écho. (shrink)

Cette étude nous offre une analyse de l’attitude des écrivains français contemporains au point de vue social. L’auteur esquisse à grands traits le développement de cette attitude en commençant par Maurice Barrés et décrit les nombreux essais tentés par des écrivains de valeur qui ont voulu s’inspirer de la pensée bourgeoise et représenter cette classe par le moyen de la littérature. La doctrine politique du radical-socialisme d’Alain y est comparée avec le traditionalisme de Barrés. Les efforts de Charles Péguy et (...) de Julien Benda vers une conception normative de la notion du „clerc“, de „l’être intellectuel“ sont décrits quand à leur essence et à leurs limitatons. Une digression sur quelques aspects de belles-lettres : Roman populaire, Ferdinand Céline, Julien Green, fait suite. L’antagonisme entre le poète et l’écrivain sert de trame à une étude de l’oeuvre de Paul Valéry, dans lequel cet antagonisme apparaît le plus nettement. L’orientation sociale actuelle de l’écrivain français se conçoit le mieux lorsqu’on étudie l’oeuvre d’André Gide ; son attitude significative, à un tournant de l’histoire, puise toute sa valeur dans son influence si considérable sur la jeune génération, dont les représentants les plus avancés ont passé par le surréalisme.The object of the following exposition is to determine the attitude of modern French literature, and to trace the main features of its development since Maurice Barrés. We are given the manifold attempts of important authors to inspire themselves with the ideology of the middle class, and to come out on behalf of this class in their writings. Alain’s political doctrine of Radical Socialism is confronted with the reactionary traditionalism of Barrés. Charles Péguy’s and Julien Benda’s exertions to give a normative setting to their concepts of „clerk“ and „intellectual“ are examined both as regards content and definition. We are then presented with some aspects of present-day Belles Lettres : of the „popular novel“, Ferdinand Céline, Julien Green. The antagonism between poet and author is considered in connection with Paul Valéry’s work which shows this most clearly and fruitfully. The present social standpoint of French litterateurs appears in a concentrated form in the life-work of André Gide. His representative position at a turning-point in development is evidenced by his influence on the younger generation, the most advanced of whom have gone beyond and away from Surrealism. (shrink)

Este artigo tem por objetivo analisar comparativamente as semelhanças contidas nas críticas à democracia liberal presentes em alguns trabalhos selecionados de Carl Schmitt e Robert Kurz. A despeito da estreita associação do primeiro autor com o regime nazista após 1933 e do segundo ser normalmente caracterizado como um pensador marxista, são verificáveis inúmeras similitudes entre ambos quando se propõem a analisar as características do liberalismo parlamentar das democracias do século XX. Uma hipótese que pode explicar tais semelhanças seria a (...) influência exercida por Schmitt sobre diversos teóricos da escola de Frankfurt, com os quais Kurz frequentemente dialoga em seus escritos e que foram inspiradores de algumas de suas reflexões – em especial, Walter Benjamin, Theodor Adorno e Max Horkheimer, embora Schmitt também tenha influenciado Franz Neumann, Otto Kirchheimer, Karl Korsch e Herbert Marcuse. Outra via de interpretação abordada aqui se refere à possibilidade de Schmitt ter encontrado, em suas teorias sobre o Estado e sobre o direito, os limites epistemológicos do liberalismo moderno, o que constitui o principal objeto de pesquisa de Kurz e foi tema recorrente nos escritos dos teóricos de Frankfurt. (shrink)

ExcerptThe great dramatic work of art that bears the name Hamlet is, in the core of its action and the main character, nothing other than the dramatized story of a real king named James, James Stuart, son of Mary Stuart and her husband. James's father was murdered, and his mother married the murderer shortly afterward. What Mary Stuart, the mother of King James, did was bad, almost as bad “As kill a king, and marry his brother.” Shakespeare's Hamlet drama is (...) grounded then in a direct relation to the times. It contains the kind of dramatization that results from participation…. (shrink)

This book argues that a radical political gesture can be found in Søren Kierkegaard’s writings. The chapters navigate an interdisciplinary landscape by placing Kierkegaard’s passionate thought in conversation with the writings of Georg Lukács, Carl Schmitt, Walter Benjamin and Theodor Adorno. At the heart of the book’s argument is the concept of “indirect politics,” which names a negative space between methods, concepts, and intellectual acts in the work of Kierkegaard, as well as marking the dynamic relations between (...) Kierkegaard and the aforementioned thinkers. Kierkegaard’s indirect politics is a set of masks that displaces identities from one field to the next: theology masks politics; law masks theology; political theory masks philosophy; and psychology masks literary approaches to truth. As reflected in Lukács, Schmitt, Benjamin, and Adorno, this book examines how Kierkegaard’s indirect politics sets into relief three significant motifs: intellectual non-conformism, indirect communication in and through ambiguous identities, and negative dialectics. Bartholomew Ryan is currently a postdoctoral fellow (2011- ) at the Instituto de Filosofia da Nova, New University of Lisbon, Portugal. He holds degrees from Aarhus University, Denmark (PhD), University College, Dublin (MA), and Trinity College, Dublin (1999). He was visiting lecturer at the European College of Liberal Arts in Berlin (2007-2011) and Lady Margaret Hall, University of Oxford (2010), and was a guest scholar at the Søren Kierkegaard Research Centre in Copenhagen (2007 and 2005) and Hong Kierkegaard Library at St. Olaf College, Minnesota (2005). He has written extensively on Kierkegaard, and also published articles on Nietzsche, Pessoa, Joyce, Shakespeare and Schmitt. (shrink)

The minutes of Adorno’s aesthetics seminar, held during the summer term of 1932 at the university of Frankfurt, are a rare trace of the early philosophical reception of Walter Benjamin’s opus magnum, The Origin of German Tragic Drama (1928). Showcasing his critical spirit and pedagogy, Adorno and his students attempt a clarification, as well as a problematization, of this dense and difficult text, touching on such problems as the historicity of ideas or the concept of a ‘constellation’. (...) This document is thus both a valuable aid for reading Benjamin’ Trauerspiel-Buch and an important document for understanding the sources of Adorno’s own philosophy. (shrink)

El presente artículo es un estudio comparativo donde se argumenta la relación disonante entre las obras de Schmitt y Benjamin sobre la estética barroca. Se defiende que la diferencia entre ambos consiste en su concepción de lo político. Para Benjamin, son dos los aspectos fundamentales del Trauerspiel alemán: 1) la diferencia entre drama barroco y tragedia clásica y 2) el recurso a la alegoría como técnica de expresión. Schmitt, por su parte, encuentra lo singular del drama barroco en la (...) irrupción del tiempo histórico-político dentro de la forma estética. Para el crítico berlinés, lo alegórico debe estudiarse desde la filosofía de la historia, mientras que para Schmitt lo decisivo es lo político, ejecutado a través de la soberanía y la decisión. Tal es la línea argumental del presente estudio. This paper is a comparative study about the Works of Benjamin and Schmitt on the baroque art. It argues that the specific difference between them most be found in their concept of the political. For Benjamin there is a difference between tragedy and drama, the german Trauerspiel it is an allegorical approach to thingsand history. Schmitt argues that the singularity of baroque drama is the irruption of time in the plastic form. These are the points that the paper proposes. (shrink)

Called “the most important critic of his time” by Hannah Arendt, Walter Benjamin has only become more influential over the years, as his work has assumed a crucial place in current debates over the interactions of art, culture, and meaning. A “natural and extraordinary talent for letter writing was one of the most captivating facets of his nature,” writes Gershom Scholem in his Foreword to this volume; and Benjamin's correspondence reveals the evolution of some of his most powerful ideas, (...) while also offering an intimate picture of Benjamin himself and the times in which he lived. Writing at length to Scholem and Theodor Adorno, and exchanging letters with Rainer Maria Rilke, Hannah Arendt, Max Brod, and Bertolt Brecht, Benjamin elaborates on his ideas about metaphor and language. He reflects on literary figures from Kafka to Karl Kraus, and expounds his personal attitudes toward such subjects as Marxism and French national character. Providing an indispensable tool for any scholar wrestling with Benjamin’s work, The Correspondence of Walter Benjamin, 1910–1940 is a revelatory look at the man behind much of the twentieth century’s most significant criticism. (shrink)

The correspondence between the philosopher Theodor W. Adorno and his politically active graduate student Elisabeth Lenk offers fresh insights into both Adorno's view of surrealism and its relation to the student uprisings of 1960s France and Germany. Written between 1962, when Lenk moved to Paris and persuaded an initially reluctant Adorno to supervise her sociology dissertation on the surrealists, and Adorno's death in 1969, these letters reveal a surprisingly tender side of the distinguished professor. The correspondence (...) is accompanied by a selection of documents that bring additional depth and context to the letters and their engagement with the art and politics of the period. Filling in the background of Adorno and Lenk's lively exchange, the volume includes new translations of classic essays by Walter Benjamin ("Surrealism: Last Snapshot of the European Intelligentsia") and Adorno ("Surrealism Reconsidered"), along with a collection of short prose readings by Adorno and the writer-scholar Carl Dreyfus and three original essays by Lenk: her afterword to Paris Peasant by Louis Aragon, her Introduction to the German edition of Charles Fourier's The Theory of the Four Movements and the General Destinies, and her incisive essay "Critical Theory and Surreal Practice." An Introduction by Lenk's student, the contemporary writer and critic Rita Bischof, points to the continuing challenge of surrealist politics. This remarkable body of correspondence appears here in English for the first time, as do Adorno and Dreyfus's surrealist readings and the essays by Lenk. Together, they provide a rich mine of critical material for reassessing the significance of the surrealist movement and its successors. (shrink)

This book features a CD of rarely performed music, including a specially commissioned rap by Erik Weiner of Walter Benjamin's "Thesis on the Philosophy of History.

ABSTRACTWhile in the 1960s Allan Bloom suggested to read William Shakespeare’s works through the prism of political philosophy, a decade earlier Carl Schmitt used the works of English poet in a reverse way: he read political philosophy and history through Shakespeare. Deprived – under the influence of Leo Strauss – from the possibility of considering Thomas Hobbes a decisionist thinker, Schmitt in his ‘Hamlet or Hecuba’ used Shakespeare’s most famous work to interpret origins of disappearance of the state of (...) emergency from English soil. Shakespeare was seen by Schmitt as a writer who captured the Sixteenth and seventeenth century changes in thinking about sovereignty and the state. Interestingly, Schmitt did not use Shakespeare as method for the first time: in first decades of twentieth century, in his diary, he made ‘Othello’ a prism through which he read his love life. Because the author of ‘The Concept of the Political’ is one of the less methodologically cohesive writers of twentieth century, his usage of Shakespeare twice, in different circumstances, is interesting. In an article, author links ‘Hamlet or Hecuba’ with Schmitt’s geopolitical works and presents Shakespeare’s works as the coherent method of interpretation in Schmitt’s philosophy of decisionism. (shrink)

“Who are you? Tu quis es?” The interrogator was the German philosopher and pedagogue Eduard Spranger. The subject was Carl Schmitt. The place: Berlin. The time: summer of 1945. The question was “precipitous,” as Schmitt acknowledged in Ex Captivitate Salus, the book he completed following his release from Nuremberg in 1947. “Who are you?” Who, but one of the most highly acclaimed and esteemed jurists and political thinkers of the Weimar Republic, whose writings captured the attention of Georg Lukács, (...) Karl Korsch, Felix Gilbert, Leo Strauss, Ferdinand Toennies, and whose concepts significantly influenced Walter Benjamin, Herbert Marcuse, Otto Kirchheimer, Franz Neumann, Karl Mannheim and many other intellectuals and writers on the Left and the Right? (shrink)

Each had met his match, and happily, in the other. This book is the story of an elective affinity.

There is a particular ressonance between the thinking of Walter Benjamin and that of the German jurist Carl Schmitt, including the fact that both analyse the 16th and 17th centuries in order to understand the 20th. Regarding this fact, the article attempts to clarify some themes that lead Schmitt’s work, i.e that of State of Exception, that of theologization of politics, the critique of parliamentarism as support of the Modern State, the tension between democracy and dictatorship, to explain (...) how the dialog between the two thinkers occurs, seeking thus for a better understanding of key works of Benjamin, specially The Origin of German Tragic Drama. (shrink)

At the Intersection of High and Mass Culture analyses the contradictions and interaction between high and low art, with particular reference to Hollywood and European cinema. Written in the essayist, speculative tradition of Walter Benjamin and Theodore Adorno, this study also includes analyses of several key films of the 1980s. Tracing the boundaries of such genres as film noir, science fiction and melodrama, it demonstrates how these genres were radically expanded by such filmmakers as Neil Jordan, Chris Merker (...) and Georges Franju. This work also reflects on kitsch, the star system, racial and gender stereotypes, and the nature of audience participation. While defining the conditions under which the symbiotic relationship between high and mass culture can be cross-fertilising, this study stresses their inevitably contradictory characteristics. (shrink)

In this collection of short meditations on various topics, Hans Blumenberg eschews academic ponderousness and writes in a genre evocative of Montaigne's _Essais_, Walter Benjamin's _Denkbilder_, or Adorno's _Minima Moralia_. Drawing upon an intellectual tradition that ranges from Aesop to Wittgenstein and from medieval theology to astrophysics, he works as a detective of ideas scouring the periphery of intellectual and philosophical history for clues—metaphors, gestures, anecdotes—essential to grasping human finitude. Images of shipwrecks, attempts at ordering the world, and (...) questions of foundations are traced through the work of Goethe, Schopenhauer, Simmel, Husserl, Thomas Mann, and others. The book's reflections culminate in a rereading of the fable "Care Crosses the River" that lies at the center of Heidegger's analysis of Dasein in which the fable's elided Gnostic center is recovered: Care creates the human in its own image, as a reflection of its narcissism. At stake throughout are two inextricable elements of Blumenberg's thought: a theory of nonconceptuality as essential to philosophizing and an exploration of culture understood as humanity's unceasing attempts to relieve itself of the weight of the absolutism of reality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:At St. Isidore’s Franciscan College in Rome, the following maxim attributed to St. Patrick is inscribed above the door-way of the church: Si quae difficiles quaestiones in hac insula oriantur ad Sedem Apostolicam referantur; ut Christiani ita et Romani sitis.1 The college was founded in 1625 by Luke Wadding, O.F.M. and, under his direction, became a major seat of theological learning and political influence for the Irish in Rome.2 (...) In the nineteenth century, the Friars Minor of the Province of Ireland assigned many documents from St. Isidore’s for use in their Irish friaries. In 1872, amid the unrest caused by the Risorgimento, medieval and early-modern Irish Franciscan manuscripts were transferred to Dublin.3 At the Merchants’ Quay Convent, the librarians T.A. O’Reilly, O.F.M. and E.B. Fitzmaurice, O.F.M. divided the manuscripts into sections with alphabetically ordered shelf-marks.4 This practical approach followed the long-established system used at Italian libraries and archives in Franciscan custody.5 From 1947 until 2000, the manuscripts of the Irish Friars Minor were kept at the Franciscans’ Dún Mhuire House of Studies in Killiney, County Dublin, before their transfer to the Archives, University College Dublin.The ‘D’ collection is preserved in twenty-six sets of volumes, folders and boxed papers. The greater part consists of Luke Wadding’s correspondence, relating to his activities as theologian, historian, Irish agent in Rome and consultor to several congregations and commissions at the papal secretariat.6 In the 1920s, Paul Grosjean, S.J. included four manuscripts then housed at Merchants’ Quay in a catalogue of hagiographical works.7 Clement Schmitt, O.F.M. treated of a collection of the Franciscan documents kept in Dublin in 1964.8Letters to and from Luke Wadding are also preserved at the Vatican Library; the Archivo Generale at the General Curia of Friars Minor, Rome; the Biblioteca Landiana, Piacenza; the Biblioteca Nazionale, Naples; the Biblioteca Ambrosiana, Milan; the Archives of the Bollandists, Brussels; the Archives Générales de Royaume, Brussels; the Von Harrach Archive, Vienna; and the Franciscan friary of St. Jerome in Vienna.9Compared to some six hundred that Luke Wadding received, “the text of approximately one hundred of his letters, in whole or in part, has survived.”10 Nearly all Wadding’s extant correspondence dates from the three decades after the publication of his Acta legationis on the doctrine of the Immaculate Conception in 1624. Most of his letters were sent from St. Isidore, some from the friaries of Aracoeli and San Pietro in Montorio, Rome, and a few from Naples.11Luke Wadding was born in Waterford on October 16, 1588, the eleventh of fourteen children.12 He was baptized two days later on the Feast of St. Luke. His father Walter was a well-established Waterford merchant and his mother Anastasia a kinswoman of the prominent Lombard family of Waterford. After the death of his parents, Luke left Ireland with his elder brother, Matthew, who enrolled him at the Irish Jesuits’ College in Lisbon. At seventeen years of age, Wadding made his way to Matozinhos in northern Portugal, near Oporto, where he entered the Franciscan Order. On completion of his novitiate, Wadding’s superiors sent him to the University of Coimbra and from there, to Salamanca. At Easter 1613, Luke Wadding was ordained to the priesthood after his studies. He was then appointed as a professor of theology at the Franciscan College of León and later at his own alma mater, Salamanca.13Called to the Spanish capital, Luke Wadding stayed at the Convent of Jesus and Mary in the south-east of Madrid where “lived not only the heads of the Franciscan Order in Spain but also the principal preachers.”14 Such was the distinction Wadding achieved that he was chosen by Philip III for the office of theologian in the embassy sent to defend the doctrine of the Immaculate Conception in Rome.15 He lived there for almost forty years, in which time he founded St. Isidore Franciscan College, the.. (shrink)

El presente ensayo busca contraponer la producción escrita de Walter Benjamin y Carl Schmitt, en busca de la vinculación y ruptura filosófica política de ambos en torno a conceptos como el de estado de excepción y soberanía. Para ello proponemos una lectura en orden cronológico de sus obras entre 1920 y 1930, cual si existiese un diálogo mudo, en el cual el punto de partida es común pero las críticas y distanciamiento entre ambos se vuelven más evidentes y (...) abismales. (shrink)

Reading these self-superior texts through the theories and commentaries of Karl Marx, Sigmund Freud, Walter Benjamin, Michael Taussig, Theodor Adorno, and others, Magee explores the West's obsession with seeing its commodities, from Coke bottles to cakes of Pears' Soap, as objects of native fascination and fetishism.".

English summary: This collection of completely revised, and in part, considerably expanded, contributions further illustrate key aspects of the biography of Carl Schmitt as presented in Carl Schmitt. Aufstieg und Fall (Carl Schmitt. Rise and Fall), published by Beck-Verlag in Munich in 2009. In the Diskurspartisan, (partisan of discourse) Schmitt is depicted as both an intellectually brilliant and radical, charismatic and artful Kriegstechniker des Begriffs (war technician of ideas). German description: Die vorliegenden, grundlegend uberarbeiteten und teils stark (...) erweiterten Studien fuhren zentrale Aspekte der Biographie Carl Schmitt. Aufstieg und Fall (Beck-Verlag, Munchen 2009) exemplarisch weiter. Sie erortern Schmitts Ekstasetechnik ausseralltaglicher Dramatisierung seines Lebens als Ausnahmezustand, die Wirkung des Lehrers auf Otto Kirchheimer, das ambivalente Verhaltnis zum Heidelberger Rechtspositivismus, den nationalsozialistischen Aufstieg im Kolner Sommersemester 1933, den fruhen Auftritt des NS-Kronjuristen gegenuber dem pratendierten Philosophenfuhrer Martin Heidegger, die ruckblickende Spiegelung Hitlers in der dramatischen Figur von Friedrich Schillers Demetrius, die spatere Distanzierung von Walter Benjamin im Handexemplar von Benjamins Trauerspiel-Buch, das spannungsvolle Verhaltnis zu Ernst Junger und die esoterischen Vernetzungen und elitaren Kommunikationsformen des Diskurspartisanen der Bundesrepublik. Der Diskurspartisan erscheint als intellektuell brillanter und radikaler, charismatischer und schongeistiger Kriegstechniker des Begriffs. (shrink)

Ever since Walter Benjamin drafted his theses on the philosophy of history, Critical Theory has attempted to theorize beyond the crisis of modernity and its concept of progress as what Adorno mockingly described as a linear trajectory from Adam and Eve to the Atom Bomb, Auschwitz and the Gulag. Today, over half a century after the defeat of Nazism, in the post-communist age of nuclear disarmament, the telos of progress would have to be updated, at best, to a (...) consumerist wasteland punctuated by McDonalds and Disneylands—an immensely less catastrophic but equally debilitating spiritual outcome. Although the Frankfurt School was always…. (shrink)

MEDIEVAL LOGICS LAMBERT MARIE DE RIJK (ed.), Die mittelalterlichen Traktate De mod0 opponendiet respondendi, Einleitung und Ausgabe der einschlagigen Texte. (Beitrage zur Geschichte der Philosophie und Theologie des Mittelalters, Neue Folge Band 17.) Miinster: Aschendorff, 1980. 379 pp. No price stated. THE SEVENTEENTH CENTURY MARTA FATTORI, Lessico del Novum Organum di Francesco Bacone. Rome: Edizioni dell'Ateneo 1980. Two volumes, il + 543, 520 pp. Lire 65.000. VIVIAN SALMON, The study of language in 17th century England. (Amsterdam Studies in the Theory (...) and History of Linguistic Science, Series 111: Studies in theHistory of Linguistics, Volume 17.) Amsterdam: John Benjamins B.V., 1979.x + 218 pp. Dfl. 65. Theoria cum Praxi. Zum Verhaltnis von Theorie und Praxis im 17. und 18. Jahrhundert. (Akten des 111. Internationalen Leibnizkongress, Hannover, 12. bis 17.November 1977, Band 111: Logik, Erkenntnistheorie, Wissenschaftstheorie, Metaphysik, Theologie.) Wiesbaden: Franz Steiner Verlag, 1980. vii + 269 pp. DM 48. CLASSICAL AND NON-CLASSICAL LOGICS MICHAEL CLARK, The place of syllogistic in logical theory. Nottingham: University of Nottingham Press, 1980. ix + 151 pp. £3.00. A.F. PARKER-RHODES, The theory of indistinguishables. Dordrecht, Boston and London: D. Reidel Publishing Company, 1981. xvii + 216 pp. Dfl.90.00/$39.50. NICHOLAS RESCHER and ROBERT BRANDOM, The logic of inconsistency. Oxford:Basil Blackwell, 1980. x + 174 pp. f 11.50. MISCELLANEOUS J. ZELENY, The logic of Marx. Translated from the German by T. Carver. Oxford: Basil Blackwell, 1980. xcii + 247 pp. £12.50. FELIX KAUFMANN, The infinite in mathematics. Edited by Brian McGuinness. Introduction by E. Nagel. Translation from the German by Paul Foulkes. Dordrecht: Reidel, 1978. xvii + 235 pp. Dfl 85/$39.50 (cloth); Dfl 45/$19.95 (paper). PAMELA MCCORDUCK, Machines who think. San Francisco: W.H. Freeman and Company, 1979. xiv + 275 pp. $14.95. J. MITTELSTRASS (ed.), Enzyklopadie Philosophie und Wissenschaftstheorie Bd. 1 : A-G. Mannheim, Wien, Ziirich: Bibliographisches Institut, 1980. 835 pp. DM 128. (shrink)

Das Buch untersucht die Relation der Ahnlichkeit in ihrer Bedeutung fur Asthetik und Epistemologie der Moderne. HAtte Michel Foucault in Die Ordnung der Dinge die These formuliert, dass die Ahnlichkeit ihre Rolle als strukturierende Form des Wissens im Laufe des siebzehnten Jahrhunderts verloren habe, so geht die vorliegende Untersuchung davon aus, dass das Ahnlichkeitsdenken auch in der Moderne von grundlegender Bedeutung ist. LEitend ist dabei die Annahme, dass die Ahnlichkeit ihre besondere Relevanz nun in einem Diskurs uber asthetische Erfahrung entfaltet, (...) wobei sich von dort aus wiederum fundamentale Fragestellungen der Erkenntnistheorie eroffnen. DEn Ausgangspunkt der Untersuchung bildet die Philosophie Immanuel Kants in ihrer maSSgeblichen Bedeutung fur asthetische Theorien der Moderne. ANhand detaillierter Lekturen von Texten von Walter Benjamin, Paul Valéry und Theodor W. ADorno wird die Argumentation weiter entfaltet, womit auch die in der Forschung bislang nicht berucksichtigte Konstellation Valéry - Benjamin - Adorno erstmals genauer in den Blick genommen ist. DIe Arbeit ist im Fach der Literaturwissenschaft angesiedelt, jedoch grundsatzlich interdisziplinar auf Fragen der Asthetik und Kunsttheorie ausgerichtet. (shrink)

INTRODUCTION WHEN, in As You Like it, Shakespeare makes Touchstone ask William, "Hast any philosophy in thee, Shepherd?" the thing that Touchstone means is ...

La question de l’ennemi et de la guerre chez Rosenzweig est importante non seulement pour comprendre l’auteur, mais aussi son œuvre : L’Étoile de la Rédemption. Avec la relation d’hostilité, la temporalité rédemptrice basée sur le commandement d’amour s’affronte au problème des rapports qu’ont le judaïsme et le christianisme avec la guerre et le nationalisme.

El presente artículo es un estudio comparativo donde se argumenta la relación disonante entre las obras de Schmitt y Benjamin sobre la estética barroca. Se defiende que la diferencia entre ambos consiste en su concepción de lo político. Para Benjamin, son dos los aspectos fundamentales del Trauerspi..

On 9 December 1930, Walter Benjamin sent a copy of his book The Origin of German Tragic Drama to Carl Schmitt, accompanied by a letter in which he expressed his indebtedness to Schmitt: "You will very quickly recognize how much my book is indebted to you for its presentation of the doctrine of sovereignty in the seventeenth century. Perhaps I may say, in addition, that I have also derived from your later works, especially Die Diktatur, a confirmation of (...) my modes of research in the philosophy of art from yours in the philosophy of the state. If the reading of my book allows this feeling to emerge in an intelligible fashion, then the purpose of my sending it to you will be achieved" (qtd. in Weber 1992, 5). As .. (shrink)

We report the identification of a recurrent, 520-kb 16p12.1 microdeletion associated with childhood developmental delay. The microdeletion was detected in 20 of 11,873 cases compared with 2 of 8,540 controls and replicated in a second series of 22 of 9,254 cases compared with 6 of 6,299 controls. Most deletions were inherited, with carrier parents likely to manifest neuropsychiatric phenotypes compared to non-carrier parents. Probands were more likely to carry an additional large copy-number variant when compared to matched controls. The clinical (...) features of individuals with two mutations were distinct from and/or more severe than those of individuals carrying only the co-occurring mutation. Our data support a two-hit model in which the 16p12.1 microdeletion both predisposes to neuropsychiatric phenotypes as a single event and exacerbates neurodevelopmental phenotypes in association with other large deletions or duplications. Analysis of other microdeletions with variable expressivity indicates that this two-hit model might be more generally applicable to neuropsychiatric disease. © 2010 Nature America, Inc. All rights reserved. (shrink)

This highly original interpretation of Paul by the Jewish philosopher of religion Jacob Taubes was presented in a number of lectures held in Heidelberg toward the end of his life, and was regarded by him as his “spiritual testament.” Taubes engages with classic Paul commentators, including Karl Barth, but also situates the Pauline text in the context of Freud, Nietzsche, Benjamin, Adorno, Scholem, and Rosenzweig. In his distinctive argument for the apocalyptic-revolutionary potential of Romans, Taubes also takes (...) issue with the “political theology” advanced by the conservative Catholic jurist Carl Schmitt. Taubes’s reading has been crucial for a number of interpretations of political theology and of Paul—including those of Jan Assmann and Giorgio Agamben—and it belongs to a wave of fresh considerations of Paul’s legacy. Finally, Taubes’s far-ranging lectures provide important insights into the singular experiences and views of this unconventional Jewish intellectual living in post-Holocaust Germany. (shrink)

En este trabajo se pretende hacer una pequeña correlación, a manera de homenaje, entre el pensamiento de Theodor W. Adorno y el de su amado maestro, Walter Benjamin. Los vínculos que unen a ambos pensadores, pueden encontrarse en el peso de las palabras que comparten, en medio de un contexto propio de la crítica filosófica alemana y de las raíces judaicas que los unen. Bajo la figura alegórica del ángel de la historia, se tejen nexos entre una selección (...) de citas tomadas de la Dialéctica negativa de Th. W. Adorno y de algunos conceptos expuestos en El origen del drama barroco alemán de W. Benjamin. (shrink)

Jessica Dubow’s In Exile – working through Hannah Arendt, Walter Benjamin and Franz Rosenzweig – reads Judaic thought from the Exodus as exile. With Rosenzweig, she understands this as pitting the (Judaic) singular of faith against the (Greek) universal of reason. This ‘bad universal’ was Hegel’s state, which Dubow also sees as Carl Schmitt’s state. Dubow sees this as it were universal of dominance in today’s Israeli state, against which she pits the singular of exilic thought.