Walter Benjamin is a persistent but elusive presence in many of Philippe Lacoue-Labarthe’s writings, and the relationship between Lacoue-Labarthe and Benjamin is accordingly both significan...

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)

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)

How can Benjamin's theses help us to understand the secret architectures of the present? This volume takes up the architectural challenge in a number of innovative ways, collecting essays by both well-known and emerging scholars on time in cinema, the problem of kitsch, the design of graves and tombs, the orders of road-signs, childhood experience in modern cities, and much more. Engaged, interdisciplinary, bristling with insights, the essays in this collection will constitute an indispensable supplement to the work of (...) class='Hi'>Walter Benjamin, as well as providing a guide to some of the obscurities of our own present. (shrink)

Focusing on Walter Benjamin's earliest pieces dedicated to school reform and the student movement, this article traces the basic critical approaches informing his mature thought back to his struggle to critically implement and transform the theory of concept formation and value presentation developed by his Freiburg teacher, Heinrich Rickert. It begins with an account of Rickert's work, specifically of the concept of Darstellung (presentation) and its central role in Rickert's postmetaphysical theory of historical research (which he characterizes as exclusively (...) concerned with the Kantian quid juris). It shows that Rickert develops a speculative but practical theory of value recognition, which nevertheless leaves the status of value itself undetermined. Contra Rickert, Benjamin returns to the ignored quid facti, or origin of value, and shows that a metacritical, postmetaphysical approach such as Rickert's ultimately limits possible experience rather than grounding it. This basic insight, it is argued, is the cornerstone of Benjamin's concept of critique. (shrink)

This essay is a brief study of translation as a practice of aesthetic resistance seen from a historical and philosophical perspective. Translation is perceived as the process of transition and negotiation within the ‘third space’ between various different hybrid cultural contexts and their discursive constraints, and referred to as ‘paratranslation’. It summarises the first attempts to think of translation as an almost ‘holistic’ paradigm and the aesthetics of intervention from Romantic philosophy onwards. It attempts to show how Walter Benjamin’s (...) master narrative, the utopia of ‘pure language’, encourages continuous resistance to the totalitarianism of the idea of the ‘original’, to aesthetics and to dominant discourses. It subsequently defines the idea of ‘progress’, which considers translation as aesthetic resistance, as a process of construction in constant deconstruction. It concludes by exemplifying the notion of translation as a paradigm of intervention in modernity with a brief analysis of the transcreation performed by Erin Mouré on Fernando Pessoa/Alberto Caeiro’s poetic cycle, O Guardador de Rebanhos. (shrink)

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

This essay presents a critical interpretation of Derrida’s deconstructive reading of Walter Benjamin’s text, "Critique of Violence." It examines the relationship between deconstruction and justice, and the parallel Derrida draws between deconstructive reading and Benjamin’s account of pure violence. I argue that Derrida blurs Benjamin’s distinction between the political general strike and the proletarian general strike. As a consequence, Derrida criticises Benjamin’s metaphysical complicity with the violence that lead to the Holocaust. Derrida’s deconstructive reading of Benjamin, I conclude, (...) underplays its Marxist dimensions, privileging the theological and textual dimensions of Benjamin’s thought over the political and historical. (shrink)

This collection explores, in Adorno's description, `philosophy directed against philosophy'. The essays cover all aspects of Benjamin's writings, from his early work in the philosophy of art and language, through to the concept of history. The experience of time and the destruction of false continuity are identified as the key themes in Benjamin's understanding of history.

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)

The text offers a reappraisal of Walter Benjamin’s Theses on the Philosophy of History from the perspective of global politics today and its similarities with the socio-economic and political situation in Europe and the Americas during the 1920s and 30s; more specifically, the impact of crises on the erosion of trust in liberal representative democracy and the concomitant rise of mostly rightwing populist movements and their strongmen leaders, aided to a significant degree by the media, ‘old’ and ‘new’ alike. (...) The purpose of the text is to draw lessons from Benjamin’s vision of materialist historiography for our current political predicament. (shrink)

Walter Benjamin’s writings on fashion need to be read as engagements with the problem of historical time and a related politics of time. The aim of this article is to develop this position. Its point of orientation is Thesis XIV from the Theses on the Philosophy of History. What is argued is that close attention to the temporality of change and novelty within fashion may allow an insight into a conception of interruption and the ‘new’, however, it cannot yield (...) a politics. Moreover, the link between fashion and utopianism allows for the development of a critique of the utopian dimension of Benjamin’s thought. The basis of that critique is the inherent politics of time in his own writings. (shrink)

Critique as a philosophical concept needs to be recast once it is linked to the possibility of a productive opening. In such a context critique has an important affinity to destruction and forms of inauguration. Working through writings of Marx and Walter Benjamin, specifically Benjamin's 'The Meaning of Time in the Moral World', destruction and inauguration are repositioned in terns of othering and the caesura of allowing.

Walter Benjamin's Antifascist Education is the first comprehensive analysis of educational themes across the entirety of the critical theorist's diverse writings. Starting with Benjamin's early reflections on teaching and learning, Tyson E. Lewis argues that the aesthetic and cultural forms to which Benjamin so often turned-namely, radio broadcasts, children's theatrical productions, collections, cityscapes, public cinemas, and word games-swell with educational potentialities. What emerges from Lewis's reading is a constellational curriculum composed of minor practices such as poor teaching, absentminded learning, (...) and nondurational studying. This curriculum carries political significance, offering an antidote to past and present forms of fascist manipulation, hardness, and coldness. Walter Benjamin's Antifascist Education is a testimony to Benjamin's belief that "everyone is an educator and everyone needs to be educated and everything is education.". (shrink)

Tomas Aquinas defined truth as the correspondence between things and understanding. Castro Alves paints the horror of the slave nautical traffic. In his essay On the Concept of History, Walter Benjamin reminds us: “The tradition of the oppressed teaches us that the ‘emergency situation’ in which we live is the rule.” This ‘emergency situation’ was Fascism. Albert Camus defended his romance La Peste against the accusation of Roland Barthes that is was “dehors de l’histoire”, pointing out that it was (...) not only about the recent historical phenomenon of Fascism, but also about the permanent risk of its rebirth. Agnes Heller associates faith with prejudice and alienation. The following article will explore the Thomist concept of truth, Benjamin’s concept of history, Camus’ allegory of the plague, Agnes Heller’s notion of faith and Castro Alves’ powerful denouncement of slave traffic, to better criticize the phenomenon of post-truth, a rebirth of fascist information practices. (shrink)

This essay argues for the philosophical standing of Walter Benjamin’s early work and posits a deeper continuity between this early work as a philosopher and the subsequent development of his work as a writer. When these fragments are read in proper relation to each other, they reveal for the first time many of the key innovations of Benjamin as a philosopher, as well as his points of influence on Horkheimer and Adorno. His early ‘Program’ critiques the Enlightenment conception of (...) experience as a means for gaining empirical knowledge, and announces the need for a new concept of experience. Benjamin follows through on this program with a method of philosophical enquiry that is by turns fragmentary and constellational, developing a series of provisional notions of experience, which form a constellation with one another: perception, mimesis, language as a medium of experience, observation and memory. (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)

Long considered to be an impenetrable, hermetic treatise, Walter Benjamin's The Origin of German Tragic Drama has rarely received the attention it deserves as a key text, central to a full understanding of his work. In this critically acclaimed study, distinguished Benjamin scholar Beatrice Hanssen unlocks the philosophical and ethical dimensions of his thought with great clarity and sophisitication.

Strongly positive uses of terms that designate an absence, a cognitive or ontological impossibility or a sensory privation are among the persistent conceptual figures of Benjamin’s thought. This article analyses the moves by which Benjamin gave his concept of ‘the expressionless’ its intriguing semantic meaning and moral value. Drawing on the poetics and philosophy of the sublime from Greek antiquity through modern times, the article reveals key historical reference points of Benjamin’s concept and, furthermore, his strategy of advocating a novel (...) theory of the sublime as an antithesis to, or an interruption of, the beautiful by selectively integrating older traditions with theorems previously unrelated to these traditions. (shrink)

This paper investigates the unique educational relevancy of Walter Benjamin’s radio broadcasts. While much has been written about Benjamin’s approach to both children’s literature and children’s theatre, his own pedagogical practice as a radio pedagogue remains largely marginalized in these discussions. In order to address this gap in the literature, I focus on the implications of shifting from the largely visual world of children to the auditory world of radio. Through a careful reading of the radio scripts, I argue (...) that a perceptual alteration unique to the sonic medium of radio jumpstarts historical thinking in children. The following pedagogical principles which I extract from the radio broadcasts support and enhance this mode of historical materialist education. In conclusion, the article argues for the ongoing relevancy of Benjamin for thinking through the pedagogical implications of new information technologies within a postmodern era such as podcasts. (shrink)

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

Many authors, both scholarly and otherwise, have asked what might have happened had Walter Benjamin survived his 1940 attempt to escape Nazi-occupied Europe. This essay examines several implicitly or explicitly “counterfactual” thought experiments regarding Benjamin’s “survival,” including Hannah Arendt’s influential “Walter Benjamin: 1892–1940,” and asks why our attachment to Benjamin’s story has prompted so much counterfactual inquiry. It also explores the larger question of why few intellectual historians ask explicitly counterfactual questions in their work. While counterfactuals have proven (...) invaluable for scholars in diplomatic, military, and economic history, those writing about the history of ideas often seem less concerned with chains of events and contingency than some of their colleagues are—or they attend to contingency in a selective fashion. Thus this essay attends to the ambivalence about the category of contingency that runs through much work in intellectual history. Returning to the case of Walter Benjamin, this essay explores his own tendency to pose “what if?” questions, and then concludes with an attempt to ask a serious counterfactual question about his story. The effort to ask this question reveals one methodological advantage of counterfactual inquiry: the effort to ask such questions often serves as an excellent guide to the prejudices and interests of the historian asking them. By engaging in counterfactual thought experiments, intellectual historians could restore an awareness of sheer contingency to the stories we tell about the major texts and debates of intellectual history. (shrink)

The considerable literature discussing Walter Benjamin’s “idea of happiness” points both to the important role it plays in his thought and, in this context, to the diversity of interpretations his elliptic style has generated. The pivotal role played by the term in Benjamin’s oeuvre from his early writings on language to his Passagenwerk originates in what has been regarded as his “dialectics of happiness.” While this is certainly a plausible diagnosis, a closer look at the wording of the relevant (...) passages in Benjamin’s oeuvre reveals more nuanced and numerous manifestations of the indirectness that characterizes his approach to happiness. Benjamin invokes the term “happiness” (Glück) at crucial crossroads in his thought. It oscillates between potentiality and inaccessibility; individual and collective experience; commemoration and utopia, Eros and emancipation, concrete phenomena and abstract ideas, and last but not least between politics and theology. Equally striking are the divergent modes of expression in which Benjamin’s notion of happiness is articulated. They range from the inexpressible (das Ausdruckslose) to the most lyrical effusions. My talk will correlate Benjamin’s seemingly incommensurable invocations of happiness with the very detours, incompletions, and indirections in his writings about this state of being. (shrink)

The text analyzes the possibilities to think of pure language as indicated in the harmonization of modes of intention in the translation activity. This language is, in a sense, a regulative idea and it have to be liberated in translation. It is essential to distinguish between the modes of intention and intended objects, between what is named in pure language and what is „overnamed“ in human languages. One of the theses in this text – that language in its auto-relation undergoes (...) auto-modalization – makes the connection with Kierkegaard's understanding of the impossibility of direct communication. The indication of the untranslatable is an opportunity in the language of the translator to insert as indicated the elusive in the translation and thus to introduce the use of a broken language. Awakening of the “echo of the original” means a “thinking more” (according to Kant) through the figure. (shrink)

This article uses Walter Benjamin's theoretical claims in the 'Critique of violence' to shed light on some current conceptualisations of terrorism. It suggests an understanding of terrorism as an essentially contested concept. If the theorist uncritically adopts the state's account of terrorism, she occludes an important dimension of the phenomenon that allows for a rethinking of the state's claim to a monopoly on legitimate violence. Benjamin's essay conceptualises the state as resulting from a conjunction of violence, law, legitimacy and (...) power that rests on mythical ideas about nature and history. It shows why the state claims to be justified in taking exceptional measures when this link is challenged and when its prerogative to the legitimate use of force is called into question. This, I argue, is what terrorism does. Thus, Benjamin's essay adds to a more nuanced and less one-sided understanding of both terrorism and state violence. (shrink)

We are used to classifying different thinkers according to their general orientation: progressive or conservative, revolutionary or nostalgic of the past, materialist or idealist. Walter Benjamin does not fit into these categories. He is a revolutionary critic of the ideologies of progress, a materialist theologian, and his nostalgia for the past is at the service of his Marxist dreams for the future. It is therefore not surprising that so many different and conflicting readings of his work have developed since (...) his death, some trying to bring him back into the usual frames of thinking, others trying to recruit him for the newest philosophical fads, and many simply damning him as ridden with contradictions and therefore an intellectual failure. But there are also some happy exceptions: those who try to take into account the irreducible singularity of his intellectual and political endeavours. These three books, quite different in object and method ‐ a collection of documents from his archives, a biography, and a ‘Benjamin Handbook’ ‐ belong to these exceptions. (shrink)

In this article, I reconstruct Walter Benjamin's philosophy of language and refine the non-predicational view of meaning often attributed to him. By situating his 1916 essay ‘On Language as Such and on the Language of Man’ within the context of his struggle with Russell's paradox and its implications for phenomenology, I show how Benjamin arrives at his conception of non-conceptual content as an environmentally embedded affordance that is directly apprehended by appropriately situated and capable agents. This affordance-like character of (...) meaning explains Benjamin's account of communication, Adamic naming, and his famous distinction between linguistic and spiritual essences (sprachliche- and geistige Wesen). I conclude by showing why translation is central to his views on expression and communication and how it reinforces his account of language-use. (shrink)

Philosopher, theologian, philologist, urban sociologist, literary critic, collector, archivist, essayist, memoirist, children's author, allegorist, media theorist, hashish connoisseur, closet surrealist, theorist of fascism, professional melancholic – it is by now habitual to begin any account of Walter Benjamin's work with an inventory of the grafts and incongruities traversing his tangled maze of writings. First known through his rather fraught association with Gershom Scholem and Theodor Adorno (who were effectively responsible for the posthumous dissemination of his corpus); sometime ally and (...) interlocutor of Brecht, Kracauer, Bloch, and Buber; refugee in the Paris of Bataille and company during the 1930s: Benjamin exerts today a fascination all the more striking for its untimeliness. Adopted as spiritual soulmate and precursor of almost every major trend in contemporary Continental thought – from cultural studies to deconstruction, from psychoanalysis to new historicism, from critical theory à la Frankfurt school to poststructural linguistics, from molecular politics to death‐of‐God theology, from radical geography to phantomology, from film theory to Heideggerean hermeneutics, from Foucaultian micrology to cyberpunk aesthetics – he epitomizes that unclassifiable swirl of intellectual impulses we have come to associate with the peregrinations of Weimar culture. (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)

This article develops a sociological reading of Walter Benjamin’s ‘Arcades Project’, or Passagen-werk . Specifically, the essay seeks to make explicit Benjamin’s non-dualistic account of structure and agency in the urban milieu. I characterize this account as the ‘dialectic of urbanism’, and argue that one of the central insights of Benjamin’s Passagen-werk is that it locates an emergent and innovative cultural form - a distinctive ‘street culture’ or jointly shared way of modern urban life - within haussmannizing techniques of (...) architectural administration and spatial domination. In the modern metropolis, Benjamin sees a new kind of collective - an embedded and effervescent sociocultural group held together not by the functionalist imperatives of capitalist urban planning but by an improvisational mode of street life. Key Words: agency • culture • embeddedness • structure • urbanism. (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)