Benjamin Pollock argues that Franz Rosenzweig's The Star of Redemption is devoted to a singularly ambitious philosophical task: grasping 'the All' - the whole of what is - in the form of a system. In asserting Rosenzweig's abiding commitment to a systematic conception of philosophy, this book breaks rank with the assumptions about Rosenzweig's thought that have dominated recent scholarship. Indeed, the Star's importance is often claimed to lie precisely in the way it opposes philosophy's traditional drive for (...) systematic knowledge and upholds instead a 'new thinking' attentive to the existential concerns, the alterity, and even the revelatory dimension of concrete human life. Pollock shows that these very innovations in Rosenzweig's thought are in fact to be understood as part and parcel of the Star's systematic program. But this is only the case, Pollock claims, because Rosenzweig approaches philosophy's traditional task of system in a radically original manner. (shrink)

This paper reveals the original teaching from Sinai that Rosenzweig claims to have discovered while translating Exodus 3 with Martin Buber, and why he viewed this discovery as vindicating their decision to translate the Tetragrammaton in the way they did. A report of this discovery is to be found, I show, in the exchange between Buber and Rosenzweig during their translation of Exodus, as recorded in the Working Papers (Arbeitspapiere). The significance of Rosenzweig’s account of the divine name only becomes (...) fully clear, however, when viewed against the background of the revelation of the divine name in The Star of Redemption. (shrink)

Franz Rosenzweig's near-conversion to Christianity in the summer of 1913 and his subsequent decision three months later to recommit himself to Judaism is one of the foundational narratives of modern Jewish thought. In this new account of events, Benjamin Pollock suggests that what lay at the heart of Rosenzweig's religious crisis was not a struggle between faith and reason, but skepticism about the world and hope for personal salvation. A close examination of this important time in Rosenzweig's life, (...) the book also sheds light on the full trajectory of his philosophical development. (shrink)

In this essay, I treat of a type of moral objection to Christian theism that is formulated by Friedrich Nietzsche. In an effort to provoke a negative moral‐aesthetic response to the conception of God underlying the Christian tradition, with the ultimate aim of recommending his own allegedly ‘healthier’ ideals, Nietzsche presents a number of distinct but related considerations. In particular, he claims that the traditional theological interpretation of the crucifixion of Jesus expresses the tasteless, vulgar, and morally objectionable character of (...) God, thus rendering Him unworthy of belief. In response to Nietzsche's worries, I first of all argue that his account of the origins of the belief in God is both prima facie implausible and historically false. At the same time I recognize that Nietzsche is expressing, in his typically bombastic manner, a genuine and widely held worry about what the crucifixion, as an event in salvation history, says about the nature of God. In response to this worry, I draw on the work of Wilhelm Dilthey in order to support the contention that the concept of divine transcendence, which underlies Nietzsche's concern, has its proper place within the Greek metaphysical tradition, rather than in Christian faith. Building on the work of Franz Rosenzweig and Jürgen Moltmann, I outline a conception of God that more accurately reflects the claim that the cross is the definitive revelation of the divine nature while at the same time foreclosing on the possibility of the kind of response that Nietzsche articulates. (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)

Understanding the “intentionality” of mental phenomena is widely regarded as a key problem in philosophy of mind. Franz Brentano (along with his students, especially Edmund Husserl) is widely credited with bringing intentionality to philosophers’ attention. In early treatment by the Brentano school, intentionality is at least nominally understood as executed, brought about, or achieved in mental acts. And in the early 20th century, historians of psychology regarded this “act conception” of intentionality as integral for understanding the phenomenon. Yet the (...) secondary literature on Brentano and Husserl provides no clarification of mental acts as acts, and in contemporary philosophy, we have no workable account of what it could mean for intentionality to arise through mental acts. The main difficulty is that “act” is widely regarded as synonymous with “volitional personal action.” Since we as human agents certainly do not willfully bring about much of our own mental life, and since (on the standard analyses) all such volition presupposes intentionality, it is a mystery to work out what the act conception of intentionality could have amounted to. This dissertation is a systematic explication of the historical act concept of intentionality. Part I examines Brentano. I show that his early work on Aristotle’s psychology provides resources to think coherently about many mental phenomena as acts, even if they are not personal actions. However, I also show that Brentano’s mature psychology is not Aristotelian, at least insofar as it does not (and cannot) deploy an Aristotelian conception of mental acts. Part II examines Husserl. I show that Husserl’s mature transcendental phenomenology works with a robust and many-layered conception of mental acts, and that understanding intentionality as active is essential to the phenomenological viewpoint. Moreover, I argue that Husserl’s conception of mental acts can be viewed as a transcendentalized, neo-Aristotelian view. The results will be of special interest to historians of philosophy, but also have a much broader significance. Husserl’s view provides us with a model of what can be called an “internalist enactivism.” Any view along these lines represents a novel position that has not been articulated (or even considered) in contemporary debates. (shrink)

For philosophers interested in ontological issues, the writings of the important figures of Austrian philosophy in the nineteenth and early twentieth century contain many buried treasures to rediscover. Bernard Bolzano, Franz Brentano, Alexius Meinong, and Edmund Husserl, to name just four grand names of that period, were highly aware of the importance of a feasible ontology for many of the philosophical questions they addressed throughout their works.

Rosenzweig's Bible examines the high stakes, both theological and political, of Franz Rosenzweig's attempt to revivify the Hebrew Bible and use it as the basis for a Jewish textual identity. Mara Benjamin's innovative reading of The Star of Redemption places Rosenzweig's best-known work at the beginning of an intellectual trajectory that culminated in a monumental translation of the Bible, thus overturning fundamental assumptions that have long guided the appraisal of this titan of modern Jewish thought. She argues that (...) Rosenzweig's response to modernity was paradoxical: he challenged his readers to encounter the biblical text as revelation, reinventing scripture – both the Bible itself and the very notion of a scriptural text – in order to invigorate Jewish intellectual and social life, but did so in a distinctly modern key, ultimately reinforcing the foundations of German-Jewish post-Enlightenment liberal thought. Rosenzweig's Bible illuminates the complex interactions that arise when modern readers engage the sacred texts of ancient religious traditions. (shrink)

How can cross-disciplinary speculative narratives give us insights and open new paths of research? Borrowing from a number of disciplines, from Anthropology to Psychology or Art history, I will draw a hypothetical blueprint of processes that possibly led to the creation of the Ainu people’s patterns, an indigenous tribe from north Japan. From some particular key points I will narrate a speculative tale giving us possible insights about those specific patterns, as well as about the questions encapsulated in the split (...) representation in the art of Asia and America, questions that were raised by various anthropologists, from Franz Boas to Claude Levi-Strauss. I will demonstrate that those pattern-making habits were inherent to human being as a species until very recently. What kind of unconscious purpose or meaning they could have had and what it could mean in terms of the evolution of consciousness. (shrink)

Die Lücke in der Zeit: Agamben und Arendt -- Wie Sonntagskinder: Agamben und Benjamin -- Als ob nicht: Agamben und Kafka.

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)

El presente trabajo propone determinadas aproximaciones iusfilosóficas al discurso jurídico, a partir de los estudios realizados por Walter Benjamin sobre Franz Kafka. La investigación se realiza con las herramientas metodológicas que aportan las “teorías críticas del derecho” y los marcos teóricos que indagan la relación “derecho-literatura”. Los textos, discusiones y apuntes realizados por el pensador alemán permiten movilizar un análisis de determinados tópicos y categorías pertenecientes al espacio jurídico. Las investigaciones que realiza en torno a la figura de (...) Kafka ofrecen insumos para indagar la formación, despliegue y conservación del derecho. Desde la obra kafkiana, Benjamin visibiliza y desarticula los conceptos nodales de justicia, ley, poder y violencia, lo que permite dar cuenta de los mecanismos y dispositivos que hacen posible el sustento mitológico del derecho. (shrink)

Il s’agit ici de faire valoir ceci que la question de l’origine, telle qu’elle se dépose et se laisse décrire respectivement chez Franz Rosenzweig et chez Walter Benjamin, recèle un certain nombre d’enjeux conceptuels qui déterminent quelque chose comme une éthique et une gestuelle conjointe de sauvetage. Une éthique vers laquelle se sont réorientées la « pensée nouvelle » de Rosenzweig et « la philosophie à venir » de Benjamin. Par sauvetage j’entends : sauvetage de l’ordre de (...) l’existentiali... (shrink)

“Walter Benjamin, Reader of Kafka: Study, Oblivion and Justice”. In this paper we propose to explore an aspect of Franz Kafka. On the Tenth Anniversary of his Death, an essay that Walter Benjamin wrote in 1934 for the Jüdische Rundschau, and to investigate an idea that does not develop there in extenso: the “study”. Throughout the text, we find that Benjamin relates this idea with two other concepts: first, he argues that study is opposed to “oblivion”, (...) and, on the other hand, links study with the notion of justice. In this way, both characterizations seem to coexist in the essay about Kafka, without the author developing them in depth. The objective of this work is, then, to delve into each of them in order to clarify how Benjamin conceives the study so that it can be associated with both a struggle against oblivion and with justice. (shrink)

Pretende-se explorar alguns aspectos da obra de Franz Kafka que vinculam as experiências do escritor às experiências do homem das grandes cidades modernas, e, por outro lado, colocam essas mesmas experiências “sob violenta tensão em relação às místicas”. Alguns elementos da obra de Kafka, como a impessoalidade, o anonimato, os inúmeros corredores ou repartições sufocantes, representam um diagnóstico, tido muitas vezes como sombrio, mas essencialmente crítico da modernidade. A partir da parábola Diante da Lei, inserida no romance O Processo (...) e contada ao protagonista como uma forma de ligar sua experiência à tradição, procurar-se-á discutir tanto o papel da crítica à modernidade como o papel desempenhado pela tradição (a teologia judaica), além das noções de culpa e lei, natural e sobrenatural. (shrink)

Throughout his work, Walter Benjamin identified the potential and range of the city in the development of his philosophical thought. Taking this into account, this article pretends to delve into Benjamin as a reader of Franz Hessel and Charles Baudelaire in order to analyze some of the consequences of his interpretation within the journeys he made through Berlin and Paris, that led him to a philosophical posture that stands for the recovery of space as a philosophical category (...) rather than the privileged category of time. These considerations allow sustaining literature as the supporting point where Benjamin develops a theory of experience linked to the city, which pretends to raise the quotidian, the fragmentary, the brief, and the apparently insignificant. (shrink)

Franz Rosenzweig : the other side of the West -- Dissimilation -- Hegel taken literally -- Utopia and redemption -- Walter Benjamin : the three models of history -- Metaphors of origin : ideas, names, stars -- The esthetic model -- The angel of history -- Gershem Scholem : the secret history -- The paradoxes of messianism -- Kafka, Freud, and the crisis of tradition -- Language and secularization.

In 1916, Walter Benjamin reportedly said to Gerhard Scholem that any "philosophy of my own … will somehow be a philosophy of Judaism."1 Scholem never accuses Benjamin of abandoning this desideratum. Benjamin's writings on Franz Kafka take on permutations, however, that very much bother Scholem.2 Benjamin's writings on Kafka undergo significant changes, but Scholem's disagreement constantly accompanies them.The German word "Missetäter," like its English counterpart "miscreant," historically refers to someone who has deviated from the true (...) religious way.3 If there is a miscreant justice of literature for Benjamin's writings on Kafka, it is an attentiveness to—a studying of—what is otherwise denigrated... (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 article seeks to renegotiate Walter Benjamin's conception of allegory as an image that is a “fragment [… in which] the false appearance of totality is extinguished” in the cont...

ABSTRACT This article intends to study the concepts of forgetting and remembering in Kafka’s literature, based on Walter Benjamin’s interpretation. In addition to the well-known essay “Franz Kafka: on the tenth anniversary of his death”, other lesser-known essays by Benjamin on Kafka will also be covered, such as “Knight moral” and “Franz Kafka: On the construction of the Chinese wall”. The aim of the article is not only to expose Benjamin’s interpretation of Kafka, but also (...) to show the extent to which Kafka’s work illuminates central points of Benjamin’s thought, especially with regard to the categories of forgetfulness, remembrance, negativity and criticism of notion of progress. (shrink)

In _The Angel of History_, Mosès looks at three Jewish philosophers—Franz Rosenzweig, Walter Benjamin, and Gershom Scholem—who formulated a new vision of history in 1920s Germany by moving away from the spirit of assimilation and the Enlightenment belief in humanity's inevitable progress. Instead, they imagined history as discontinuous, made of moments that form no totality but whose ruptures are both more significant—and more promising—than any apparent homogeneity. Their direct experience of the twentieth century's great upheavals led these three (...) thinkers to abandon the old models of causality that had previously accounted for human experience, and their cultural and religious background allowed them to turn to the Jewish experience of history. Jewish messianism always had to confront the experience of catastrophe, deception, and failure. Mosès shows how this tradition informed a genuine Jewish conception of history in which redemption may—or may not—occur at any moment, giving a new chance for hope by locating utopia in the heart of the present. (shrink)

Winner of the 2020 European Walter Benjamin Prize, The Revolution is the Emergency Break is a rich compilation of Walter Benjamin's lesser-known writings by renowned social scientist Michael Löwy. Translated into several languages but available in English for the very first time, Löwy brings together the philosophical, literary, theological, and cultural aspects of Benjamin's writings, including his relation to figures such as Gershom Scholem and Franz Rosenzweig, his interpretation of historical materialism, surrealism, anti-fascism and anarchism, his (...) contribution to understanding capitalism as a religion, and his relevance for Latin America and ecology today. The concept of revolution in his writings - not only the political ones, but also those that deal with art, literature or theology, run through the work connecting the various chapters. The Revolution is the Emergency Break also features four new chapters this collection. Written in a clear-eyed, accessible language, The Revolution is the Emergency Break is a must-read for researchers, teachers, and students interested in the works of this influential German intellectual. (shrink)

This essay examines the notion of Narrentum (foolishness) in Franz Kafka’s writings, reflecting Walter Benjamin’s engagement with the legacy of Kafka’s fools. The Narr, associated with playfulness, irony, and resistance, provides a comic perspective on the question of being-Jewish. Alongside its Germanic, mostly Baroque, heritage, the Narr incorporates traditional Jewish tropes, primarily rooted in Aggadic traditions. However, in Kafka’s world, the Narr embodies performative skills also linked to Yiddish theatre. In Benjamin’s readings, Kafka’s Narr is associated with (...) the crisis of modern Judaism and with different modes of wisdom. The Narr signifies particular sorts of nihilistic freedom, which Benjamin refers to as redemptive. (shrink)

ABSTRACT While the concept of “infinite distance” (ID) appears as such only in the work of Maurice Blanchot, in this paper we argue that it could be productively coined in Walter Benjamin’s as well. We argue that (1) the concept of ID is elaborated from a revision, a re-signification, and a radicalization of the modern concept of “aesthetic distance”, and that (2) this modification is fundamentally based on the interpretations that both, Benjamin and Blanchot, make first of early (...) German Romanticism, and second of the work of Franz Kafka. This modification, we contend, (3) contains a shift in the ground of the concept: the concept of ID has no longer as ground the realm of the subjective faculties (i.e., the ‘judgment of taste’), but the realm of art and language. Finally, we show (4) that the concept of ID presupposes the existence of a ‘fragmentary impulse’ within literary works that can be understood as a “limit-experience” for the subjectivity. (shrink)

With his powerful thought image of the constellation, Walter Benjamin provides a method for the core practices of the Humanities: reading, writing, and thinking. This collection of provocative essays demonstrates how thinking in constellations with Walter Benjamin leads us towards a new understanding of the critical task of the Humanities today: it goes beyond disciplinary boundaries and challenges assumptions of linearity, coherence, and progression inherent in our scholarly praxis. The volume brings some of the most articulate young voices (...) in international Benjamin scholarship together, and takes an interdisciplinary approach, covering wide-ranging fields of knowledge quantum physics, postcolonial studies, natural philosophy, psychoanalysis, film theory, literature, and the arts. Benjamin's texts are re-considered in light of thinkers and poets, such as Theodor W. Adorno, Sigmund Freud, Gottfried E. Leibniz, W. G. Sebald, Franz Kafka, or Carlos Martìnez Rivas. The critical potential of constellations in Benjamin's work and beyond will be of the highest interest for researchers and students in all areas of the Humanities. (shrink)

I seek to interpret the work of Walter Benjamin in light of the "system programme" of German Idealism, in order to confront an antinomy of contemporary radical thought. Benjamin has been regarded as an anti-Hegelian thinker of the exception. Reading him against the grain, I draw out a concept of counter-tradition that eschews the opposition of intra-historical progress and extra-historical exception. The philological inspiration is a book by Franz Joseph Molitor, student of Schelling and "teacher" of (...) class='Hi'>Benjamin: The Philosophy of History, or, On Tradition. (shrink)

The relationship between “Towards a Critique of Violence” (1921) and the work of Franz Kafka has been well established by several critical studies devoted to Walter Benjamin. However, it is striking that Benjamin himself, already well acquainted with the work of the Czech writer in 1921, never made any comment to Kafka’s work in this essay, and, more broadly, in any of the related texts that make up the project on the ‘Critique of Violence’. In this article, (...) we analyze a set of notions (Entstellung, Entsühnung, Zurechstellen) that allow us to establish a mediated relationship between this essay and the articles and letters that Benjamin devoted to Kafka in the 1930s. This relationship takes us back to the only piece in which Benjamin carries out an autonomous treatment of the “category of justice” (1916) in which he identifies -as it will happen eighteen years later, in the essay on Kafka (1934)- the locus of justice in the “non-violence”, thus untying the knot that binds in a perhaps indiscernible way in the Jewish tradition the notions of “messianism” and “violence”. (shrink)

"La desfiguración es la forma que adoptan las cosas en el olvido", dice Walter Benjamin en su famoso ensayo sobre Franz Kafka. El mundo de la desfiguración alberga todo aquello que, excluido del orden social y lingüístico y olvidado por nosotros, ha sido desechado como inútil, sobrante, inclasificable y que, sin embargo, sobrevive al orden intencionado y orientado a objetivos. Este residuo, precisamente porque no se puede conceptualizar, siempre ha producido su propio mundo de imágenes en la literatura, (...) la música, en definitiva, en la imaginación humana. En este artículo, rescato la idea de la desfiguración de Walter Benjamin como clave de interpretación de este círculo de figura. Los habitantes de este mundo de la desfiguración, traviesamente se esconden en los rincones ocultos de nuestro orden doméstico. Son extraños y ajenos, inquietantes como algo que una vez fue nuestro y ahora está excluido. Lo que tienen en común es que se niegan a hablar, que se sustraen al agarre del concepto, que no se les puede inmovilizar, que despiertan culpa y vergüenza y que -quizá porque no viven, sino que a lo sumo sobreviven- no pueden morir. Como revoltosos y fantasmales cambia-formas, no nos dan tregua, exigen atención y desafían nuestro pensamiento, y sugieren que sin ellos no será posible una vida reconciliada. (shrink)

Franz Rosenzweig is widely regarded today as one of the most original and intellectually challenging figures within the so-called renaissance of German-Jewish thought in the Weimar period. The architect of a unique kind of existential theology, and an important influence upon such philosophers as Walter Benjamin, Martin Buber, Leo Strauss, and Emmanuel Levinas, Rosenzweig is remembered chiefly as a "Jewish thinker," often to the neglect of his broader philosophical concerns. Cutting across the artificial divide that the traumatic memory (...) of National Socialism has drawn between German and Jewish philosophy, this book seeks to restore Rosenzweig's thought to the German philosophical horizon in which it first took shape. It is the first English-language study to explore Rosenzweig's enduring debt to Hegel's political theory, neo-Kantianism, and life-philosophy; the book also provides a new, systematic reading of Rosenzweig's major work, _The Star of Redemption._ Most of all, the book sets out to explore a surprising but deep affinity between Rosenzweig’s thought and that of his contemporary, the German philosopher Martin Heidegger. Resisting both apologetics and condemnation, Gordon suggests that Heidegger’s engagement with Nazism should not obscure the profound and intellectually compelling bond in the once-shared tradition of modern German and Jewish thought. A remarkably lucid discussion of two notably difficult thinkers, this book represents an eloquent attempt to bridge the forced distinction between modern Jewish thought and the history of modern German philosophy—and to show that such a distinction cannot be sustained without doing violence to both. (shrink)

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)

En una carta de 1938 dirigida a Gershom Scholem, Walter Benjamin sostiene que la obra de Franz Kafka representa la «enfermedad de la tradición». En el presente trabajo, intentamos desentrañar esta afirmación, sosteniendo que con la misma el autor alude a la crisis de la transmisión del judaísmo a comienzos del siglo XX en Europa central. Buscamos, en primer lugar, desarrollar los procesos históricos que están a la base de dicha agonía de la tradición, para lo cual nos (...) detenemos en la situación de una generación de judíos asimilados, para quienes la tradición ya no constituía un hecho vivo, y en la manera en que este proceso desmoronaba el horizonte de sentido en el cual inscribir sus acciones. En segundo lugar, nos interrogamos por la idea de narraciones o parábolas sin verdad con la que Benjamin lee la producción kafkiana, y proponemos que en tales parábolas reside una nueva y singular posibilidad de afrontar la crisis de la transmisión, asumiendo, como característica de nuestro propio tiempo, la falta de toda garantía última. (shrink)

""Forty-nine steps" refers to the Talmudic doctrine that there are forty-nine steps to meaning in every passage of the Torah. Employing this interpretive approach, Calasso offers a "secret history" of European literature and philosophy in the wake of Nietzsche, Marx, and Freud. Calasso analyzes how figures ranging from Gustav Flaubert, Gottfried Benn, Karl Kraus, Martin Heidegger, Walter Benjamin, Franz Kafka, Bertolt Brecht, and Theodor Adorno has contributed to, or been emblematic of, the current state of Western thought. This (...) book's theme, writ large, is the power of fable - specifically, its persistence in art and literature despite its exclusion from orthodox philosophy."--BOOK JACKET. (shrink)

Lament, mourning, and the transmissibility of a tradition in the aftermath of destruction are prominent themes in Jewish thought. The corpus of lament literature, building upon and transforming the biblical Book of Lamentations, provides a unique lens for thinking about the relationships between destruction and renewal, mourning and remembrance, loss and redemption, expression and the inexpressible. This anthology features four texts by Gershom Scholem on lament, translated here for the first time into English. The volume also includes original essays by (...) leading scholars, which interpret Scholem's texts and situate them in relation to other Weimar-era Jewish thinkers, including Walter Benjamin, Franz Rosenzweig, Franz Kafka, and Paul Celan, who drew on the textual traditions of lament to respond to the destruction and upheavals of the early twentieth century. Also included are studies on the textual tradition of lament in Judaism, from biblical, rabbinic, and medieval lamentations to contemporary Yemenite women's laments. This collection, unified by its strong thematic focus on lament, shows the fruitfulness of studying contemporary and modern texts alongside the traditional textual sources that informed them. (shrink)

No ensaio “Franz Kafka: uma reavaliação: por ocasião do vigésimo aniversário de sua morte”, Hannah Arendt desenvolve reflexão sobre a construção das personagens kafkianas, a partir das narrativas O processo (1925) e O castelo (1926), na medida em que os heróis kafkianos “desmascaram as estruturas ocultas da sociedade, que frustra as necessidades mais banais e destrói as mais elevadas intenções do homem” (Arendt, 2016, p. 103). Na Literatura de Franz Kafka (1883-1924), verificamos a força germinativa de sua tessitura (...) literária uma vez que nos proporciona leituras sob prismas filosóficos que ampliam nossa compreensão acerca da condição humana, estabelecendo como protagonista o “homem comum”, por meio de uma “história à contrapelo” (Benjamin, 1994). A partir da tessitura literária kafkiana, tal qual um caleidoscópio, o presente artigo tem o propósito de fomentar o debate filosófico em face da múltiplas possibilidades de diálogo e discussão, sob o prisma de Hannah Arendt, por meio de um análise crítico-comparatista com a Literatura de Dostoiévski; sob os olhares estilísticos e filosóficos de Milan Kundera e Deleuze e Guatarri, entre outros pensadores, ao refletirmos acerca do kafkiano e sobre o conceito de “literatura menor” e a “desterritorialização” da língua, bem como destacaremos uma interpretação marxista por meio do pensador Georg Lukács, acerca da sociedade reificada do capitalismo, sobretudo a partir de A Metamorfose. (shrink)

A pesar de que Max Horkheimer en Eclipse de la razón había analizado los límites de la razón subjetiva, atendien- do a las posibilidades de retornar a la razón objetiva y a su función después del eclipse, a Jay le parecían aún insuficientes estas respuestas. Por ello, regresó al estudio de las conceptualizaciones filosóficas de los fundadores de la teoría crítica y de quienes se quedaron a cargo del Instituto de Investigación Social en Frankfurt. En este sentido, este texto podría (...) verse en continuidad y a distancia respecto a su primer li- bro: Dialectical Imagination. A History of the Frankfurt School and the Institute of Social Research, 1923-1950 (1973); producto de su trabajo de doctorado, enfocado en la formación del Instituto de Investigación Social; en sus principales integrantes: Herbert Marcuse, Max Horkheimer, Theodor Adorno, Leo Löwenthal, Walter Benjamin,Franz Neumann, Otto Kirchheimer, Henryk Grossmann, Erich Fromm, Karl August Wittfogel; en la integra- ción del psicoanálisis; en su exilio a América; en los estudios empíricos sobre el autoritarismo, la estética y la industria cultural. (shrink)

Les philosophes et les clowns se ressembleraient-ils? L'hypothèse est peut-être moins incongrue qu'il n'y paraît. Elle est même suggérée par... des philosophes, en particulier ceux qui, observant ce que devient l'individu humain depuis le début du terrible XXe siècle, interrogent sa foncière ambivalence. Le clown serait-il le modèle d'un sujet devenu bancal mais rusé, dépassé mais calculateur, égaré mais lucide, épuisé mais inventeur d'espérances? Le temps des clowns que décrivent les philosophes et écrivains ici invités (Ernst Bloch, Siegfried Kracauer, Walter (...) Benjamin, Franz Kafka, Theodor Adorno, Samuel Beckett, Hannah Arendt, Günther Anders) n'est pas celui des Lumières, et il n'est pas non plus celui des transports romantiques ou tragiques du XIXe. Il témoigne d'une expérience historique spécifique, qui pourrait bien être encore, pour une grande part, la nôtre."--Page 4 of cover. (shrink)

For a world mired in catastrophe, nothing could be more urgent than the question of survival. In this theoretically and methodologically groundbreaking book, Adam Y. Stern calls for a critical reevaluation of survival as a contemporary regime of representation. In Survival, Stern asks what texts, what institutions, and what traditions have made survival a recognizable element of our current political vocabulary. The book begins by suggesting that the interpretive key lies in the discursive prominence of "Jewish survival." Yet the Jewish (...) example, he argues, is less a marker of Jewish history than an index of Christianity's impact on the modern, secular, political imagination. With this inversion, the book repositions Jewish survival as the supplemental effect and mask of a more capacious political theology of Christian survival. The argument proceeds by taking major moments in twentieth-century philosophy, theology, and political theory as occasions for collecting the scattered elements of survival's theological-political archive. Through readings of canonical texts by secular and Jewish thinkers—Hannah Arendt, Walter Benjamin, Franz Rosenzweig, and Sigmund Freud—Stern shows that survival belongs to a history of debates about the sovereignty and subjection of Christ's body. Interrogating survival as a rhetorical formation, the book intervenes in discussions about biopolitics, secularism, political theology, and the philosophy of religion. (shrink)

The momentum of globalization and universalism, operating through the media, information technology and politics, has steadily diminished the importance of cultural diversity. It has even threatened to erase many of our cultural traditions, or extinguish our diverse experiences of the sacred. Yet the sacred which seems to be lost is often still encased in our cultural objects, stories and religious rituals. This paper will discuss how the memories of the sacred can be both preserved and reawakened. This paper will focus (...) on three scholars who develop alternative approaches to the universal. Franz Rosenzweig saw universal historical progress as oppressive. He believed that the practice of his Jewish religion offered a resistance and a possible correction to the general movement of history. Walter Benjamin saw the forgotten 'ruins' of history encase memories of the sacred and the silenced voices within history. For Benjamin, the role of interpretation is to awaken these hidden memories and voices which are encoded within our objects, images and commodities. This led him to a particular idea of a momentary messianic redemption in relation to greater flow of time. And finally, Jacob Taubes read St. Paul as offering a revolutionary model on how to live one's particular faith within a wider political order. In general, each writer developed an idea of redemption which involves a kind of remembrance of what has been obscured by the more general universal movement of history itself. This is especially relevant for the various religious and cultural communities within Cambodia. The paper will begin and end by discussing the origin story of Cambodia – the marriage between Preah Thong, the Indian prince, and Neag Neak, the Naga princess. I will additionally try to demonstrate that the story and its various reenactments is important because it represents a regenerative process rooted in the eclectic character of South East Asian culture in general. Various forms of memory within the syncretic or eclectic context of Southeast Asia can operate to preserve the sacred in an age of universalization and globalization. It also illustrates how the performance of memory can also offer an antidote to the "trauma" of Cambodia's past. (shrink)

Walter Benjamin sees in the figure of Franz Kafka the possibility of the return of the Storyteller, even in times in which he announces the end of the storytelling. We intend to clarify this apparent paradox, analyzing Kafka´s “little tricks”. These tricks put their stories in relation with the fairy tales tradition and at the same time enable the survival of the storytelling under the modern conditions of life. The guile is present in the fairy tales and in (...) Kafka´s stories, but in Kafka it does not seem to reside in his characters plunged into the postponement and impotence before arbitrariness. We propose to reveal the peculiarity of Kafka´s guile, examining the relationship with Ulysses’ guile —in the story “The silence of the sirens”- as one of Kafka´s ancestors in antiquity, according Benjamin. In these pages, maybe Kafka can appear to us like a great storyteller, whose prose glows just at the moment of storytelling´s culmination. (shrink)