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)

A companion volume to Illuminations, the first collection of Walter Benjamin's writings, Reflections presents a further sampling of his wide-ranging work. Here Benjamin evolves a theory of language as the medium of all creation, discusses theater and surrealism, reminisces about Berlin in the 1920s, recalls conversations with Bertolt Brecht, and provides travelogues of various cities, including Moscow under Stalin. He moves seamlessly from literary criticism to autobiography to philosophical-theological speculations, cementing his reputation as one of the greatest and (...) most versatile writers of the twentieth century. Also included is a new preface by Leon Wieseltier that explores Benjamin's continued relevance for our times. (shrink)

Title: Marxism and Modernism: An Historical Study of Lukacs, Brecht, Benjamin, and AdornoPublisher: University of California PressISBN: 0520053303Author: Eugene LunnTitle: Walter Benjamin: An Aesthetic of RedemptionPublisher: Columbia University PressAuthor: Richard WolinTitle: Passion and Rebellion: the Expressionist HeritagePublisher: Croom Helm Ltd.ISBN: 0709906307Author: Stephen E. Bronner and Douglas Kellner.

El presente artículo analiza la cuestión del materialismo y su relación con el arte en el pensamiento de Walter Benjamin. Es una cuestión harto controvertida en los debates sobre Benjamin, y el artículo estudia minuciosamente sus dos textos fundamentales que abordan la cuestión: El autor como productor y La obra de arte en la era de su reproductibilidad técnica. Antes de ello, se enmarca el problema en el contexto de la época y, en especial, en la relación de Benjamin (...) con Brecht, que fue tomado como uno de los elementos clave para entender el giro materialista del primero. Este hecho perturbó algunos de los colegas como Adorno, Horkheimer y Karplus, que veían a Brecht como un materialista excesivamente ortodoxo. El artículo defiende que si bien Benjamin giró hacia posiciones materialistas a lo largo de la década de los 30, ese materialismo no era como la de la ortodoxia marxista de la época, aunque, efectivamente, fue más allá de los planteamientos modernistas de Adorno. (shrink)

Walter Benjamin was one of the most intriguing and original Marxist cultural theorists of the twentieth-century. He made a precarious living in Berlin as a literary journalist and, partly under the influence of Ernst Bloch and Lukacs, turned toward the Critical Theory of the Frankfurt School. In the late 1920's, he became a close friend of Brecht, championing his revolutionary "epic theater". Driven from Germany in 1933 by the rise of Nazism, Benjamin settled in Paris where he had (...) close associations with the surrealists. When the Nazis invaded France, Benjamin fled to the Spanish frontier where on being denied entry, he committed suicide rather than risk being delivered to the SS. Benjamin's writings are a curious mixture of esoteric, sometimes mystical Jewish thought, artistic modernism, and unorthodox Marxism. He united an apocalyptic vision of history with a concern for the material, productive basis of art. Fascinated by tradition, yet a radical spokesman for the new technological media, steeped in high German philosophy, but a champion of the proletariat, Benjamin was in turn philologist, literary critic, political commentator, and philosopher of history. Bolz and van Reijen proceed from the standpoint that Benjamin's thought was shaped by his attempt to connect extremes—to make the theological idea of salvation fruitful for political thought. Then, they go on to structure Benjamin's important clusters of themes in light of the radical consequences of this intention. (shrink)

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

Philippe Ivernel engage vers 1960 une these intitulee Walter Benjamin. Critique en temps de crise. Retrouve dans ses archives apres sa disparition en 2016, ce travail inedit et reste inacheve a donne l'impulsion premiere a ce recueil de textes qui couvre plus de cinquante annees de recherches consacrees au philosophe berlinois. Une double ambition s'y donne a voir des le depart: faire connaitre rigoureusement, y compris dans ses dimensions les plus meconnues, la pensee de l'auteur de Sens unique et (...) montrer comment s'y nouent, a partir des annees trente, des relations singulieres, complexes et parfois tendues, avec l'oeuvre de Bertolt Brecht grace a laquelle, au tout debut de sa formation, Philippe Ivernel decouvrit les ecrits de Walter Benjamin. La question pratique du geste et plus largement du corps, sur scene comme dans la vie, acquiert des lors, chez Walter Benjamin et dans les interpretations proposees par Philippe Ivernel, une place eminente, de nature foncierement politique, place rarement soulignee et ou s'origine l'espace de l'action, du passage a l'action, que cette derniere renvoie a la figure de l'enfance, souvent convoquee, ou releve plus souterrainement de la sphere de l'utopie, jamais negligee. D'articles en conferences, de prefaces en syntheses didactiques, a travers fragments et entretiens, Philippe Ivernel deploie ainsi le profil d'un Walter Benjamin critique en temps de crise: un homme non seulement en prise avec les urgences de son temps expose aux menaces des fascismes, mais un penseur dont chaque mouvement porte a reflexion. (shrink)

This Companion offers a comprehensive introduction to the work and thought of the highly influential twentieth-century critic and theorist Walter Benjamin. The volume provides examinations of the different aspects of Benjamin's work that have had a significant effect on contemporary critical and historical thought. Topics discussed by experts in the field include Benjamin's relation to the avant-garde movements of his time, the form of the work of art, his theories on language and mimesis, modernity, his relation to Brecht (...) and the Frankfurt School, his significance and relevance to modern cultural studies, his formative interpretation of Romanticism, and his autobiographical writings. The volume is aimed at readers who may be coming to Benjamin for the first time or who have some knowledge of Benjamin but would like to know more about the issues and concepts central to his work. Additional material includes a guide to further reading and a chronology. (shrink)

Beginning with a discussion of adaptations of François Jullien’s understanding of ‘potential born of disposition’ and ‘silent transformation’ in two recent analyses of capitalist contemporaneity (by Bennett and Dufourmantelle), this essay argues that as a philosophical tool, ‘China’ bears within it a rich and underanalysed genealogy that reframes critical theory’s approach to nature and its objects in a new geopolitical context. The remainder of the essay then unpacks the intellectual history and textual philology of one earlier and pivotal moment of (...) critical theory’s entanglement with ‘China’: Walter Benjamin’s transformation of ‘non-action’, or wu wei, into a complex for thinking through possibilities of what he might, with Jullien, call not-being in debt to Being. (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)

Este artigo pretende esboçar alguns apontamentos sobre o conceito de montagem nos escritos de Walter Benjamin e a relação desse conceito com a teoria crítica benjaminiana. Em fragmentos metodológicos ligados ao projeto de um livro sobre Charles Baudelaire, que só vieram a público no fim dos anos 1960, encontra-se um dos raros registros da expressão “teoria crítica” (kritische Theorie). Ela é utilizada por Benjamin para caracterizar sua autocompreensão teórico-metodológica, numa vinculação direta dessa expressão a procedimentos de enquadramento e montagem (...) associados à objetiva fotográfica ou fílmica. Sustentar o nexo explicitado nas notas metodológicas entre teoria crítica – na acepção benjaminiana dessa prática teórica – e montagem impõe algumas questões. Primeiro, é preciso saber o que vem a ser, para Benjamin, a montagem. Sobretudo nos anos 1930, o desenvolvimento dessa noção é prismado em diversos objetos, em ensaios sobre o cinema, o teatro épico de Brecht, as vanguardas dadá e surrealista, a literatura de Alfred Döblin e a historiografia materialista. Além disso, é preciso indicar em que sentido o procedimento oriundo das artes e dos novos aparelhos de reprodução técnica pode contribuir para a teoria. Benjamin não considera a montagem apenas do ponto de vista procedimental, mas enfatiza, por exemplo, a função pedagógica e o ganho cognitivo propiciados através de experimentos teatrais. Igualmente, Benjamin chama atenção para a possibilidade de expansão da percepção, propiciado pela técnica cinematográfica por meio do desrecalque do inconsciente ótico. (shrink)

O presente texto procura identificar alguns padrões da leitura benjaminiana de Baudelaire e Hölderlin. Em ambos os poetas, Benjamin ressalta um mesmo tema: a crise da poesia lírica em tempos modernos de industrialização. Baudelaire e Hölderlin, segundo Benjamin, procuram transpor a forma poética lírica em uma poesia prosaica, mais afeita ao homem moderno citadino e industrial, marcado pelo embotamento da percepção por meio do trabalho da consciência e da memória voluntária. Somente o recurso à poesia prosaica e alegórica é capaz (...) de falar ao homem das grandes cidades. Num segundo momento, o texto procura trazer à tona alguns paralelos dessa interpretação com o teatro épico de Brecht. Aponta-se para a possibilidade de identificação do gênero da poesia prosaica com o gênero épico, no sentido de que este último visa igualmente a uma crítica da obra de arte como bela aparência. (shrink)

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

Walter Benjamin, der Traum und das Bild des Weiblichen Geschichtsphilosophie aus gendertheoretischer Perspektive. 0Karin Stögner: 0Beschädigtes Leben und antisemitische „Schiefheilung". Freud und Adorno revisited.0Ljiljana Radonic: 0Autonomie versus Engagement? Über Adorno und Brecht. 0Gerhard Scheit: 0„Une promesse de bonheur". Herbert Marcuses „Über den affirmativen Charakter der Kultur".0Daniela Berner und Florian Wagner: 0Gebrochene Geschichte, Bedrängte Gegenwart. Möglichkeiten und Grenzen eines fremdgestellten Blicks 0auf die nationalsozialistische Vergangenheit im Film. 0Tobias Ebbrecht-Hartmann: 0Das drastische Medium. Über Adornos Kritik des Films. 0Christoph Hesse: 0Träumerinnen (...) im Wachen. Die „Kollektivträume" der Comics und die Kritische Theorie. 0Barbara Eder : 0Verehrte Unsichtbare!"0Über die Kunst des Hörens bei Walter Benjamin und Theodor W. Adorno 0Christine Ehardt: 0Exkursion 0Shopping Mall, mit Walter Benjamin u.a. 0Anette Baldauf : 0Zum Einbruch des.Realen' in die Gegenwart 0Eingedenken, Erinnern, Katharsis 0Sara Vorwalder und Veronika Zangl : 0„Alles wirklich Brauchbare besteht in Aushilfen". Zwei Lektüren zu Oskar Negt und Alexander Kluges Geschichte und Eigensinn 0Valentin Mertes und Michael Paninski : 0„Die Nord-West-Passage der Revolution" 0Herrschaftsverhältnisse und die situationistische Kartographierung 0der Stadtlandschaft 0Brigitte Marschall: 0. (shrink)

En el presente artículo intentaré desarrollar algunas glosas marginales a un comentario de Walter Benjamin sobre el poema de Bertold Brecht “Del niño que no quería bañarse”. El comentario de Benjamin parte del gusto por la mugre para recuperar el pensamiento de Charles Fourier y su perspectiva de un trabajo lúdico. Intentaré mostrar cómo, a partir de la recepción del pensamiento de Fourier, el comentario de Benjamin sobre el poema de Brecht establece profundos vínculos entre la liberación (...) del trabajo y la transformación radical del vínculo de los seres humanos con los no humanos. Este vínculo permitirá proponer interesantes diálogos entre el pensamiento benjaminiano, la tradición utópica socialista, los nuevos materialismos y el pensamiento ecológico. (shrink)

Taking its point of departure from Jullien’s primary claim in The Silent Transformations that ancient Greek ontology propels European thought into ‘the vertigo of the event,’ the article turns toward a European thinker whom Jullien does not mention in this context, namely Walter Benjamin, and asks whether his work, too, succumbs to this vertigo. The choice of Benjamin as a ‘test case’ is governed by two factors: while his work is widely associated with notions of the event, there is (...) little recognition of the degree to which he was engaged with the Daodejing (in translation) from the early 1910s to the late 1930s. Divided into four chronologically ordered sections, each of which is prefaced by a claim advanced in The Silent Transformations, the article shows how Benjamin’s concepts of transition, effective non-action (under the term ‘proletarian general strike’), mimesis, ‘the second technology,’ and Jetztzeit (‘now-time’) are all traversed by a mediated conception of the Dao. The primary question around this re-evaluation of his work, guided by the idea of ‘the silent transformations’ that Jullien adopts from Wang Fuzhi, is whether the theory of revolution Benjamin developed in the 1930s can be characterized as Daoist or, better yet, Marxist-Daoist. (shrink)

Given Aristotle’s response to Plato’s views by positing a cathartic function for tragedy, it is understandable that an author opposing him through the development of a non-Aristotelian theatrical theory would spontaneously draw closer to Platonic thought. However, Brecht’s stance goes beyond this spontaneous proximity in this debate. This article challenges those critics who have overlooked the direct relationship between Plato and Brecht, and it offers a reasoned decision on Walter Benjamin’s verdict that epic theatre is a form (...) of Platonic drama. Moreover, it argues that Brecht’s endeavour aimed to create a theatre that remained impervious to Plato’s critiques. The article analyzes Brecht’s achievements in epic theatre as an expression of disenchantment, demonstrating how, through the techniques he developed, he radically dismantled the magical effect that was essential to Aristotelian theatre. (shrink)

Bloch, E. Discussing expressionism.--Lukács, G. Realism in the balance.--Brecht, B. Against Georg Lukács.--Benjamin, W. Conversations with Brecht.--Adorno, T. Letters to Walter Benjamin.--Benjamin, W. Reply.--Adorno, T. Reconciliation under duress.--Adorno, T. Commitment.--Jameson, F. Reflections in conclusion.

In The Cruel Radiance, Susie Linfield challenges the idea that photographs of political violence exploit their subjects and pander to the voyeuristic tendencies of their viewers. Instead she argues passionately that looking at such images—and learning to see the people in them—is an ethically and politically necessary act that connects us to our modern history of violence and probes the human capacity for cruelty. Grappling with critics from Walter Benjamin and Bertolt Brecht to Susan Sontag and the postmoderns—and (...) analyzing photographs from such events as the Holocaust, China’s Cultural Revolution, and recent terrorist acts—Linfield explores the complex connection between photojournalism and the rise of human rights ideals. In the book’s concluding section, she examines the indispensable work of Robert Capa, James Nachtwey, and Gilles Peress and asks how photography should respond to the increasingly nihilistic trajectory of modern warfare. A bracing and unsettling book, The Cruel Radiance convincingly demonstrates that if we hope to alleviate political violence, we must first truly understand it—and to do that, we must begin to look. (shrink)

Theodor W. Adorno—philosopher, cultural critic, sociologist, and music theorist—was one of the most important German intellectuals of the twentieth century. This concise, readable life is the first attempt to look at his philosophical and literary work in its essential political context. Central to Adorno’s intellectual development were his musical training, his father’s Jewish roots, and the rise of National Socialism in Germany, which forced him to emigrate to the United States. While in exile, he and Max Horkheimer wrote Dialectic of (...) Enlightenment, a bold attempt to illuminate the dark side of modernity, and on his own Adorno wrote a series of connected essays on the “culture industry”—his indictment of mass culture. A co-founder of the famous Frankfurt School, Adorno returned to head it after the war, assuming a key role in the intellectual life of postwar West Germany until his untimely death in 1969. Ja;ger’s biography sheds new light on many aspects of Adorno’s life and writings and on his relationships with such figures as Paul Celan, Bertolt Brecht, and Walter Benjamin. (shrink)

A comprehensive look at the intellectual and cultural innovations of the Weimar period During its short lifespan, the Weimar Republic witnessed an unprecedented flowering of achievements in many areas, including psychology, political theory, physics, philosophy, literary and cultural criticism, and the arts. Leading intellectuals, scholars, and critics—such as Hannah Arendt, Walter Benjamin, Ernst Bloch, Bertolt Brecht, and Martin Heidegger—emerged during this time to become the foremost thinkers of the twentieth century. Even today, the Weimar era remains a vital (...) resource for new intellectual movements. In this incomparable collection, Weimar Thought presents both the specialist and the general reader a comprehensive guide and unified portrait of the most important innovators, themes, and trends of this fascinating period. The book is divided into four thematic sections: law, politics, and society; philosophy, theology, and science; aesthetics, literature, and film; and general cultural and social themes of the Weimar period. The volume brings together established and emerging scholars from a remarkable array of fields, and each individual essay serves as an overview for a particular discipline while offering distinctive critical engagement with relevant problems and debates. Whether used as an introductory companion or advanced scholarly resource, Weimar Thought provides insight into the rich developments behind the intellectual foundations of modernity. (shrink)

In the first half of the Thirties Walter Benjamin offers two radically different interpretations of the legend of the Chinese painter who disappears in his own painting after having trespassed the threshold dividing the representative space of the image from the actual space of reality: in Berlin Childhood around 1900 the anecdote is presented as a positive example of tactile identification between subject and object; in the versions of the essay The Work of Art in the Age of Its (...) Technological Reproducibility the vanishing painter becomes the paradigm of the optical contemplation of cultual auratic images. In my paper I will try to clarify such interpretative switch from nearness to farness, exploring three major issues in Benjamin’s thought: the question of the threshold between reality and representation in painting, theatre and cinema; the criticism of empathic identification (shared by Benjamin with Brecht); the admiration for Chinese culture, expressed by Benjamin in many passages of his work, and metabolized in a peculiar conception of “Chinese dialectics”. (shrink)

Theater requires artifice, justice demands truth. Are these demands as irreconcilable as the pejorative term “show trials” suggests? After the Second World War, canonical directors and playwrights sought to claim a new public role for theater by restaging the era’s great trials as shows. The Nuremberg trials, the Eichmann trial, and the Auschwitz trials were all performed multiple times, first in courts and then in theaters. Does justice require both courtrooms and stages? In Staged, Minou Arjomand draws on a rich (...) archive of postwar German and American rehearsals and performances to reveal how theater can become a place for forms of storytelling and judgment that are inadmissible in a court of law but indispensable for public life. She unveils the affinities between dramatists like Bertolt Brecht, Erwin Piscator, and Peter Weiss and philosophers such as Hannah Arendt and Walter Benjamin, showing how they responded to the rise of fascism with a new politics of performance. Linking performance with theories of aesthetics, history, and politics, Arjomand argues that it is not subject matter that makes theater political but rather the act of judging a performance in the company of others. Staged weaves together theater history and political philosophy into a powerful and timely case for the importance of theaters as public institutions. (shrink)

The interaction between philosophy and theater or performance has recently become an important and innovative area of inquiry. _Philosophers and Thespians_ contributes to this emerging field by looking at four direct encounters between philosophers and thespians, beginning with Socrates, Agathon, and Aristophanes in Plato's _Symposium_ and ending with a discussion between Walter Benjamin and Bertolt Brecht about a short text by Franz Kafka. Rokem also examines in detail Hamlet's complex and tragic split identity as both philosopher and thespian, (...) as well as the intense correspondence between Friedrich Nietzsche and August Strindberg. His investigations—which move between the fictional and the historical—culminate in a comprehensive discussion of the notions of performance and performativity as derived from the discursive practices of philosophy and performance. At times competitive or mutually exclusive, these discourses also merge and engage with each other in creative ways. (shrink)

In the 1930s, the playwright Bertolt Brecht had a marked impact on Walter Benjamin’s life and thinking. Brecht’s epic theatre inspired Benjamin to write several texts in which the philosopher explores the concept of the “quotable gesture”. This article aims to offer an interpretation of the quotable gesture as a methodological tool for the critique of the modern alienation of tradition and the crisis of thinking. Drawing on selected essays, I analyse the principle of gestural citation as (...) a critical-hermeneutical principle in which common pre-understanding is to be suspended in favour of particular attention towards the phenomenal and to one’s own thinking. (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)

""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)

Why Revisit Classics Like Antigone? Sophocles’ dramatic depiction of the myth of Antigone has undergone a range of theatrical reincarnations over the centuries, from the tellingly entitled Antigone ou le piete by Robert Garnier to versions and free translations by Vittorio Alfieri , Friedrich Hölderin , Johann Wolfgang Goethe , Walter Hasenclaver , Jean Coc- teau , Jean Anouilh , Bertolt Brecht , Tom Paulin , Athol Fugard , Miro Gavran and Seamus Heaney – to name just a (...) few. It is the contention of this analysis that dramatic reinterpretations of Sophocles’ Antigone have fallen into two very distinct phases; firstly those comprising predominantly reverential appropriations of the ancient classic which tap into the source text’s cultural cachet to bolster the cultural, religious and political aims of the society in which it was currently being performed; and secondly, the post 1945 appropriations. It is the sec- ond phase that will provide the particular focus for this discussion. (shrink)

Unlike the man, Ernst Bloch's philosophy of hope continued to influence select East German cultural intellectuals significantly long after his departure in 1961. Bloch himself left for West Germany following the construction of the Berlin Wall. After the end of World War II, he had returned from his New York exile by invitation in 1948 to accept the chair of philosophy at the University of Leipzig. While in exile, this friend of Bertolt Brecht, Walter Benjamin, and Theodor Adorno (...) had written the multivolume work entitled The Principle of Hope. In support of his return, the newly founded German Democratic Republic subsequently published it between 1954 and 1959. But Bloch's open-ended, dynamic... (shrink)

Wolfgang Harich (1923-1995) zahlt zu den wichtigen und streitbaren Intellektuellen des 20. Jahrhunderts. Befreundet mit Georg Lukacs, Bertolt Brecht und Ernst Bloch wirkte er als Philosoph, Historiker, Literaturwissenschaftler und durch sein praktisches politisches Engagement. Letzteres brachte ihm ab 1956 eine achtjahrige Haftstrafe in der DDR ein. Die nachgelassenen Schriften Harichs erscheinen nun erstmals in einer achtbandigen Edition, die das unbequeme Werk des undogmatischen Querdenkers in seiner ganzen Breite widerspiegelt: von seinen Beitragen zur Hegel-Debatte in der DDR uber seine Abrechnung (...) mit der 68er-Bewegung im Westen bis zu seinen Uberlegungen zu einer marxistischen Okologie. Zum vorliegenden Band: Kaum ein Klassiker der Philosophie war in der DDR derart umstritten wie Hegel - von Stalin wurde er als preussischer reaktionarer Staatsphilosoph denunziert, von Georg Lukacs als Anhanger der Franzosischen Revolution positiviert. Wolfgang Harich hat sich immer wieder mit dem Haupttheoretiker des deutschen Idealismus auseinandergesetzt und wurde dafur deutlich von der SED kritisiert. Seine Hegel-Vorlesung von 1951, die in diesem Band zum Abdruck kommt, markiert einen wichtigen Wendepunkt der Diskussionen um Hegel und trug ihm eine Parteiruge und ein Magengeschwur ein. 1956 sollte dann sein Aufsatz zu Hegels 125. Geburtstag in der von ihm geleiteten "Deutschen Zeitschrift fur Philosophie" erscheinen. Die SED liess das bereits fertig gestellte Heft jedoch konfiszieren und vernichtete die Auflage. Die Beitrage von Harich und Ernst Bloch wurden durch Reden von Walter Ulbricht und Kurt Hager ersetzt. Der 5. Band der "Schriften aus dem Nachlass Wolfgang Harichs" enthalt zudem weitere fruhe Texte Harichs zu Hegel, darunter das Gutachten, welches er als Lektor des Aufbau-Verlages anfertigte, um den Druck von Lukacs' "Der junge Hegel" zu ermoglichen. Auch verschiedene Manuskripte aus den spaten sechziger Jahren werden erstmals vorgestellt. Daruber hinaus prasentiert die Edition Aufsatze Harichs zu Heine, Feuerbach und Marx, da sie mit den Hegel-Studien in engem Zusammenhang stehen. Eingeleitet wird der Band durch einen ausfuhrlichen Essay des Herausgebers uber die Hegel-Debatte in der DDR. (shrink)

Kuhle Wampe 1is an extraordinary cultural product by thecollective that was deeply involved in the formation of Weimar cinema.2Members of thiscollective were Slatan Dudov, who participated in Fritz Lang’s production of Metropolis, Hanns Eisler, who composed music for Walter Ruttmann’s Berlin: Symphony of aGreat City , while Ernst Ottwald was adistinguished novelist and a screenwriter. Bertolt Brecht did not have major experience infilm production,3although he collaborated with Karl Valentin in the preparation of film The Mysteries of a Hairdresser's (...) Shop . At that time,Brecht was developing his ‘materialist aesthetics’ in trying to conceptualise the answer tothe question: what is political art? (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Unspoken Word: Negative Theology in Meister Eckhart's German SermonsOliver DaviesBruce Milem. The Unspoken Word: Negative Theology in Meister Eckhart's German Sermons. Washington, D. C.: Catholic University of America Press, 2002. Pp. ix + 192. Cloth, $44.95.Questions of meaning in Meister Eckhart's German sermons have prompted a series of recent studies by scholars interested in the dynamics of language and piety as they emerged in vernacular texts written (...) in Northern Europe in the late Middle Ages. Bruce Milem's book sits within this school of reflection and is to be distinguished by his decision to frame the discussion within the context of a theory of the image, as developed by Eckhart across a number of works. It is this hermeneutic which gives coherence to The Unspoken Word and which allows the author to build an understanding of the role of language in Eckhart's sermons that draws upon Brecht's theory of the Verfremdungseffekt. According to this, alienation of language, or the disruption of its ordinary meanings, acts as its objectification in such a way that the audience is prompted to reflect upon their own situatedness with respect to the meanings which are disclosed within it. Language, or narrative, of this kind acts as a hermeneutic of self-critique and enhanced self-understanding.Milem bases his argument concerning the image on a close reading of just four sermons: 52 (Beati pauperes spiritu), Sermon 2 (Intravit Iesus in quoddam castellum), Sermon 16B (Quasi vas auri solidum) and Sermon 6 (Iusti vivent in aeternum). In these texts, expressed in different ways, he discerns firstly a theoretical outworking of the image as something that is defined by virtue of its relation to its source. The classic discussion of this comes in Sermon 16B with its discourse on a reflection in a mirror, whereby the image is "at one" with its source. But Milem rightly extends this theory to mean that in so far as all created things are images, they can be defined with respect to their relation to their source in God, rather than that of which they are images. But created images can also be defined in terms of their dissimilarity to their source: their incompleteness and temporality. The particular place of the sermon is given with its capacity to enact this condition of the image in ways that make it explicit.Milem argues for the German sermon as "an event" which is at the same time a mode of self-knowing, whereby the self comes to a deeper realisation of its dependence upon the divine at every moment of its being and action. Being ourselves constituted as "image," we are conditioned by the dialectic of likeness and distinction which characterises the relation of all images to the Creator. In our case however this is a state which can be realised in an existential act of reflection as a possibility which is opened up for us by our entry into the very particular, disruptive linguistic world of the sermon. This is an advancement on Walter Haug's notion of the language of the sermon as "transformational" but it adds to it a nice distinction of the status of the human creature as "image" and therefore conditioned by dissimilarity as much as likeness.In The Unspoken Word, Bruce Milem offers us a careful and intelligent analysis of the four sermons as exemplifying a kind of linguistic alienation which serves the end of self-illumination, as we come into a new possession of ourselves as being both intensively "like" God and utterly distinct from Him. This is not merely a cognitive change in us but also an existential one, as Milem's analysis of the theme of justice and human action in Sermon 6 shows. To this extent, his use of the hermeneutic of the image as signaling both likeness and distinction at an existential level usefully opens up new avenues of understanding. To some extent however this trajectory would have been strengthened by taking into account the two areas of inquiry with which Milem chooses not to engage (15-18), namely the relation between the German and Latin works and the question of whether... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:A History of Modern Criticism: 1750–1950, Volume 7: German, Russian, and Eastern European Criticism, 1900–1950Eva L. CorredorA History of Modern Criticism: 1750–1950, Volume 7: German, Russian, and Eastern European Criticism, 1900–1950, by René Wellek; xvii & 458 pp. New Haven: Yale University Press, 1991, $42.50.The seventh volume of René Wellek’s history of modern criticism may well be the most interesting of his eight-volume monumental oeuvre. Devoted to German, (...) Russian, and Eastern European criticism between 1900 and 1950, it exemplifies most strikingly Wellek’s personal battles with critics who were roughly his contemporaries and closest to his own European background. “I should like to think of my History as ‘elucidatory,’ as not ‘argumentative’ or ‘polemical’” (v, xxi), Wellek writes, but he does not shrink from expressing his own critical perspective usually in a gentlemanly humorous or ironical, but occasionally also quite harsh and stubborn fashion. He insists on the importance of individual value judgments in critical analysis, particularly when they are his own: “I do not believe that... my views and those of my contemporaries will be replaced by completely different assumptions” (“Reflections on my History,” The Attack on Literature, Chapel Hill: University of North Carolina Press, 1982, p. 145).Since Wellek rejects the idea of a historical determinism and thinks that “an evolutionary history of criticism must fail” (The Attack, p. 144), he provides less a history than a collection of essays in which he offers succinct appraisals of writers, thinkers and critics both as individuals and as participants in the broader literary movements of the century. He presents “portraits” (p. xv), which he also calls “doxographies” (The Attack, p. 143), containing a vast amount of quotations carefully selected to support the authority of his own views or to let them speak for themselves when he would rather not comment.More than any previous work, this volume embodies Wellek’s will and determination to carry on against all odds even when he can no longer do so on his own. An accident in 1986 left him bedridden and dependent on students and secretaries to help him with his research and writing. He was able to draw on a wealth of previously published essays, some of which had been written more than three decades ago. There are some arguable inaccuracies and shortcomings (his canon includes obscure writers but not Adorno and [End Page 259] again no women writers), and problems with his bibliographies and references. Yet Wellek’s unique talent to assemble in one volume half a century of critical commentary on the literatures of half a dozen different cultures appears intact. So do his well-known critical positions.Among his most interesting essays are those on Spitzer, Auerbach, Ingarden, Bakhtin, and Benjamin, highly erudite men in whose company Wellek enjoys moving. On the other hand, some extraordinarily fertile minds and their enormous influence on the post-1950 critical discourse are often quickly dismissed or treated with unnecessary condescension. Young Roman Jakobson “should be forgotten” (p. 372). Freud’s psychoanalysis “seems forced and mistaken” (p. 79). Heidegger “often ascribes a meaning which seems to me absent in the text itself” (p. 89). Wellek’s low tolerance of any but his own interpretation of Dostoevsky appears repeatedly in this volume: Thomas Mann’s views are called “strange” and “distorted” (p. 12), Freud’s “deeply flawed” (p. 79), Bakhtin’s “simply wrong” (p. 357), and Lukács’s “simply... [those] of Communism” (p. 232). Wellek’s anti-historicism is dramatized in essays on Auerbach and his “historical perspectivism” (p. 132), vs. Spitzer who “always saw that there is a point at which historicism must fail” (p. 144). The vacuum of German criticism during the Nazi period is hauntingly demonstrated. The essays on Walter Benjamin, Bertholt Brecht, and in particular György Lukács reveal best Wellek’s notorious feuds with Marxists. Wellek indulges in a sarcastic critique of the Marxist Lukács’s “doctrinaire limitations” (p. 245) and attempts, wrongfully, to “prove” the Hungarian philosopher’s “exaltation of Socialist Realism” (p. 244). When in the mid-eighties and after much encouragement Wellek finally writes an essay on the early Lukács, he... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:A History of Modern Criticism: 1750–1950, Volume 7: German, Russian, and Eastern European Criticism, 1900–1950Eva L. CorredorA History of Modern Criticism: 1750–1950, Volume 7: German, Russian, and Eastern European Criticism, 1900–1950, by René Wellek; xvii & 458 pp. New Haven: Yale University Press, 1991, $42.50.The seventh volume of René Wellek’s history of modern criticism may well be the most interesting of his eight-volume monumental oeuvre. Devoted to German, (...) Russian, and Eastern European criticism between 1900 and 1950, it exemplifies most strikingly Wellek’s personal battles with critics who were roughly his contemporaries and closest to his own European background. “I should like to think of my History as ‘elucidatory,’ as not ‘argumentative’ or ‘polemical’” (v, xxi), Wellek writes, but he does not shrink from expressing his own critical perspective usually in a gentlemanly humorous or ironical, but occasionally also quite harsh and stubborn fashion. He insists on the importance of individual value judgments in critical analysis, particularly when they are his own: “I do not believe that... my views and those of my contemporaries will be replaced by completely different assumptions” (“Reflections on my History,” The Attack on Literature, Chapel Hill: University of North Carolina Press, 1982, p. 145).Since Wellek rejects the idea of a historical determinism and thinks that “an evolutionary history of criticism must fail” (The Attack, p. 144), he provides less a history than a collection of essays in which he offers succinct appraisals of writers, thinkers and critics both as individuals and as participants in the broader literary movements of the century. He presents “portraits” (p. xv), which he also calls “doxographies” (The Attack, p. 143), containing a vast amount of quotations carefully selected to support the authority of his own views or to let them speak for themselves when he would rather not comment.More than any previous work, this volume embodies Wellek’s will and determination to carry on against all odds even when he can no longer do so on his own. An accident in 1986 left him bedridden and dependent on students and secretaries to help him with his research and writing. He was able to draw on a wealth of previously published essays, some of which had been written more than three decades ago. There are some arguable inaccuracies and shortcomings (his canon includes obscure writers but not Adorno and [End Page 259] again no women writers), and problems with his bibliographies and references. Yet Wellek’s unique talent to assemble in one volume half a century of critical commentary on the literatures of half a dozen different cultures appears intact. So do his well-known critical positions.Among his most interesting essays are those on Spitzer, Auerbach, Ingarden, Bakhtin, and Benjamin, highly erudite men in whose company Wellek enjoys moving. On the other hand, some extraordinarily fertile minds and their enormous influence on the post-1950 critical discourse are often quickly dismissed or treated with unnecessary condescension. Young Roman Jakobson “should be forgotten” (p. 372). Freud’s psychoanalysis “seems forced and mistaken” (p. 79). Heidegger “often ascribes a meaning which seems to me absent in the text itself” (p. 89). Wellek’s low tolerance of any but his own interpretation of Dostoevsky appears repeatedly in this volume: Thomas Mann’s views are called “strange” and “distorted” (p. 12), Freud’s “deeply flawed” (p. 79), Bakhtin’s “simply wrong” (p. 357), and Lukács’s “simply... [those] of Communism” (p. 232). Wellek’s anti-historicism is dramatized in essays on Auerbach and his “historical perspectivism” (p. 132), vs. Spitzer who “always saw that there is a point at which historicism must fail” (p. 144). The vacuum of German criticism during the Nazi period is hauntingly demonstrated. The essays on Walter Benjamin, Bertholt Brecht, and in particular György Lukács reveal best Wellek’s notorious feuds with Marxists. Wellek indulges in a sarcastic critique of the Marxist Lukács’s “doctrinaire limitations” (p. 245) and attempts, wrongfully, to “prove” the Hungarian philosopher’s “exaltation of Socialist Realism” (p. 244). When in the mid-eighties and after much encouragement Wellek finally writes an essay on the early Lukács, he... (shrink)

Foreword by Students' Committee.--Signatures of the Graduate Faculty members.--Faculty foreword.--Introduction: The life and the political philosophy of Arnold Brecht.--Relative and absolute justice.--The rise of relativism in political and legal philosophy.--The search for absolutes in political and legal philosophy.--The myth of is and ought.--The impossible in political and legal philosophy.--The latent place of God in twentieth-century political theory.--Bibliography of books and articles by Arnold Brecht (p. [161]-174)--Biographical summary of Arnold Brecht.

For the first English edition of his distinguished study, Weisheit und Wissenschaft: Studien zu Pythagoras, Philoloas und Platon, Mr. Burkert has extensively ...

Arguing for controversial readings of many of the canonical figures, the book also focuses on lesser-known writers such as Pierre-Sylvain Regis, Nicolas ...

In a quest for honesty, Kaufmann argues against organized religion and presents his own views on the meaning of faith, morality, theology, suffering, and death.

In this article, I respond to commentaries by Eva Jablonka and Simona Ginsburg and by David Spurrett on my target article “Complexity and the Evolution of Consciousness,” in which I have offered the first extended articulation of my pathological complexity thesis as a hypothesis about the evolutionary origins and function of consciousness. My reply is structured by the arguments raised rather than by author and will offer a more detailed explication of some aspects of the pathological complexity thesis.

This paper discusses how to define logics as deductive limits of sequences of other logics. The case of da Costa's hierarchy of increasingly weaker paraconsistent calculi, known as $ \mathcal {C}$n, 1 $ \leq$ n $ \leq$ $ \omega$, is carefully studied. The calculus $ \mathcal {C}$$\scriptstyle \omega$, in particular, constitutes no more than a lower deductive bound to this hierarchy and differs considerably from its companions. A long standing problem in the literature (open for more than 35 years) is (...) to define the deductive limit to this hierarchy, that is, its greatest lower deductive bound. The calculus $ \mathcal {C}$min, stronger than $ \mathcal {C}$$\scriptstyle \omega$, is first presented as a step toward this limit. As an alternative to the bivaluation semantics of $ \mathcal {C}$min presented thereupon, possible-translations semantics are then introduced and suggested as the standard technique both to give this calculus a more reasonable semantics and to derive some interesting properties about it. Possible-translations semantics are then used to provide both a semantics and a decision procedure for $ \mathcal {C}$Lim, the real deductive limit of da Costa's hierarchy. Possible-translations semantics also make it possible to characterize a precise sense of duality: as an example, $ \mathcal {D}$min is proposed as the dual to $ \mathcal {C}$min. (shrink)

This paper examines Jaegwon Kim's Supervenience Argument (SA) against nonreductive physicalism, concentrating on Kim's response to two of the most important objections against the SA: First, the Overdetermination Argument, according to which Kim has no convincing argument against the possibility that mental causation might be a case of genuine or systematic overdetermination; second, the Generalization Argument, according to which the SA would entail that causation at any level gives way to causation at the next lower level, thereby leading to an (...) untenable all-encompassing epiphenomenalism. It is argued that as of yet, Kim has failed to develop a coherent overall position, since various moves he makes in response to these criticisms are strangely at odds with other parts of his philosophical position. (shrink)