‘Tragedy’ is one of those curiously elastic words reserved for life's saddest spheres and events, irrespective of the forms in which they appear. Even though a vast body of genre studies has emerged, however, only a handful of studies have drawn cross-historical comparisons between tragic forms. This essay demonstrates how Walter Benjamin’s reflections on Attic tragedy may contribute to such a line of thought, focusing both on tragedies’ subversive potential and on the social-historical constellations in which they first emerged. In (...) the first part, Benjamin’s conception of the Attic tragedies is explored by focusing on his The Origin of German Tragic Drama and the theoretical roots of his earlier work. According to Benjamin, Attic tragedies offered a messianic, dialectical critique on the social-historical constellation in which they appeared. The second part of the article discusses the relevance of these reflections for the analysis of contemporary tragic forms, thereby identifying the heirs of Attic tragedy outside the strict boundaries of ‘drama’. (shrink)

In his “A Programmatic Attempt at an Anthropology of Knowledge,” published in 1981, Yehuda Elkana briefly introduced the notions of dramatic and epic theater as metaphors for distinct and opposite conceptions of history. He elaborated more fully on this theme in a paper published in 1982 on the occasion of the Albert Einstein centenary celebration. Elkana there criticized the “myth of simplicity” surrounding Einstein, and proposed to replace a “facile holism” often attributed to Einstein with “two-tier thinking.” According to Elkana, (...) Einstein's historical epistemology was a blend of an epic, contingent view of historical scientific change coupled with strong scientific realism. (shrink)

With the pretext of analyzing Foucault’s contribution to history, the paper is an essay on the philosophy of history. It is shaped, fundamentally, as an answer to the historian Paul Veyne’s essay, “Foucault Revolutionizes History” (1978) and his assertions on Foucault and historical methodology; Veyne claimed Foucault to have revolutionized the discipline of history thanks to his singular gaze and his profound skepticism. The paper counters Veyne’s assertions on both Foucault and Veyne’s historiography and seeks to provide a concept of (...) his-tory that is more nuanced and conscious of the human sciences’ ontology and duties. To do so, the paper en-gages with a number of historical currents, thinkers, and concepts, which shape historical inquiry. (shrink)

Benjamin has long been known for his literary and aesthetic theory but political theorists, as well as other scholars who are interested in questions of politics, tend to downplay (or simply not notice) his contributions to an actionable rhetorical-political discourse. In terms of a politics that speaks directly to the ongoing crisis of global capitalism, existing power arrangements, and the effective depoliticization of the vast majority of people living under such conditions (very much including advanced liberal capitalist democracies such as (...) the United States), it often seems that Benjamin might not have all that much to say.That, at least, is the way that he is often read. Marxists, if they pay attention to .. (shrink)

This essay focuses on Judith Butler’s configuration in Parting Ways: Jewishness and the Critique of Zionism of sacred life from the mystical motifs that traverse Walter Benjamin’s writings as the pivot of an anti-identitarian ethics committed to non-violent resistance. To gain critical leverage on Butler’s post-secular stance, my analysis turns to Talal Asad’s ‘Redeeming the “Human” Through Human Rights’ chapter from Formations of the Secular, where he enunciates a disparity between a ‘pre-civil state of nature’ and the notion of ‘inalienable (...) rights’ that informs the subject’s rights under secular law. In underscoring the secular state’s inability or refusal to ascribe sacredness to ‘real living persons’ over and against ‘“the human” conceptualized abstractly, or imagined in a state of nature’ as presumed by natural law, Asad indirectly articulates what is at stake in Butler’s explication in Parting Ways of Benjamin’s ‘Critique of Violence’. In this context, Butler unpacks Benjamin’s remarks about the sixth commandment’s non-coercive disposition and the inner struggle its provisional applicability prompts. A conception of ‘sacred life’ crystallizes through Butler’s emphasis on the open-endedness of this struggle, which encourages us to abandon a solipsistic investment in our own suffering in the process of acknowledging its eternally transient rhythm. I argue that Butler supplements this motif by drawing upon Hannah Arendt’s grounding of the political in cohabitation. My contention is that while ‘sacred life’ forms the backbone of Butler’s affirmation of civil disobedience, Arendt empowers Butler’s ethics to transcend Benjamin’s Jewish-messianic melancholy by radicalizing the passivity that refracts it. (shrink)

The Politics of Orientation provides the first substantial exploration of a surprising theoretical kinship and its rich political implications, between Gilles Deleuze's philosophy and the sociological systems theory of Niklas Luhmann. Through their shared theories of sense, Hannah Richter draws out how the works of Luhmann and Deleuze complement each other in creating worlds where chaos is the norm and order the unlikely and yet remarkably stable exception. From the encounter between Deleuze and Luhmann, Richter develops a novel take on (...) postfoundational ontology where subjects and societies unfold in self-productive relations of sense against a background of complexity. The Politics of Orientation breaks and rebuilds theoretical alliances by reading core concepts and thinkers of Continental Philosophy, from Leibniz to Whitehead and Marx, through this encounter. Most importantly, the book puts Luhmann and Deleuze to work to offer urgently needed insight into the rise of post-truth populism. In our complex democratic societies, Richter argues, orientation against complexity has become the ground of political power, privileging the simplistic narratives of the populist right. (shrink)

During the last two decades, a sharp re-reading of St. Paul’s letters allowed several thinkers to embed a messianic element in their political philosophy. In these readings, the messianic refusal of the world and its laws is understood through the suspensive act of ‘subtraction’ – a movement of withdrawal which nonetheless proved too often ineffective when translated in political practice. -/- After having analysed Agamben’s declension of Subtraction in terms of ‘inoperativity’, this article focuses on the notion of Parousia as (...) a key element to understand his anti-utopian account of messianic time. In contrast with Agamben’s reading, Bloch’s interpretation of the Pauline Parousia envisages the messianic event as infra-historical, but at the same time opened to ultimate (meta-historical) purposes. Bloch’s messianic call – I argue – takes the form of mediation, a correction of subtraction towards the direction of a more committed political engagement. I conclude suggesting that the concrete implementations of this mediation perform their emancipatory function in so far as they assume the character of practical ethics, with the attention directed to the underprivileged and marginalised. (shrink)

From the comparative framework of writing on the meaning of ritual in the field of the history of religions, this essay argues that one of the major problems in Benjamin’s thinking is how to make certain forms of materiality stand out against other forms. In his early work, the way that Benjamin deals with this problem is to call degraded forms “symbolic”, and those forms of materiality with positive value, “allegorical”. The article shows how there is more than an incidental (...) connection with the recent approach to ritual in the field of history of religions, seeing that Benjamin too wants to set out the significance of certain material forms against those that are “ritualistic” and hence false. It is argued that he treats the latter in his essay on Elective Affinities and the former in his Trauerspiel. The key claim is that the way material forms stand out as meaningful is akin to the Kantian description of the aesthetic attitude, which identifies how certain formations warrant and attract reflective attention and underpin moral orientation. The point is significant since Kantian aesthetics is an object of polemical attention across Benjamin’s heterogeneous corpus. Moreover, the approach shows the main difficulty in Benjamin’s treatment of sensible forms: what are the criteria he uses to distinguish the “bad” way a sensible form has of being meaningful from the “good”? (shrink)

I argue that Shakespeare's Timon of Athens exemplifies the concept of mourning play that Walter Benjamin had in mind when he wrote The Origin of German Tragic Drama. While others have interpreted the play in various ways, no one has attempted to understand Timon in a Benjaminesque manner that seeks to show the emergence of baroque tragedy as a new aesthetic form at odds with, and liberated from, classical tragedy's mythical foundation and instead premised on historical time and progress. In (...) my discussion, I question the view that Timon possesses inheritable or transmissible human social bonds that can be the subject of annihilation as is the case in Shakespeare's other tragedies. Rather, Benjamin sees in allegory, as illustrated by Timon of Athens, the social condition of modernity replete with suffering, chaos, and violence, but devoid of real human bonds; indeed, it is without human meaning. (shrink)

This paper is a reconstruction of Walter Benjamin's philosophy of language, especially as it expressed in 1916's “On Language as Such and the Language of Man”. I read Benjamin's theory as a contribution to what Charles Taylor has called the “expressivist” tradition that includes eighteenth century thinkers like J.G. Herder and J.G. Hamann. Hamann's work and his interpretation of the theological concept of condescension are of particular importance. Although Benjamin's views are often regarded as impenetrable or mystical, they are relevant (...) to and, in part, motivated by concerns of more mainstream twentieth century philosophy of language, in particular Russell's paradox. His “metaphysics of language” understands reference or designation, central to analytic theories of meaning, as derived from a more fundamental, aesthetic meaning. (shrink)

In the aftermath of national or international tragedies, appeals for action such as, “Never Forget” or “Never Again” are ubiquitous. Theodor Adorno makes a similar call in the wake of the Holocaust, proclaiming that all education should be focused on the prevention of another genocide. While most would agree with such a statement, practically how do we respond to such a call, specifically in light of Adorno’s work? Answering this question is at the heart of this project and I argue (...) that imaginative memorials can fulfill Adorno’s criteria for post-Auschwitz education. I first present a theory of moral imagination by relying on contemporary accounts of the theory and then show how it complements Adorno’s work, specifically by offering an explanatory foundation to a number of his claims. I reveal that many of Adorno’s observations about the world are supported by recent advancements in the understanding of imagination and I argue that the combination of contemporary accounts of moral imagination and Adorno’s thought are mutually beneficial. After the two theories have been sufficiently discussed and integrated, I focus on Adorno’s arguments regarding education following Auschwitz. Adorno argues that we should investigate how such a horror could occur, and the people who committed the acts of genocide. Such information will be helpful for the prevention of another Auschwitz because we can attempt to overcome the values and ideas of those who perpetrated genocide. This dissertation is unique and of philosophical importance because it fleshes out Adorno’s discussion of the characteristics that led to the Holocaust and argues for a specific form of education that meets all of the criteria of Adorno’s post-Auschwitz education: memorials that stimulate the visitor’s imagination. In order to make this point, I highlight specific Holocaust memorials that are imaginative and argue for their efficacy. My goal for the project is to actualize Adorno’s post-Auschwitz education initiative through imaginative memorials. (shrink)

‘Natural-History’ is one of the key concepts in the thought of the Frankfurt School critical theorist Theodor W. Adorno, appearing from his very earliest work through to his very last. Unfortunately, the existing literature provides little illumination as to what Adorno’s concept of natural-history is, or what it is supposed to do. This paper thus seeks to supply the required understanding. Ultimately, I argue that ‘natural-history’ is best understood as a sort of ‘therapeutic’ concept, intended to dissolve certain philosophical anxieties (...) which might otherwise present obstacles to our being able to obtain a critical-theoretical understanding of reality. (shrink)

The absolute relation of name to knowledge-recognition [Erkenntnis] exists only in God; only there is name, because it is inwardly identical with the creative word, the pure medium of knowledge-recognition [Erkenntnis]. This means that God made things knowable-recognizable [erkennbar] in their names. Man, however, names them according to knowledge-recognition [Erkenntnis]. An act is—in connection with the perfected state of the world—not what happens now or “soon”: a demand cannot demand, or command anything now. They enter disjointedly, in symbolic concepts, into (...) the now of knowability-recognizability [das Jetzt der Erkennbarkeit], for this now is filled and governed exclusively by.. (shrink)

This contribution investigates the intimate relation and the tension between legal and literary procedures of personification and subjectivation. In order to do so, the contribution turns to Kafka’s The Trial and examines the proximity of the juridical procedure depicted in the novel, intending to establish Josef K. as a subject, to the narrative procedures of the novel itself that aims at bringing forth an accountable protagonist. The intimate relation of the legal procedures described in the novel and the narrative ones (...) of the novel itself is rooted in a shared historical heritage that impacts both. I argue that the fundamental configuration of advocacy in the classical rhetorical procedure: speaking for someone, against someone, in front of an other, lies at the basis of both legal and literary procedures. Against this common rhetorical background I investigate developments in legal procedures and the formation of the modern novel in the nineteenth and early twentieth century. Both developments occlude the rhetorical mechanisms of speaking-for and speaking against and turn the rhetorical procedures of personification into mechanisms of subjectivation. Kafka’s Proceß reflects these developments, yet does not affirm this transformation and ultimately does not result in a guilty subject and a ‘believable’ character. Rather, the novel embodies a gesture of resistance against certain modes of subjectivation that seem to be prevalent both in modern law and in the novel of formation. (shrink)

At times, an individual in modernity can feel dehumanised by work, by administration, by technology, and by political power. This experience of being dehumanised can take the individual to an existential awareness of the priority of existence over essence. But what does this existential experience mean? Are there ways in which this experience can reconnect the individual to her being human, or to her being part of humanity? Any such reconnection is further complicated by the suspicion that universal presuppositions concerning (...) ‘humanity’ or ‘human being’ or ‘humanism’ carry pretensions of imperialist grandeur that must be challenged. How, then, might one proceed to connect existential vertigo with a culture of humanism that, while resisting such pretensions, nevertheless can find meaning for the dehumanised individual? In what follows I argue that a concept of modern metaphysics, with an aporetic logic of subjective experience, can carry this reconnection of the I and the We, offering meaning not in the resolution of their opposition, but in learning that the meaning of their opposition, and the meaning of humanity, is learning, is our education. I argue that it is only within modern educational metaphysics that humanity and the individual Know Thyself. (shrink)

Is the essay literature or philosophy? A form of art or a form of knowledge? The contemporary essay is torn between its belletrist ancestry and its claim to philosophical legitimacy. The Spanish philosopher Eduardo Nicol captured the genre's uncertain status when he dubbed it “almost literature and almost philosophy” (Nicol 1961:207). The problem is hardly a new one. It goes back to what Plato called the “ancient quarrel” between poetry and philosophy, and more recently to the German Romantic theorist, Friedrich (...) Schlegel, who called for a mode of criticism which would be at once philosophical and poetic. But today, when the status of critical discourse is up for grabs, reflecting the crisis of knowledge in the universities, the question of the essay takes on a new urgency. Now the predominant form of writing in the human sciences, it cannot avoid the challenge to define itself according to the prevailing standards of scientific knowledge and method. (shrink)

What does ‘communism’ mean in Walter Benjamin’s writing? It has been used in some quarters to claim that Benjamin has a quasi-Marxist theory of communist society. This paper will argue instead that Benjamin’s communism is framed by his distinctive conception of experience and that it is understandable only through that conception. Benjamin’s image of ‘communist society’ refers to a specific type of experience rather than a type of social organization. The paper discusses the conceptual background of that image and also (...) points out a number of the difficulties that Benjamin’s conception of collective experience faces given its genesis in a model of individual experience. (shrink)

While Theodor Adorno is known for his philosophical reconstruction of aesthetic modernism, he also analyzes—and is critical of—the demotion of natural beauty in the hierarchy of aesthetic concerns following Kant. Recent scholars have acknowledged that natural beauty is important in Adornian aesthetics, but many do so in a manner that repeats the subordination of natural beauty and the aesthetic experience of nature to that of art. Against this tendency, in this article I demonstrate that not only does Adorno contest the (...) inferiority of the aesthetic experience of nature but his unconventional description and theoretical articulation of natural beauty is especially pertinent for our time of climate crisis. By unpacking his endorsement of Walter Benjamin's casting both nature and history in terms of transience, I argue that Adorno proposes an experience of natural beauty that is expressive of social historical content, offers a vision of a different relationship with nature, and discloses ethical claims on us to act in this world. (shrink)

Over the past 20 years, concepts of historical thinking and historical consciousness have received increasing attention in the field of history education and history didactics. This new orientation in the teaching of history has involved the need to take into account the complexity of the historical discourse and more generally the multiple ways in which people relate to their individual and collective pasts. It has also implied the need to consider the diversity of "places" where history occurs. In this article, (...) I will take a closer look at the relationships between the concepts of historical consciousness and memory, which, to a certain extent, seem to be neglected and misunderstood in the teaching of history and history education in general. More specifically, I will frame what I call a ‘third way’ for history education in relation to Ricoeur’s theories and the connections and nuances he establishes between epistemology of history and phenomenology of memory. (shrink)

This article examines the ways in which Georges Didi-Huberman conceptualizes the notion of the “aura” after Walter Benjamin’s famous and elusive rendering of the term. The central focus is on the way in which Didi-Huberman theorizes the aura to showcase its capacity for transformation – specifically in terms of its connection to “place” and in terms of what he calls a “memory trace.” After an introduction, the article is divided into five sections, followed by a conclusion. The first two sections (...) act as a foundation from which to investigate Didi-Huberman’s engagement with the aura. Therein, I explore the aesthetic debates surrounding what kind of knowledge artworks can produce and specifically how language can, most reductively, objectify the way in which artworks are critiqued, on the one hand, or produce elusive and romantic readings of artworks, on the other. Furthermore, I explore the way in which the notion of aura is engaged in Benjamin’s work upon which Didi-Huberman largely draws for his own understanding of the term. The subsequent two sections outline what I call Didi-Huberman’s two-part proposal of the aura re-imagined; this entails what he calls the “supposition” of the aura and the “secular” aura. Didi-Huberman takes Barnett Newman’s “zip” paintings as a point of entry to think how the aura can be hypothesized after Benjamin. In the final section, I look to the artworks of James Turrell as they are investigated by Didi-Huberman and to one of his short books, Being a Skull, to describe how artworks can function as vertiginous places, which implicate our conception of space in general. Didi-Huberman’s “dialectics of place” both complexifies Benjamin’s equating of place with the aura as uniqueness and smooths over some edges of his paradoxical thinking. (shrink)

I begin by identifying an ambiguity in the post-Hegelian literature on Immanent Critique, distinguishing two possible definitions: judging an object against its ‘internal’ norms; and accounting for one’s own standpoint with reference to the object. I then claim that both definitions are represented in Hegel’s Phenomenology, and develop extended interpretations of material from the Introduction in order to clarify and substantiate this thesis. This yields revisionist readings of the famous ‘internal criteria’ and ‘self examination’ tropes. My discussion builds towards elucidating (...) the relation between the two definitions of Immanent Critique I have distinguished, as it is developed in the Phenomenology. (shrink)

Drawing on the work of Walter Benjamin, this essay argues—largely against Carl Schmitt—that political theology as a critical analytic should examine the ‘afterlife’ of theological tropes with respect to the sense of time and history that they compel. Benjamin’s The Origin of German Tragic Drama argues that sovereignty as a political concept gains prominence as a response in the wake of the erosion of the concept of salvation history in the Baroque. The consequence of this rise of sovereignty as a (...) political key concept is a philosophy of history based on the permanently impending catastrophic end of the world. This continuously urgent situation is not only one that leaves little room for political critique and action, but also a perplexing one in its perpetuation, since the end of the world never actually arrives. To answer why political urgency can be perpetuated seemingly infinitely and why sovereigns can fail without eroding the ongoing desire for sovereignty, Benjamin’s work suggests that we must broaden our view of political theology to consider the survival of further theological concepts to include original sin as a master trope of philosophical anthropology. (shrink)

In the years following the end of the Second World War Carol Reed directed three films, Odd Man Out, The Third Man, and The Man Between, that all dealt with individuals somehow cast alone into post-war urban environments that shared certain characteristics of division and violence. This article argues that they can be usefully analysed through the lens of Walter Benjamin's notion of the creaturely, especially through Eric Santner's explication of the concept. It considers the films from three aspects of (...) Santner's creaturely life: natural history, the state of exception, and undeadness. These qualities of the creaturely as an analysis of the human condition help to encompass some of the strangeness of Reed's apparently conventional film narratives. The films' characters can be seen as overtly modelling a kind of Benjaminian natural history, the history of the brutal twentieth century, in which the vulnerable, mortal, dying human beings at the centre of these tales stumble around in rea... (shrink)

This paper argues for the contemporary significance of the ‘Critique of Violence’ by proposing a Benjaminian reading of two important analyses of the relationship between history, politics and the Rights of Man: Hegel’s account of the French Revolution and the concept of dissensus proposed by Jacques Rancière. For both Hegel and Rancière, the gap between right and reality – between the ideal of equality, for example, and the existence of concrete inequality – does not warrant a rejection of the Rights (...) of Man. Rather, the gap is a constitutive condition of law and political rights. From the perspective of Benjamin’s ‘Critique of Violence’, however, these analyses serve to perpetuate a bourgeois legality, one that both Hegel and Rancière acknowledge can never be realized due to the constitutive discrepancy between right and reality. In preserving the promise of legal equality, these analyses preclude the possibility of a suspension or ‘absolution’ from law. This suspension of law is a task that Benjamin identified with the proletarian general strike, a strategy whose pure violence is supposed to secure what Benjamin described, enigmatically, as a ‘wholly transformed work’. Remarkably, however, the relationship between the suspension of law in a general strike and a total transformation of labour is never clearly defined in the ‘Critique’. This paper will develop an account of this relationship by pursuing the references to Marx’s critical theory of capitalism in Benjamin’s writings. (shrink)

Hegel's theory of tragedy has polarized critics. In the past, many philosophers have claimed that Hegel's theory of tragedy removes Kant's critical insights and returns to pre-critical metaphysics. More recently, several have argued that Hegel does not break faith with tragic experience but allows philosophy to be transformed by tragedy. In this paper I examine the strength of this revised position. First I show that it identifies Hegel's insightful critique of Kant's theoretical assumptions. Yet I then argue that it fails (...) to note the practical importance of Kant's separation of knowledge and aesthetics. I propose an alternative approach to tragedy that builds from the revised view and yet maintains the autonomy of aesthetics. Tragedy represents an action, a set of events that are internally unified and yet cannot be reduced to theory. This is to say that tragedy confronts us with an aesthetic sphere of making and doing that, while constrained, is incessantly open and free. (shrink)

Phenomenological accounts of technology, mediation, and embodiment are beginning to problematize traditional distinctions between subject (human) and object (machine). This shift is often attributed to a material or post-human turn since it is usually associated with an interest in the non-human actors and objects that make media interfaces possible. This article contends that these tendencies should also be considered part of a deeper lineage of dialectical thought in critical theory. Using videogames as an example, I argue that academic debates related (...) to the player/game relationship can be read through the lens of Adorno’s aesthetic theory. Developing Adorno’s concept of mimesis, I argue that the interface is often treated as a dialectical question of how the space between subject and object should be traversed. I reflect on the possible advantages of focusing on this contested space through a discussion of game controllers and the Aristotelian concept of techne. (shrink)

‘Left melodrama’ is a form of contemporary political critique that combines thematic elements and narrative structures of the melodramatic genre with a political perspective grounded in a left theoretical tradition, fusing them to dramatically interrogate oppressive social structures and unequal relations of power. It is also a new form of what Walter Benjamin called ‘left melancholy’, a critique that deadens what it examines by employing outdated and insufficient analyses to current exploitations. Left melodrama is melancholic insofar as its use of (...) older leftist critical methods disavows its attachments to the failed promises of left political-theoretical critique: that it could provide direct means to freedom and moral rightness. Left melodrama is melodramatic insofar as it incorporates the specific melodramatic narrative, style and promise of the text that stands in for its disavowed attachments: the Manifesto of the Communist Party. Whereas the Manifesto's critical power promised radical political transformation, left melodrama incorporates the Manifesto's melodramatic style in an effort to revivify that promise. It thus inhibits the creation of new critical methods appropriate to our current historical moment and occludes Marx and Engels' warning that the possibility of radical transformation is diminished when the past furnishes the vision for the future. Left melodrama can be found in the texts of Giorgio Agamben, Michael Hardt and Antonio Negri; their reincorporation of the Manifesto's melodrama both contributes to their widespread success and undercuts their critical capacities to examine and challenge the inequalities, injustices and unfreedom that shape the present moment. (shrink)

This essay is an attempt to analyze an important decision Brzozowski took at the end of his life, i.e. his late turn towards Catholicism, which, despite his own objections, we should nonetheless call a religious conversion. The main reason why Brzozowski resisted the traditional rhetoric of conversion lies in his often repeated conviction that faith cannot invalidate life, because “what is not biographical, does not exist at all.” Brzozowski, therefore, rejects conversion understood as a radical and abrupt revolution of the (...) soul, which annuls everything that happened before, and turns to a model of religiosity (“Catholicism, undoubtedly”) which preserves his entire biographical past. In this manner, Brzozowski seeks his own formula of faith, more adequate to the “situation” of the modern man who lives in and through History. I argue that the model of “conversion without conversion” Brzozowski chose as representative of modern man is typically, though avant la lettre , post-secular: closer to the Jewish sources of past-oriented tschuva than to the mystical timelessness of traditionally Christian metanoia . The idea that redemption consists not in a liberation of a pure spirit but in a patient working-through of the universal history of creation is an implicit credo of the whole modern age, first fully articulated by Brzozowski and only later in the writings of Hermann Cohen, Franz Rosenzweig, and Walter Benjamin. Brzozowski emerges as a relatively early precursor of the future post-secular option whose advocates, like the author of The Diary , will not allow themselves to “lose a single moment,” either of their lives or the world’s history. (shrink)

This paper launches a thought experiment the aim of which is to recover and defend an idea of nostalgia as something other than merely maudlin yearning after the days of yore. Much critical comment on nostalgia, in everyday parlance and in academic debate, begins from the standpoint that the time longed for was never really as it is now, nostalgically, imagined. The force and validity of this jibe is admitted in this paper, but it argues that the concept of nostalgia (...) can be reshaped and turned in quite different less reactive directions. A distinction between Nostalgia and nostalgias is coined in order to introduce a plural and critical version of nostalgic memory. The play of memory in nostalgias is exemplified through a focus on four topoi of experience which are strained, possibly even shattered, by the digitalisation and rationalisation of contemporary culture and society. Nostalgias of and for the body, nature, thought, and modernity itself are explored by comparison to themes of melancholy and utopia which arise in Frankfurt School critical theory as responses to a similarly perceived trauma and triumph of instrumental reason. I argue that ultimately the distinction between nostalgias and Nostalgia cannot be maintained - nostalgias are rather types or tropes of Nostalgia. However, through thinking Nostalgia along the lines of this neologism (nostalgias) we might come to see its dynamic and critical mnemonic potencies. Hence, the paper concludes that nostalgia ought not be simply contemned and dismissed as the conservative freezing of memories and images of a fake past. (shrink)

The insistence on knowledge accumulation in modern educational discourses has led to the formation of exclusive dichotomies in various forms, most tangibly observable in the division of people into ‘knowledgeable’ and ‘unknowledgeable’. What underlies this dichotomy is a conception of rationality based on which knowledge is seen as an ‘instrument’ which must necessarily result in a usable, profitable product. From a Levinasian perspective, the latter situation inevitably, if not purposefully, leads to the formation of the Other being located at the (...) side of irrationality, hence an unnecessary entity within the knowledge economy. Analysing Werner Herzog’s film, The Enigma of Kasper Hauser’s (1974), this paper aims to show how irrationality, contrary to the belief of dominant educational/pedagogical discourses, can act as a source for creative thinking. The paper argues that by accepting the Other as the unknowable, we allow them to resort to their singularity as a source for imaginative thinking. (shrink)

My response to Tyson Lewis’s book concentrates on two themes, seemingly peripheral to the book’s explicit content: the pertinent question of (educational) violence and the related problem of instrumentalism. I try to tackle both of them by outlining the dispute between Walter Benjamin and Carl Schmitt. The choice of Schmitt as the background for these peripheral commentaries is not accidental. The premise of Lewis’s book is that there is a link between fascism and 21st century populism and authoritarianism (in the (...) US, France, and Germany, but – as I would argue – much more prevalent in Hungary and Poland). The European version is, if not intellectually connected, then at least somehow coincident with the renaissance of the thought of the German jurist of the Weimar and Nazi era. Benjamin’s antifascist potential depends also on his power of de-potentializing Schmitt’s political theology, concepts of sovereignty and state of exception. (shrink)

This essay investigates the differences and points of contact between Walter Benjamin's concept of ‘constellation’ and the notion of ‘assemblage’ as theorised by Gilles Deleuze and Félix Guattari. Both concepts address the entanglement of discourse and matter, bodies and devices, and raise questions regarding the historicity and temporality of different kinds of multiplicity. Presently, the term ‘assemblage’ figures prominently in the context of the new materialism, a theoretical movement which calls for a renewal of materialist ideas, proposing a break with (...) the historical materialism of the past. Against this backdrop, the essay has a twofold purpose: first, by focusing on the notions of constellation and assemblage, it seeks to highlight the differences and analogies between the materialisms of Benjamin, on the one hand, and Deleuze and Guattari, on the other. Second, by examining the new materialism's appropriation of Deleuzian ‘assemblage theory’, it will not only analyse what is ‘new’ about the new materialism, but also underline its conceptual errors and political problems. Eventually, what the essay argues is that our contemporary understanding of assemblages might indeed benefit from a more thorough engagement with the historical materialism of an author like Benjamin. (shrink)

This paper considers the nature of time and temporality in Homer. It argues that any exploration of narrative and time must, as its central tenet, take into account the irreducible plurality and interconnectedness of memory, the event, and experienced time. Drawing on notions of complexity, emergence, and stochastic behavior in science as well as phenomenological traditions in the discussion and analysis of time, temporality, and change, and offering extensive readings of Homer, of Homeric epithets and formulae, and of key passages (...) in the Iliad and Odyssey, the paper argues against chronological notions of linear time and progression and in favor of a complex, dynamic temporal “geometries” of Homeric temporality. The paper concludes by briefly extending the argument to the wider domain of ancient time in general. Homer is a fundamental point of reference in the ancient world. Thus, Homeric temporality—irreducibly complex—affects the cognition and perception of time throughout the whole of antiquity. (shrink)

This essay reads Julia Kristeva’s ‘novel-essay’ on St. Teresa of Avila, Thérèse mon amour, as a form of relationship to literature we can also see suggested, though not theorized, in Kristeva’s critical thought. Thérèse mon amour performs feats of interpretation and intimacy with St. Teresa’s writing that rehearse key tenets of her theology, but that also revive and re-open questions at the heart of Kristeva’s theoretical matrix, questions of narcissism and love, metaphor and language. The essay traces these questions in (...) Kristeva’s oeuvre, proposing that Thérèse mon amour exposes unexpected affinities between a Kristevan ethics of relationship and the radical dilemma of faith in St. Teresa. The two are united, I suggest, by the fraught project of writing love. (shrink)

ABSTRACT The influence by Walter Benjamin on Arendt’s notion of narrativity has been firmly established, but little research has been done to contextualize his influence. This paper fill this lacunae by showing how, like Benjamin, Arendt was concerned to deploy a form of writing history that ensures the individuality of its agents, but that as she articulated her notion of the public space, the redemptive, messianic elements in his historiography were replaced with a secular and political mode of remembrance. The (...) notion of the public space and the accompanying secularization of Benjamin’s redemptive history should not be understood as the result of a linear development, but rather as responses to contemporary political events, of which I focus on three: (1) her early writings on totalitarianism, in which she tries to come to terms with the Shoah; (2) her reflections on the Greek city state, in which she criticizes the instrumentalization of politics in post-war democracies such as West-Germany; and finally, (3) the court room as a space for storytelling and the contestation over the history of anti-Semitism during the Eichmann trial. (shrink)

This article aims to critically examine three approaches to reflexivity in philosophical texts, specifically the case when the textuality becomes its own topic. The first approach is when there is no reflexivity at all. It is just describing how – according to the author – things are. As an example of this approach I take German media philosophy. This tradition is specific because reflexivity is supposed to be its very topic. However, the media philosophers succeeded in touching the indefinability of (...) mediality itself. Another method is to question one’s own and possibly also the reader’s position. I have chosen Annemarie Mol’s empirical philosophy as the example here. The problem is that despite following the “ontological turn”, the author remains (probably inevitably) also to a large extent trapped in the fact that he/she describes the world, that is, in subject/object dichotomy and therefore, in epistemology. The third way to write aims to make readers feel what the author tells. My example here is the varied work of Walter Benjamin whom I for the purpose of this article consider more as a prophet rather than the precise thinker who he (also) by all means was. While using the second approach myself, I discuss advantages and challenges of the three and find their points of touch. (shrink)

Responding to renewed interest in political rhetoric among contemporary International Relations –realists, this article advances three main claims. First, it suggests that tragedy—the dominant...

Danto, in a somewhat Hegelian manner, argues that art is an alienated form of philosophy. My contention is that sport, too, is an alienated form of philosophy. In making his argument, Danto (1981,...

In contrast to functionalist explanations of themes of purity and impurity as an expression and affirmation of the social order (e.g. Emile Durkheim, Mary Douglas), Giorgio Agamben considers purity and impurity as comparisons of phenomena with their imputed essence. From the perspective offered by Agamben, judgements regarding purity and impurity can be seen as in part constructing the essence against which they supposedly simply measure phenomena. Agamben’s investigations suggest that on occasions when themes of purity or impurity are invoked within (...) Western discourses on subjectivity, the full human subject tends to be placed as relatively pure: neither too close nor too distant from human essence. FollowingWalter Benjamin, he suggests that such a classification gives the full human subject a certain social protection and inviolability, separating relatively pure and protected human life from impure subjectivities unprotected by social or legal conventions. (shrink)

Notions of complexity, non-linear dynamics and self-organization in the natural sciences seem to resonate with certain literary and social scientific traditions of thinking about cosmopolitan life in a sense that may be more than merely metaphorical. Just as science speaks of forms and patterns which come into being spontaneously, unpredictably and `from below', so too is there a resurgent interest in a `baroque' vision of modernity which foregrounds chance encounters and `underworld' associations. The parallels are still stronger if we take (...) a consider the life-world of embodied cosmopolitans as including not only other human beings and human artifacts, but also the many non-human life-forms that make themselves at home in our built environments, in our networks, and inside our own bodies. Contra theorists of risk society, fusion of complexity theory with cosmopolitan aesthetics raises the possibility of conceiving of runaway biological and technological events as both creative and destructive. (shrink)

The article addresses the ‘messianic turn’ in contemporary continental philosophy, focusing on the concept of the katechon as the restraining force that delays the advent of the Antichrist in the Second Letter to the Thessalonians. While Carl Schmitt held the passage on the katechon to ground the Christian doctrine of state power, Giorgio Agamben’s reading of Pauline messianism rather posits the ‘removal’ of the katechon as the pathway for messianic redemption. In our argument, the significance of this text goes beyond (...) the persistence of a vestige of the theological in modern politics. On the contrary, the logic of the katechon only comes into its own under modern nihilism as the resolution of the problem of social order in the absence of the eschatological dimension. The article focuses on the lethal paradox of the logic of the katechon, whereby the function of protection and restraint is converted into violence and anomie, and global political order becomes indistinguishable from global civil war. We conclude by outlining the conditions for suspending the katechonic function in a critical engagement with Agamben’s messianic politics. (shrink)

The dissertation presents a descriptive analysis of aspects of British fictional writing prefaced by a comparative analysis of cultural theory concerned with questions of place and socio-spatial relations-The general aim is to show how both the theory and the fiction negotiate elements of a relational poetics and politics of place in the context of negatively homogenizing tendencies in socioeconomic developments during the last thirty years of the twentieth century. In the first part, the writers of cultural theory are divided into (...) three preliminary areas, covering primarily Marxist, post-structuralist and environmentalist approaches to questions of place and its relations. The second and third parts then provide more detailed consideration of novels by Raymond Williams and lain Sinclair which have so far not been accorded substantial critical attention. The aim is to show how their approaches in the novels considered converge with aspects of the theory discussed in the opening part of the dissertation. In all cases, the writers are presented as producing 'partial mappings'. These are seen as offering perspectives of sufficient scope to provide effective criticism of, and possible alternatives to, negative and disorientating aspects of social relations affected by tendencies in capital accumulation which might be seen as endangering elements of social justice and equality, cultural heterogeneity, and ecological viability. The first part includes consideration of the poet Charles Olson and a related aim is to suggest how novels such as those by Williams and Sinclair might provide a significant complement to both theory and modem epic poetry in relation to questions of place. (shrink)

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

The lost opportunity is overwhelming, an exigence in the full sense—a recollection of that which can only remain forgotten. In the midst of the storm, what to do now? If this is the question with which Walter Benjamin began, in a poem published in 1910 under the pseudonym "Ardor," it is one over which he kept a solemn vigil, rarely letting it slip from view, even as the border closed in the months not long after he rendered Klee's 1920 painting, (...) Angelus Novus, into the emblem of a critique that seeks the "shard of weak messianic power" that comes to recognizability only in a history "filled full by now-time [Jetztzeit]" (2011, 22-23; 2003, 395). A hope then, a feeling that even as the storm from paradise blows .. (shrink)