This article argues for a reconceptualization of utopia as akairological rupture. Its central thesis disputes the conventional reading of utopia as a teleological goal to be realized by a social collective. Thus rather than viewing the potentiality of utopia as a prescribed ideal commonwealth whose inhabitants live in harmony, I argue that it should be seen as an akairological rupture, manifested through a determinately negative, individual, approach. In this reading, utopia is primarily a social condition within culture, and perennially opposed (...) to any ideal telos. This temporal and qualitative reconceptualization of utopia as disruptive is anathema to the positive reading that sees it as feasible through social reform and rational discourse. This reconceptualization argues for the importance of developing a reading of utopia that can transcend any reified, fixed conception that seeks to domesticate it in the service of a contingent political aspiration, however noble and humanitarian it may appear to be. Herein lies its critical potentiality under neoliberal conditions. (shrink)

ABSTRACT In a reflection on his Marxist past, J. F. Lyotard described a différend between himself and the revolutionary discourse. This might also represent the relations between the latter and the contemporary discourse of resistance, with its characteristic fascination with non-teleological political action. The disdain for teleology apparently justifies the incommensurability of these discourses, thus disabling any inheritance of elements of the revolutionary tradition. This essay challenges the unbridgeable nature of this gap and explores alternative relations between the two discourses, (...) such as mimetic ones, by reading Walter Benjamin's somewhat neglected fragments on barricades in his Arcades Project. Benjamin's concept of interruption – celebrated by contemporary theorists of resistance – alongside his non-teleological concept of revolution, provides the theoretical armature for this task. Thus, I use barricades, commonly conceived as the emblem of the revolutionary tradition, in order to reconsider the possibility of inheriting aspects of this tradition in times in which the predominant discourse is that of resistance. (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)

To claim that there is a politics to or expressed within media technology is of course by no means new, but it remains controversial and not always well understood. Walter Benjamin’s (1986b) essay from 1936 on the political import of media technology is often regarded as the starting point of such discussions, since it foregrounds a key theme in critical theory, namely the politics of perception. In what follows, I would like to review the importance of the politics of perception (...) by first outlining Benjamin’s political analysis of cinema and then engaging with a critique of Benjamin by recent American cognitivist philosophy. This will allow a consideration of the competing phenomenological cognitive science of embodied cognition that I argue offers a better account of the mind and cognition than cognitivism. As a result of this analysis of cognition, I conclude that the philosophy of embodied cognition supports Benjamin's political theory of media technology. (shrink)

This paper considers a key text in the field of Cultural Studies for its relevance to questions about the identity of knowledge in education. The concept of ‘aura’ arises as being of special significance in ‘The Work of Art in the Age of Mechanical Reproduction’ as a way of understanding the change that occurs to art when mass reproduction becomes both technologically possible and industrially realised. Aura seems to signify something of the symbolic halo generated by objects of special significance (...) that is both powerful and indefinite. This paper argues that aura is in fact the necessary property of symbolic representation—and that it attaches as much to the figure of Walter Benjamin as it does to any canonical work of art. But the paper also claims that Benjamin’s argument about the significance of popular forms of art—particularly photography and film—can be updated and applied to critical questions about the established order of knowledge in education. This is particularly relevant to those curriculum domains where specific objects—texts, for example—are invested with powerful auras. It may also be applicable to all forms of established knowledge and curricula. (shrink)

Recent work on trauma, especially in the field of Holocaust studies, has tackled the question of how the “generation after” relates, and relates to, the trauma of its immediate ancestors as it navigates between the poles of remembrance and appropriation. Other studies have shifted focus towards the effects of trauma upon narration, in part through critiquing the prevailing psycho-analytic model of trauma as an unrepresentable event that evades/forecloses language. Aeschylus’ Suppliants, with its chorus of fifty female Danaids who react to (...) their traumatic present by recourse to tales of the traumatic past of their ancestor Io and her son Epaphos, offers a productive stage for testing the applicability of these theoretical frames to the genre of ancient Greek tragedy. The Danaids’ turn to the past explores the agency of an ancestral trauma that reaches into their present, and in doing so highlights the unsteady inheritance of trauma both for those who relate and for those who witness these acts of testimony. The act of supplication itself is defined in part by physical contact between the suppliant and the supplicandus, yet this ritual emphasis on touch is amplified by the play’s consistent focus upon a series of real and hypothesized touches, from the traumatic to the salvific. Through this engagement with the haptic context of trauma and traumatic recall, Aeschylus’ play proposes an enlarged aetiology of touch—across cognitive, affective, and physical registers—for the ritual of supplication itself. (shrink)

Between 1910 and 1917, Walter Benjamin composed a range of philosophical works and fragmented texts all of which touch upon the concept of youth and its intersection with issues of modernity and theology, faith and political action, religion and secularization, God, and the world. Yet, while scholars have rather extensively discussed Benjamin’s early works on language, literature, and esthetics, less attention has been given to his work on youth. This paper focuses on Benjamin’s writings on youth from these early years. (...) Its aim is to demonstrate how these writings were intended as contributions to the composition of a comprehensive theory of youth, which itself was to combine philosophical discussion with theological imagination. More concretely, by using the example of Meister Eckhart, who is rarely discussed in connection to Benjamin’s thought, the paper shows how Benjamin draws on Christian mystical notions of time, transcendence, and divinity, albeit in a secularized and therefore transformed guise, and how Benjamin’s intellectual endeavor can hence be labeled a modern-mystical theory of youth. (shrink)

This paper considers a key text in the field of Cultural Studies for its relevance to questions about the identity of knowledge in education. The concept of ‘aura’ arises as being of special significance in ‘The Work of Art in the Age of Mechanical Reproduction’ as a way of understanding the change that occurs to art when mass reproduction becomes both technologically possible and industrially realised. Aura seems to signify something of the symbolic halo generated by objects of special significance (...) that is both powerful and indefinite. This paper argues that aura is in fact the necessary property of symbolic representation—and that it attaches as much to the figure of Walter Benjamin as it does to any canonical work of art. But the paper also claims that Benjamin’s argument about the significance of popular forms of art—particularly photography and film—can be updated and applied to critical questions about the established order of knowledge in education. This is particularly relevant to those curriculum domains where specific objects—texts, for example—are invested with powerful auras. It may also be applicable to all forms of established knowledge and curricula. (shrink)

This thesis wrestles with the normativity of language, its usage and its practices while questioning the signifié-signifiant reality. A structural reading of language designs its translational practices within the source-target framework, thereby essentialising its relationship en passant: everything has meaning as long as we accept the hidden framework of a universal language. Therefore, language outlined as a system of signs is a product of transcendental considerations and consequently it renders practice into a hermeticrealm in which the distinction between eidos and (...) eidolon, right and wrong, familiar and unfamiliar, grammar and gibberish makes perfect sense and in which the translation from A to B is simply a matter of transferring identities. Linguistic power neutralises through its transcendental conditioning ephemera in life and world. We will discover that a phenomenological reading of language is open to layers which questions the dialectic setting of linguistic knowledge production. Phenomenology proposes to study life-world relationships by reducing the power of dialectical denomination to the power of gazing or to the lenses of ambiguity. Theorising language and translational practices within the phenomenological realm follows the concept of being oriented towards body-life-world while laying bare the phenomenon language. This revealing method supersedes empirical considerations since phenomenological methodology questions permanently our very own positioning. Hence, the transfer from A to B will be challenged by possibilities which are temporary: it is about a transfer zone featuring A as A’ to B or A’ in B / C. However, the phenomenological possibility reveals that the price for ephemera is tamed by the condition of its possibilities: indeed, the aporia of linguistic identity in polyvalence requires not only phenomenological brackets but also a transcendental backup. Chapter I and II study the translational practice of language and phenomenology by explaining its analysis via dynamised transcendental conditions. The disillusion of the phenomenological inquiry will be yield by radicalising phenomenological reading of language towards a phenomenographical practice of language. Chapter III goes to the extremes in exposing a language without content. The introduction of the trickster figure Narcissistgrotesque Face will be the anti-metaphor in which the grotesque line up forces us to learn bearing A with B and in which the non-content materiality of linguistic practices resemble le bas matérialisme. Not explanation, understanding and rendering things plausible is the movens for language but it is all about the spur of its enactment, its style and its story telling that renders translational practice visible. Chapter III is a performative practice in which we turn the text into texture. Translation happens then when your are perplex and the translational void enacts you and me. (shrink)

Daniel Bensaïd was a leading figure of May ’68, a Marxist thinker and an influential French public intellectual. His theoretical and political trajectory is divided into two distinct periods separated by the historical turn of 1989: the fall of the Berlin Wall and the end of theussr. This also coincided with an existential turn due to his contractingaids, which brought him close to death. After this turn, he played the role of a ‘border-crosser’ between generations, intellectual currents and geopolitical areas (...) within the radical left. In the 1990s, he began a critical rereading of Marx and tried to transcend Trotskyism, confronting its legacy with other currents of critical thought, notably the Frankfurt School. Since this pivotal moment, his writings reveal a permanent and intense dialogue with the work of Walter Benjamin, which he reinterpreted in a contemporary, political perspective, rethinking the political dilemmas of the twenty-first century through a Messianic vision of history. This article emphasises the affinities between two historical constellations – 1939 and 1989 – which, in spite of their obvious differences, were equally shaped by a feeling of defeat, and allowed a fruitful ‘encounter’ between French and German philosophers. (shrink)

Este artículo plantea el problema de la multiplicación de comentarios en torno a la obra de Benjamin como una situación que ha de incidir en las metodologías de su interpretación. A través del tratamiento de dos términos precisos – teología y mesianismo – se argumenta la importancia de una crítica que tome en cuenta el contexto de recepción sociolingüístico del intérprete. Se busca así contribuir a generar metodologías que puedan abrir paso a tratamientos que propongan una recepción crítica renovada.

Daniel Bensaïd was a Marxist philosopher and author of an extensive body of works about political strategy. His writings combine a diversity of singular influences, such as Marx, Lenin, Trotsky and Che Guevara on the one hand, and Benjamin, Péguy and Blanqui on the other. In his work, religious heresies, Marranos, moles and emblematic figures of the resistance to oppression such as Joan of Arc meet with the classic figures of Marxism. The non-linear concept of time and messianic reason support (...) a strategic reading of history and an understanding of political commitment, following Goldmann’s interpretation of Pascal’s Wager as a wager of uncertain outcome. (shrink)

El presente trabajo analiza el papel de la noción de muerte en la estética temprana de Walter Benjamin, en relación tanto con su concepción de la obra de arte como con su caracterización de la actividad de la crítica. Mostramos que el tratamiento de la muerte en El origen del drama barroco alemán –frecuentemente indicada por la bibliografía especializada– puede ser comprendido como una prolongación del desarrollo sobre “lo carente de expresión”, presente en Las afinidades electivas de Goethe. Analizamos esta (...) categoría en tanto interrupción del movimiento vital de la obra, y discutimos la interpretación de Winfried Menninghaus que la inserta en la tradición de lo sublime. Mostramos los vínculos entre esta noción y la concepción de la obra como ruina, así como con el rescate de la alegoría y la teoría de la crítica de arte como mortificación de las obras. Finalmente indicamos derivas de estas tesis tempranas en los escritos de la década del 30’. (shrink)

This paper explores the possible rapprochement between Marxism and argumentation attempted in Proletarian Elocution, a 1930 Japanese publication. Against a Western Marxist commonplace that “[a]s far as rhetoric is concerned,… a Marxist must be in a certain sense a Platonist”, the paper discusses how this work seeks to takes advantage of the inquiry and advocacy dimensions of argumentation for the Marxian strategy of “agitprop” and rearticulate it as part of civic virtues.