The articles brought together in this double-length section of the Annual Review of Theory, Culture & Society focus on two intertwined strands of the thought of Georg Simmel, both of them neglected until recent years. A first bears on what might be called Simmel’s metaphysics of the social, or what he himself once called ‘sociological metaphysics’. A second strand centres on the renewed contemporary relevance of Simmel’s ideas about money economies and their relation to precarious individual life-situations in an age (...) of global economic turbulence. Current sensibilities in the wake of global economic crisis and the demise of some of the more euphoric sociologies of globalization of the last two decades provide a timely setting for a reappraisal of Simmel’s thinking. With the completion in 2012 of the Suhrkamp edition of Simmel’s collected works, Simmel’s themes need to be explored more deeply, including particularly his thinking about lived experience, transcendence, death, fragmentary worlds of value, and allegorical representation. This issue of the journal showcases some of the latest scholarly work and foregrounds several pivotal primary pieces unavailable in English until now. (shrink)

Originally published in the avant-garde Jugendstil (art nouveau) journal Jugend (Youth) between 1901 and 1902, this selection of six of Simmel’s short experimental pieces illustrates themes of this special section while also showing him playing with unconventional genres of philosophical and sociological writing. The comical sketch ‘Beyond Beauty’ anticipates issues Simmel treats more systematically in his essays on the philosophy of art; the poem ‘Only a Bridge’ is concerned with themes of social separation and psychic connection discussed in his sociological (...) treatises; and four pieces collectively titled ‘Snapshots sub specie aeternitatis’ present stories or anecdotes in the form of satirical commentaries: ‘“Money Alone Doesn’t Bring Happiness”’, a conversation about the psychology of money; ‘The Maker of Lies’ and ‘Relativity’, two Faustian fables on the power of truth and knowledge; and ‘La Duse’, a lyrical appreciation of the famous Italian actress reflecting on how the soul’s movements are expressed through bodily gestures. As in Simmel’s later writings, these allegorical fragments attempt to recover ideal or even absolute values from the fleeting forms and fugitive experiences of modern life. (shrink)