Results for 'Walter Benjamin'

477 found
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  1.  18
    Walter Benjamin y la encrucijada axiológica de la reproductibilidad técnica del arte.José Ramón Fabelo Corzo - 2013 - In María Cristina Espinosa Ríos (ed.), Sentidos y sensibilidades contemporaneas. Puebla, Pue., México: pp. 211-236.
    La obra de arte en la época de su reproductibilidad técnica es, sin dudas, la más emblemática aportación de Walter Benjamin a la estética y la teoría del arte. Un aspecto problemático que aflora en su lectura es el del impacto axiológico que el teórico marxista judío-alemán le atribuía a la nueva época. Es significativo el hecho de que, mientras para unos, este texto alberga una crítica negativa a la reproductibilidad técnica y una mirada nostálgica al pasado, para (...)
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  2.  64
    Walter Benjamin's Critique of the Category of Aesthetic Form: 'The Work of Art in the Age of its Technological Reproducibility' From the Perspective of Benjamin's Early Writing.Alison Ross - 2015 - In Nathan Ross (ed.), The Aesthetic Ground of Critical Theory : New Readings of Benjamin and Adorno. London: Roman and Littlefield. pp. 83-97.
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  3.  66
    What is Reality? Walter Benjamin, Roland Barthes, Jacques Derrida, Judith Butler, and the Artist Karin Kneffel on the Deconstruction of the Familiar as Liberation From Determination.Martina Sauer - 2020 - Art Style, Art and Culture International Magazine, Special Issue_6, On the Postmodern Age, Ed. By Martina Sauer 6 (6):101-120.
    What is reality? It is postmodern or poststructuralist philosophers like Roland Barthes, who realized that it only seems that the media present reality in the form of facts, because they actually spread myths. Accordingly, Jacques Derrida made it clear that communication via media is not based on logic, but is characterized by a significant “différance” between a “marque” (trace) of the past and the expectations of the future. Both agreed, that the initial misunderstanding of the concept of reality must be (...)
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  4. Revolution and History in Walter Benjamin: A Conceptual Analysis.Alison F. Ross - 2019 - New York, NY, USA: Routledge.
    This book places Benjamin’s writing on revolution in the context of his conception of historical knowledge. The fundamental problem that faces any analysis of Benjamin’s approach to revolution is that he deploys notions that belong to the domain of individual experience. His theory of modernity with its emphasis on the disintegration of collective experience further aggravates the problem. Benjamin himself understood the problem of revolution to be primarily that of the conceptualization of collective experience (its possibility and (...)
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  5.  40
    Lecture Comparée: Walter Benjamin- Carl Schmitt.Cansu Kandara - manuscript
    Abstract This essay will take a look at the notion of state of exception, ausnahmezustand in german original version, comparing Walter Benjamin’s and Carl Schmitt’s two main books which are Critique of violence and political theology that were written such as a polemic one another. We will also take into consideration an alternative violence form such as a pure violence defined by Benjamin that could be revolutionary to change this schmittian state of exception.
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  6. Carl Schmitt e Walter Benjamin.Saul Kirschbaum - 2002 - Cadernos de Filosofia Alemã 8:61-84.
    There is a particular ressonance between the thinking of Walter Benjamin and that of the German jurist Carl Schmitt, including the fact that both analyse the 16th and 17th centuries in order to understand the 20th. Regarding this fact, the article attempts to clarify some themes that lead Schmitt’s work, i.e that of State of Exception, that of theologization of politics, the critique of parliamentarism as support of the Modern State, the tension between democracy and dictatorship, to explain (...)
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  7.  61
    Review of Illuminations by Walter Benjamin[REVIEW]Subhasis Chattopadhyay - 2019 - Prabuddha Bharata or Awakened India 124 (7):576 & 582.
    This review highlights how fascism and populism qua, popular culture feeds each other. Hannah Arendt's introduction too is commented upon.
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  8. Each Thing a Thief: Walter Benjamin on the Agency of Objects.Julia Ng - 2011 - Philosophy and Rhetoric 44 (4):382-402.
    "I have a tree, which grows here in my close, / That mine own use invites me to cut down, / And shortly I must fell it" (Shakespeare 2001, 168)—Timon's lament, which in Shakespeare's rendition occurs shortly before its utterer's demise "upon the beached verge of the salt flood" (2001, 168) beyond the perimeter of Athens, is an indictment of the nature that Timon finds unable to escape. Having given away his wealth in misguided generosity to a host of parasitic (...)
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  9. The Problem of the Image: Sacred and Profane Spaces in Walter Benjamin’s Early Writing.Alison Ross - 2013 - Critical Horizons 14 (3):355-379.
    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 (...)
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  10. Gender Myth and the Mind-City Composite: From Plato’s Atlantis to Walter Benjamin’s Philosophical Urbanism.Abraham Akkerman - 2012 - GeoJournal (in Press; Online Version Published) 78.
    In the early twentieth century Walter Benjamin introduced the idea of epochal and ongoing progression in interaction between mind and the built environment. Since early antiquity, the present study suggests, Benjamin’s notion has been manifest in metaphors of gender in city-form, whereby edifices and urban voids have represented masculinity and femininity, respectively. At the onset of interaction between mind and the built environment are prehistoric myths related to the human body and to the sky. During antiquity gender (...)
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  11.  94
    La estructura mística de la crítica al concepto de progreso en la filosofía de Walter Benjamin.Facundo Bey - 2019 - Revista SAAP 13 (2):421-435.
    El objetivo general de este artículo es interrogar el lugar de la crítica a la idea de progreso en la filosofía de Walter Benjamin, argumentando que las raíces de su pensamiento político podrían encontrarse en el misticismo cabalista. La intención principal es determinar, siguiendo a Benjamin, algunas de las principales características de la creencia en el progreso como problema y su relación con una determinada normatividad histórica. Este recorrido permitirá elucidar la relación que, según el autor, mantendría (...)
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  12.  14
    A Matter of Immediacy: The Artwork and the Political in Walter Benjamin and Martin Heidegger.Dimitris Vardoulakis - 2015 - In Andrew Benjamin & Dimitris Vardoulakis (eds.), Sparks will Fly: Benjamin and Heidegger. Albany, NY, USA: pp. 237-257.
    Vardoulakis examines the connection between the political and aesthetic commitments of the philosophies of Martin Heidegger and Walter Benjamin. He compares "The Origin of the Work of Art" to "The Work of Art in the Age of Technological Reproducibility.".
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  13.  38
    Breaking Down the Neurotic-Psychotic Artifice: The Subversive Function of Myth in Goethe, Nietzsche, Rilke and Walter Benjamin.Neale Powell Lundgren - 1988 - Dissertation, Emory University
    This dissertation re-examines the principal philosophical thrusts of the German Enlightenment period, from the perspective of their totalizing-mythological function, and investigates how this function is criticized by the non-totalizing function of myth found within the primary mythical images in the work of Goethe, Nietzsche, Rilke, and Walter Benjamin. ;Utilizing the revolutionary book by Hans Blumenberg on the function of myth in German Idealism and Romanticism, I instigate a discourse between Blumenberg's totalizing work on myth and the negative-dialectical work (...)
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  14.  23
    Sparks Will Fly: Benjamin and Heidegger.Andrew Benjamin & Dimitris Vardoulakis (eds.) - 2015 - State University of New York Press.
    Collected essays consider points of affinity and friction between Walter Benjamin and Martin Heidegger. Despite being contemporaries, Walter Benjamin and Martin Heidegger never directly engaged with one another. Yet, Hannah Arendt, who knew both men, pointed out common ground between the two. Both were concerned with the destruction of metaphysics, the development of a new way of reading and understanding literature and art, and the formulation of radical theories about time and history. On the other hand, (...)
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  15. Laws, Exceptions, Norms: Kierkegaard, Schmitt, and Benjamin on the Exception.Rebecca Gould - 2013 - Télos 2013 (162):77-96.
    The concept of the exception has heavily shaped modern political theory. In modernity, Kierkegaard was one of the first philosophers to propound the exception as a facilitator of metaphysical transcendence. Merging Kierkegaard’s metaphysical exception with early modern political theorist Jean Bodin’s theory of sovereignty, Carl Schmitt introduced sovereignty to metaphysics. He thereby made an early modern concept usable in a post-metaphysical world. This essay carries Schmitt’s appropriation one step further. Drawing on Walter Benjamin’s replacement of transcendental metaphysics with (...)
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  16. The Confusion of Marxian and Freudian Fetishism in Adorno and Benjamin.Donovan Mioyasaki - 2002 - Philosophy Today 46 (4):429-43.
    Both Theodor Adorno and Walter Benjamin borrow from Freudian theory in their analyses of fetishism’s relation to the contemporary reception of cultural products. I will argue that both authors have confused the Marxian and Freudian theories of fetishism, resulting in mistaken conclusions about artistic reception. By disentangling the Marxian and Freudian elements in both authors’ positions, I want to show that 1) Adorno’s characterization of regressive listening implies, contrary to his intentions, that the current reception of artwork is (...)
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  17.  38
    The Saving Line: Benjamin, Adorno, and the Caesuras of Hope.Marton Dornbach - 2020 - Evanston, IL, USA: Northwestern University Press.
    In attempting to determine why the Enlightenment project had derailed and how this failure might be remedied, Walter Benjamin and Theodor Adorno both turned to canonical literary narratives. The resultant works, Benjamin’s major essay on Goethe’s Elective Affinities and Adorno’s meditation on the Odyssey in Dialectic of Enlightenment, are centrally concerned with the very act of narration. The Saving Line reconstructs a hitherto unnoticed, wide-ranging dialogue between these foundational texts of the Frankfurt School. At the heart of (...)
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  18. Zwischen emanzipatorischem Appell und melancholischem Verstummen Walter Benjamins Jugendschriften.Johannes Steizinger - 2011 - Benjamin-Studien 2:225–238.
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  19. Acts of Time: Cohen and Benjamin on Mathematics and History.Julia Ng - 2017 - Paradigmi. Rivista di Critica Filosofica 2017 (1):41-60.
    This paper argues that the principle of continuity that underlies Benjamin’s understanding of what makes the reality of a thing thinkable, which in the Kantian context implies a process of “filling time” with an anticipatory structure oriented to the subject, is of a different order than that of infinitesimal calculus—and that a “discontinuity” constitutive of the continuity of experience and (merely) counterposed to the image of actuality as an infinite gradation of ultimately thetic acts cannot be the principle on (...)
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  20. Revolte, Eros Und Sprache. Walter Benjamins Metaphysik der Jugend.Johannes Steizinger - 2013 - Berlin, Germany: Kulturverlag Kadmos.
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  21. The Confusion of Marxian and Freudian Fetishism in Adorno and Benjamin.Donovan Mioyasaki - 2002 - Philosophy Today 46 (4):429-443.
    Both Theodor Adorno and Walter Benjamin borrow from Freudian theory in their analyses of fetishism’s relation to the contemporary reception of cultural prod- ucts. I will argue that both authors have con- fused the Marxian and Freudian theories of fetishism, resulting in mistaken conclusions about artistic reception. By disentangling the Marxian and Freudian elements in both authors’ positions, I want to show that 1) Adorno’s characterization of regressive lis- tening implies, contrary to his intentions, that the current reception (...)
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  22. Kant's Theory of Experience at the End of the War: Scholem and Benjamin Read Cohen.Julia Ng - 2012 - Modern Language Notes 127 (3):462-484.
    At the end of one side of a manuscript entitled “On Kant” and housedin the Scholem Archive in Jerusalem, one reads the following pro-nouncement: “it is impossible to understand Kant today.” 1 Whatever it might mean to “understand” Kant, or indeed, whatever “Kant” is heremeant to be understood, it is certain, according to the manuscript,that such understanding cannot come about by way of purporting tohave returned to or spoken in the name of “Kant.” For “[t]oday,” sothe document begins, “there are (...)
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  23.  79
    Material und Begriff. Arbeitsverfahren und theoretische Beziehungen Walter Benjamins.Frank Voigt, Nicos Tzanakis Papadakis, Jan Loheit & Konstantin Baehrens - 2019 - Hamburg, Deutschland: Argument.
    Die Rezeption von Walter Benjamins Arbeiten ist von einer Paradoxie durchzogen: Obwohl Konsens darüber besteht, dass er seine Begriffe in ›enger Fühlung‹ mit dem jeweiligen Material entwickelt, werden seine Schriften häufig ohne ein eigenständiges Studium seiner Quellen gelesen, losgelöst vom jeweiligen Problem- und Debattenzusammenhang. Das verstärkt den Eindruck einer Esoterik seiner Texte und kann zu der Annahme verleiten, Benjamin entnehme Motive willkürlich aus seinem Material- und Quellenstudium und nutze sie als Vehikel eines an sich schwer in eine Tradition (...)
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  24. Thoughts on Film: Critically Engaging with Both Adorno and Benjamin.Laura D'Olimpio - 2016 - Educational Philosophy and Theory 48 (6):622-637.
    There is a traditional debate in analytic aesthetics that surrounds the classification of film as Art. While much philosophy devoted to considering film has now moved beyond this debate and accepts film as a mass art, a sub-category of Art proper, it is worth re-considering the criticism of film pre-Deleuze. Much of the criticism of film as pseudo-art is expressed in moral terms. T. W. Adorno, for example, critiques film as ‘mass-cult’; mass produced culture which presents a ‘flattened’ version of (...)
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  25.  55
    Políticas de la subjetividad urbana. Baudelaire Y Benjamin.Juan José Gómez Gutiérrez - 2018 - Alpha (Osorno) 46:277-286.
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  26.  45
    The Ambiguity of Ambiguity in Benjamin's 'Critique of Violence'.Alison Ross - 2015 - In Brendan Moran & Carlo Salzani (eds.), Towards the Critique of Violence: Walter Benjamin and Giorgio Agamben. London, UK: Bloomsbury Academic. pp. 39-56.
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  27.  83
    Elementi per una teoria critica delle regressioni.Marco Solinas - 2014 - Società Degli Individui 17 (51):141-152.
    The essay aims to offer a critical theory of psychosocial processes of regressive and depressive type. The Author starts by discussing the determining influence attributed to social suffering in the framework of the moral grammar of social struggle outlined by Axel Honneth, then he offers an analysis of the regressive reactions activate by disrespect experiences. The Author discusses some important points of Walter Benjamin’s philosophy of history, in particularly Benjamin’s critique of traditional concept of progress, and the (...)
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  28. The Generic Unmasked: Reproducibility and Profanation.Ekin Erkan - 2019 - Triple Ampersand 8:5.
    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 (...)
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  29.  31
    La encrucijada axiológica de la reproductibilidad técnica del arte.José Ramón Fabelo Corzo - 2019 - In José Ramón Fabelo Corzo & Mayra Sánchez Medina (eds.), Coordenadas epistemológicas para una estética en construcción. Puebla, Pue., México: pp. 227-244.
    La obra de arte en la época de su reproductibilidad técnica es, sin dudas, la más emblemática aportación de Walter Benjamin a la estética y la teoría del arte. Un aspecto problemático que aflora en su lectura es el del impacto axiológico que el teórico marxista judío-alemán le atribuía a la nueva época. Es significativo el hecho de que, mientras para unos, este texto alberga una crítica negativa a la reproductibilidad técnica y una mirada nostálgica al pasado, para (...)
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  30. On Breaking Up Time, or, Perennialism as Philosophy of History.Bennett Gilbert - 2016 - Joirnal of the Philosophy of History 12 (1):5-26.
    Current and recent philosophy of history contemplates a deep change in fundamental notions of the presence of the past. This is called breaking up time. The chief value for this change is enhancing the moral reach of historical research and writing. However, the materialist view of reality that most historians hold cannot support this approach. The origin of the notion in the thought of Walter Benjamin is suggested. I propose a neo-idealist approach called perennialism, centered on recurrent moral (...)
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  31.  62
    Digital Art and Their Uniqueness Without Aura.Ahmad Ibrahim Badry & Akhyar Yusuf Lubis - 2018 - In Melani Budianta, Manneke Budiman, Abidin Kusno & Mikihiro Moriyama (eds.), Cultural Dynamics in Globalized World. London, UK: Routledge. pp. 89-95.
    Modern technology plays an important role in our daily lives. Many people use technology for their works, interactions, and special interests such as art. Art as a discipline, which expresses human emotion and creative side, takes a new form for its contextualization with the help of information technology. A neologism for this discipline is “digital art.” Some experts who employ a traditional value in their aesthetical perspective consider this new approach unlikely. Walter Benjamin, an eminent figure from this (...)
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  32.  49
    Historical Citation and Revolutionary Epistemology.Alison Ross - 2015 - Journal of the Philosophy of History 9 (2):258-283.
    This article defends the thesis that there are multiple points of exchange between the categories of “word” and “image” in Walter Benjamin’s Arcades Project. Benjamin describes the truth of the articulate wish of the past as “graphically perceptible” and the image as “readable.” In this respect the vocabulary of “word” and “image” that Benjamin’s early work had opposed are not just deployed in concert, but specific features of the vocabulary of “word” and “image” become exchangeable. The (...)
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  33.  40
    Elementi per una teoria critica delle regressioni.Marco Solinas - 2014 - Società Degli Individui 17 (3):141-151.
    The essay aims to offer a critical theory of psychosocial processes of regressive and depressive type. The Author starts by discussing the determining influence attributed to social suffering in the framework of the moral grammar of social struggle outlined by Axel Honneth, then he offers an analysis of the regressive reactions activate by disrespect experiences. The Author discusses some important points of Walter Benjamin’s philosophy of history, in particularly Benjamin’s critique of traditional concept of progress, and the (...)
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  34.  69
    La cultura del blues en la época de su reproductibilidad técnica. El caso de Junior Kimbrough y Robert Palmer.Mario Edmundo Chávez Tortolero - 2018 - In Historia del arte y estética, nudos y tramas: XXXIX Coloquio Internacional de Historia del Arte del Instituto de Investigaciones Estéticas de la UNAM.
    En este texto se ofrece una interpretación del blues a la luz de la teoría del arte de Walter Benjamin y la teoría de la cultura de Bolívar Echeverría. El texto hace consideraciones sobre el blues, la música, la cultura y la reproducción social en general, a partir de lo cual se realiza un estudio de caso sobre la relación entre Junior Kimbrough y Robert Palmer y se sacan conclusiones respecto a la cultura del blues como fenómeno social.
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  35.  79
    Adorno's Arcades Orthodoxy.Luis A. Recoder - 2019 - Berlin Journal of Critical Theory 3 (2):49-60.
    Theodor W. Adorno’s letter correspondence with Walter Benjamin throughout the decade of the 1930’s entertains the central question concerning the possibility of philosophy in their intellectual milieu. The fate of this possibility for Adorno hinges on Benjamin’s work-in-progress Das Passagen-Werk—a fate that is catastrophically blocked by an uncritical tendency convicted repeatedly by the former as “undialectical.” And yet Adorno obstinately persists in clinging to the canon of a philosophically overdetermined demand he endearingly calls “my Arcades orthodoxy.” The (...)
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  36. "I Watched Jane Die:" Theorizing Breaking Bad's Aesthetic of Brutality.Ian K. Jensen - 2016 - In Breaking Down "Breaking Bad:" Critical Perspectives. Albuquerque: University of New Mexico Press. pp. 111-138.
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  37. Inimitability Versus Translatability: The Structure of Literary Meaning in Arabo-Persian Poetics.Rebecca Gould - 2013 - The Translator 19 (1):81-104.
    Building on the multivalent meanings of the Arabo- Persian tarjama (‘to interpret’, ‘to translate’, ‘to narrate’), this essay argues for the relevance of Qur’ānic inimitability (i'jāz) to contemporary translation theory. I examine how the translation of Arabic rhetorical theory ('ilm al-balāgha) into Persian inaugurated new trends within the study of literary meaning. Finally, I show how Islamic aesthetics conceptualizes the translatability of literary texts along lines kindred to Walter Benjamin. -/- .
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  38.  64
    On Debord's Square of Modernity.Eurico Carvalho - 2017 - Aufklärung 4 (2):121-139.
    In this paper, I will focus on the nature of the modernity from the perspective of a «logical» square. On the basis of its vectorial orientation, I will show the value of Guy Debord’s work, according to which, undeniably, there is a need to articulate two core issues of our time: «How does a multitude turn into a class?» (Benjamin’s question) and «How does the individual become a subject?» (Althusser’s question). It is precisely the nexus between these questions that (...)
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  39. Life as Show Time: Aesthetic Images and Ideological Spectacles.Eugene Arva - 2003 - Film and Philosophy 7:110-125.
    On September 11, 2001, many of us experienced life as what it is not: we lived an extreme instance of the spectacle, of the sublime outside the realm of ethics. Starting with a few compelling questions that the media representations of the attack on the New York World Trade Center inevitably raise, this paper explores a series of similarities, continuums, and extrapolations of the aesthetic in different types of discourse from Friedrich Schiller to Guy Debord. My assessment of the individual‘s (...)
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  40. Review of Giorgio Agamben Mystery of Evil.Eric D. Meyer - 2017 - Dissertation,
    A review of Giorgio Agamben's The Mystery of Evil: Bendict XVI and the End of Days, which attempts to place Agamben's peculiar argument regarding Pope Benedict's abdication in the context of his reading of St. Paul's 2 Thessalonians 2:1-12, and, more generally, in terms of his political-theology in the Homo Sacer series. The questions, 'Who is the Antichrist?' and 'Who (or what) is the katechon?' are also explored, in the attempt to translate Agamben's obscure theology into contemporary political terms.
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  41.  74
    The Taste to Come: The Lick of Faith.Virgil W. Brower - 2007 - Postscripts 3 (2-3):238-262.
    This article exploits a core defect in the phenomenology of sensation and self. Although phenomenology has made great strides in redeeming the body from cognitive solipisisms that often follow short-sighted readings of Descartes and Kant, it has not grappled with the specific kind of self-reflexivity that emerges in the sense of taste with the thoroughness it deserves. This path is illuminated by the works of Martin Luther, Jean-Luc Marion, and Jacques Derrida as they attempt to think through the specific phenomena (...)
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  42.  52
    CPHL504 Philosophy of Art I Photocopy Packet (Edited by V.I. Burke).Victoria I. Burke (ed.) - 2014 - Toronto, anada: Ryerson University.
    This collection of writings on aesthetics includes selections from Theodor Adorno, Walter Benjamin, Mikhail Bakhtin, Sigmund Freud, Martin Heidegger, Amy Mullin, Friedrich Nietzsche, and Frederich Wilhelm Joseph von Schelling. This collection may still be available as a print-on-demand title at the Ryerson University bookstore.
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  43.  53
    PHIL*4230 Photocopy Packet Privacy (Edited by V. I. Burke).Victoria I. Burke - 2014 - Guelph, Canada: University of Guelph.
    This out-of-print collection in the area of the history, politics, ethics, and theory of privacy includes selections from Peter Gay, Alan Westin, Walter Benjamin, Catharine MacKinnon, Seyla Benhabib, Anita Allen, Ann Jennings, Charles Taylor, Richard Sennett, Mark Wicclair, Martha Nussbaum, and Robert Nozick.
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  44. Jacques Derrida y los fantasmas del cinematógrafo.Antonio Tudela-Sancho - 2003 - Revista de Filosofía (Madrid) 45 (3):137-166.
    Leyendo algunos textos «marginales» de Jacques Derrida, especialmente en sus últimos trabajos, desde la perspectiva de las relaciones entre la experiencia biográfica y los intereses filosóficos, este ensayo trata, por un lado, de las reflexiones del filósofo acerca del cine como un desarrollo de la tradición contemporánea fundada muy particularmente por Walter Benjamin y Hugo von Hofmannsthal; y por otro, el artículo se centra en el «fantasma» o «espectro»: un concepto básico a la par que clásico tanto del (...)
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  45. Langeweile. Auf der Suche Nach Einem Unzeitgemäßen Gefühl. Ein Lesebuch.Gregor Schiemann & Renate Breuninger (eds.) - 2015 - Campus Verlag.
    Langeweile wird in dieser Anthologie als Signatur der Moderne lesbar: Sie durchdringt die gegenwärtige Kultur, wird aber nach wie vor weggeschoben, ja tabuisiert. Der Band bietet eine Textauswahl von klassischen Denkern sowie von Autorinnen und Autoren des modernen Diskurses bis heute und stellt den Zusammenhang mit verwandten Phänomenen der Sinnleere und Erschöpfung her. Als zunehmendes Massenphänomen in saturierten Gesellschaften entwickelt die Langeweile eine pathologische Dynamik, wenn ihr nicht ein eigener Raum gelassen wird. Ein Plädoyer für die Anerkennung dieses unvermeidlichen Gefühls. (...)
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  46. Urban Surveillance: The Hidden Costs of Disneyland.Timothy Stanley - 2006 - International Journal of the Humanities 3 (8):117-24.
    Urban centers are being transformed into consumer tourist playgrounds made possible by dense networks of surveillance. The safety and entertainment however, come at an unseen price. One of the historical roots of surveillance can be connected to the modern information base of tracking individuals for economic and political reasons. Though its antecedents can be traced via Foucault's account of panoptic discipline which walled in society's outcasts for rehabilitation, the following essay explores the shift to the urban panopticism of today where (...)
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  47.  18
    Solon’s Ekstatic Strategy: Stasis and the Subject/ Citizen.Dimitris Vardoulakis - 2017 - Cultural Critique 96:71-100.
    The articles considers how the "death of the subject" influences ways in which we understand the aestheticization of the political." It explores how Walter Benjamin's "The Work of Art in the Age of Technological Reproducibility" can contribute to a conception of the political implications of thinking the subject. It also turns to Solon's conception of subjectivity as a way of mediating the current discussion on the subject.
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  48. Universality and Historicity: On the Sources of Religion.Owen Ware - 2006 - Research in Phenomenology 36 (1):238-254.
    One of the central questions of Jacques Derrida's later writings concerns the sources of religion. At times he gives explicit priority to the universal dimension of religion. In other places, however, he considers the primacy of faith in its concrete, historical context. This paper will clarify Derrida's relationship to universality and historicity by first comparing his notion of "messianicity without messianism" to that of Walter Benjamin's "weak Messianism." After drawing out these differences, I will focus on Derrida's later (...)
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  49.  56
    Einbahnstraße: la filosofía como obra de arte.Alejandro Emilio Wills - 2012 - Logos: Revista de la Facultad de Filosofia y Humanidades 22:123-147.
    The literary genesis of Einbahnstraße by Walter Benjamin represents a very special case of the use of the procedures of surrealism in the philosophical-literary production of the author. The process of evolution of thinking that ended up in the writing of this piece is unveiled throughout the present analysis. This is a sign of both waiver and restart; the opening for a new productive dimension in the career of one of the most important —and misunderstood— philosophers of the (...)
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  50.  13
    Jerarquización castrense en el Colegio Militar Leoncio Prado de La ciudad y los perros (1963).Jesús Miguel Delgado Del Aguila - 2020 - Anuario de Estudios Filológicos 43 (43):157-178.
    Esta obra literaria de Mario Vargas Llosa plasma una configuración asimétrica en sus personajes. Esta es distintiva de la condición moderna que justifica su inestabilidad ontológica, tal como lo constata Milagros Ezquerro. A su vez, se comprende por el contexto en el que se desarrolla: etapa dictatorial que se atraviesa en el Perú y Latinoamericana en la segunda mitad del siglo XX. Retomando esta premisa, este artículo tendrá como objetivo fundamentar cuáles son los enclaves que delimitan y convergen la constitución (...)
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