Taking a cue from his subject, Missac adopts a form of indirect critique in which independent details examined seemingly in passing emerge over the course of the book as parts of larger patterns of understanding.
Benjamin's Passages: Dreaming, Awakening is focused on central issues of Benjamin's later work: the interplay of aesthetics and politics; the conception of language; the fading of aura and its relation to image; citation in The Arcades Project; the status of messianism; the motifs of memory, the crowd, and awakening.
Focusing on the arcades of 19th-century Paris--glass-roofed rows of shops that were early centers of consumerism--Benjamin presents a montage of quotations from, and reflections on, hundreds of published sources. 46 illustrations.
In September 1940, Walter Benjamin committed suicide in Port Bou on the Spanish-French border when it appeared that he and his travelling partners would be denied passage into Spain in their attempt to escape the Nazis. In 2002, one of anthropology’s—and indeed today’s—most distinctive writers, Michael Taussig, visited Benjamin’s grave in Port Bou. The result is “Walter Benjamin’s Grave,” a moving essay about the cemetery, eyewitness accounts of Benjamin’s border travails, and the circumstances of his demise. It is the most recent of eight revelatory essays collected in this volume of the same name. “Looking over these essays written over the past decade,” writes Taussig, “I think what they share is a love of muted and defective storytelling as a form of analysis. Strange love indeed; love of the wound, love of the last gasp.” Although thematically these essays run the gamut—covering the monument and graveyard at Port Bou, discussions of peasant poetry in Colombia, a pact with the devil, the peculiarities of a shaman’s body, transgression, the disappearance of the sea, New York City cops, and the relationship between flowers and violence—each shares Taussig’s highly individual brand of storytelling, one that depends on a deep appreciation of objects and things as a way to retrieve even deeper philosophical and anthropological meanings. Whether he finds himself in Australia, Colombia, Manhattan, or Spain, in the midst of a book or a beach, whether talking to friends or staring at a monument, Taussig makes clear through these marvelous essays that materialist knowledge offers a crucial alternative to the increasingly abstract, globalized, homogenized, and digitized world we inhabit. Pursuing an adventure that is part ethnography, part autobiography, and part cultural criticism refracted through the object that is Walter Benjamin’s grave, Taussig, with this collection, provides his own literary memorial to the twentieth century’s greatest cultural critic.
A proposal for an interdisciplinary, context-sensitive framework for assessing the strength of scientific arguments that melds Jürgen Habermas's discourse theory and sociological contextualism. Recent years have seen a series of intense, increasingly acrimonious debates over the status and legitimacy of the natural sciences. These “science wars” take place in the public arena—with current battles over evolution and global warming—and in academia, where assumptions about scientific objectivity have been called into question. Given these hostilities, what makes a scientific claim merit our consideration? In Cogent Science in Context, William Rehg examines what makes scientific arguments cogent—that is, strong and convincing—and how we should assess that cogency. Drawing on the tools of argumentation theory, Rehg proposes a multidimensional, context-sensitive framework both for understanding the cogency of scientific arguments and for conducting cooperative interdisciplinary assessments of the cogency of actual scientific arguments. Rehg closely examines Jürgen Habermas's argumentation theory and its implications for understanding cogency, applying it to a case from high-energy physics. A series of problems, however, beset Habermas's approach. In response, Rehg outlines his own “critical contextualist” approach, which uses argumentation-theory categories in a new and more context-sensitive way inspired by ethnography of science.
This book analyzes the development of Walter Benjamin's concept of experience in his early writings showing that it emerges from an engagement with visual experience, and in particular the experience of colour. It represents Benjamin as primarily a thinker of the visual field.
An innovative conception of democracy for an era of globalization and delegation of authority beyond the nation-state: rule by peoples across borders rather than by "the people" within a fixed jurisdiction. Today democracy is both exalted as the "best means to realize human rights" and seen as weakened because of globalization and delegation of authority beyond the nation-state. In this provocative book, James Bohman argues that democracies face a period of renewal and transformation and that democracy itself needs redefinition according to a new transnational ideal. Democracy, he writes, should be rethought in the plural; it should no longer be understood as rule by the people (dêmos), singular, with a specific territorial identification and connotation, but as rule by peoples (dêmoi), across national boundaries. Bohman shows that this new conception of transnational democracy requires reexamination of such fundamental ideas as the people, the public, citizenship, human rights, and federalism, and he argues that it offers a feasible approach to realizing democracy in a globalized world. In his account, Bohman establishes the conceptual foundations of transnational democracy by examining in detail current theories of democracy beyond the nation-state (including those proposed by Rawls, Habermas, Held, and Dryzek) and offers a deliberative alternative. He considers the importance of communicative freedom in the transnational public sphere (including networked communication over the Internet), human rights as the normative basis of transnational democracy, and the European Union as a transnational polity. Finally, he examines the relationship between peace and democracy, concluding that peace requires democratization on interacting state and suprastate levels.
Walter Benjamin's magnum opus was a book he did not live to write. In The Dialectics of Seeing, Susan Buck-Morss offers an inventive reconstruction of the Passagen Werk, or Arcades Project, as it might have taken form. Working with Benjamin's vast files of citations and commentary which contain a myriad of historical details from the dawn of consumer culture, Buck-Morss makes visible the conceptual structure that gives these fragments philosophical coherence. She uses images throughout the book to demonstrate that Benjamin took the debris of mass culture seriously as the source of philosophical truth. The Paris Arcades that so fascinated Benjamin (as they did the Surrealists whose "materialist metaphysics" he admired) were the prototype, the 19th century "ur-form" of the modern shopping mall. Benjamin's dialectics of seeing demonstrate how to read these consumer dream houses and so many other material objects of the time—from air balloons to women's fashions, from Baudelaire's poetry to Grandville's cartoons—as anticipations of social utopia and, simultaneously, as clues for a radical political critique. Buck-Morss plots Benjamin's intellectual orientation on axes running east and west, north and south—Moscow Paris, Berlin-Naples—and shows how such thinking in coordinates can explain his understanding of "dialectics at a standstill." She argues for the continuing relevance of Benjamin's insights but then allows a set of "afterimages" to have the last word.
This illuminating study of Benjamin’s final essay helps unlock the mystery of this great philosopher Revolutionary critic of the philosophy of progress, nostalgic of the past yet dreaming of the future, romantic partisan of materialism—Walter Benjamin is in every sense of the word an “unclassifiable” philosopher. His essay “On the Concept of History” was written in a state of urgency, as he attempted to escape the Gestapo in 1940, before finally committing suicide. In this scrupulous, clear and fascinating examination of this essay, Michael Löwy argues that it remains one of the most important philosophical and political writings of the twentieth century. Looking in detail at Benjamin’s celebrated but often mysterious text, and restoring the philosophical, theological and political context, Löwy highlights the complex relationship between redemption and revolution in Benjamin’s philosophy of history.
An illuminated tour of Walter Benjamin's ideas; a graphic translation; an encyclopedia of fragments. Walter Benjamin was a man of letters, an art critic, an essayist, a translator, a philosopher, a collector, and an urban flâneur. In his writings, he ambles, samples, and explores. With Walter Benjamin Reimagined, Frances Cannon offers a visual and literary response to Benjamin's work. With detailed and dreamlike pen-and-ink drawings and hand-lettered text, Cannon gives readers an illuminated tour of Walter Benjamin's thoughts—a graphic translation, an encyclopedia of fragments. Cannon has not created a guide to Benjamin's greatest ideas—this is not an illustrated Walter Benjamin cheat sheet—but rather a beautifully rendered work of graphic literature. Cannon doesn't plod through thickets of minutiae; she strolls—a flâneuse herself—using Benjamin's words and her own drawings to construct a creative topography of Benjamin's writing. Phrases from “Unpacking My Library,” for example, are accompanied by images of flying papers, stray books, stacked books—books “not yet touched by the mild boredom of order”—and a bearded mage. Cannon takes the reader through different periods of Benjamin's writing: “Artifacts of Youth,” nostalgic musings on his childhood; “Fragments of a Critical Eye,” early writings, political observations, and cultural criticism; “Athenaeum of Imagination,” meditations on philosophy and psychology; “A Stroll through the Arcades,” Benjamin's unfinished magnum opus; and “A Collection of Dreams and Stories,” experimental and fantastical writings. With drawings and text, Cannon offers a phantasmagorical tribute to Benjamin's wandering eye.