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Walter Benjamin

Edited by Chad Kautzer (University of Colorado at Denver)
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  1. Florencia Abadi (2013). Doctrine and Tradition in the Early Thought of W. Benjamin: A Neglected Chapter in the Study of Benjamin's Reception of I. Kant. Ideas Y Valores 62 (152):159-181.
    The article examines the meaning of the concepts of "doctrine" and "tradition" in Walter Benjamin's 1917 reflections, concepts that are closely linked to his reception of Kant. Given the scarce analysis of this appropriation, the paper seeks to show that these concepts express an interest in Kant's idea of the systematic unity of knowledge and that Benjamin reinterprets such unity in Messianic terms, that is, not as a necessary assumption, but as a demand for redemption. Finally, it shows how these (...)
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  2. Florencia Abadi (2013). Walter Benjamin y el proyecto (no realizado) de una tesis doctoral sobre el concepto de "tarea infinita" en la filosofía de la historia de Kant. Dianoia 58 (70):89-111.
    En este trabajo se investigan cuáles fueron las razones de Benjamin para proyectar su tesis doctoral sobre el concepto de "tarea infinita" en la filosofía de la historia de Kant, así como los motivos por los que abandonó ese plan. Se destaca la influencia decisiva de Hermann Cohen en este intento, así como las diferencias entre sus concepciones del mesianismo, y se muestra que en los esbozos de aquel proyecto doctoral frustrado se encuentra en germen la aspiración benjaminiana de fundamentar (...)
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  3. Theodore W. Adorno & Walter Benjamin (1994). Bd. 1. Briefwechsel, 1928-1940. In Theodor W. Adorno (ed.), Briefe Und Briefwechsel. Suhrkamp.
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  4. Amir Ahmadi & Alison Ross (2012). Jim Jarmusch's Dead Man. Angelaki 17 (4):179 - 192.
    Jim Jarmusch's Dead Man is a modern myth. Like many ancient myths it seems to have the structure of a rite of passage analysed by van Gennep into three stages: separation, marginal existence and reintegration. Separation is precipitated by a traumatic event and the marginal state is characterized by extraordinary experiences and feats. However, Jarmusch's tale does not quite fit the ancient initiation pattern since the last stage, reintegration, is at least prima facie missing. This already undermines the social function (...)
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  5. Abraham Akkerman (2012). Gender Myth and the Mind-City Composite: From Plato’s Atlantis to Walter Benjamin’s Philosophical Urbanism. 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 projection can be (...)
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  6. Emmanuel Alloa (2012). The Inorganic Community. Hypotheses on Literary Communism in Novalis, Benjamin and Blanchot. Boundary2. An International Journal of Literature and Culture 39 (3):75-95.
    If literary avant-garde journals and their communities have been, in the twentieth century, a space for creating, if not sustaining, major political utopias, it should help explain why this “literary communism,” as Jean-Luc Nancy called it, is not a weakened or substitutional form of politics. No myth without narration, no implementation without an instrumentation, no organic unity without a political organ voicing its claim, in short: no organicity without an organon. But can there be a (literary) community that does not (...)
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  7. Brunella Antomarini (2009). Walter Benjamin : The Afterlife of an Artwork as Cognitive Heterocracy. In Stefano Giacchetti Ludovisi & G. Agostini Saavedra (eds.), Nostalgia for a Redeemed Future: Critical Theory. University of Delaware.
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  8. Hannah Arendt (2008). Walter Benjamin 1892-1940. Kronos 4 (4):340-340.
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  9. Alice Barale (2009). La Malinconia Dell'immagine: Rappresentazione E Significato in Walter Benjamin E Aby Warburg. Firenze University Press.
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  10. Gisela Bechen (2000). Astrid Deuber-Mankowsky: Der Frühe Walter Benjamin Und Herrmann Cohen. Jüdische Werte, Kritische Philosophie, Vergängliche Erfahrung. Die Philosophin 11 (22):127-131.
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  11. Ronald Beiner (1984). Walter Benjamin's Philosophy of History. Political Theory 12 (3):423-434.
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  12. Andrew Benjamin (2013). Architecture and Technology: A Discontinuous Relation. [REVIEW] Foundations of Science 18 (1):201-204.
    Technology has a history structured by discontinuities. The first important philosophical expression of such a conception of technology was advanced by Walter Benjamin when he defined art works in relation to specific techniques of production. At the present art and architecture occur within an age defined by the move from ’technical reproducibility’ to digital reproducibility. The move has an impact on how technology is understood and its relation to architecture conceived. Adapting Walter Benjamin’s work in this area provides the basis (...)
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  13. Andrew Benjamin (2012). Morality, Law and the Place of Critique: Walter Benjamin's The Meaning of Time in the Moral World. Critical Horizons 12 (3):281 - 301.
    Critique as a philosophical concept needs to be recast once it is linked to the possibility of a productive opening. In such a context critique has an important affinity to destruction and forms of inauguration. Working through writings of Marx and Walter Benjamin, specifically Benjamin's 'The Meaning of Time in the Moral World', destruction and inauguration are repositioned in terns of othering and the caesura of allowing.
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  14. Andrew Benjamin (2010). Porosity at the Edge : Working Through Walter Benjamin's "Naples". In Walter Benjamin & Gevork Hartoonian (eds.), Walter Benjamin and Architecture. Routledge.
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  15. Andrew E. Benjamin (1997). Present Hope: Philosophy, Architecture, Judaism. Routledge.
    Present Hope is a compelling exploration of how we think philosophically about the present. Andrew Benjamin considers examples in philosophy, architecture and poetry to illustrate crucial themes of loss, memory, tragedy, hope and modernity. The book uses the work of Walter Benjamin and Martin Heidegger to illustrate the ways the notion of hope was weaved into their philosophies. Andrew Benjamin maintains that hope is a vital part of the present, rather than an expression only of the future. Present Hope shows (...)
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  16. Andrew E. Benjamin (ed.) (1991). The Problems of Modernity: Adorno and Benjamin. Routledge.
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  17. Andrew E. Benjamin & Peter Osborne (eds.) (2000). Walter Benjamin's Philosophy: Destruction and Experience. Clinamen Press.
    Why read Walter Benjamin today? There as many answers to this question as there are "Walter Benjamins"--Benjamin as critic, Benjamin as modernist, Benjamin as marxist, Benjamin as Jew. . . . Yet it is Benjamin as philosopher that in one way or another stands behind all these. This collection explores, in Adorno's description, Benjamin's "philosophy directed against philosophy." The essays cover all aspects of Benjamin's writings, from his early work in the philosophy of art and language, through his cultural criticism, (...)
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  18. Andrew E. Benjamin & Charles Rice (eds.) (2009). Walter Benjamin and the Architecture of Modernity. Re.Press.
    Walter Benjamin's Politics of 'bad tasteMichael Mac Modernity as an unfinished Project: Benjamin and Political RomanticismRobert Sinnerbrink Violence, ...
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  19. Harold Raymond Wayne Benjamin (1968). Wakan; the Spirit of Harold Benjamin. Minneapolis, Burgess Pub. Co..
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  20. Walter Benjamin (2011). Źródło niemieckiego widowiska żałosnego. Kronos 3 (3).
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  21. Walter Benjamin (2010). Über den Begriff der Geschichte. Suhrkamp.
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  22. Walter Benjamin (2010). A Small History of Photography. In Christopher Want (ed.), Philosophers on Art From Kant to the Postmodernists: A Critical Reader. Columbia University Press.
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  23. Walter Benjamin (2009). Refleksja. Kronos 4 (4).
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  24. Walter Benjamin (2009). Wczesnoromantyczna teoria sztuki a Goethe. Kronos 4 (4).
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  25. Walter Benjamin (2009). Los i charakter. Kronos 4 (4).
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  26. Walter Benjamin (2009). , Przyczynek do krytyki przemocy. Kronos 4 (4).
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  27. Walter Benjamin (2008). The Work of Art in the Age of its Technological Reproducibility, and Other Writings on Media. Belknap Press of Harvard University Press.
    In this essay the visual arts of the machine age morph into literature and theory and then back again to images, gestures, and thought.
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  28. Walter Benjamin (2007). Fragment teologiczno- polityczny. Kronos 1 (1):34-35.
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  29. Walter Benjamin (1986). Reflections: Essays, Aphorisms, Autobiographical Writings. Schocken.
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  30. Walter Benjamin (1969). Illuminations: Essays and Reflections. Schocken.
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  31. Walter Benjamin (1920/2008). Der Begriff der Kunstkritik in der Deutschen Romantik. Suhrkamp.
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  32. Walter Benjamin & Gevork Hartoonian (eds.) (2010). Walter Benjamin and Architecture. Routledge.
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  33. J. M. Bernstein (1999). Walter Benjamin's Passages. International Studies in Philosophy 31 (4):118-119.
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  34. Agata Bielik–Robson (2009). Skok przez śmierć. Walter Benjamin jako krytyk i apologeta witalizmu. Kronos 4 (4).
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  35. Beth Bjorklund (1981). Walter Benjamin's Theory of the Magic of Language. Philosophy and History 14 (2):148-150.
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  36. Norbert W. Bolz (1996). Walter Benjamin. Humanities Press.
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  37. Robert Bond (2006). Speculating Histories: Walter Benjamin, Iain Sinclair. Historical Materialism 14 (2):3-27.
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  38. Brian M. Britt (1996/2003). Walter Benjamin and the Bible. E. Mellen Press.
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  39. Susan Buck-Morss (1977). The Origin of Negative Dialectics: Theodor W. Adorno, Walter Benjamin and the Frankfurt Institute. Harvester Press.
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  40. Mark Cauchi (2003). Infinite Spaces Walter Benjamin and the Spurious Creations of Capitalism. Angelaki 8 (3):23 – 39.
  41. Howard Caygill (1998). Walter Benjamin: The Colour of Experience. Routledge.
    In this major reinterpretation, Howard Caygill argues that all of Benjamin's work is characterized by its focus on a concept of experience derived from Kant but applied by Benjamin to objects as diverse as urban experience, visual art, literature and philosophy. The book analyzes the development of 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. By representing Benjamin as primarily a thinker of (...)
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  42. Kevin M. Clark (1982). The Origin of Negative Dialectics: Theodor Adorno, Walter Benjamin, and the Frankfurt Institute, by Susan Buck-Morss;the Melancholy Science: An Introduction to the Thought of Theodor W. Adorno, by Gillian Rose. Graduate Faculty Philosophy Journal 8 (1/2):269-305.
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  43. Margaret Cohen (1996). Book Review: Profane Illumination: Walter Benjamin and the Paris of Surrealist Revolution. [REVIEW] Philosophy and Literature 20 (1).
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  44. Rebecca Comay (1999). Perverse History: Fetishism and Dialectic in Walter Benjamin. Research in Phenomenology 29 (1):51-62.
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  45. Rebecca Comay (1993). Mourning Work and Play. Research in Phenomenology 23 (1):105-130.
  46. Peter R. Costello (2004). Walter Benjamin and Cinema Paradiso. Teaching Philosophy 27 (3):237-249.
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  47. Vicente Cueto (2013). El poeta y la multitud. “Sobre algunos temas en Baudelaire” de Walter Benjamin. Estudios de Filosofía 10:103-111.
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  48. Richard Curtis (1996). Walter Benjamin. Radical Philosophy Review of Books 14 (14):32-34.
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  49. Fabio Py Murta de Almeida (2013). LÖWY, Michael. Romantismo e messianismo: ensaios sobre Lukács e Walter Benjamin. Horizonte 11 (30):808-813.
    Resenha LÖWY, Michael. Romantismo e messianismo : ensaios sobre Lukács e Walter Benjamin. Trad. Myriam Vera Baptista e Magdalena Pizante Baptista, 2. ed. São Paulo: Perspectiva, 2012. 213p.
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  50. Marc de Wilde (2011). Meeting Opposites: The Political Theologies of Walter Benjamin and Carl Schmitt. Philosophy and Rhetoric 44 (4):363-381.
    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 (...)
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