Este trabajo explora una línea posible del diálogo entre Walter Benjamin y Hannah Arendt mediante la presentación de algunas intermitencias entre dos figuras relevantes de su pensamiento sobre la historia, la figura que Benjamin determina en su abordaje del Angelus Novus pintado por Paul Klee, y la figura de Er en los términos en que Arendt la elabora a partir de una parábola kafkiana. Retomamos ambas figuras con el objetivo de mostrar en ellas el intento filosófico de organizar un (...) pensamiento crítico que resista la esclerosis del concepto moderno y progresivo de historia: en un contexto en que el pasado pareciera diluirse en la impotencia de su presencia y el futuro se presenta como reproducción apocalíptica del desastre, sostenemos que Benjamin y Arendt convocan al Angelus Novus y al Er kafkiano como imágenes capaces de dislocar el anquilosamiento de la crítica y el flujo epistemológico implicado en la crisis moderna de la experiencia. (shrink)

Este trabalho foi desenvolvido a partir de uma apresentação feita na IV Semana Didático-Cultural e I Congresso de Pesquisa e Extensão da UEMG – Campus Barbacena. O título deste evento era História: Identidade e memória , e seu símbolo o quadro Angelus Novus de Paul Klee. Nosso objetivo era o de apresentar a relação entre o quadro e a temática do evento, para isso buscamos o apoio de três autores: Benjamin, dono do quadro, que demarcou a sua interpretação do (...) Angelus Novus comparando-o com o Anjo da história; Scholem, herdeiro do mesmo após a morte de seu amigo Benjamin, autor de um poema sobre o quadro de Klee; e Kafka, escritor que sempre povoou o debate epistolar dos dois anteriores, e que, apesar de não ter tido contato com o quadro de Klee, descreve o cenário em que é possível a sua produção. Por fim reavaliamos o quadro a partir do humor judaico que unifica a estes três autores, afim de redimensionar o valor de alerta representado pelo semblante aterrorizado do anjo de Klee. Nesta versão escrita a seqüência dos argumentos foi mantida, mas o texto foi substancialmente alterado para se adaptar ao novo veículo de divulgação. (shrink)

A linguagem apofática é um gênero discursivo estreitamente relacionado à Teologia Negativa, cuja formulação mais acabada se encontra na obra do Pseudo-Dionísio (séc. V), místico que funda uma tradição negativa que se perpetuará durante toda a Idade Média e Moderna. Na contemporaneidade diversos autores (DERRIDA, 1995 e 1997; FRANKE, 2007; PONDÉ, 2003; VEGA, 2004 e 2009 e outros) têm destacado a retomada desse gênero discursivo nas artes, na literatura e nas ciências humanas de forma geral. A linguagem apofática é, portanto, (...) um discurso que visa à própria transcendência e se orienta para a denúncia de um vazio intrínseco à linguagem e ao mundo que dela se origina, de tal modo que o Deus que aí comparece desliza sob nossa linguagem sem se deixar prender em nossas teias discursivas. No presente texto a impossibilidade do nome de Deus torna-se metáfora para se refletir, a partir do exemplo da mística de Angelus Silesius, sobre as possibilidades de um pensamento negativo cujos fundamentos sejam o esvaziamento da linguagem, que se vê despojada de sua capacidade de dizer o mundo, e o aprendizado do não-saber. Palavras-chaves: Linguagem apofática; Linguagem; Angelus Silesius; não-saber.Apophatic language is a genre closely related to negative theology, whose the most accomplished formulation is found in the Pseudo-Dionysius work (fifth century), who founded a mystical tradition that perpetuated throughout the Middle and Modern Ages. Several authors in contemporary such as Derrida (1995 and 1997), (Franke, 2007), (Pounde, 2003), (Vega, 2004 and 2009), and others, have highlighted the resumption of that genre in the Arts, Literature and the Humanities in general. Apophatic is, thus, a discourse that seeks transcendence, and it orients itself to denounce the emptiness intrinsic to language as well as to world, so that the God that there appears slips under our language without being caught in our discursive webs. In this text the impossibility of God's name becomes a metaphor to reflect, from the example of the mystique of Silesius Angelus, on the possibility of a negative thought whose foundations are the emptiness of the language, which finds itself stripped of its ability to tell the world, and from the learning of the not-knowing. Keywords: Apophatic language; Failure of language; Angelus Silesius; not-to knowing. (shrink)

Este artículo de homenaje a la Profesora Yolanda Ruano se divide en dos partes. En la primera discuto las críticas que ella realizara a mi libro sobre la diosa Fortuna en las que avanzaba su propio análisis de las complejas relaciones entre razón y fortuna en el pensamiento occidental. En la segunda parte, desde el punto de vista del “giro icónico” en humanidades y ciencias sociales, analizo el caso concreto del auge y desaparición de la diosa Fortuna en la iconografía (...) política de la ciudad de Berlín. A lo largo del siglo XIX la diosa Fortuna desaparece de la escena berlinesa y es sustituida por la diosa Niké o Victoria, que popularmente se interpreta como un Ángel de la Victoria. Este es el marco de la infancia de Walter Benjamin, quien más tarde expresará su visión de la historia con un otro ángel completamente distinto, el Angelus Novus de Paul Klee. (shrink)

O artigo defende a hipótese de uma linguagem da natureza a partir da interpretação ontológica da poesia de Hölderlin, contrária à interpretação estética feita por Benjamin e acolhida por Adorno. A exegese heideggeriana da φύσις grega, que ele compara à de Hölderlin, será o fio condutor para diferenciar a leitura ontológica da leitura estética e para defender a possibilidade de a natureza falar ao coração do poeta de modo pré-discursivo. O artigo termina com a análise do poema místico de (...) class='Hi'>Angelus Silesius, cujo objetivo é reafirmar tal hipótese e não defender uma mística em Heidegger e nem em Hölderlin. (shrink)

There is a picture by Klee called Angelus Novus . It shows an angel who seems about to move away from something he stares at. His eyes are wide, his mouth is open, his wings are spread. This is how the angel of history must look. His face is turned toward the past. Where a chain of events appears before us, he sees one single catastrophe, which keeps piling wreckage upon wreckage and hurls it at his feet. The angel (...) would like to stay, awaken the dead, and make whole what has been smashed. But a storm is blowing from Paradise and has got caught in his wings; it is so strong that the angel can no longer close them. This storm drives him irresistibly into the future, to which his back is turned, while the pile of debris before him grows toward the sky. What we call progress is this storm. 1. (shrink)

_This book features a CD of rarely performed music, including a specially commissioned rap by Erik Weiner of Walter Benjamin's "Thesis on the Philosophy of History." _ Theodor W. Adorno was the prototypical German Jewish non-Jew, Walter Benjamin vacillated between German Jew and Jewish German, Gershom Scholem was a committed Zionist, and Arnold Schönberg converted to Protestantism for professional reasons but later returned to Judaism. Carl Djerassi, himself a refugee from Hitler's Austria, dramatizes a dialogue between these four men in (...) which they discuss fraternity, religious identity, and legacy as well as reveal aspects of their lives-notably their relations with their wives-that many have ignored, underemphasized, or misrepresented. The desire for canonization and the process by which it is obtained are the underlying themes of this dialogue, with emphasis on Paul Klee's _Angelus Novus _(1920), a canonized work that resonated deeply with Benjamin, Adorno, and Scholem (and for which Djerassi and Gabrielle Seethaler present a revisionist and richly illustrated interpretation). Basing his dialogue on extensive archival research and interviews, Djerassi concludes with a daring speculation on the putative contents of Benjamin's famous briefcase, which disappeared upon his suicide. (shrink)

_This book features a CD of rarely performed music, including a specially commissioned rap by Erik Weiner of Walter Benjamin's "Thesis on the Philosophy of History." _ Theodor W. Adorno was the prototypical German Jewish non-Jew, Walter Benjamin vacillated between German Jew and Jewish German, Gershom Scholem was a committed Zionist, and Arnold Schönberg converted to Protestantism for professional reasons but later returned to Judaism. Carl Djerassi, himself a refugee from Hitler's Austria, dramatizes a dialogue between these four men in (...) which they discuss fraternity, religious identity, and legacy as well as reveal aspects of their lives-notably their relations with their wives-that many have ignored, underemphasized, or misrepresented. The desire for canonization and the process by which it is obtained are the underlying themes of this dialogue, with emphasis on Paul Klee's _Angelus Novus _, a canonized work that resonated deeply with Benjamin, Adorno, and Scholem. Basing his dialogue on extensive archival research and interviews, Djerassi concludes with a daring speculation on the putative contents of Benjamin's famous briefcase, which disappeared upon his suicide. (shrink)

El objetivo del presente artículo es múltiple. Primero, pondera una serie de razones por las cuales la mística aún es relevante para el análisis de la condición humana del hombre actual. Segundo, propone a la promesa y a la ausencia como dispositivos de la mística. Tercero, expone, desde la lectura que hacen Alois Haas y Amador Vega de algunos sermones alemanes del Maestro Eckhart y de El peregrino querúbico de Angelus Silesius, los planteamientos fundamentales de la mística de estos (...) autores, a saber: el vaciamiento del alma, el coengendramiento, el abismo de Dios y la unión mística. Al mismo tiempo esboza cómo el pensamiento de Eckhart y Silesius, además de ser estudiado, produce ecos en algunas de las formulaciones filosóficas más importantes del siglo XX. The aim of this article is multiple. First, it weighs a series of reasons for which mysticism is still relevant for the analysis of man’s current human condition. Second, it proposes promise and absence as the devices of mysticism. Third, it exhibits, according to the reading of Alois Haas and Amador Vega of some of Meister Eckhart’s German sermons and Angelus Silesius’ The Cherubic Wanderer, the fundamental expositions of these authors’ mysticism, namely: voidance of the soul, co-conceivement, God’s abyss and mystical union. At the same time it outlines how the thought of Eckhart and Silesius, besides being studied, produces echoes in some of the most important philosophical formulations of the 20th century. (shrink)

Este artículo de homenaje a la Profesora Yolanda Ruano se divide en dos partes. En la primera discuto las críticas que ella realizara a mi libro sobre la diosa Fortuna en las que avanzaba su propio análisis de las complejas relaciones entre razón y fortuna en el pensamiento occidental. En la segunda parte, desde el punto de vista del “giro icónico” en humanidades y ciencias sociales, analizo el caso concreto del auge y desaparición de la diosa Fortuna en la iconografía (...) política de la ciudad de Berlín. A lo largo del siglo XIX la diosa Fortuna desaparece de la escena berlinesa y es sustituida por la diosa Niké o Victoria, que popularmente se interpreta como un Ángel de la Victoria. Este es el marco de la infancia de Walter Benjamin, quien más tarde expresará su visión de la historia con un otro ángel completamente distinto, el Angelus Novus de Paul Klee. (shrink)

Este artículo de homenaje a la Profesora Yolanda Ruano se divide en dos partes. En la primera discuto las críticas que ella realizara a mi libro sobre la diosa Fortuna en las que avanzaba su propio análisis de las complejas relaciones entre razón y fortuna en el pensamiento occidental. En la segunda parte, desde el punto de vista del “giro icónico” en humanidades y ciencias sociales, analizo el caso concreto del auge y desaparición de la diosa Fortuna en la iconografía (...) política de la ciudad de Berlín. A lo largo del siglo XIX la diosa Fortuna desaparece de la escena berlinesa y es sustituida por la diosa Niké o Victoria, que popularmente se interpreta como un Ángel de la Victoria. Este es el marco de la infancia de Walter Benjamin, quien más tarde expresará su visión de la historia con un otro ángel completamente distinto, el Angelus Novus de Paul Klee. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Editor's NoteErik DoxtaderThe freedom of conversation is being lost. … Warmth is ebbing from things.—Walter Benjamin, One-way StreetInsufficient data for a meaningful answer.—Multivac (Isaac Asimov, The Last Question)This issue of Philosophy & Rhetoric, a somewhat rare double-issue, features significant and inspiring work that moves in a variety of directions and proceeds in a number of idioms, while also responding directly and indirectly to a complex exigence, though perhaps in (...) a less familiar sense of the term, as what Giorgio Agamben calls a "messianic modality" that "coincides with the possibility of philosophy itself"—exigency as the expression of what remains unforgettable in the midst of all that is no longer remembered for the sake of history's progress. Appearing between contingency and necessity, exigency is not then a problem to be re-solved but the opening of a question; or more precisely, the epideictic expression of question-ability, the beginning of inquiry into what calls forth and perhaps even demands its possibility, for now. On what grounds do old questions stand? Through what power and by what happenstance are new questions found and formed? And when—in what kinds of moments do questions appear? With what force do they arrive? At what cost? What questions inflict violence? What violence thwarts a question? What do we (not) ask? How does the (un)questionable give way? Can multiple disciplines ever pose let alone inquire into the same question? What are the (de)constitutive elements of a good question? What does a good question do? Has pious genealogy corrupted the question? Does the discovery of a question remain one of the last "secrets," the unhinged authentic insight about which little can or should be said? A century ago, announcing the launch of Angelus Novus, Benjamin reflected on the moment and contended that the "vocation of a journal is to proclaim the spirit of its age." Such a task, in his view, demanded a strict "relevance to the present" even over "unity or clarity" and required exposing the "talented fakes" and resisting "the sterile pageant of new and fashionable events" that obscure how "impossible it is in our age to give a voice to [End Page 213] any communality [Gemeinsamkeit]." It is a tall and certainly debatable order, one that Benjamin himself was unable to realize—Angelus never got off the ground. But perhaps the underlying insight remains, the basic importance of holding space for work that discerns and expresses the potential of question-ability. This potential may well be the spirit-breath of an age. And, for now, here and now, it may well be a pressing question—on the shore of Ontario's Crawford Lake, waiting for official word that the Holocene has ended; in a largely unacknowledged transition, seemingly out of the pandemic's worst, ramping back up to speed, and yet deeply uncertain about the next normal; in the midst of the two "wars" (a term to which all participating parties will not agree) that make the front page (or the top of the feed) and the many that do not, the grotesque surfeit of increasingly automatic-droning violence unfolding on the grounds of sanctified rage that makes it difficult to ask let alone grasp what violence is; at the gates of the university, where so much inquiry is supplanted with so many strategic plans, and academic freedom is slowly juridified to the advantage of legislatures eager to rewrite the mission; and, in the midst of the noisy quietude that thwarts so many of the small inquiries into well-being that weave the fabric of public life. It's been a pleasure to work with all of those who have contributed to this issue of Philosophy & Rhetoric. Indeed, the pages that follow radiate with curiosity and insight. Together, they are an expression of inquiry in which question-ability remains unforgettable and there remains a moment to ask—after the question. [End Page 214]Copyright © 2024 The Pennsylvania State University... (shrink)

An edition of three essays by the leading French philosopher and theorist Jacques Derrida on the ethical, political and linguistic issues posed by the act of 'naming'. Passions: An Oblique Offering is a reflection on the question of the response, on the duty and obligation to respond, and on the possibility of not responding - which is to say, on the ethics and politics of responsibility. Sauf le nom (Post Scriptum) considers the problematics of naming and alterity, or transcendence, raised (...) inevitably by a rigorous negative theology. Much of the text is organised around close readings of the poetry of Angelus Silesius. The final essay, Khora, explores the problem of space or spacing, of the word 'khora' in Plato's Timaeus. Even as it places and makes possible nothing less than the whole world, 'khora' opens, dislocates and displaces all the categories that govern the production of that world, from naming to gender. (shrink)

ABSTRACT The article deals with the early career of the literary critic Alberto Asor Rosa, one of the founders of the operaismo movement, a Marxist tendency advocating the management of factories by workers through bottom-up councils. It outlines the role he assigned to literature and culture, investigating his criticism first against the non-revolutionary cultural politics of the Italian Communist Party, notoriously through his book Scrittori e popolo and his writings for the periodical classe operaia, then identifying a transition from a (...) destructive approach against any culture based on values to the use of cultural disciplines purely as techniques. The article posits that this instrumental understanding of culture depended on Asor Rosa’s political choice to take the perspective of the working class, in order to use culture itself for social analysis. In the second half of the decade, contributing to the periodicals Angelus novus and Contropiano, he still considered culture ineffective as a way towards revolution, but he began to value the great works of ʻbourgeois’ literature for their ability to penetrate the middle-class spirit and undermine capitalist society. The article concludes that, despite his changing idea of culture, Asor Rosa’s opinions on the intellectual’s task fit the traditional concept of it. (shrink)

Tato stať je výrazně ovlivněna pronikavou intepretací Hegelovy Fenomenologie ducha, kte­rou pod titulem Hegelova fenomenologie světa předložila Tereza Matějčková. Stať vychází z otázky, co z hlediska časovosti dělá duch, který nahlíží rozum působící v dějinách, když tento rozum nahlíží jakožto věčně působící princip (motor) dějin. Duch nevyhnutelně zaují­má perspektivu konce dějin. Tuto perspektivu ale neinterpretuji jako pokus vystoupit z dějin, popírat jejich časovost či přehlížet právě probíhající přítomné dění. Neboť právě „nynějšek“ má duch poznat tak, že v něm kulminuje věčně (...) působící rozum. Z hlediska konce dějin či věč­nosti duch v přítomném poznává to věčně přítomné (totiž Rozum). K objasnění perspektivy konce dějin ji jednak krátce kontrastuji s Nietzscheho a Kantovým náhledem na konec dějin a jednak ji navrhuji připodobnit k „andělu dějin“, kterého viděl Walter Benjamin na obraze Angelus Novus a který zděšen z přítomného couvá zády k budoucnosti. (shrink)

This article explores Derrida's reading of negative theology and, in particular, his dramatic claim that there would be no politics ‘without’ negative theology. It begins by summarising the general thrust of Derrida's critique of negative theology. It then focuses upon the complex history of the term ‘without’ in Derrida's texts on Pseudo‐Dionysius, Angelus Silesius and others. Finally, the article places this reading of negative theology in the context of the so‐called ‘political turn’ in Derrida's texts in recent years. The (...) concept of the ‘without’, it argues, belongs with, and helps to clarify, comparatively more famous Derridaean political themes like the decision, the impossible and religion without religion. In conclusion, the article argues that a better understanding of Derrida's claim that there would be no politics ‘without’ negative theology might also lead to a better understanding of the politics of deconstruction. (shrink)

O presente artigo discute o conceito de memória ética em Walter Benjamin a partir das teses Sobre o conceito da história. Argumenta-se que a partir deste autor se pode atribuir um papel ético e reparador às investigações acerca dos fenômenos humanos, retirando-os do lugar comum de “fatos sociais” e reivindicando-se uma memória ética na sua intepretação, que desde o início está comprometida em “escovar a história a contrapelo”. Isso significa escavar as ruínas dos monumentos e documentos de cultura e extrair (...) deles o seu teor de documentos de barbárie. A partir da alegoria do Angelus Novus, apresentada pelo autor na IX Tese, sugere-se que a função do método de investigação histórica é de despertar as vozes que foram silenciadas pela versão oficial da história, iluminando o presente com rememorações prenhes de compromisso ético com uma noção de história que não tem fim em si mesma, mas que foi forjada sobre o jugo das opressões dos vencedores. Sugere-se que a alegoria do Anjo se reporta à própria função social do investigador materialista, cujo compromisso é preencher o “tempo vazio e homogêneo” com o “tempo de agora” [Kairós], rico em histórias e memórias dos esquecidos. (shrink)

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 (...) aim at the achievement of its own assumed truth, a form of writing in common that does not serve to convey a meaning, but bears witness, in its very form, to the fragmentation of meaning? This essay examines three attempts of an affi rmative answer to this question by reappraising three interrelated experimental cases: Jena around 1800 and the Athenaeum journal of the Early Romantics; Walter Benjamin’s journal projects, from the Angelus Novus to the prison camp journal at the end of his life; Maurice Blanchot and the failed trans-European project of what was arguably the most ambitious intellectual journal enterprise of the century, the Revue internationale in the early 1960s. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art Education and the Emergence of Radical Art Movements in Egypt: The Surrealists and the Contemporary Arts Group, 1938–1951Patrick Kane (bio)So it wasn’t the aim of the artist to just toss out a work of art. A tradition of the exhibition of the natural, and its meaning was not that it fled from life, but that it had penetrated and plunged into reality. Its meaning was not a prescription (...) or plain exercise in the taste of the sublime, or harmony of forms and charming scenes; and its meaning was not as a decoration of life; it was in its expression of what life inspires in us to give back.—Henry Moore, as quoted by Ramses Yunan, in “The Aim of the Contemporary Artist”1In these crucial days of difficulty, the artists in this country live in tall aristocratic towers.... For this peasant has an art of his own that sustains him, and it is not that art of the educated class.—Kamil Al-Tilmisani (c. 1941–1942)By 1938, as the agrarian crisis in Egypt deepened, the Depression, food shortages, low wages, expropriations of crops, and forced rents opened a polemic among Egyptian intellectuals over the role of the state and the looming threat of fascism. With the dismissal of the government of Mustafa Al-Nahas at the end of 1937, the political turbulence underscored the weakening of the Wafd Party. Opponents of the old Wafdists and supporters of the monarchy resorted to openly fascist tactics, including the establishment of youth organizations and the Blue Shirts, the fascist front of the young Wafdists who modeled themselves on Mussolini’s Black Shirts. The serial crises of agrarian struggles and parliamentary stalemates between [End Page 95] nationalists and monarchists led to increasingly militant stances by the paramilitary fascist organization Misr Al-Fattah (Young Egypt) as a counter to the Muslim Brothers. When Mahmud Khalil resigned from the Wafd and assumed the presidency of the Senate in 1938, his ascension opened a new phase of struggle in politics through culture and the arts.2 In this context, caricatures and satirical sculptures of Khalil appeared in 1939 that parodied him as the icon of a “dictatorship of art.”3 Leading intellectuals from all political stances addressed these issues directly. The cultural journals were peppered with articles on the problems of everyday life and the material crises with such representative titles as ‘Abbas al-Aqqad’s “Food for the Rich,” in which he raised the problem of food shortages and inequity as an issue for reform.4 Within the year, articles in Al-Risala and Al-Thaqafa drew comparisons with French and Italian nineteenth-century landscapes as a model for the recognition of the countryside as a subject. In journalism and the arts, suffering became a part of the recognition of the everyday, as articles appeared on Millet’s nineteenth-century paintings of French peasants.As the war in Europe encroached into the cover pages of Egypt’s cultural journals, Zaki Muhammad Hasan wrote an essay for Al-Thaqafa entitled “The Angelus,” with a reproduction of the 1859 painting by Jean Francois Millet (1814–1874).5 Hasan wrote about Millet’s interest in the “the daily labors of the peasant” as a depiction of the conditions of French peasants. Hasan’s mention of Millet’s own peasant origins, and his listing of paintings of social conditions, including Les Glaneuses (The Gleaners), reflected a broadening interest in the artistic subject of the peasant and the rise of the peasant as artist. Although in Millet’s painting there is a prayer scene of a man and a woman in the fields that is generally regarded as the evening prayer with the sun setting, an Egyptian reader could link the prayer with the issue of workers taking breaks in the fields at a time when the issue of compensation of peasant farm workers was paramount.6 Hasan introduced “The Angelus” to his readers as a Catholic prayer in southern Europe offered at dawn, noon, and sunset and compared the origins of the prayer’s stanzas from the Gospel of Luke 1:28–31 with passages from the chapter on Maryam in the Quran... (shrink)

A revision of George Kennedy's translation of, introdution to, and commentary on Aristotle's On Rhetoric. His translation is most accurate, his general introduction is the most thorough and insightful, and his brief introductions to sections of the work, along with his explanatory footnotes, are the most useful available.

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 347 Anoelus Silesius, le POlerin ChOrubinique. By Eugene Susini. (Paris: Presses Universitaires de France, 1964. 2 vols.) "II a fallu pratiquement attendre le vingti~me si~cle pour que ffit donn~e sa vdritable place Angelus Silesius (de son vrai nom Johannes Scheffier) tomb~ dans l'oubli ou presque pendant plus de deux cents ans," ~crit M. Eugene Susini, Professeur en Sorbonne, dans son introduction au P$lerin Ch~rubinique. Mais si (...) les travaux consacr~s ~ ce podte mystique sont ddj~ nombreux, on n'avait jusqu'~ present ~ditd en France que quelques fragments, ~parpill~s dans des anthologies. Depuis l'ouvrage de M. Henri Plard (1943), il n'y avait pas eu d'ddition qui present ~t ~ nouveau le texte original et une traduction en regard. C'est maintenant chose faite, et M. Susini fair plus que combler cette lacune. En effet, les textes d'Angelus Silesius (16241677 ) sont prdcddds d'une introduction historique, biographique et litt~raire, dtude substantielle sur le milieu off v~cut Angelus Silesius, et sur son itin~raire spirituel. L'originalitd profonde de ce catholique converti se ddgage de cette dtude, dont l'ampleur et la concision forcent l'admiration. Ce n'est pas tout. Ace premier volume un second fait suite, consaer~ ~ d'abondantes notes (178 p.) relatives aux distiques et aux quatrains; ces derni~res s'~elairent les unes les autres, et grace ~ une minutieuse critique interne et externe, ces vers sont replaces dans un contexte plus vaste que le prdsentateur a pris soin d'~clairer par de constantes r~f~rences ~ des passages d'autres oeuvres mystiques, ou des Ecritures elles-mdmes. Enfin, un index alphabdtique complete tr~s utilement ces notes (p. 179 s 257). On ne salt ce qu'il convient d'admirer le plus, le travail de l'~rudit et de l'historien, ou celui du traducteur. La t~iche n'dtait pas aisde; il fallait rendre en alexandrins ce qui avait dt~ compos~ de m~me, afin de laisser aux sentences non seulement leur saveur, mais aussi leur forme d'dpigrammes-proverbes. I1 faut dire que la r~ussite est totale. Le P~lerin Ch~rubinique est en m~me temps un ouvrage ddfinitif, car on ne volt pasce que pourrait apporter une nouvelle traduction, une prgsentation du texte original different, ou un nouveau recueil de notes--ces derni~res ~tant ici d'une grande ampleur. C'est un ouvrage important, non seulement pour le germaniste, mais aussi pour l'historien des litt~ratures, et celui des religions. ANTOINE F~IVRE The Sense oj Decadence in Nineteenth-Century France. By Koenraad W. Swart. (Archives Internationales d'Histoire des Idles, 7; The Hague : M. Nijhoff, 1964. Pp. xi + 272. Gld. 27.50.) "Seek and ye shall find!" Scholars have generally followed this injunction and found in history pretty much what they set out to discover. For a long time, the nineteenth century was seen as an age of progress, its own self-image seeming to bear this out. More recently our own concern with decadence has led us to discover similar views in earlier times. After A. E. Carter, 1 Professor Koenraad Swart has given us The Sense o] Decadence in NineteenthJCentury France (The Hague : 1964), the seventh volume to appear in Martinus Nijhoff's International Archives of the History of Ideas. This is a broader chronicle than Carter's. It presents the antecedents of the idea of decadence from antiquity to the French Revolution, its modern forms rooted in a diversity of romantic reactions, its fin-de-si~cle culmination and its (temporary) waning before the brief affirmative revival that preceded World War I. In terms of present preoccupations, this is a timely book. A solid concluding chapter sketches "the foreign perspective," in which French developments appear as part of a broader context. The study provides a mine of information, a convenient companion and counterindicator to Bury's Idea o] Progress. Why, then, is it a dull and unsatisfactory book? In the first place because, having suggested the existence of another dimension to the histoire de grand-papa, the history of ideas cannot be written as, simply, another version of the serial chronicle of events. It... (shrink)

Se trata de unareflexión interdisciplinar, a partir de W. Benjamin, sobre las relaciones entre experiencia, tiempo y memoriahistórica. La 1. parte analiza el empobrecimiento moderno de la Erfahrung que genera una“nueva barbarie”, a la vez que expenmentación innovadora, y que reclama un concepto más rico de experiencia, ligada ala totalidad concrete de la existencia. La 2. señala algunas paradojas de la memoria, muestra la inconsistencia del tiempo, cristalizado en el mito de Cronos, comoprincipio ordenador, y toma en consideración experiencias relevantes (...) que requieren concebir otro tiempo. En esa dirección, la 3. parte desarrolla la idea de Jetztze¡t, nucleo de la concepción crítica de la historia como tradición de los oprimidos, en cuyos bistantes de peligro relanipagea el angelus novus.Il s’agit d’une reflexion interdisciplinaire sur les liaisons entre expérience, temps et bistoire. La lére partie analyse l’appauvrissement moderne de l’Erfahrung, qui produit, selon W. Benjaniin, experimentation créatice et á la fois “une nouvelle barbarie”, et qui exige la construction d’un concept plus tiche d’expérience, liée á la totalité concréte de l’existence. La 2&me ¡nontre quelques paradoxes de la mémoire, sovligne ]‘inconsistance dv lemps comino principe d’ordre, et rappelle l’existence d’expériences qui demandent un autre concept du temps. La 3éme partie developpe ¡‘idee benjaininienne de Jetztzeit, noyau de sa conception critique de l’histoire conune tradition des opprimés, et analyse particuliérement la figure de l’angelus novus. (shrink)

Se trata de una reflexión interdisciplinar, a partir de W. Benjamin, sobre las relaciones entre experiencia, tiempo y memoria histórica. La primera parte analiza el empobrecimiento moderno de la "erfahrung" que genera una "nueva barbarie", a la vez que experimentación innovadora, y que reclama un concepto más rico de experiencia, ligada a la totalidad concreta de la existencia. La segunda señala algunas paradojas de la memoria, muestra la inconsistencia del tiempo, cristalizado en el mito de "cronos", como principio ordenador, y (...) toma en consideración experiencias relevantes que requieren concebir otro tiempo. En esa dirección, la tercera parte desarrolla la idea de "jetztzeit", núcleo de la concepción crítica de la historia como tradición de los oprimidos, en cuyos instantes de peligro relampaguea el "angelus novus. (shrink)

My essay will take as its point of departure the paragraph from Gershom Scholem’s “Reflections on Jewish Theology,” in which he depicts the modern religious experience as the one of the "void of God" or as "pious atheism". I will first argue that the "void of God" cannot be reduced to atheistic non-belief in the presence of God. Then, I will demonstrate the further development of the Scholemian notion of the ‘pious atheism’ in Derrida, especially in his Lurianic treatment of (...) Angelus Silesius, whose modern mysticism emerges in Derrida’s reading as the ‘almost-atheism’. The interesting feature of this development is that, while for Scholem, the ‘void of God’ is a predominantly negative experience, for Derrida, it becomes an affirmative model of modern – not just Jewish, but more generally, Abrahamic – religiosity which, on the one hand, touches upon atheistic non-belief in the divine presence here and now, yet, on the other, still insists on commemorating the ‘withdrawn God’ through his ‘traces.’ What, therefore, for Scholem, constitutes the ultimate cry of despair, best embodied in Kafka’s work – for Derrida, reveals the more positive face of the modern predicament in which God has absented himself in order to make room for the creaturely reality. And while Scholem envisages redemption as the full restoration of the divine presence – Derrida redefines redemption as the ‘pious’ work of deconstruction to be undertaken in the ‘almost-atheistic’ condition of irreversible separation between God and the world. (shrink)

Interviewed by Christian Sheppard about Richard Kearney’s book The God Who May Be (2001), and speaking also of Kearney’s On Stories (2002) and Strangers, Gods and Monsters (2002), David Tracy remarks on Kearney’s development of the possible as a major philosophical and theological category. Showing the importance of the idea of the infinite, he speaks of the need for a hermeneutical moment to follow the initial encounter, and of a call for general criteria of judgment of the Other. He discusses, (...) too, the dangers and the rewards of doing both theology and philosophy at the same time. To him the category of the Impossible enters into the possible and is not only positive but desired. In a conversation that ranges widely - Derrida and Levinas, Jean-Luc Marion, Angelus Silesius, Kierkegaard, Nicholas of Cusa, Heidegger and Ricoeur, and, in the call for plurality, William James - the two speakers discuss both poetic sensibility and the call for justice. Reflecting on fragmentation, Tracy speaks of the need to focus on suffering and the importance of attaining a sense of ‘the entire story, all of the metaphors’. (shrink)

The lost opportunity is overwhelming, an exigence in the full sense—a recollection of that which can only remain forgotten. In the midst of the storm, what to do now? If this is the question with which Walter Benjamin began, in a poem published in 1910 under the pseudonym "Ardor," it is one over which he kept a solemn vigil, rarely letting it slip from view, even as the border closed in the months not long after he rendered Klee's 1920 painting, (...) Angelus Novus, into the emblem of a critique that seeks the "shard of weak messianic power" that comes to recognizability only in a history "filled full by now-time [Jetztzeit]" (2011, 22-23; 2003, 395). A hope then, a feeling that even as the storm from paradise blows .. (shrink)

This issue of Philosophy & Rhetoric, a somewhat rare double-issue, features significant and inspiring work that moves in a variety of directions and proceeds in a number of idioms, while also responding directly and indirectly to a complex exigence, though perhaps in a less familiar sense of the term, as what Giorgio Agamben calls a “messianic modality” that “coincides with the possibility of philosophy itself”—exigency as the expression of what remains unforgettable in the midst of all that is no longer (...) remembered for the sake of history’s progress. Appearing between contingency and necessity, exigency is not then a problem to be re-solved but the opening of a question; or more precisely, the epideictic expression of question-ability, the beginning of inquiry into what calls forth and perhaps even demands its possibility, for now.On what grounds do old questions stand? Through what power and by what happenstance are new questions found and formed? And when—in what kinds of moments do questions appear? With what force do they arrive? At what cost? What questions inflict violence? What violence thwarts a question? What do we (not) ask? How does the (un)questionable give way? Can multiple disciplines ever pose let alone inquire into the same question? What are the (de)constitutive elements of a good question? What does a good question do? Has pious genealogy corrupted the question? Does the discovery of a question remain one of the last “secrets,” the unhinged authentic insight about which little can or should be said?A century ago, announcing the launch of Angelus Novus, Benjamin reflected on the moment and contended that the “vocation of a journal is to proclaim the spirit of its age.” Such a task, in his view, demanded a strict “relevance to the present” even over “unity or clarity” and required exposing the “talented fakes” and resisting “the sterile pageant of new and fashionable events” that obscure how “impossible it is in our age to give a voice to any communality [Gemeinsamkeit].” It is a tall and certainly debatable order, one that Benjamin himself was unable to realize—Angelus never got off the ground. But perhaps the underlying insight remains, the basic importance of holding space for work that discerns and expresses the potential of question-ability.This potential may well be the spirit-breath of an age. And, for now, here and now, it may well be a pressing question—on the shore of Ontario’s Crawford Lake, waiting for official word that the Holocene has ended; in a largely unacknowledged transition, seemingly out of the pandemic’s worst, ramping back up to speed, and yet deeply uncertain about the next normal; in the midst of the two “wars” (a term to which all participating parties will not agree) that make the front page (or the top of the feed) and the many that do not, the grotesque surfeit of increasingly automatic-droning violence unfolding on the grounds of sanctified rage that makes it difficult to ask let alone grasp what violence is; at the gates of the university, where so much inquiry is supplanted with so many strategic plans, and academic freedom is slowly juridified to the advantage of legislatures eager to rewrite the mission; and, in the midst of the noisy quietude that thwarts so many of the small inquiries into well-being that weave the fabric of public life.It’s been a pleasure to work with all of those who have contributed to this issue of Philosophy & Rhetoric. Indeed, the pages that follow radiate with curiosity and insight. Together, they are an expression of inquiry in which question-ability remains unforgettable and there remains a moment to ask—after the question. (shrink)

Susini, who is Professor of German at the Sorbonne, seems to have devoted his life to the study of German mysticism. After his monumental work on Baader he now offers a new edition of the famous spiritual poems of Angelus Silesius along with a French translation. While the Introduction to the first volume is quite short and devoid of any attempt at offering a new authoritative interpretation of the Silesian Mystic's work and thought, the second volume consists entirely of (...) notes displaying the author's vast and admirable erudition. These notes place Angelus Silesius in the general context of the history of Western mysticism, especially in regard to philosophical and speculative matters. They also allow us to retrace a certain influence he had on philosophers as different as Hegel, Schopenhauer, and Baader. As far as the French text of the poems is concerned, even though the great beauty of the original is not matched, the translation is correct and poetical.—M. J. V. (shrink)

Recent research on algebraic models of _quasi-Nelson logic_ has brought new attention to a number of classes of algebras which result from enriching (subreducts of) Heyting algebras with a special modal operator, known in the literature as a _nucleus_. Among these various algebraic structures, for which we employ the umbrella term _intuitionistic modal algebras_, some have been studied since at least the 1970s, usually within the framework of topology and sheaf theory. Others may seem more exotic, for their primitive operations (...) arise from algebraic terms of the intuitionistic modal language which have not been previously considered. We shall for instance investigate the variety of _weak implicative semilattices_, whose members are (non-necessarily distributive) meet semilattices endowed with a nucleus and an implication operation which is not a relative pseudo-complement but satisfies the postulates of Celani and Jansana’s strict implication. For each of these new classes of algebras we establish a representation and a topological duality which generalize the known ones for Heyting algebras enriched with a nucleus. (shrink)

The purpose of this article is to explore the concept of Philosophy within the works written by Wittgenstein if we take into account the ambivalent sense of the term phármakon. Thus, it will be outlined a contest of paradoxes between, on the one hand, healthiness, sanity, and the adaptable confidence produced by western rationality materialized into objective science, and, on the other hand, sickness, insanity, the world of perplexities, and the realm of desire and death, essential to philosophical thought. Bearing (...) in mind last Wittgenstein’s approaches, we will understand the Tractatus both critical to the deficiencies of western Reason and imprisoned within them. But the “enchanting” power of western Reason, conducting to identify rationality and scientificity in that work, will be conjured in the last Wittgenstein through the opening of plural realms of rationality and of discourses. In this way, philosophical questions will be rescued from silence and absurdity. (shrink)

Transcript of speeches by a Hindu philosopher, chiefly on Hindu philosophy and Hinduism.