A Modern Coleridge shows the interrelatedness of the discourses of cultivation, addiction and habit in Coleridge's poetry and prose, and argues that these all revolve around the problematic nexus of a post-Kantian idea of free will, essential to Coleridge's eminently modern idea of the 'human'.

Teachers committed to seeing philosophy as a way of life (PWOL) often focus on assignments that help students develop personal practices, so they experience peace of mind, independence, and a cure from anguish. While we applaud these goals, our work highlights another important aspect of philosophy as a way of life that sometimes is overlooked. We want our students to experience a transformation toward seeing themselves as moral agents, growing in civic virtues, and developing “cosmic consciousness.” To reach this end, (...) we utilize a civic engagement (CE) project that we call the “Experiments in Ethics.” This CE project consists of a series of small, interrelated assignments or “experiments” that help students develop habits and certain civic dispositions. While students complete the experiments throughout the semester, we argue that civically engaged philosophy as a way of life extends beyond the confines of the classroom and the semester as our students cultivate the ability to see themselves as ethical agents capable of making changes in their own lives and the communities in which they live. (shrink)

​This book dives headfirst into the contemporary controversy over the limits of free speech. Changing conceptions of what constitutes legitimate harm coupled with the advent of the internet and social media have provided a challenging environment for defining the boundaries of acceptable speech in our contemporary society. This book argues that these problems emerge due to flaws in our free speech framework, leaving the argument for free speech vulnerable to becoming inverted into a justification for censorship. In response, this book (...) argues for a version of free speech based on a framework of toleration. Drawing on the work of the philosopher Rainer Forst, a new justification for free speech is formulated – reflexive freedom of speech – which aims to overcome past issues and justify free speech in a way that is universal, consistent and just. (shrink)

Lee and Schwarz propose that grounded procedures can also be related to connection rather than separation. Drawing on consumer behavior research, we point to different grounded procedures of connection – in terms of the motor actions involved, their salient properties, and their motivational conditions – and discuss how procedures of separation may be affected by the procedures of connection that precede them.

Called “the most important critic of his time” by Hannah Arendt, Walter Benjamin has only become more influential over the years, as his work has assumed a crucial place in current debates over the interactions of art, culture, and meaning. A “natural and extraordinary talent for letter writing was one of the most captivating facets of his nature,” writes Gershom Scholem in his Foreword to this volume; and Benjamin's correspondence reveals the evolution of some of his most (...) powerful ideas, while also offering an intimate picture of Benjamin himself and the times in which he lived. Writing at length to Scholem and Theodor Adorno, and exchanging letters with Rainer Maria Rilke, Hannah Arendt, Max Brod, and Bertolt Brecht, Benjamin elaborates on his ideas about metaphor and language. He reflects on literary figures from Kafka to Karl Kraus, and expounds his personal attitudes toward such subjects as Marxism and French national character. Providing an indispensable tool for any scholar wrestling with Benjamin’s work, The Correspondence of Walter Benjamin, 1910–1940 is a revelatory look at the man behind much of the twentieth century’s most significant criticism. (shrink)

The essays compiled in this book explore aspects of Walter Benjamin's discourse that have contributed to the formation of contemporary architectural theories. Issues such as technology and history have been considered central to the very modernity of architecture, but Benjamin's reflection on these subjects has elevated the discussion to a critical level. The contributors in this book consider Walter Benjamin's ideas in the context of digitalization of architecture where it is the very technique itself that (...) determines the processes of design and the final form. This book was published as a special issue of Architectural Theory Review. (shrink)

Views from one of the most original cultural critics of the twentieth century, Walter Benjamin.

Marking the centenary of Walter Benjamin's immensely influential essay, "Toward the Critique of Violence," this critical edition presents readers with an altogether new, fully annotated translation of a work that is widely recognized as a classic of modern political theory. The volume includes twenty-one notes and fragments by Benjamin along with passages from all of the contemporaneous texts to which his essay refers. Readers thus encounter for the first time in English provocative arguments about law and violence (...) advanced by Hermann Cohen, Kurt Hiller, Erich Unger, and Emil Lederer. A new translation of selections from Georges Sorel's Reflections on Violence further illuminates Benjamin's critical program. The volume also includes, for the first time in any language, a bibliography Benjamin drafted for the expansion of the essay and the development of a corresponding philosophy of law. An extensive introduction and afterword provide additional context. With its challenging argument concerning violence, law, and justice-which addresses such topical matters as police violence, the death penalty, and the ambiguous force of religion-Benjamin's work is as important today as it was upon its publication in Weimar Germany a century ago. (shrink)

A companion volume to Illuminations, the first collection of Walter Benjamin's writings, Reflections presents a further sampling of his wide-ranging work. Here Benjamin evolves a theory of language as the medium of all creation, discusses theater and surrealism, reminisces about Berlin in the 1920s, recalls conversations with Bertolt Brecht, and provides travelogues of various cities, including Moscow under Stalin. He moves seamlessly from literary criticism to autobiography to philosophical-theological speculations, cementing his reputation as one of the greatest (...) and most versatile writers of the twentieth century. Also included is a new preface by Leon Wieseltier that explores Benjamin's continued relevance for our times. (shrink)

In this essay the visual arts of the machine age morph into literature and theory and then back again to images, gestures, and thought.

Each had met his match, and happily, in the other. This book is the story of an elective affinity.

Origin of the German Trauerspiel was Walter Benjamin's first full, historically oriented analysis of modernity. Readers of English know it as "The Origin of German Tragic Drama," but in fact the subject is something else--the play of mourning. Howard Eiland's completely new English translation, the first since 1977, is closer to the German text and more consistent with Benjamin's philosophical idiom. Focusing on the extravagant seventeenth-century theatrical genre of the trauerspiel, precursor of the opera, Benjamin identifies (...) allegory as the constitutive trope of the Baroque and of modernity itself. Allegorical perception bespeaks a world of mutability and equivocation, a melancholy sense of eternal transience without access to the transcendentals of the medieval mystery plays--though no less haunted and bedeviled. History as trauerspiel is the condition as well as subject of modern allegory in its inscription of the abyssal. Benjamin's investigation of the trauerspiel includes German texts and late Renaissance European drama such as Hamlet and Calderón's Life Is a Dream. The prologue is one of his most important and difficult pieces of writing. It lays out his method of indirection and his idea of the "constellation" as a key means of grasping the world, making dynamic unities out of the myriad bits of daily life. Thoroughly annotated with a philological and historical introduction and other explanatory and supplementary material, this rigorous and elegant new translation brings fresh understanding to a cardinal work by one of the twentieth century's greatest literary critics.--. (shrink)

Diese Hardcover-Ausgabe ist Teil der TREDITION CLASSICS. Der Verlag tredition aus Hamburg veroffentlicht in der Buchreihe TREDITION CLASSICS Werke aus mehr als zwei Jahrtausenden. Diese waren zu einem Grossteil vergriffen oder nur noch antiquarisch erhaltlich. Mit TREDITION CLASSICS verfolgt tredition das Ziel, tausende Klassiker der Weltliteratur verschiedener Sprachen wieder als gedruckte Bucher zu verlegen - und das weltweit! Die Buchreihe dient zur Bewahrung der Literatur und Forderung der Kultur. Sie tragt so dazu bei, dass viele tausend Werke nicht in Vergessenheit (...) geraten. (shrink)

uber das Programm der kommenden Philosophie. ZUr Kritik der Gewalt. SChicksal und Charakter. GEschichtsphilosophische Thesen. THeologisch-politisches Fragment.

Die Untersuchung gliedert sich in einen allgemeinen und einen besonderen Teil. Der allgemeine Teil, der die ersten neun Kapitel umfasst, hat es mit den Veränderungen zu tun, denen die Funktion des Kunstwerkes in seiner technisch reproduzierten Gestalt unterworfen ist. Die Qualität seiner technischen Reproduktion und die Geschwindigkeit ihrer Herstellung sind seit den einschlägigen Erfindungen des letzten Jahrhunderts in schnellem Wachstum begriffen. Die Zeit, die zwischen der Erfindung der Lithographie und der des Tonfilms liegt, umfasst kaum mehr Jahrzehnte als die zwischen (...) der Erfindung des Holzschnitts und der der Lithographie liegenden Jahrhunderte. Der Film ist die derzeit fortgeschrittenste künstlerische R ‘produktionstechnik. Er bedeutet in der Geschichte der Kunst etwas grundlegend Neues, nämlich die Reproduktion eines auf Reproduzierbarkeit angelegten Kunstwerkes. Der besondere Teil der Untersuchung hat es mit dem Film als der der Kunst in der Epoche ihrer technischen Reproduzierbarkeit spezifischen Form zu tun.Das erste Kapitel der Untersuchung entwickelt den Unterschied zwischen manueller und technischer Reproduktion des Kunstwerkes. Das zweite* umschreibt den jeder Reproduktion entzogenen Bereich der Echtheit, der die Aura des Kunstwerkes bildet. Das dritte bestimmt den Charakter der gegenwärtigen Wahrnehmung als bestimmt durch den Verfall der Aura. Das vierte weist die Fundierung der Echtheit in den Zusammenhängen des Rituals auf. Das fünfte hat es mit dem Unterschied des auf dem Ritual beruhenden Kultwertes des Kunstwerks von seinem Ausstellungwert zu tun. Das sechste zeigt, welchen verschiedenen Entwicklungsstufen der Technik Kultwert und Ausstellungswert des Kunstwerkes entsprechen. Das s'ebte handelt von dem beginnenden Übergewicht des Ausstellungswertes über den Kultwert in der Photographie. Das achte beleuchtet die Sonderstellung der griechischen Kunst durch ihren fast völligen Mangel an technischen Reproduktionsverfahren. Das neunte weist auf die Schwierigkeiten hin, die der überkommenen Aesthetik durch die Photographie und den Film erwachsen.Der zweite Teil der Untersuchung zieht aus den Analysen des ersten Teils die Folgerungen für die Filmtheorie. Er beschäftigt sich mit den Umständen, die aus dem Film dasjenige Kunstwerk machen, an dem die derzeitige Funktionsänderung sich am deutlichsten abnehmen lässt. Diese Funktionsänderung besteht in der Überführung des Kunstwerkes aus der ritualen in die politische Praxis.The investigation is divided into two parts, the first conceived on general lines and the second dealing with one specific aspect of the question. The general part deals with the changes to which the function of a work of art is subjected in its technically reproduced form. The quality of its technical reproduction and the speed with which the same is established have made great progress since the inventions of last century in that sphere. The period of time existing between the invention of lithography and that of the sound film contains scarcely more decades than there are centuries between the invention of the wood-cut and that of lithography. The film, at present, has the most highly developed technic of artistic reproduction. In the history of art the film represents something fundamentally new, namely, the reproduction of a work of art which aims precisely at such reproducibility. The second part of the investigation deals with the film as the specific form of art in the era of technical reproducibility.The first chapter develops the difference between manual and technical reproduction of a work of art. The second delimits the sphere of authenticity which forms the aura of a work of art and which is withdrawn from every reproduction. The third defines the character of modern perception as determined by the deterioration of the aura. The fourth chapter shows that the foundation of authenticity lies in the associations of ritual. The fifth deals with the difference between the cult-value based on ritual and the exhibition-value of a work of art. The sixth shows the various stages in the development of technical art to which the cult-value and the exhibition-value of a work of art correspond. The seventh treats the beginnings of the predominance of the exhibition-value over the cult- value in photography. The eighth throws light on the special position of Greek art due to its being almost completely lacking in methods of technical reproduction. The ninth draws attention to the difficulties which arise for traditional esthetics Through photography and the film.The second part of the investigation draws from the analyses of the first part certain conclusions concerning the theory of film-making. It concerns itself with the circumstances which make the film the work of art from which the modern change of function can be most clearly deduced. This change of function consists in the transference of the work of art from the realm of ritual to that of politics. (shrink)

The essay begins with the estrangement of the great lyrical poetry from the public since the middle of the 19th century. It is conceived in terms of an historical change in the structure of human experiencing.That is first demonstrated in Bergson. The autor interprets „Matière et Mémoire“ as the attempt to vindicate through the category of memory the possibility of genuine, that is, tradition-forming experience as against the mode of experience in the industrial age. Proust has more closely determined Bergson's (...) notion of memory as involuntary memory. Accordingly he seeks to reconstruct the aesthetic form of the narrative. Its industrial counterparts are information and sensation. Through shocks they threaten memory which B., in referring to psycho-analytical theories, conceives in terms of „protection against stimuli“.Erlebnis becomes the antithesis of experience (Erfahrung). In Baudelaire’s lyrical poetry the Erlebnis of shock occupies the center. In his portrayal of the fenser, Baudelaire identifies himself with the one who parries the shocks. These shocks occur when the individual is confronted with the amorphous multitude of the metropolis. In one chapter the author describes this clash and the shape it takes in Baudelaire's poetry. The subsequent chapter presents an analysis of Poe's „Man of the Crowd44, the city crowd portrayal which provides the clue for Baudelaire's and which is contrasted with the Biedermeier picture of Hoffmann's „Cousin's Corner Window“.The shock as the dominant form of Erlebnis is shown as grounded in the reified process of production in capitalist society. The discontinuity of the elements of shock has its basis in the discontinuity of the automatized process of labor which no longer admits of any „experience“, „practice“. The experience of shock of the member of a crowd corresponds to the experience of the worker who operates a machine. The reflectory mechanism of the victim of Modern Times appears in Baudelaire's work in the pattern of the hazard game which at the same time is the radical counterpart of „experience“.In Baudelaire, time is dissociated. Its power is absorbed by rare, „significant“ days. In them Baudelaire, through the „correspondances“4 seeks to save and restore the lost experience. The power of anamnesis is posited against the „swarm of seconds“. But the consolation of anamnesis remains impotent. In the dissociated shock moments of time, — the „spieen“ —, and the anamnesis of the vie antérieure, — the „idéal“ —, Baudelaire holds in his hands the débris of genuine experience.B. subordinates the representations constitutive of „experience“, that is, those of involuntary mefiiory, to his notion of „aura“. To experience the aura of a phenomenon means to endow it with the faculty of raising the eyes. The decay of aura is the foremost subject of Baudelaire : he summons eyes who have lost the faculty of raising themselves. He has designated the price for which the sensation of the Modern can be bought : the destruction of aura in shock experience.L'analyse débute par la constatation d'une scission entre la grande poésie lyrique et le public — scission qui se serait produite dès le milieu du xix® siècle. Cette séparation est interprétée comme la conséquence d'une transformation dans la structure même de l'expérience humaine.Cela est d'abord expliqué par l’oeuvre de Bergson. La théorie de la mémoire telle qu'elle a été développée dans Matière et mémoire se rattache à un type d'expérience qui, au cours du xixe siècle, a subi des atteintes profondes. Bergson tend, grâce à la catégorie de la mémoire, de restaurer le concept d'une expérience authentique. Cette expérience authentique existe en fonction de la tradition et s'oppose ainsi aux modes habituelles d'expérience propres à l'époque de la grande industrie. Proust a défini la mémoire bergsonienne comme une mémoire involontaire ; en son nom il avait essayé de reconstruire la forme de la narration. Le rival de cette dernière s'appelle, à l'époque de la grande industrie, l'information. Elle développe, par le moyen des chocs, une mémoire qui, par Proust, a été opposée à la mémoire bergsonienne sous le nom d'une mémoire volontaire. Il est permis de considérer, conformément à Freud, la mémoire volontaire comme étroitement liée à une conscience perpétuellement aux aguets. Plus la conscience sera obligée à parer aux chocs, plus se développera la mémoire volontaire, et plus périclitera la mémoire involontaire. L'expérience éminemment moderne du choc sera la norme de la poésie baudelairienne. Par l'image de l’escrimeur, Baudelaire qui, en flânant, était habitué d’être coudoyé par les foules des rues, s’identifie à l’homme qui pare aux chocs.Le choc en tant que forme prépondérante de la sensation se trouve accentué par le processus objectivisé et capitaliste du travail. La discontinuité des moments de choc trouve sa cause dans la discontinuité d’un travail devenu automatique, n’admettant plus l’expérience traditionnelle qui présidait au travail artisanal. Au choc éprouvé par celui qui flâne dans la foule correspond une expérience inédite : celle de l’ouvrier devant la machine.Le réflexe mécanisé de l’homme livré au monde moderne se traduit chez Baudelaire dans l’attitude du joueur. Pour l’homme qui s’est adonné au jeu, l’expérience du choc se présente en ce qu’elle a de plus essentiel* c’est-à-dire comme une façon d’éprouver le temps. Le spleenétique qui ne peut se dégager de la fascination exercée par le déroulement du temps vide est le frère jumeau du joueur. En face du Spleen, l’oeuvre baudelairienne évoque l’Idéal. L’Idéal, c’est la mémoire involontaire, initiatrice aux * correspondances ». Dépositaire des images d’une vie antérieure, l’Idéal serait le consolateur suprême s’il n’était tenu en échec par la « beauté moderne » qui est essentiellement spleenétique. Les souvenirs plus ou moins distincts dont est imprégnée chaque image qui surgit du fond de la mémoire involontaire peuvent être considérés comme son « aura ». Se saisir de l’aura d’une chose veut dire : l’investir du pouvoir de lever le regard. La déchéance de l’aura a des causes historiques dont l’invention de la photographie est comme un abrégé. Cette déchéance constitue le thème le plus personnel de Baudelaire. C’est elle qui donne la clé de ses poésies érotiques. Le poète invoque des yeux qui ont perdu le pouvoir du regard. Ainsi se trouve fixé le prix de la beauté et de l’expérience moderne : la destruction de l’aura par la sensation du choc. (shrink)

Depuis l'exil, le philosophe W. Benjamin recompose, dans une sA(c)rie de brA]ves vignettes, ses souvenirs d'enfance A Berlin. Loin de l'anecdote, il s'agit d'une vA(c)ritable plongA(c)e dans l'enfance et dans l'histoire, oA se retrouvent les thA]mes essentiels de la philosophie benjaminienne. Ce texte restA(c) inA(c)dit du vivant de l'auteur, est dA(c)sormais connu en plusieurs variantes, dont celle-ci est la derniA]re A laquelle il ait mis la main. Walter Benjamin (1892-1940) est un philosophe, historien de l'art, critique littA(c)raire, (...) critique d'art et traducteur (notamment de Balzac, Baudelaire et Proust) allemand de la premiA]re moitiA(c) du XXe siA]cle, rattachA(c) A l'A(c)cole de Francfort. Traduction et prA(c)face de Pierre Rusch Postscriptum de Patricia Lavelle. (shrink)