The paper develops a conceptual framework for understanding the work of ethical remembrance in the classroom. Using David Hansen’s recent example of using Sebald’s novels in his classroom to do the work or remembrance, the paper argues that the effect of Sebald’s novels is best understood using Walter Benjamin’s figure of the angel of history. That figure indicates a view of history that goes beyond the progression of everyday time, to one called remembrance. The paper suggests that the (...) work of mourning effects such remembrance, but simultaneously points to hope through the emergence of weak messianic power. (shrink)

W.G. Sebald’s literary output has consistently addressed the theme of exile, which is most fully explored in his last novel, Austerlitz. This article places Sebald’s literary output in the context of contemporary debate in the social sciences about memory and identity. It is argued that Sebald used the form of a biographical memoir to illuminate powerfully the ‘condition of exile’. His focus is the impact of the Holocaust on European Jews. As a self-conscious German writer possessed of (...) a sense of historical responsibility, he chose to treat this subject obliquely. Sebald used the device of the unreliable narrator. At least some of the disconcerting effect of his literary work lies in its playful use of an ethnographic style and method. It is argued that Sebald has developed a hybrid style, method and form that may be called ‘literary ethnography’. For Sebald, himself in self-exile, the recovery of memory and the seeking of one’s past do not – and cannot – ultimately resolve the problems of being in exile. Knowing one’s past has no ultimately redemptive qualities. The condition of exile remains irredeemably liminal and there is no repairing the damage. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Destruction and Transcendence in W. G. SebaldMark R. McCullohIFor all the Saturnine pessimism of W. G. Sebald's application of Walter Benjamin's view of historical process (an attitude toward history expounded upon at length in an influential work by Susan Sontag), the author's sense of irony about the human predicament is irrepressible. 1 Human beings seem destined to remain prisoners of various paradoxes—they both create and destroy, they are (...) capable of acts of love as well as bitterness and hate, they make efforts to document and communicate, but at the same time they tend to forget and are given to suppressing the truth, they are driven by ideals, yet remain hobbled by imperfection. Art and music, passed on from generation to generation, seem to be the most common way that human beings transcend the strictures of their imperfections, inadequacies, and their finitude. And to the extent that art indeed survives over time, and continues to be perceived and appreciated by beholders, the aesthetic enterprise succeeds. However, ultimately, as the Book of Ecclesiastes and Shelley's "Ozymandias" remind us, all human endeavor is in vain, and, to assume the perspective of physical cosmology for a moment—and in this regard Benjamin's cosmic vision appears painfully accurate—our speck of earth, dwarfed by a vast universe the true immensity of which has been revealed by the Hubble Telescope, will one day be ground to dust and debris like the rings of Saturn, and our sun will exist only as a burned-out hulk. But such a future world, devoid of beholders, and devoid of creators and their artifacts, is not Sebald's primary subject, even though it clearly forms the teleological backdrop for his third novel, The Rings of Saturn (1995, English version 1998). Rather, Sebald pursues his art in spite of a terminal prospect that will ultimately confront our [End Page 395] planet and solar system. His primary subject, the effect of trauma on individual and collective experience, is instead closely linked with the passing of Europe as a tradition, as an idea—as an idiosyncratic and innovative, but inherently corrupt contributor to cultural history. In the course of his narratives he also addresses the redemptive role of art in memorializing the past and attempting to capture the passing present. In both respects he attends to the humane and the sublime as well as the tragic and the grotesque.Paraphrasing the art historian Svetlana Alpers, one early reviewer of Sebald's novel Austerlitz (2001) points out the self-contradictory nature of preserving the transient moment in art:Why create visual art at all when everything on earth must be represented in its inexorable transitoriness; why paint earthly scenes with such incredible care and precision as if they were permanent? 2The care and precision of the painter's craft (in this case, the Dutch still-life painter David Bailly) are devoted to the representation of a scene that is by its very nature transient and even tenuous—like the scenes of sublime beauty in Sebald's fiction, the artist's depiction "courts and admits" its own fragility. What Bailly does visually, Sebald attempts in words. Take, for instance, the following passage from Vertigo, Sebald's first novel, which was titled in German (with considerably more irony) Schwindel. Gefühle 3 :At a hairpin bend I looked out of the turning bus down into the depths below and could see the turquoise surfaces of the Ferstein and Smaranger lakes, which, even when I was a child, on our first excursions into the Tyrol, had seemed to me the essence of all conceivable beauty.(p. 176)The author has already prepared the reader for this moment of awe by remarking on the otherworldly "slow-motion quality" of the waterfalls descending from the mountain cliffs and on the boulders in their screes spreading downwards into the wooded hillsides, "screes which reached from the mountains down into the forests like pale fingers into dark hair..." (p. 176). Examined closely, the passage in question suggests both the enduring power of natural beauty and, especially with its precise reference to an automobile long since out of production and unfamiliar to... (shrink)

This book engages with the writings of W.G. Sebald, mediated by perspectives drawn from curriculum and architecture, to explore the theme of unsettling complacency and confront difficult knowledge around trauma, discrimination and destruction. Moving beyond overly instrumentalist and reductive approaches, the authors combine disciplines in a scholarly fashion to encourage readers to stretch their understandings of currere. The chapters exemplify important, timely and complicated conversations centred on ethical response and responsibility, in order to imagine a more just and aesthetically (...) experienced world. In the analysis of bildung as human formation, the book illuminates the pertinent lessons to be learned from the works of Sebald and provokes further investigations into the questions of memory, grief, and limits of language. Through its juxtaposition of curriculum and architecture, and using the prose of Sebald as a prism, the book revitalizes questions about education and ethics, probes the unsettling of complacency, and enables conversation around difficult knowledge and ethical responsibility, as well as offering hope and resolve. An important intervention in standard approaches to understanding currere, this book provides essential context for scholars and educators with interests in the history of education, curriculum studies, cultural studies, memory studies, narrative research, Sebaldian studies, and educational philosophy. (shrink)

Subject to the ruthless accountancy of the neoliberal university, the humanities are under increasing pressure to make a case for why they count. This article focuses on how the field of li...

Vanguard anti-narrativist Galen Strawson declares personal memory unimportant for self-constitution. But what if lapses of personal memory are sustained by a morally reprehensible amnesia about historical events, as happens in the work of W.G. Sebald? The importance of memory cannot be downplayed in such cases. Nevertheless, contrary to expectations, a concern for memory needn’t ally one with the narrativist position. Recovery of historical and personal memory results in self-dissolution and not self-unity or understanding in Sebald’s characters. In the (...) end, Sebald shows how memory can be significant, even imperative, within a deeply anti-narrativist outlook on the self, memory, and history. (shrink)

Since its publication in 1965, Brian Barry's seminal work has occupied an important role in the revival of Anglo-American political philosophy. A number of ideas and terms in it have become part of the standard vocabulary, such as the distinction between "ideal-regarding" and "want-regarding" principles and the division of principles into aggregative and distributive. The book provided the first precise analysis of the concept of political values having trade-off relations and its analysis of the notion of the public interest has (...) also been significant. (shrink)

The relation between aisthesis and interiority manifests in Wittgenstein’s account of the subject and his private language argument. But it is also an overlooked leitmotif in Dostoevsky’s novels—one of Wittgenstein’s favorite authors, and in W.G. Sebald’s work—who was inspired by Wittgenstein’s philosophy. This book reflects on the role literature can play in answering the philosophical question of an adequate presentation of intention and pain.

In education, we are concerned with the teaching and learning of subjects, but the word “subject” can refer to the discipline being studied as well as the individual who is studying. In this essay, Teresa Strong-Wilson explores this “double entendre” of curriculum studies through the analogy afforded by German author-in-exile W. G. Sebald's working through of difficult subjects by way of semi-autobiographical writing that takes the form of an “invisible subject”: a preoccupation with an unnamed injustice entangled with his (...) own upbringing. Curriculum theory, as currere, has foregrounded the autobiographical. While the place of autobiography in curriculum studies has often been taken to mean writing, currere is more an allegorical method of study, of intellectual engagement, of learning through reading and writing, and of teaching so as to open spaces for agency. Strong-Wilson suggests that Sebald can provide a strong example for us in curriculum studies of how to ethically bring into being an allegorical, autobiographical practice focused on “invisible” subjects of deep concern. (shrink)

(No abstract is available for this citation).

Aan de hand van het werk van de Duitse romancier W.G. Sebald breekt Mark Anderson een lans voor een herwaardering van de melancholie, als enig mogelijke houding om de last van het verleden die we moeten dragen, te kunnen torsen. De kunsten zijn het aangewezen instrument voor deze ‘daad van verzet’ ‘tegen de krachten van vernietiging en vergeten in het menselijk leven’. Het werk van Sebald, achtervolgd door de ‘postmemory’ aan het Duitse oorlogsgeweld dat hij zelf alleen indirect (...) had meegemaakt, is hiervan een veelzeggende illustratie. (shrink)

In the last 20 years the institution of the museum has gone through a period of redefining its role and its functions in society, its forms of representation, its authority in discourses on the past and its objects. The stated aim of many of the ‘memory museums’ which were established during this period is to invite reflection on the aestheticization of memory and on the fact that the exhibition is seen as a narrative which is challenging conventional codes of perception. (...) By granting a voice to what has been left out of the dominant discourses of history and of everyday experience, they try to integrate diversified and sometimes even incompatible narratives – a mode of representation that has so far been the domain of art and specifically literature. This contribution argues that it is not only between the museum and the memorial that distinctions between different memory media are getting blurred: examples such as Libeskind's Jewish Museum, which wants to be read as a text, and W.G. Sebald's novel Austerlitz, which he described as an alternative Holocaust museum, indicate that aspects of intermediality gain importance in the contemporary memorial landscape. (shrink)

Joining the ongoing academic debates around medical students’ alternative career choices, this research examines the role of family in medical school attendees’ entrepreneurial intention. Specifically, this study decomposes the multidimensionality of family embeddedness and highlights the mediated nature of the family–EI relationship. The empirical analysis relied on data from graduation year medical students from diverse geographical locations and from different institution types in China. These data were collected from a total of 687 questionnaires covering the basic information of individual, parents, (...) and family composition, as well as the measuring scale of EI. Examining medical students’ EI and its antecedents provide a dual-missing-link in the extant knowledge, i.e., it adds the medical school piece to the overall picture of university students’ EI, and equally important, it de-trivializes entrepreneurship from the extant theorizations of medical students’ career choices. This study also bears implications for educators, practitioners, and policymakers interested in better understanding EI of medical school attendees and family embeddedness. (shrink)

The objective of this essay is to forge a more explicit link between the “visual turn” and the “practice turn” in entrepreneurship research. Specifically, we explore three key aspects of mobilizing visual methods for studying entrepreneurship-as-practice, i.e., data sources, collection strategies, and analytical perspectives, highlighting the important theoretical and empirical promises that visual methods hold for said research. This essay bears implications for researchers and educators working at the intersection of entrepreneurship research, the practice theory, and visual methods.

In Part I of this discussion I considered the nature and validity of the principle of respect for persons as distinguished from its practical import and application. Before I proceed to that second topic let me draw together in summary fashion the main points of the view I have put forward.

Themistokles was ostracized in the late 470's, probably in spring 471 or 470; if we are to believe Thucydides, he did not write to Artaxerxes in Persia until 465 at the earliest. In some way or other his stay in Argos and visits to the rest of the Peloponnese, his wanderings in northern Greece, and his delay in Asia Minor must be extended to fill this gap of at least five years. There is evidence of a sort, there are arguments (...) good and bad for the lengthening or shortening of any of these episodes, but none of this evidence or argument is conclusive. Between 470 and 465 no event in Themistokles' life can be securely dated; there is no fixed chronological pattern into which a reconstruction of the political history of Athens and the Peloponnese during these years must fit. Since the reconstruction which I attempt here is itself based on evidence which is far from adequate, plausibility is the most that can be claimed for it or for the chronological scheme which I infer from it. (shrink)

The average educated Greek, I am sure, knew the early history of Greece as well as the average educated European knows the history of modern Europe, and could no more separate Theopompos from the first Messenian War or put Pheidon after Kypselos than we can separate Wellington from Waterloo or make Frederick the Great follow Napoleon. The professional historian, antiquarian, or chronographer would know much more, but could readily distort what he knew in trying to impose some theoretical pattern on (...) the past. Where so many of our sources are theoretical and when they survive in fragments which are rarely substantial enough to show in detail the theory on which they worked, it is not easy to see through to the core of Greek belief on which they were based. But facts there were and in the main it was from them that the theorizing started. (shrink)

Professor Strawson's paper is refreshing in content as well as refreshingly intemperate. It is salutary to be reminded that even the Type Identity Theory does not entail physicalism as that doctrine is usually understood (since c-fiber firings are not by definition purely physical). And it's fun to consider versions of panpsychism. I can see why Strawson finds his position hard to classify (p. 7), and I sympathize. In my title I have cast my own vote for '?-ism' on the grounds (...) that any familiar label would be either misleading or unwieldy. My main purpose here is to assess Strawson's case for panpsychism and then to offer some objections to panpsychism, but first I want to answer an interesting and serious charge he makes against me. (shrink)

Neo-Darwinian theories of cultural evolution are apt to be criticized on the grounds that they merely borrow from the theory of natural selection concepts that are then metaphorically applied to conventional historical narratives to which they add no more, if anything, than an implicit presupposition of progress from one predetermined stage to the next. Such criticisms, of which a particularly forceful example is a recent article in this journal by Fracchia and Lewontin, can however be shown to be seriously misconceived. (...) The fundamental process of heritable variation and competitive selection of information affecting phenotype underlies both biological and cultural evolution despite the obvious differences between the mechanisms of information transfer by genetic inheritance and by exosomatic imitation and learning. Information transfer is in neither case a metaphor standing for any other thing, and in neither case does change over time proceed in accordance with developmental laws from which the future evolution of either species or cultures could be predicted in advance. For all the unresolved questions that remain, neo-Darwinian evolutionary theory has demonstrated the mutual compatibility of idiographic and nomothetic explanation in the study of species and of cultures alike. (shrink)