"Psychoanalysis is dead " Again and again this obituary is pronounced, with ever-increasing conviction in newspapers and scholarly journals alike. But the ghost of Freud and his thought continues to haunt those who would seal the grave. "The Legend of Freud" shows why psychoanalysis has remained "uncanny, " not just for its enemies but for its advocates and practitioners as well--and why it continues to fascinate us. For psychoanalysis is not just a theory of psychic conflict: it is a thought in conflict with itself. Often violent, the conflicts of psychoanalysis are most productive where they remain unresolved, thus producing a text that must be "read: " deciphered, interpreted, rewritten. Psychoanalysis: "legenda est."
"Review"
""The Legend of Freud" is a fine example of what can be done with Freud's texts when philosophical and literary approaches converge, and you leave the couch in the other room. . . . Like Lacan and Derrida, Weber doesn't so much explain or interpret Freud as engage him, performing what Freud would have called an "Auseinandersetzung, " a discussion or argument that's also a taking apart, a deconstruction. . . . Deconstruction has picked up a bad name, especially in the minds of those who don't understand it; but this wouldn't be the case if there were more books like Weber's. "The Legend of Freud" is the best deconstructive work I've seen lately, and the best response to Freud; it merits close attention from anyone who wants a challenge, not merely a guide to what's right and wrong. . . . Weber is brilliantly imaginative, respectful of his subject and his readers, and productive of new ideas."
--"Village Voice Literary Supplement"

An influential thinker on the concept of singularity and its implications on politics, theology, economics, psychoanalysis, and literature For readers versed in critical theory, German and comparative literature, or media studies, a new book by Samuel Weber is essential reading. Singularity is no exception. Bringing together two decades of his essays, it hones in on the surprising implications of the singular and its historical relation to the individual in politics, theology, economics, psychoanalysis, and literature. Although singularity has long been a keyword in literary studies and philosophy, never has it been explored as in this book, which distinguishes singularity as an "aporetic" notion from individuality, with which it remains historically closely tied. To speak or write of the singular is problematic, Weber argues, since once it is spoken of it is no longer strictly singular. Walter Benjamin observed that singularity and repetition imply each other. This approach informs the essays in Singularity. Weber notes that what distinguishes the singular from the individual is that it cannot be perceived directly, but rather experienced through feelings that depend on but also exceed cognition. This interdependence of cognition and affect plays itself out in politics, economics, and theology as well as in poetics. Political practice as well as its theory have been dominated by the attempt to domesticate singularity by subordinating it to the notion of individuality. Weber suggests that this political tendency draws support from what he calls "the monotheological identity paradigm" deriving from the idea of a unique and exclusive Creator-God. Despite the "secular" tendencies usually associated with Western modernity, this paradigm continues today to inform and influence political and economic practices, often displaying self-destructive tendencies. By contrast, Weber reads the literary writings of Hoelderlin, Nietzsche, and Kafka as exemplary practices that put singularity into play, not as fiction but as friction, exposing the self-evidence of established conventions to be responses to challenges and problems that they often prefer to obscure or ignore.

The latter part of the twentieth century saw an explosion of new media that effected profound changes in human categories of communication. At the same time, a "return to religion" occurred on a global scale. The twenty-five contributors to this volume--who include such influential thinkers as Jacques Derrida, Jean-Luc Nancy, Talal Asad, and James Siegel--confront the conceptual, analytical, and empirical difficulties involved in addressing the complex relationship between religion and media.
The book's introductory section offers a prolegomenon to the multiple problems raised by an interdisciplinary approach to these multifaceted phenomena. The essays in the following part provide exemplary approaches to the historical and systematic background to the study of religion and media, ranging from the biblical prohibition of images and its modern counterparts, through theological discussion of imagery in Ignatius and Luther, to recent investigations into icons and images that "think" in Jean-Luc Marion and Gilles Deleuze. The third part presents case studies by anthropologists and scholars of comparative religion who deal with religion and media in Indonesia, India, Japan, South Africa, Venezuela, Iran, Poland, Turkey, present-day Germany, and Australia.
The book concludes with two remarkable documents: a chapter from Theodor W. Adorno's study of the relationship between religion and media in the context of political agitation ("The Psychological Technique of Martin Luther Thomas' Radio Addresses") and a section from Niklas Luhmann's monumental "Die Gesellschaft der Gesellschaft "("Society as a Social System").

"Institution and Interpretation" investigates the forces that shape and limit interpretive practices. Whereas the prevailing use of the term "institutions" tends to reduce their role to that of maintaining the status quo, Weber suggests that institutions are never entirely free of the need to consolidate their authority through an ambivalent process of reinstituting themselves, a process in which interpretation plays a crucial role. Interpretation thus emerges not only as an activity made possible by institutions but as an essential component of their operation.
To the book's original nine essays--addressing such topics as professionalism in criticism, the relation between psychoanalysis and hermeneutics, and the contemporary situation of the humanities--this new edition adds six essays, one of them previously unpublished. Topics discussed include the future of the university and of the humanities, Kierkegaard's notion of "repetition," Josiah Royce's conception of a "community" of interpretation, and the problematic place of reading in reader-response theory.
"Reviews of the First Edition"
"One of the primary proposals of Samuel Weber's important new book is that we must look at what institutions exclude and delimit as well as what they include and enable."
--"Critical Texts"
"A text of major importance and remarkable originality. For the first time, the antecedents and the complexities of the question are clearly defined and understood."
--Paul de Man, 1983
""Institution and Interpretation" recommends itself here for its rigorous appraisal of the process through which oppositions come to be instituted. . . . It provokes a rethinking of gender in all of its 'contingent essentiality.'"
--"Genders"

The Technological Introject explores the futures opened up across the humanities and social sciences by the influential media theorist Friedrich Kittler. Joining the German tradition of media studies and systems theory to the Franco-American theoretical tradition marked by poststructuralism, Kittler's work has redrawn the boundaries of disciplines and of scholarly traditions. The contributors position Kittler in relation to Marshall McLuhan, Jacques Derrida, discourse analysis, film theory, and psychoanalysis. Ultimately, the book shows the continuing relevance of the often uncomfortable questions Kittler opened up about the cultural production and its technological entanglements.

With the collapse of the bipolar system of global rivalry that dominated world politics after the Second World War, and in an age that is seeing the return of "ethnic cleansing" and "identity politics," the question of violence, in all of its multiple ramifications, imposes itself with renewed urgency. Rather than concentrating on the socioeconomic or political backgrounds of these historical changes, the contributors to this volume rethink the "concept" of violence, both in itself and in relation to the formation and transformation of identities, whether individual or collective, political or cultural, religious or secular. In particular, they subject the notion of self-determination to stringent scrutiny: is it to be understood as a value that excludes violence, in principle if not always in practice? Or is its relation to violence more complex and, perhaps, more sinister?
Reconsideration of the concepts, the practice, and even the critique of violence requires an exploration of the implications and limitations of the more familiar interpretations of the terms that have dominated in the history of Western thought. To this end, the nineteen contributors address the concept of violence from a variety of perspectives in relation to different forms of cultural representation, and not in Western culture alone; in literature and the arts, as well as in society and politics; in philosophical discourse, psychoanalytic theory, and so-called juridical ideology, as well as in colonial and post-colonial practices and power relations.
The contributors are Giorgio Agamben, Ali Behdad, Cathy Caruth, Jacques Derrida, Michael Dillon, Peter Fenves, Stathis Gourgouris, Werner Hamacher, Beatrice Hanssen, Anselm Haverkamp, Marian Hobson, Peggy Kamuf, M. B. Pranger, Susan M. Shell, Peter van der Veer, Hent de Vries, Cornelia Vismann, and Samuel Weber.

The title of this book echoes a phrase used by the Washington Post to describe the American attempt to kill Saddam Hussein at the start of the war against Iraq. Its theme is the notion of targeting (skopos) as the name of an intentional structure in which the subject tries to confirm its invulnerability by aiming to destroy a target. At the center of the first chapter is Odysseus's killing of the suitors; the second concerns Carl Schmitt's Roman Catholicism and Political Form; the third and fourth treat Freud's "Thoughts for the Times on War and Death" and "The Man Moses and Monotheistic Religion." Weber then traces the emergence of an alternative to targeting, first within military and strategic thinking itself ("Network Centered Warfare"), and then in Walter Benjamin's readings of "Capitalism as Religion" and "Two Poems of Friedrich Hoelderlin."

Ever since Aristotle's Poetics, both the theory and the practice of theater have been governed by the assumption that it is a form of representation dominated by what Aristotle calls the "mythos," or the "plot." This conception of theater has subordinated characteristics related to the theatrical medium, such as the process and place of staging, to the demands of a unified narrative. This readable, thought-provoking, and multidisciplinary study explores theatrical writings that question this aesthetical-generic conception and seek instead to work with the medium of theatricality itself. Beginning with Plato, Samuel Weber tracks the uneasy relationships among theater, ethics, and philosophy through Aristotle, the major Greek tragedians, Shakespeare, Kierkegaard, Kafka, Freud, Benjamin, Artaud, and many others who develop alternatives to dominant narrative-aesthetic assumptions about the theatrical medium. His readings also interrogate the relation of theatricality to the introduction of electronic media. The result is to show that, far from breaking with the characteristics of live staged performance, the new media intensify ambivalences about place and identity already at work in theater since the Greeks. Praise for Samuel Weber: aWhat kind of questioning is primarily after something other than an answer that can be measured . . . in cognitive terms? Those interested in the links between modern philosophy nd media culture will be impressed by the unusual intellectual clarity and depth with which Weber formulates the . . . questions that constiture the true challenge to cultural studies today. . . . one of our most important cultural critics and thinkersaaMLN

"Institution and Interpretation" investigates the forces that shape and limit interpretive practices. Whereas the prevailing use of the term "institutions" tends to reduce their role to that of maintaining the status quo, Weber suggests that institutions are never entirely free of the need to consolidate their authority through an ambivalent process of reinstituting themselves, a process in which interpretation plays a crucial role. Interpretation thus emerges not only as an activity made possible by institutions but as an essential component of their operation.
To the book's original nine essays--addressing such topics as professionalism in criticism, the relation between psychoanalysis and hermeneutics, and the contemporary situation of the humanities--this new edition adds six essays, one of them previously unpublished. Topics discussed include the future of the university and of the humanities, Kierkegaard's notion of "repetition," Josiah Royce's conception of a "community" of interpretation, and the problematic place of reading in reader-response theory.
"Reviews of the First Edition"
"One of the primary proposals of Samuel Weber's important new book is that we must look at what institutions exclude and delimit as well as what they include and enable."
--"Critical Texts"
"A text of major importance and remarkable originality. For the first time, the antecedents and the complexities of the question are clearly defined and understood."
--Paul de Man, 1983
""Institution and Interpretation" recommends itself here for its rigorous appraisal of the process through which oppositions come to be instituted. . . . It provokes a rethinking of gender in all of its 'contingent essentiality.'"
--"Genders"

Apocalypse-cinema is not only the end of time that has so often been staged as spectacle in films like 2012, The Day After Tomorrow, and The Terminator. By looking at blockbusters that play with general annihilation while also paying close attention to films like Melancholia, Cloverfield, Blade Runner, and Twelve Monkeys, this book suggests that in the apocalyptic genre, film gnaws at its own limit. Apocalypse-cinema is, at the same time and with the same double blow, the end of the world and the end of the film. It is the consummation and the (self-)consumption of cinema, in the form of an acinema that Lyotard evoked as the nihilistic horizon of filmic economy. The innumerable countdowns, dazzling radiations, freeze-overs, and seismic cracks and crevices are but other names and pretexts for staging film itself, with its economy of time and its rewinds, its overexposed images and fades to white, its freeze-frames and digital touch-ups. The apocalyptic genre is not just one genre among others: It plays with the very conditions of possibility of cinema. And it bears witness to the fact that, every time, in each and every film, what Jean-Luc Nancy called the cine-world is exposed on the verge of disappearing. In a Postface specially written for the English edition, Szendy extends his argument into a debate with speculative materialism. Apocalypse-cinema, he argues, announces itself as cinders that question the "ultratestimonial" structure of the filmic gaze. The cine-eye, he argues, eludes the correlationism and anthropomorphic structure that speculative materialists have placed under critique, allowing only the ashes it bears to be heard.

The title of this book echoes a phrase used by the Washington Post to describe the American attempt to kill Saddam Hussein at the start of the war against Iraq. Its theme is the notion of targeting (skopos) as the name of an intentional structure in which the subject tries to confirm its invulnerability by aiming to destroy a target. At the center of the first chapter is Odysseus’s killing of the suitors; the second concerns Carl Schmitt’s Roman Catholicism and Political Form; the third and fourth treat Freud’s “Thoughts for the Times on War and Death” and “The Man Moses and Monotheistic Religion.” Weber then traces the emergence of an alternative to targeting, first within military and strategic thinking itself (“Network Centered Warfare”), and then in Walter Benjamin’s readings of “Capitalism as Religion” and “Two Poems of Friedrich Hölderlin.”

Ever since Aristotle's Poetics, both the theory and the practice of theater have been governed by the assumption that it is a form of representation dominated by what Aristotle calls the "mythos," or the "plot." This conception of theater has subordinated characteristics related to the theatrical medium, such as the process and place of staging, to the demands of a unified narrative. This readable, thought-provoking, and multidisciplinary study explores theatrical writings that question this aesthetical-generic conception and seek instead to work with the medium of theatricality itself. Beginning with Plato, Samuel Weber tracks the uneasy relationships among theater, ethics, and philosophy through Aristotle, the major Greek tragedians, Shakespeare, Kierkegaard, Kafka, Freud, Benjamin, Artaud, and many others who develop alternatives to dominant narrative-aesthetic assumptions about the theatrical medium. His readings also interrogate the relation of theatricality to the introduction of electronic media. The result is to show that, far from breaking with the characteristics of live staged performance, the new media intensify ambivalences about place and identity already at work in theater since the Greeks. Praise for Samuel Weber: “What kind of questioning is primarily after something other than an answer that can be measured . . . in cognitive terms? Those interested in the links between modern philosophy nd media culture will be impressed by the unusual intellectual clarity and depth with which Weber formulates the . . . questions that constiture the true challenge to cultural studies today. . . . one of our most important cultural critics and thinkers”—MLN

An influential thinker on the concept of singularity and its implications on politics, theology, economics, psychoanalysis, and literature For readers versed in critical theory, German and comparative literature, or media studies, a new book by Samuel Weber is essential reading. Singularity is no exception. Bringing together two decades of his essays, it hones in on the surprising implications of the singular and its historical relation to the individual in politics, theology, economics, psychoanalysis, and literature. Although singularity has long been a keyword in literary studies and philosophy, never has it been explored as in this book, which distinguishes singularity as an "aporetic" notion from individuality, with which it remains historically closely tied. To speak or write of the singular is problematic, Weber argues, since once it is spoken of it is no longer strictly singular. Walter Benjamin observed that singularity and repetition imply each other. This approach informs the essays in Singularity. Weber notes that what distinguishes the singular from the individual is that it cannot be perceived directly, but rather experienced through feelings that depend on but also exceed cognition. This interdependence of cognition and affect plays itself out in politics, economics, and theology as well as in poetics. Political practice as well as its theory have been dominated by the attempt to domesticate singularity by subordinating it to the notion of individuality. Weber suggests that this political tendency draws support from what he calls "the monotheological identity paradigm" deriving from the idea of a unique and exclusive Creator-God. Despite the "secular" tendencies usually associated with Western modernity, this paradigm continues today to inform and influence political and economic practices, often displaying self-destructive tendencies. By contrast, Weber reads the literary writings of Hoelderlin, Nietzsche, and Kafka as exemplary practices that put singularity into play, not as fiction but as friction, exposing the self-evidence of established conventions to be responses to challenges and problems that they often prefer to obscure or ignore.

Die Beitrage dieses Bandes lenken den Blick auf einen blinden Fleck universitarer Selbsterkenntnis: auf die von aussen diktierten Bedingungen, denen zumal die Geisteswissenschaften stets unterliegen, ohne sich daruber Rechenschaft abzulegen. Konigliche Erlasse, institutionelle Praktiken, wechselnde technische Standards regulieren die Zugange zu den Gegenstanden und Erkenntnissen von Philosophen, Psychologen, Philologen, Sprachen, Paradigmen, Adressatenund Ubertragungsgeschwindigkeiten des Wissens liegen ausserhalb professoraler Souveranitaten. Die in ganz unterschiedliche historische Perspektiven einfuhrenden Beitrage bieten daher keine akademischen Selbstreflexionen, sondern Diskursanalysen universitarer Geltungsanspruche."

"Psychoanalysis is dead " Again and again this obituary is pronounced, with ever-increasing conviction in newspapers and scholarly journals alike. But the ghost of Freud and his thought continues to haunt those who would seal the grave. "The Legend of Freud" shows why psychoanalysis has remained "uncanny, " not just for its enemies but for its advocates and practitioners as well--and why it continues to fascinate us. For psychoanalysis is not just a theory of psychic conflict: it is a thought in conflict with itself. Often violent, the conflicts of psychoanalysis are most productive where they remain unresolved, thus producing a text that must be "read: " deciphered, interpreted, rewritten. Psychoanalysis: "legenda est."
"Review"
""The Legend of Freud" is a fine example of what can be done with Freud's texts when philosophical and literary approaches converge, and you leave the couch in the other room. . . . Like Lacan and Derrida, Weber doesn't so much explain or interpret Freud as engage him, performing what Freud would have called an "Auseinandersetzung, " a discussion or argument that's also a taking apart, a deconstruction. . . . Deconstruction has picked up a bad name, especially in the minds of those who don't understand it; but this wouldn't be the case if there were more books like Weber's. "The Legend of Freud" is the best deconstructive work I've seen lately, and the best response to Freud; it merits close attention from anyone who wants a challenge, not merely a guide to what's right and wrong. . . . Weber is brilliantly imaginative, respectful of his subject and his readers, and productive of new ideas."
--"Village Voice Literary Supplement"

There is no world of thought that is not a world of language, Walter Benjamin remarked, and one only sees in the world what is preconditioned by language. In this book, Samuel Weber, a leading theorist on literature and media, reveals a new and productive aspect of Benjamin s thought by focusing on a little-discussed stylistic trait in his formulation of concepts.

Weber s focus is the critical suffix -ability that Benjamin so tellingly deploys in his work. The -ability ("-barkeit," in German) of concepts and literary forms traverses the whole of Benjamin s oeuvre, from impartibility and criticizability through the well-known formulations of citability, translatability, and, most famously, the reproducibility of The Work of Art in the Age of Its Technological Reproducibility. Nouns formed with this suffix, Weber points out, refer to a possibility or potentiality, to a capacity rather than an existing reality. This insight allows for a consistent and enlightening reading of Benjamin s writings.

Weber first situates Benjamin s engagement with the -ability of various concepts in the context of his entire corpus and in relation to the philosophical tradition, from Kant to Derrida. Subsequent chapters deepen the implications of the use of this suffix in a wide variety of contexts, including Benjamin s "Trauerspiel" book, his relation to Carl Schmitt, and a reading of Wagner s "Ring." The result is an illuminating perspective on Benjamin s thought by way of his language and one of the most penetrating and comprehensive accounts of Benjamin s work ever written.

"Demarcating the Disciplines " was first published in 1986. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.

With publication of this volume, "Glyph " begins a new stage in its existence: the move from Johns Hopkins University Press to the University of Minnesota Press is accompanied by a change in focus. In its first incarnation "Glyph "provided a forum in which established notions of reading, writing, and criticism could be questioned and explored. Since then, the greater currency of such concerns has brought with it new problems and priorities. Setting aside the battles of the past, the new "Glyph "looks ahead - to confront historical issues and to address the institutional and pedagogical questions emerging from the contemporary critical landscape.

Each volume in the new "Glyph " series is organized around a specific issue. The essays in this first volume explore the relations between the practice of reading and writing and the operations of the institution. Though their approaches differ from one another, the authors of these essays all recognize that the questions of the institution - most notably the university - points toward a series of constraints that define, albeit negatively, the possibilities for change.The contributors: Samuel Weber, Jacques Derrida, Tom Conley, Malcolm Evans, Ruth Salvaggio, Robert Young, Henry Sussman, Peter Middleton, David Punter, and Donald Preziosi.

The Technological Introject explores the futures opened up across the humanities and social sciences by the influential media theorist Friedrich Kittler. Joining the German tradition of media studies and systems theory to the Franco-American theoretical tradition marked by poststructuralism, Kittler's work has redrawn the boundaries of disciplines and of scholarly traditions. The contributors position Kittler in relation to Marshall McLuhan, Jacques Derrida, discourse analysis, film theory, and psychoanalysis. Ultimately, the book shows the continuing relevance of the often uncomfortable questions Kittler opened up about the cultural production and its technological entanglements.