This book digs into the complex archaeology of empathy illuminating controversies, epistemic problems and unanswered questions encapsulated within its cross-disciplinary history. The authors ask how a neutral innate capacity to directly understand the actions and feelings of others becomes charged with emotion and moral values associated with altruism or caregiving. They explore how the discovery of the mirror neuron system and its interpretation as the neurobiological basis of empathy has stimulated such an enormous body of research and how in a number of these studies, the moral values and social attitudes underlying empathy in human perception and action are conceptualized as universal traits. It is argued that in the humanities the historical, cultural and scientific genealogies of empathy and its forerunners, such as Einfuhlung, have been shown to depend on historical preconditions, cultural procedures, and symbolic systems of production. The multiple semantics of empathy and related concepts are discussed in the context of their cultural and historical foundations, raising questions about these cross-disciplinary constellations. This volume will be of interest to scholars of psychology, art history, cultural research, history of science, literary studies, neuroscience, philosophy and psychoanalysis.

After 1933, New York City gave shelter to many leading German and German-Jewish intellectuals. Stripped of their German citizenship by the Nazi-regime, these public figures either stayed in the New York area or moved on to California and other places. This compendium, adopting the title of a famous volume published by Klaus and Erika Mann in 1939, explores the impact the US, and NYC in particular, had on these authors as well as the influence they in turn exerted on US intellectual life. Moreover, it addresses the transformations that took place in the exiled intellectuals' thinking when it was translated into another language and addressed to an American audience. Among the individuals presented in this volume, are such prominent names as T.W. Adorno, H. Arendt, W. Benjamin, E. Bloch, B. Brecht, S. Kracauer, the Mann family, S. Morgenstern, and E. Panofsky. The authors of the essays in this compendium were free to choose the angle (biography, theory, politics) or aspect (a single work, a personal constellation) deemed best to illuminate the given intellectual's work. Acclaimed NYC photographer Fred Stein, a German-Jewish refugee from Dresden, produced numerous portraits of exiled intellectuals and artists. A selection of these compelling portraits is reproduced in this book for the first time.

The period 1985-1995 saw a new wave of interest, in philosophical and theoretical circles, in the writings of Walter Benjamin, associate of the early Frankfurt School and among the most innovative and uncategorizable of German modernist thinkers. It is against the horizon of the contemporary theoretical scene, combining impulses from post-structuralism, feminism, cultural anthropology, and psychoanalysis, that Sigrid Weigel, one of Germany's leading Benjamin experts, undertakes her re-reading of his work. The subject of this sequence of eleven essays, assembled here for the first time in English translation, is Benjamin as theorist, whereby his work on thinking in images or UBilddnken and the relation of this to 'the first material of human existence ...the body" is taken as constituting the specificity of his philosophy. Arranged in three sections ( "Politics of Images and Body", "Other - Gender - Readings", and "Memory and Writing") the essays provide a passage into Benjamin's thinking in images.

What is the epistemological value of testimony? What role does language, images, and memory play in its construction? What is the relationship between the person who attests and those who listen? Is bearing witness a concept that is exclusively based in interpersonal relations? Or are there other modes of communicating or mediating to constitute a constellation of testimony? Testimony/Bearing Witness establishes a dialogue between the different approaches to testimony in epistemology, historiography, law, art, media studies and psychiatry. With examples including the Holocaust, the Khmer Rouge and the Armenian genocide the volume discusses the chances and limits of communicating epistemological and ethical, philosophical and cultural-historical, past and present perspectives on the phenomenon and concept of bearing witness.

Grammatology of Images radically alters how we approach images. Instead of asking for the history, power, or essence of images, Sigrid Weigel addresses imaging as such. The book considers how something a-visible gets transformed into an image. Weigel scrutinizes the moment of mis-en-apparition, of making an appearance, and the process of concealment that accompanies any imaging. Weigel reinterprets Derrida's and Freud's concept of the trace as that which must be thought before something exists. In doing so, she illuminates the threshold between traces and iconic images, between something immaterial and its pictorial representation. Chapters alternate between general accounts of the line, the index, the effigy, and the cult-image, and case studies from the history of science, art, politics, and religion, involving faces as indicators of emotion, caricatures as effigies of defamation, and angels as embodiments of transcendental ideas. Weigel's approach to images illuminates fascinating, unexpected correspondences between premodern and contemporary image-practices, between the history of religion and the modern sciences, and between things that are and are not understood as art.

This book digs into the complex archaeology of empathy illuminating controversies, epistemic problems and unanswered questions encapsulated within its cross-disciplinary history. The authors ask how a neutral innate capacity to directly understand the actions and feelings of others becomes charged with emotion and moral values associated with altruism or caregiving. They explore how the discovery of the mirror neuron system and its interpretation as the neurobiological basis of empathy has stimulated such an enormous body of research and how in a number of these studies, the moral values and social attitudes underlying empathy in human perception and action are conceptualized as universal traits. It is argued that in the humanities the historical, cultural and scientific genealogies of empathy and its forerunners, such as Einfuhlung, have been shown to depend on historical preconditions, cultural procedures, and symbolic systems of production. The multiple semantics of empathy and related concepts are discussed in the context of their cultural and historical foundations, raising questions about these cross-disciplinary constellations. This volume will be of interest to scholars of psychology, art history, cultural research, history of science, literary studies, neuroscience, philosophy and psychoanalysis.

Arguing that the importance of painting and other visual art for Benjamin's epistemology has yet to be appreciated, Weigel undertakes the first systematic analysis of their significance to his thought. She does so by exploring Benjamin's dialectics of secularization, an approach that allows Benjamin to explore the simultaneous distance from and orientation towards revelation and to deal with the difference and tensions between religious and profane ideas. In the process, Weigel identifies the double reference of 'life' to both nature and to a 'supernatural' sphere as a guiding concept of Benjamin's writings. Sensitive to the notorious difficulty of translating his language, she underscores just how much is lost in translation, particularly with regard to religious connotations. The book thus positions Benjamin with respect to the other European thinkers at the heart of current discussions of sovereignty and martyrdom, of holy and creaturely life. It corrects misreadings, including Agamben's staging of an affinity between Benjamin and Schmitt, and argues for the closeness of Benjamin's work to that of Aby Warburg, with whom Benjamin unsuccessfully attempted an intellectual exchange.

Arguing that the importance of painting and other visual art for Benjamin's epistemology has yet to be appreciated, Weigel undertakes the first systematic analysis of their significance to his thought. She does so by exploring Benjamin's dialectics of secularization, an approach that allows Benjamin to explore the simultaneous distance from and orientation towards revelation and to deal with the difference and tensions between religious and profane ideas. In the process, Weigel identifies the double reference of 'life' to both nature and to a 'supernatural' sphere as a guiding concept of Benjamin's writings. Sensitive to the notorious difficulty of translating his language, she underscores just how much is lost in translation, particularly with regard to religious connotations. The book thus positions Benjamin with respect to the other European thinkers at the heart of current discussions of sovereignty and martyrdom, of holy and creaturely life. It corrects misreadings, including Agamben's staging of an affinity between Benjamin and Schmitt, and argues for the closeness of Benjamin's work to that of Aby Warburg, with whom Benjamin unsuccessfully attempted an intellectual exchange.

Die Wissenschaftsgeschichte der Genetik wirft nicht nur ethische Fragen auf, die den Umgang mit ihren Moglichkeiten und Techniken betreffen. Sie fuhrt auch zu einschneidenden Veranderungen tradierter kultureller Konzepte. Diese aber sind bislang weitgehend im Schatten eines verfehlten Streites uber Vererbung versus Erziehung geblieben, in dem bekannte Angst- und Wunschbilder einer genetischen Determination oder Steuerung menschlicher Attribute und Verhaltensweisen zirkulieren. Weitgehend unreflektiert dagegen sind bislang jene Zasuren geblieben, die die Praktiken von Gentechnologie und Reproduktionsmedizin fur die elementaren Strukturen der Verwandtschaft und fur das tradierte genealogische Denken bedeuten."

In der modernen Offentlichkeit wird die Stimme als das Medium einer demokratischen und sozialen Ordnung betrachtet. Sie steht im Zentrum eines umfangreichen Wortfeldes: Stimmrecht, Abstimmung, Volkes Stimme, eine Stimme haben oder die Stimme ergreifen. Ahnlich prominent ist die Stimme im ubertragenen Sinne, in der gegenwartigen Kultur- und Literaturtheorie. Sei es in der beruhmten Frage: "Wer spricht?," im Konzept der Polyphonie oder der Intertextualitat, in dem es um das Echo der Zitate in der Kunst geht. Was aber kommt zum Ausdruck, wenn "nur" die Stimme zu horen ist, wenn Klang, Rhythmus, Schrei, Atem und Stocken der Stimme jenseits aller Worte, aller Bedeutungen und Signifikate vernehmbar sind? Die langjahrige monomanische Verehrung der Schriftreligion und Bildersucht durchbrechend, soll mit den hier versammelten Beitragen eine Kultur- und Mediengeschichte der Stimme skizziert werden. Neben dem Verhaltnis von Stimme und Schrift und der Rolle der Stimme in Politik und Jurisprudenz, gilt die Aufmerksamkeit vor allem Themenbereichen wie der Opern-, Musik- und Filmgeschichte sowie der Technikgenese modernerer Aufzeichnungssysteme."

Grammatology of Images radically alters how we approach images. Instead of asking for the history, power, or essence of images, Sigrid Weigel addresses imaging as such. The book considers how something a-visible gets transformed into an image. Weigel scrutinizes the moment of mis-en-apparition, of making an appearance, and the process of concealment that accompanies any imaging. Weigel reinterprets Derrida’s and Freud’s concept of the trace as that which must be thought before something exists. In doing so, she illuminates the threshold between traces and iconic images, between something immaterial and its pictorial representation. Chapters alternate between general accounts of the line, the index, the effigy, and the cult-image, and case studies from the history of science, art, politics, and religion, involving faces as indicators of emotion, caricatures as effigies of defamation, and angels as embodiments of transcendental ideas. Weigel’s approach to images illuminates fascinating, unexpected correspondences between premodern and contemporary image-practices, between the history of religion and the modern sciences, and between things that are and are not understood as art.

What is the epistemological value of testimony? What role does language, images, and memory play in its construction? What is the relationship between the person who attests and those who listen? Is bearing witness a concept that is exclusively based in interpersonal relations? Or are there other modes of communicating or mediating to constitute a constellation of testimony? Testimony/Bearing Witness establishes a dialogue between the different approaches to testimony in epistemology, historiography, law, art, media studies and psychiatry. With examples including the Holocaust, the Khmer Rouge and the Armenian genocide the volume discusses the chances and limits of communicating epistemological and ethical, philosophical and cultural-historical, past and present perspectives on the phenomenon and concept of bearing witness.

The book presents an overview of the term neuropsychoanalysis and traces its historical and scientific foundations as well as its cultural implications. It also turns its attention to some blind spots, open questions, and to what the future may hold. It examines the cooperative and conflicted relationship between psychoanalysis and neuroscience. Articles from different fields investigate the neurological basis of psychoanalysis as well as the psychological terms of neurology. They also discuss what psychoanalysis has to offer neuroscience. In addition, the emerging neuro-psychoanalytical dialogue is enriched here by the voice of a culturally informed history of science. The book brings leading authorities on these topics into conversation with each other, creating an unprecedented opportunity to better understand the 'language' of the psyche. Specific concerns include the discussion of corporeality, how the body figures into psychoanalysis, the meaning of the unconscious in connection with dreams, unconscious fantasies, and the field of epigenetics. Following a historical perspective the book provides a re-reading of Freud's drive theory, exploring his concept of 'life' at the threshold of science and culture as well as the relationship between various representations, somatic states and the origin of drive. Overall, the book argues that if the different methodological approaches of psychoanalysis and neuroscience are acknowledged not only for their individual uniqueness but also as a dialectic, then the resulting epistemological and methodological dialogue might open up a fascinating body of neuropsychoanalytical knowledge.

In den Beitragen dieses Bandes wird ein unter historisch-politischen und kultur- und literaturgeschichtlichen Aspekten bedeutsamer Zeitraum neu ausgeleuchtet. Das Scheitern der Revolution 1848/49 zwang zu vielen Formen der Reaktion und Bewaltigung: zum Abschworen alter Ideale und zur Suche nach "realitatstuchtigen" Programmen, zum beharrlichen Verfolgen der Emanzipation sowie zur Transponierung revolutionarer Impulse in die Kunst und Literatur. Die ubergreifende Leitthese lautet: Die Verarbeitung der gescheiterten Revolution gehort zum Ursprung der asthetischen Moderne und des modernen Denkens, der Nachmarz ist das "Laboratorium" der Moderne."

There is something magical about these photographs; they show faces as they have never before been seen. The 360-degree portraits by the artist duo Koschies deconstruct familiar occidental views. They are not structured around a vanishing point, but instead take place entirely in the planar dimension. With their fascinating time-slit camera recordings, the artists enter into new visual terrain - not on the basis of digital manipulation, but through creatively making use of the influence of time in the pictures themselves. Just as Impressionist pictorial forms in their day came as a shock to the perception of academically trained viewers of art, these portraits act as a substantial challenge to the eyes of their late modern addressees, whose eyes have been inundated with traditional photography.