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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.
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.
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 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."
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 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."
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KOSCHIES - SURFACES (German, Hardcover)
Birgit Koschies, Axel Koschies; Contributions by Sigrid Weigel, Klaus Honnef, Christoph Tannert
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R1,195
Discovery Miles 11 950
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Ships in 12 - 17 working days
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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.
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