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In So What's New about Scholasticism? thirteen international
scholars gauge the extraordinary impact of a religiously inspired
conceptual framework in a modern society. The essays that are
brought together in this volume reveal that Neo-Thomism became part
of contingent social contexts and varying intellectual domains.
Rather than an ecclesiastic project of like-minded believers,
Neo-Thomism was put into place as a source of inspiration for
various concepts of modernization and progress. This volume
reconstructs how Neo-Thomism sought to resolve disparities, annul
contradictions and reconcile incongruent, new developments. It asks
the question why Neo-Thomist ideas and arguments were put into play
and how they were transferred across various scientific disciplines
and artistic media, growing into one of the most influential
master-narratives of the twentieth century. Edward Baring, Dries
Bosschaert, James Chappel, Adi Efal-Lautenschlager, Rajesh
Heynickx, Sigrid Leyssen, Christopher Morrissey, Annette Mulberger,
Jaume Navarro, Herman Paul, Karim Schelkens, Wim Weymans and John
Carter Wood reconstruct a bewildering, yet decipherable
thought-structure that has left a deep mark on twentieth century
politics, philosophy, science and religion.
For over fifty years the concept of memory has played a crucial
role in a large number of academic and societal debates. The Work
of Forgetting: Or, How Can We Make the Future Possible? draws
attention to the limits of the academic field of memory studies. It
argues that the faculty of memory offers an inadequate response to
the challenges of the present. The book sets up a dialogue between
the philosophies of forgetting that underlie the writings of
Friedrich Nietzsche, Walter Benjamin and Gilles Deleuze, and the
philosophies of memory that inform the work of Sigmund Freud,
Martin Heidegger and Hannah Arendt. It builds on the idea that
history is inseparable from a type of transience that cannot be
counter-acted by the preserving work of memory and develops a new
understanding of the phenomenon of forgetting in which the passage
of time is asserted in thought and thus made productive.
For over fifty years the concept of memory has played a crucial
role in a large number of academic and societal debates. The Work
of Forgetting: Or, How Can We Make the Future Possible? draws
attention to the limits of the academic field of memory studies. It
argues that the faculty of memory offers an inadequate response to
the challenges of the present. The book sets up a dialogue between
the philosophies of forgetting that underlie the writings of
Friedrich Nietzsche, Walter Benjamin and Gilles Deleuze, and the
philosophies of memory that inform the work of Sigmund Freud,
Martin Heidegger and Hannah Arendt. It builds on the idea that
history is inseparable from a type of transience that cannot be
counter-acted by the preserving work of memory and develops a new
understanding of the phenomenon of forgetting in which the passage
of time is asserted in thought and thus made productive.
In the Arcades Project, Walter Benjamin writes that his work is
"related to theology as blotting pad is related to ink. It is
saturated with it." For a thinker so decisive to critical literary,
cultural, political, and aesthetic writings over the past
half-century, Benjamin's relationship to theological matters has
been less observed than it should, even despite a variety of
attempts over the last four decades to illuminate the theological
elements latent within his eclectic and occasional writings. Such
attempts, though undeniably crucial to comprehending his thought,
remain in need of deepened systematic analysis. In bringing
together some of the most renowned experts from both sides of the
Atlantic, Walter Benjamin and Theology seeks to establish a new
site from which to address both the issue of Benjamin's
relationship with theology and all the crucial aspects that
Benjamin himself grappled with when addressing the field and
operations of theological inquiry.
In the Arcades Project, Walter Benjamin writes that his work is
"related to theology as blotting pad is related to ink. It is
saturated with it." For a thinker so decisive to critical literary,
cultural, political, and aesthetic writings over the past
half-century, Benjamin's relationship to theological matters has
been less observed than it should, even despite a variety of
attempts over the last four decades to illuminate the theological
elements latent within his eclectic and occasional writings. Such
attempts, though undeniably crucial to comprehending his thought,
remain in need of deepened systematic analysis. In bringing
together some of the most renowned experts from both sides of the
Atlantic, Walter Benjamin and Theology seeks to establish a new
site from which to address both the issue of Benjamin's
relationship with theology and all the crucial aspects that
Benjamin himself grappled with when addressing the field and
operations of theological inquiry.
More Than Life: Georg Simmel and Walter Benjamin on Art is the
first book to trace the philosophical relation between Georg Simmel
and his one-time student Walter Benjamin, two of the most
influential German thinkers of the twentieth century. Reading
Simmel's work, particularly his essays on Michelangelo, Rembrandt,
and Rodin, alongside Benjamin's concept of Unscheinbarkeit
(inconspicuousness) and his writings on Charlie Chaplin, More Than
Life demonstrates that both Simmel and Benjamin conceive of art as
the creation of something entirely new rather than as a mimetic
reproduction of a given. The two thinkers diverge in that Simmel
emphasizes the presence of a continuous movement of life, whereas
Benjamin highlights the priority of discontinuous, interruptive
moments. With the aim of further elucidating Simmel and Benjamin's
ideas on art, Stephane Symons presents a number of in-depth
analyses of specific artworks that were not discussed by these
authors. Through an insightful examination of both the conceptual
affinities and the philosophical differences between Simmel and
Benjamin , Symons reconstructs a crucial episode in
twentieth-century debates on art and aesthetics.
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