Radio Benjamin

Walter Benjamin was fascinated by the impact of new technology on culture, an interest that extended beyond his renowned critical essays. From 1927 to ’33, he wrote and presented something in the region of eighty broadcasts using the new medium of radio. Radio Benjamin gathers the surviving transcripts, which appear here for the first time in English. This eclectic collection demonstrates the range of Benjamin’s thinking and his enthusiasm for popular sensibilities. His celebrated “Enlightenment for Children” youth programs, his plays, readings, book reviews, and fiction reveal Benjamin in a creative, rather than critical, mode. They flesh out ideas elucidated in his essays, some of which are also represented here, where they cover topics as varied as getting a raise and the history of natural disasters, subjects chosen for broad appeal and examined with passion and acuity. Delightful and incisive, this is Walter Benjamin channeling his sophisticated thinking to a wide audience, allowing us to benefit from a new voice for one of the twentieth century’s most respected thinkers.

Walter Benjamin was fascinated by the impact of new technology on culture, an interest that extended beyond his renowned critical essays. From 1927 to ’33, he wrote and presented something in the region of eighty broadcasts using the new medium of radio. Radio Benjamin gathers the surviving transcripts, which appear here for the first time in English. This eclectic collection demonstrates the range of Benjamin’s thinking and his enthusiasm for popular sensibilities. His celebrated “Enlightenment for Children” youth programs, his plays, readings, book reviews, and fiction reveal Benjamin in a creative, rather than critical, mode. They flesh out ideas elucidated in his essays, some of which are also represented here, where they cover topics as varied as getting a raise and the history of natural disasters, subjects chosen for broad appeal and examined with passion and acuity. Delightful and incisive, this is Walter Benjamin channeling his sophisticated thinking to a wide audience, allowing us to benefit from a new voice for one of the twentieth century’s most respected thinkers.

In Walter Benjamin for Children, readers will encounter a host of intertextual surprises: an evocation of the flooding of the Mississippi informed by the argument of "The Task of the Translator"; a discussion of scams in stamp-collecting that turns into "The Work of Art in the Age of Mechanical Reproduction"; a tale of bootlegging in the American South that converges with the best of Benjamin's forays into fiction. Mehlman superimposes a dual series of texts dealing with catastrophe, on the one hand, and fraud, on the other, and allows it to resonate with the false-messianic theology of Sabbatianism as it came to focus the attention and enthusiasm of Benjamin's friend Gershom Scholem during the same years. The radio scripts for children offer an unexpected byway, on the eve of apocalypse, into Benjamin's messianic preoccupations.

A comprehensive study of education in the writings of Walter Benjamin. Walter Benjamin’s Antifascist Education is the first comprehensive analysis of educational themes across the entirety of the critical theorist’s diverse writings. Starting with Benjamin’s early reflections on teaching and learning, Tyson E. Lewis argues that the aesthetic and cultural forms to which Benjamin so often turned—namely, radio broadcasts, children’s theatrical productions, collections, cityscapes, public cinemas, and word games—swell with educational potentialities. What emerges from Lewis’s reading is a constellational curriculum composed of minor practices such as poor teaching, absentminded learning, and nondurational studying. This curriculum carries political significance, offering an antidote to past and present forms of fascist manipulation, hardness, and coldness. Walter Benjamin’s Antifascist Education is a testimony to Benjamin’s belief that “everyone is an educator and everyone needs to be educated and everything is education.” “Taking up the multifaceted Benjaminian conception of educational life—a life of studious straying and self-reflection at once critical and mimetic—and following its untoward trajectory in object areas as diverse as slapstick film, riddles, cityscapes, and children’s theater, this subtle, imaginative, and comprehensive analysis speaks directly to the moral and spiritual crisis of the present.” — Howard Eiland, Massachusetts Institute of Technology

Mime Radio was performed and written orally by French artist Benjamin Seror at a series of events over a two-year period, then transcribed and edited into a novel. The story revolves around a cast of eccentric characters, who meet at the Tiki Coco, a bar in Los Angeles that holds "Challenging Reality Open Mic" nights for amateur inventors and performers. Eventually, the protagonists get caught up in trying to help Marsyas, a character from ancient Greek mythology that lost his body after being defeated in a music contest against the god Apollo, to recover his voice, his very ancient voice. Unbeknownst to them, this recovery unleashes a disaster... Mime Radio is a novel about how language and perception can be one and the same. Copublished with Bat, Adéra, CRAC Alsace, Kunstverein

Walter Benjamin (1892-1940), one of the most original and perceptive thinkers of the twentieth century, offered a unique insight into the profound impact of the media on modern society. Jaeho Kang’s book offers a lucid introduction to Benjamin’s theory of the media and its continuing relevance today. The book provides a systematic and close reading of Benjamin’s critical and provocative writings on the intersection between media - from print to electronic - and modern experience, with reference to the information industry, the urban spectacle, and the aesthetic politics. Bringing Benjamin’s thought into a critical constellation with contemporary media theorists such as Marshall McLuhan and Jean Baudrillard, the book helps students understand the implications of Benjamin’s work for media studies today and how they can apply his distinctive ideas to contemporary media culture. Kang’s book leads to a fresh appreciation of Benjamin’s work and new insight into critical theoretical approaches to media. The book will be of particular interest to students and researchers not only in media and communication studies but also in cultural studies, film studies and social theory, who are seeking a readable overview of Benjamin’s rich yet complex writings.

Published to mark the beginning of the Britten centenary year in 2013, Paul Kildea's Benjamin Britten: A Life in the Twentieth Century is the definitive biography of Britain's greatest modern composer. In the eyes of many, Benjamin Britten was our finest composer since Purcell (a figure who often inspired him) three hundred years earlier. He broke decisively with the romantic, nationalist school of figures such as Parry, Elgar and Vaughan Williams and recreated English music in a fresh, modern, European form. With Peter Grimes (1945), Billy Budd (1951) and The Turn of the Screw (1954), he arguably composed the last operas - from any composer in any country - which have entered both the popular consciousness and the musical canon. He did all this while carrying two disadvantages to worldly success - his passionately held pacifism, which made him suspect to the authorities during and immediately after the Second World War - and his homosexuality, specifically his forty-year relationship with Peter Pears, for whom many of his greatest operatic roles and vocal works were created. The atmosphere and personalities of Aldeburgh in his native Suffolk also form another wonderful dimension to the book. Kildea shows clearly how Britten made this creative community, notably with the foundation of the Aldeburgh Festival and the building of Snape Maltings, but also how costly the determination that this required was. Above all, this book helps us understand the relationship of Britten's music to his life, and takes us as far into his creative process as we are ever likely to go. Kildea reads dozens of Britten's works with enormous intelligence and sensitivity, in a way which those without formal musical training can understand. It is one of the most moving and enjoyable biographies of a creative artist of any kind to have appeared for years. Paul Kildea is a writer and conductor who has performed many of the Britten works he writes about, in opera houses and concert halls from Sydney to Hamburg. His previous books include Selling Britten (2002) and (as editor) Britten on Music (2003). He was Head of Music at the Aldeburgh Festival between 1999 and 2002 and subsequently Artistic Director of the Wigmore Hall in London.

The publication presents the first historical analysis of the tension between the city and architectural form. It introduces 20th century theories to construct a historical context from which a new architecture-city relationship emerged. The book provides a conceptual framework to understand this relationship and comes to the conclusion that urbanization may be filled with potential, i.e. be a Good Metropolis.