Walter Benjamin And The Idea Of Natural History

In this incisive new work, Eli Friedlander demonstrates that Walter Benjamin's entire corpus, from early to late, comprises a rigorous and sustained philosophical questioning of how human beings belong to nature. Across seemingly heterogeneous writings, Friedlander argues, Benjamin consistently explores what the natural in the human comes to, that is, how nature is transformed, actualized, redeemed, and overcome in human existence. The book progresses gradually from Benjamin's philosophically fundamental writings on language and nature to his Goethean empiricism, from the presentation of ideas to the primal history of the Paris arcades. Friedlander's careful analysis brings out how the idea of natural history inflects Benjamin's conception of the work of art and its critique, his diagnosis of the mythical violence of the legal order, his account of the body and of action, of material culture and technology, as well as his unique vision of historical materialism. Featuring revelatory new readings of Benjamin's major works that differ, sometimes dramatically, from prevailing interpretations, this book reveals the internal coherence and philosophical force of Benjamin's thought.

This book is the first to consider the presence of history and the question of historical practice in Walter Benjamin's work. Benjamin, the critic and philosopher of history, was also the practitioner, the authors contend, and it is in the practice of historical writing that the materialist aspect of his thought is most evident. Some of the essays analyze Benjamin's writings in cultural history and the philosophy of history. Others connect his historical and theoretical practices to issues in contemporary feminism and post-colonial studies, and to cultural contexts including the United States, Japan, and Hong Kong. In different ways, the authors all find in Benjamin's specific notion of historical materialism a dialectic between textual and cultural analysis which can reinvigorate the relation between literary and historical studies.

On The Concept of History is a politics & social sciences essay written by German philosopher and social science critic Walter Benjamin. On The Concept of History is one of Walter Benjamin's best known, and most controversial works. The politics & social sciences essay is composed of twenty numbered paragraphs in which Benjamin uses poetic and scientific analogies to present a critique of historicism. Walter Benjamin wrote the brief essay shortly before attempting to escape from Vichy France, where French collaborationist government officials were handing over Jewish refugees like Walter Benjamin to the Nazi Gestapo. Walter Benjamin completed On The Concept of History before fleeing to Spain where he unfortunately committed suicide. Benjamin's work is often required textbook reading in various subjects such as humanities, philosophy, and politics & social sciences.

In this incisive new work, Eli Friedlander demonstrates that Walter Benjamin's entire corpus, from early to late, comprises a rigorous and sustained philosophical questioning of how human beings belong to nature. Across seemingly heterogeneous writings, Friedlander argues, Benjamin consistently explores what the natural in the human comes to, that is, how nature is transformed, actualized, redeemed, and overcome in human existence. The book progresses gradually from Benjamin's philosophically fundamental writings on language and nature to his Goethean empiricism, from the presentation of ideas to the primal history of the Paris arcades. Friedlander's careful analysis brings out how the idea of natural history inflects Benjamin's conception of the work of art and its critique, his diagnosis of the mythical violence of the legal order, his account of the body and of action, of material culture and technology, as well as his unique vision of historical materialism. Featuring revelatory new readings of Benjamin's major works that differ, sometimes dramatically, from prevailing interpretations, this book reveals the internal coherence and philosophical force of Benjamin's thought.

Walter Benjamin is often viewed as a cultural critic who produced a vast array of brilliant and idiosyncratic pieces of writing with little more to unify them than the feeling that they all bear the stamp of his "unclassifiable" genius. Eli Friedlander argues that Walter Benjamin's corpus of writings must be recognized as a unique configuration of philosophy with an overarching coherence and a deep-seated commitment to engage the philosophical tradition. Friedlander finds in Benjamin's early works initial formulations of the different dimensions of his philosophical thinking. He leads through them to Benjamin's views on the dialectical image, the nature of language, the relation of beauty and truth, embodiment, dream and historical awakening, myth and history, as well as the afterlife and realization of meaning. Those notions are articulated both in themselves and in relation to central figures of the philosophical tradition. They are further viewed as leading to and coming together in The Arcades Project. Friedlander takes that incomplete work to be the central theater where these earlier philosophical preoccupations were to be played out. Benjamin envisaged in it the possibility of the highest order of thought taking the form of writing whose contents are the concrete time-bound particularities of human experience. Addressing the question of the possibility of such a presentation of philosophical truth provides the guiding thread for constellating the disparate moments of Benjamin's writings.

Developing work in the theories of action and explanation, Eldridge argues that moral and political philosophers require accounts of what is historically possible, while historians require rough philosophical understandings of ideals that merit reasonable endorsement. Both Immanuel Kant and Walter Benjamin recognize this fact. Each sees a special place for religious consciousness and critical practice in the articulation and revision of ideals that are to have cultural effect, but they differ sharply in the forms of religious-philosophical understanding, cultural criticism, and political practice that they favor. Kant defends a liberal, reformist, Protestant stance, emphasizing the importance of liberty, individual rights, and democratic institutions. His fullest picture of movement toward a moral culture appears in Religion within the Bounds of Mere Reason, where he describes conjecturally the emergence of an ethical commonwealth. Benjamin defends a politics of improvisatory alertness and consciousness-raising that is suspicious of progress and liberal reform. He practices a form of modernist, materialist criticism that is strongly rooted in his encounters with Kant, Hölderlin, and Goethe. His fullest, finished picture of this critical practice appears in One-Way Street, where he traces the continuing force of unsatisfied desires. By drawing on both Kant and Benjamin, Eldridge hopes to avoid both moralism (standing on sharply specified normative commitments at all costs) and waywardness (rejecting all settled commitments). And in doing so, he seeks to make better sense of the commitment-forming, commitment-revising, anxious, reflective and sometimes grownup acculturated human subjects we are.

In this study, Beatrice Hanssen unlocks the philosophical and ethical dimensions of the Trauerspiel study, showing how its thematics persisted well into the later writings of the thirties. For by introducing the materialistic category of natural history in The Origin of German Tragic Drama, Benjamin not only criticized idealistic conceptions of history writing but also expressed an ethico-theological call for another kind of history, one no longer anthropocentric in nature. This profound critique of historical thinking, Hanssen shows, went hand in hand with a radical de-limitation of the human subject, informed by his interest in questions about ethics, the law, and justice. Through an analysis of the seemingly innocuous figures of stones, animals, and angels that are scattered throughout his writings, Hanssen reconstructs the often neglected ethical dimension of his historical thought. In the course of doing so, she not only places Benjamin's work in the context of contemporaries such as Adorno, Cohen, Lukacs, Kafka, Kraus, and Heidegger but also demonstrates the persistence of Benjaminian themes in contemporary philosophy and critical theory.

A case for literary critics and other humanists to stop wallowing in their aestheticized helplessness and instead turn to poetry, comedy, and love. Literary criticism is an agent of despair, and its poster child is Walter Benjamin. Critics have spent decades stewing in his melancholy. What if instead we dared to love poetry? To choose comedy over Hamlet’s tragedy, romance over Benjamin’s suicide on the edge of France, of Europe, of civilization? Paul Bové challenges young lit critters to throw away their shades and let the sun shine in. Love’s Shadow is his three-step manifesto for a new literary criticism that risks sentimentality and melodrama and eschews self-consciousness. The first step is to choose poetry. There has been since the time of Plato a battle between philosophy and poetry. Philosophy has championed misogyny, while poetry has championed women, like Shakespeare’s Rosalind. Philosophy is ever so stringent; try instead the sober cheerfulness of Wallace Stevens. Bové’s second step is to choose the essay. He praises Benjamin’s great friend and sometime antagonist Theodor Adorno, who gloried in the writing of essays, not dissertations and treatises. The third step is to choose love. If you want a Baroque hero, make it Rembrandt, who brought lovers to life in his paintings. Putting aside passivity and cynicism would amount to a revolution in literary studies. Bové seeks nothing less, and he has a program for achieving it.