En contexte de cinéméducation enseignante, le cinéma est mobilisé aupres d'enseignants dans le cadre d'activités de formation professionnelle destinées a développer leur réflexivité pédagogique et ...éthique. La cinéméducation adopte généralement une approche identificatoire, c'est-a-dire une approche qui incite les enseignants a s'identifier ou se dissocier des personnages des films sélectionnés; mais a l'aide de quelques concepts issus des théories de Walter Benjamin sur le cinéma (les idées de cinéma comme dynamitage et de Spielraum), la cinéméducation enseignante nous permet aussi d'insister sur la dimension révélatoire du cinéma, et ce, afin de permettre l'exploration pédagogique de pratiques inédites ou encore á-venir en éducation.
According to traditional Western views on translation, conveying the meaning is the first aim. In Benjamin's eyes, this is an acceptance of the "non-identity of languages", harming linguistic ...development. With his understanding, Benjamin challenged ideas viewing language as a tool. For this challenge, he has been regarded by many scholars as a forerunner, rebelling against Western logocentrism. He also contributed to the development of translation studies, e.g., with his concept of a "pure language". Another dominant figure of deconstructivism is Derrida, who also challenged logocentrism. He has created many concepts like "la difference", dissemination, trance etc., which serve not only linguistics and philosophy, but also translation studies. In the history of Western translation, Benjamin has often been classified as a member of deconstructivism, even being compared with Derrida in regard to their deconstructive architectural concept of "absence" (MacArthur 1993). However, Benjamin's understanding of translation differs from Derrida's. This paper compares their comprehension of translation mainly regarding the aspects of "pure language" and "la différence", metaphrase and relevant translations, "afterlife" and "rebirth" of the original. Their attitudes towards the five dimensions original work, author, translator, translation work and translation criterion respectively are explored. It is concluded that Benjamin does not belong to deconstructivism.
Joyce, Benjamin and Magical Urbanism offers for the first time a sustained exploration of parallels between the fiction of James Joyce and the cultural criticism of Walter Benjamin. Benjamin is ...perhaps modernism's most eloquent theorist, Joyce its finest writer of fiction; both haunted the same Paris streets at the height of the modernist moment, and both developed accounts of the flaneur's encounter with the city, with commodity culture and with others, that were revolutionary in their day and continue to set the agendas for culture and cultural critique. To place some of the work of each side by side is to make evident their affinities: the skills of each as new cartographers of the urban, the interest of each in ethnicity, nationalism, and exile, the way in which the 'Profane illumination' celebrated by Benjamin meets the 'Epiphany' of Joyce's A Portrait, as each rethought the epistemology of insight in the modernist moment. This collection explores these parallels between two of the greatest modernists, casting the aesthetic strategies of Joyce in the light of the aesthetic critique of Benjamin, opening up the politics of the one in the light of those of the other, and discerning the parallels between Joyce's version of a modern urban world in which self and society effect an uneasy rapprochement and Benjamin's modernist scenarios in which the aura might still linger. This collection discovers extraordinary parallels between the two writers who, writing in Paris, offered new accounts of urban selfhood and survival to the world.
Taking Walter Benjamin's critique of history's "disciplining" nature as a starting point, this article reads Paul Celan in dialogue with the contemporary German-Jewish poet, playwright, and essayist ...Max Czollek to consider the undisciplining of remembrance in both their poetry. The article highlights two sites where poetry makes an undisciplined sense of the past felt: language and historical perception. Readings of Celan's "Lila Luft" and "Mapesbury Road" and Czollek's "von der wiederkehr" and "nachrichten aus marathon" show how both poets draw on the resources of poetry to produce perceptual openings toward the pervasive reverberations of the national socialist past in the present. In doing so, they convey a sense of time in the aftermath of National Socialism that recent debates around memory in Germany-drawing on theoretical accounts of postcolonial aftermaths-described as "post-national socialist." Reading Celan with Czollek renders visible to what extent Celan resonates with this contemporary discourse, while also highlighting the historical specificity of remembering in the wake of the Nazi genocide.
El presente artículo indaga la relación entre épica y novela, considerando distintas teorías y planteamientos que, a lo largo de la primera mitad del siglo XX, procuraron definir las dimensiones y ...posibilidades de la épica en el desarrollo de la forma novelesca: una relación de oposición, según Mijaíl Bajtín; una relación de solapamiento, según José Ortega y Gasset; una renovada relación de continuidad, según Georg Lukács; y una relación de fractura, con necesaria posibilidad de reconexión, según Walter Benjamin. De esta manera, a través de una puesta en diálogo de las diferentes propuestas, se puede establecer un renovado sentido de “lo épico” que le daría ciertas posibilidades y capacidades expresivas a la novela de cara a los retos de la vida moderna.
“Repensar la lectura e investirla de una función crítica”. Con esta fórmula Pic y Alloa dan a pensar el concepto de Legibilidad (Lesbarkeit) en Walter Benjamin, enlazado a la irrupción de una ...sorprendente figura de la lectura: «Leer lo que nunca fue escrito». El presente ensayo da a pensar los alcances de esta fórmula en el encuentro entre Benjamin y Mallarmé, mostrando cómo la lectura de lo no escrito se vincula con la “lectura estrellada” por la experiencia poética del Coup de dés de Mallarmé. La imagen de las constelaciones, lectura de estrellas que nos remite a la infancia de las formas de leer del mundo, permitirá perfilar el “uso imaginativo de la lectura” que se abre paso tanto en la escritura de Mallarmé como en el pensamiento benjaminiano, haciendo que “esta práctica” adquiera una inusitada potencia crítica, incluso revolucionaria.
This article analyses 'doomscrolling', or the compulsive reading of anxiety-inducing online content during the COVID-19 pandemic, against the common idea that it is simply an addictive social ...practice that impedes mental flourishing. Instead, in order to open up its inclination towards care, I read doomscrolling through the anachronistic neologism that has come to define this specifically textual practice. Tracing the operations that doomscrolling and anxiety perform on lived time, the article uses the work of Eugène Minkowski, Sigmund Freud, Lauren Berlant, Walter Benjamin, and Lisa Baraitser to examine how these practices hope to take care of time when narratives of progressive history have worn thin. I include analyses of the anxious textuality of Don DeLillo's The Silence and Saidiya Hartman's reworking of W. E. B. Du Bois's 'The Comet' to demonstrate how doomscrolling emerges from a moment when trust is anxiously fractured, but how it works, nevertheless, to witness what gets to count when time is felt to be coming to an end.
In this article, I investigate the relationship between religion and art in the work of Walter Benjamin. I demonstrate how this relation is embedded in Benjamin’s understanding of a dialectic of ...secularization, which has recently been examined by Sigrid Weigel and Daniel Weidner. Within this context, I focus on the “expressionless” and its relation to the holy in Benjamin’s thought. I follow different applications of the expressionless in Benjamin’s texts from different periods and analyze their overall significance. My thesis is that the expressionless is a specifically aesthetic category that can rescue the difference between the holy and the profane, granting both spheres their own rights and thereby resisting any sacralization of art in an aesthetic cult. Therefore, with reference to the holy and to the expressionless, one can claim with Benjamin that a religious perspective on art in a secular context is of irreplaceable value, while the expressionless simultaneously safeguards the autonomy of art.
How, then, to put my hands on a volume no longer to be found in my library, a book so familiar that I can still envision its well-used spine, or a book that I can still see in my father's hands? A ..."real library" stores and stirs memory, Benjamin suggests, especially if, as should be, it harbours "a number of booklike creations from fringe areas," such as "paste-in" or family albums (491).
PDF
