Walter Benjamin and the Post-Kantian Tradition engages with Benjamin as a theorist of a historical and philosophical problematic of modernity: a problematic that he finds manifested, in different philosophical guises, within scientific empiricism, neo-Kantianism and German Romanticism. The book takes us through these manifestations systematically and, in doing so, it demonstrates how Benjamin develops a unique form of materialist criticism from within the tension he locates within transcendent neo-Kantianism materialism and the immanent standpoints of scientific materialism and German Romanticism.

This book provides a study of Walter Benjamin’s first philosophy in two senses: it focuses on his early philosophy as a source of insight into his later works, and it explores his thinking about the nature of truth, method, experience, the relation of body and mind, and the limits of human knowledge. While most attention is paid to Benjamin’s later works, his writings from roughly 1914-1925 explore philosophical themes and develop a critical method. This book argues that this early work founds a series of original and lasting questions and insights. Benjamin understands experience as a broken continuum of diverse forms of spiritual expression, each of which is ephemeral. This leads Benjamin to a series of thought figures: the notion of language as a medium of experience; a philosophy of perception based in the natural history of the human body; an emphasis on mimesis as a faculty of creative assimilation; and a discovery of memory as a power for excavation of meaning in past experience. This book demonstrates that the need for a new understanding of the metaphysical structure of experience, as well as a new conception of truth, play a special role in shaping Benjamin’s subsequent work. Walter Benjamin’s First Philosophy will be of interest to scholars and advanced students working on the thought of Walter Benjamin, 20th-century Continental philosophy, comparative literature, and modern German thought.

Tracing Walter Benjamin's convergences with, and divergences from, influential German legal theorist Carl Schmitt, this edited collection contextualizes Benjamin's thinking in the intellectual currents of his time, while also placing him in dialogue with traditions and thinkers from antiquity to the present. At stake is whether Benjamin presents the possibility of a distinctive political theology-a question which the collection addresses without collapsing the tensions internal to Benjamin's thought. Benjamin's thought has been a touchstone, explicitly or implicitly, in numerous efforts to conceive of a 'new' political theology that is not anchored in legitimizing and preserving power, but in justice and liberation. Benjamin interrogates the political-theological complex from what may be construed as a vantage point opposed to Schmitt. Whereas Schmitt excavates the theological elements in modernity in order to shore up liberalism's illiberal inheritance, Benjamin roots out these latent structures in order to dissolve them and liberate us from their oppressive legacy. This volume's multifaceted contributions explore why Benjamin has been such a fertile source for thinking about political theology beyond – and often against – Schmitt. Benjamin indicates how existing political theologies can be challenged or expanded. This book accordingly makes a wide range of relevant work available for study whilst also opening new perspectives on Benjamin's œuvre.

Exploring the connections between Walter Benjamin's philosophy of history and a Marxian Critique of Political Economy, Duy Lap Nguyen analyses Benjamin's early writings and their development into a distinct understanding of historical materialism. Benjamin's historically materialist conception of history is shown to be characterised by a focus on the religion of capitalism, the mythology of the state, and messianic time. Revealing these factors, Nguyen joins up Benjamin's philosophical critique of the Kantian conception of history, alongside the historical trajectory of capitalism he subscribed to. Influenced by the theory of fascism outlined by German Marxist theorist Karl Korsch, we see how Benjamin's own theory of revolution and redemption in capitalist society developed into a sophisticated critique. Essential to Benjamin's materialist critique was a recognition of the fallibility of the Enlightenment notion of progress, as well as the need to overturn the political and economic catastrophes which enable capitalism and fascism to thrive. In mapping the exact course of Benjamin's critical historical materialism, Nguyen fully explicates the unique contribution he made to western Marxism.

This book examines the philosophical thought of the young Walter Benjamin and its development in his later work. Starting from his critique of the philosophy of Immanuel Kant and Hermann Cohen, the author traces the relationships among Benjamin’s theories — developed in tandem with his friend Gershom Scholem — of knowledge, language, ethics, politics, the philosophy of history and aesthetics, all linked to the Judaic theme of messianism and language as a realm of redemption. She delineates a horizon in which the concept of experience as structure, philosophical system and “infinite task” (On the Program of the Coming Philosophy, 1917/18) evolves into a concept of the origin as monad (The Origin of German Tragic Drama, 1925), merging finally into the historical concept as monad and dialectical image (On the Concept of History, 1940). Tagliacozzo asserts that the concept of experience as structure and symbolic system, derived from his critical interpretation of Kant and Neo-Kantianism, develops into a conception of thought founded on a theological language of revelation.

This is a book-length commentary on Walter Benjamin’s 1923 essay "Die Aufgabe des Übersetzers," best known in English under the title "The Task of the Translator." Benjamin’s essay is at once an immensely attractive work for top-flight theorists of translation and comparative literature and a frustratingly cryptic work that cries out for commentary. Almost every one of the claims he makes in it seems wildly counterintuitive, because he articulates none of the background support that would help readers place it in larger literary-historical contexts: Jewish mystical traditions from Philo Judaeus’s Logos-based Neoplatonism to thirteenth-century Lurianic Kabbalah; Romantic and post-Romantic esotericisms from Novalis and the Schlegels to Hölderlin and Goethe; modernist avant-garde foreclosures on "the public" and generally the communicative contexts of literature. The book is divided into 78 passages, from one to a few sentences in length. Each of the passages becomes its own commentarial unit, consisting of a Benjaminian interlinear box, a paraphrase, a commentary, and a list of other commentators who have engaged the specific passage in question. Because the passages cover the entire text of the essay in sequence, reading straight through the book provides the reader with an augmented experience of reading the essay. Robinson’s commentary is key reading for scholars and postgraduate students of translation, comparative literature, and critical theory.

In this book, Alison Ross engages in a detailed study of Walter Benjamin’s concept of the image, exploring the significant shifts in Benjamin’s approach to the topic over the course of his career. Using Kant’s treatment of the topic of sensuous form in his aesthetics as a comparative reference, Ross argues that Benjamin’s thinking on the image undergoes a major shift between his 1924 essay on ‘Goethe’s Elective Affinities,’ and his work on The Arcades Project from 1927 up until his death in 1940. The two periods of Benjamin’s writing share a conception of the image as a potent sensuous force able to provide a frame of existential meaning. In the earlier period this function attracts Benjamin’s critical attention, whereas in the later he mobilises it for revolutionary outcomes. The book gives a critical treatment of the shifting assumptions in Benjamin’s writing about the image that warrant this altered view. It draws on hermeneutic studies of meaning, scholarship in the history of religions and key texts from the modern history of aesthetics to track the reversals and contradictions in the meaning functions that Benjamin attaches to the image in the different periods of his thinking. Above all, it shows the relevance of a critical consideration of Benjamin’s writing on the image for scholarship in visual culture, critical theory, aesthetics and philosophy more broadly.

The Fractured Subject investigates the relationship of the work of Walter Benjamin and Sigmund Freud, centered around the concept of the fractured subject. Through a reading of Benjamin’s work on sovereignty and myth, Betty Schulz establishes the emergence of this fractured subject in the Baroque and links these themes to ‘Mourning and Melancholia’ and two of Freud’s case studies, showing that melancholia and possession emerge as two responses to the baroque loss of a cosmological horizon. Turning to Benjamin’s work on the nineteenth century in the Arcades Project, Schulz delineates the persistence of this fractured subject, showing how Benjamin conceptualises its development over the course of modernity while analyzing the change of memory and experience in modernity. Finally, having introduced the importance of the dream in the Arcades Project and associated work, Schulz examines Benjamin’s dream theory, establishing the ways it draws from Freud, as well as Benjamin’s concept of awakening as a therapeutic, collective, political gesture that points beyond the fractured subject.

A Contemporary Archaeology of London’s Mega Events explores the traces of London’s most significant modern ‘mega events’. Though only open for a few weeks or months, mega events permanently and disruptively reshape their host cities and societies: they demolish and rebuild whole districts, they draw in materials and participants from around the globe and their organisers self-consciously seek to leave a ‘legacy’ that will endure for decades or more. With London as his case study, Jonathan Gardner argues that these spectacles must be seen as long-lived and persistent, rather than simply a transient or short-term phenomena. Using a novel methodology drawn from the subfield of contemporary archaeology – the archaeology of the recent past and present-day – a broad range of comparative studies are used to explore the long-term history of each event. These include the contents and building materials of the Great Exhibition’s Crystal Palace and their extraordinary ‘afterlife’ at Sydenham, South London; how the Festival of Britain’s South Bank Exhibition employed displays of ancient history to construct a new post-war British identity; and how London 2012, as the latest of London’s mega events, dealt with competing visions of the past as archaeology, waste and ‘heritage’ in creating a vision of the future.

This book addresses the relevance of the state of exception for the analysis of law, while reflecting on the deeper symbolic and jurisprudential significance of the coalescence between law and force. The concept of the state of exception has become a central topos in political and legal philosophy as well as in critical theory. The theoretical apparatus of the state of exception sharply captures the uneasy relationship between law, life and politics in the contemporary global setting, while also challenging the comforting narratives that uncritically connect democracy with the tradition of the rule of law. Drawing on critical legal theory, continental jurisprudence, political philosophy and history, this book explores the genealogy of the concept of the state of exception and reflects on its legal embodiment in past and present contexts – including Weimar and Nazi Germany, contemporary Europe and Turkey. In doing so, it explores the disruptive force of the exception for legal and political thought, as it recuperates its contemporary critical potential. The book will be of interest to students and scholars in the field of jurisprudence, philosophy and critical legal theory.