In The Memory of Things, I begin by posing the question, what if memory were not merely a human characteristic but also a thingly one. I aproach this thought through the work of Walter Benjamin, for whom things and memories are often juxtaposed, and whose writing of modernity is concerned particularly with the intersection of material traces and memory. I access these questions by means of various theories, among which are psychoanalysis, object-oriented ontology, thing theory, and phenomenology, and, more briefly, through the history of geological science. At their cores, the questions of modernity, of things and people, of trauma and politics, of aura and its decay, of memory and forgetting, of weight are questions of ethics. I demonstrate in the dissertation to follow, objects bear the weight of human memory and ethics. Furthermore, I demonstrate that Benjamin's eclectic writings, most especially his writings on aura, provide the tools we need to re-think objects and our relations to them.

In The Memory of Things, I begin by posing the question, what if memory were not merely a human characteristic but also a thingly one. I aproach this thought through the work of Walter Benjamin, for whom things and memories are often juxtaposed, and whose writing of modernity is concerned particularly with the intersection of material traces and memory. I access these questions by means of various theories, among which are psychoanalysis, object-oriented ontology, thing theory, and phenomenology, and, more briefly, through the history of geological science. At their cores, the questions of modernity, of things and people, of trauma and politics, of aura and its decay, of memory and forgetting, of weight are questions of ethics. I demonstrate in the dissertation to follow, objects bear the weight of human memory and ethics. Furthermore, I demonstrate that Benjamin's eclectic writings, most especially his writings on aura, provide the tools we need to re-think objects and our relations to them.

Texte remanié de: Diss.--Philosophische Fakultät--Universität zu Köln, 1998. / Bibliogr. p. [449]-462.

CoordenaÃÃo de AperfeiÃoamento de NÃvel Superior / CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / O projeto de estudo em questÃo visa aprofundar-se na obra de Walter Benjamin, concentrando-se na idÃia de limiar como uma noÃÃo estruturante que perpassa as mÃltiplas fases de seu pensamento. O modo de alegorese presente e expressivo na escrita deste autor, onde se articula uma teoria das imagens dialÃticas, à importante para nossa interpretaÃÃo pois a prÃpria escrita benjaminiana apresenta-se como um medium-de-reflexÃo onde revela-se as suas concepÃÃes epistemolÃgicas acerca do carÃter da IdÃia, suas reflexÃes estÃticas e sua crÃtica de carÃter historiogrÃfico. Toda sua escrita que traz em si tais questÃes à a expressÃo e zona de limiar a respeito da relaÃÃo belo/verdade, forma/conteÃdo, linguagem/imagem, sensÃvel/inteligÃvel, tempo/histÃria. Sugere-se entÃo que a partir da relaÃÃo entre verdade e beleza, Benjamin desenvolve em sua crÃtica o conceito de sem-expressÃo, elemento este que desfaz a falsa totalidade da aparÃncia para revelar um fragmento verdadeiro do mundo, pela obra de arte, conectando a arte enquanto aparÃncia ao campo da verdade revelando-a como lei essencial para o pensamento. O trabalho propÃe-se a refletir, juntamente com essas questÃes, o vÃnculo entre o conceito de sem-expressÃo e o aspecto intrinsecamente fragmentÃrio do conhecimento histÃrico-linguÃstico deste pensador berlinense no intuito de apresentar nesta reflexÃo a forÃa fisiognÃmica da linguagem, ou seja, sua expressÃo imagÃtica na relaÃÃo entre sÃmbolo e alegoria que constituem um limiar de crÃtica imanente em Walter Benjamin.

Zugl.: Osnabrück, Universiẗat, Diss., 2004.

[pt] Meu trabalho, Walter Benjamin. A verdade em imagens, procura mostrar a especificidade da filosofia de Walter Benjamin. Essa filosofia dirige-se à plenitude da experiência humana, guiada por sua convicção de que a dimensão expressiva da linguagem é o campo histórico, no qual a verdade pode ser construída em imagens. Benjamin valoriza a natureza simbólica da linguagem percorrendo o caminho que se desvia tanto das teorias clássicas como das teorias linguísticas que marcaram o início século XX. O filósofo articula experiência e linguagem e enfrenta a questão de a linguagem ser, ao mesmo tempo, comunicação e expressão, imergindo em uma reflexão sobre a força da imagem e sua temporalidade: sua possibilidade de eterna atualização na história como um nome que acabou de nascer, como o radicalmente novo. Na palavra, o mundo é percebido, da palavra saltam as imagens obscuras que constroem a escrita da memória humana. As raízes de seu pensamento se encontram na mística judaica, na filosofia kantiana, no romantismo alemão e no encontro com as obras de sua contemporaneidade. Escavando os vários extratos de significação desse terreno com o rigor de sua crítica, Benjamin apresenta um novo modo de conceber o conhecimento e um novo conceito de história e de tempo. A partir de um paradigma epistemológico, estético-teológico-político, o filósofo une o espiritual e o histórico, recusa as ideias de continuidade, de causalidade e de progresso, que selam os preceitos do século XIX, e propõe que a filosofia seja um exercício de apresentação da verdade. O conhecimento só pode ser pensado como experiência da verdade que aparece num instante, em toda sua beleza e mistério. Trata-se de um processo de leitura e escrita, a partir do presente do filósofo/historiador que promove a redenção do passado, do presente e do futuro, pela ruptura. A categoria estética da alegoria vai atender à quintessência das suas interrogações: buscar na relação linguística entre tempo e imagem a objetividade capaz de responder ao caráter destrutivo da crítica filosófica. A forma alegórica expressa a fragmentação do pensamento, da linguagem e do tempo, a incompletude da história e da verdade. A forma alegórica atende à exigência de, no agora de uma cognoscibilidade, apresentar a verdade em imagens. / [en] My work, Walter Benjamin. Truth in Images, intends to convey specificities of Walter Benjamin’s philosophy, which is directed to the plenitude of the human experience. This philosophy is guided by his conviction that the expressive dimension of language is the historical field, in which truth may be construed in images. Benjamin values the symbolic nature of language while investigating the path that deviates both from classical theory, such as the linguistic theories that marked the beginning of the 20th Century. The philosopher articulates experience and language and takes on the issue of language as being, at the same time, communication and expression, diving into a reflection about the power of images and its temporality: its possibility of eternally updating history as a name that has just been born, as the radically new. In the realm of words, the world is perceived; from words, obscure images derive, making up the written form of the human memory. The basis of his thinking may be found in Jewish mysticism, in Kantian philosophy, in German romanticism and in his encounter with contemporary works. While excavating various extracts of meaning in this field with the rigorousness of his criticism, Benjamin presents a new means of conceiving knowledge and a new concept of history and time. By means of an epistemological paradigm, at the same time aesthetic, theological and political, the philosopher unites the spiritual and the historic, refuses the ideas of continuity, of causality and of progress, which characterizes the conceptions of the 19th Century, and proposes that philosophy be an exercise of presenting the truth. Knowledge may only be thought of as an experience of truth that appears in an instant, with all its beauty and mystery. It is a process of reading and writing, starting with the present of the philosopher/historian that promotes redemption from the past, from the present and the future, through rupture. The aesthetic category of the Allegory will attend to the quintessential aspect of his interrogations: to seek objectivity capable of responding to the destructive character of philosophical criticism through the linguistic relationship between time and imagery. The Allegorical form expresses the fragmentation of thought, of language and of time, the incompleteness of history and of truth. The Allegorical form attends to the demand of - in the now of cognoscibility - presenting truth in images. / [fr] Ma thèse, Walter Benjamin: la vérité en images, essaie de montrer la spécificité de la philosophie de Walter Benjamin, qui s’adresse à la plenitude de l’expérience humaine, guidée par sa conviction que la dimension expressive du langage est le champ historique, dans lequel la vérité peut être construite en images. Benjamin valorise la nature simbolique du langage, parcourt le chemin qui se détourne aussi bien des théories classiques que des théories linguistiques qui ont marqué le début du XXe. Le philosophe articule l’expérience et le langage et fait face à la question du langage comme étant, en même temps, communication et expression, en plongeant dans une réflexion sur la forme de l’image et de sa temporalité: sa possibilité d’une éternelle mis-à-jour dans l’histoire comme un nom qui vient de naître, comme le radicalement neuf. À l’intérieur du mot, le monde est perçu; des images obscures surgissent du mot et construisent l’écriture de la mémoire humaine. Les racines de sa pensée se trouvent dans la mystique juive, dans la philosophie kantienne, dans le romantisme allemand et dans la rencontre avec les oeuvres de sa contemporaineté. En fouillant les divers extraits de la signification de ce terrain avec la rigueur de sa critique, Benjamin présente une nouvelle manière de concevoir la connaissance et un nouveau concept de l’histoire et du temps. À partir d’un paradigme épistémologique, à la fois esthétique, théologique et politique, le philosophe réunit le spirituel et l’historique, refuse les idées de continuité, de causalité et de progrès qui marquent les préceptes du XIXe, et propose que la philosophie soit un exercice de présentation de la vérité. La connaissance ne peut être pensée que comme expérience de la vérité qui apparaît dans un instant, en toute sa beauté et mystère. Il s’agit d’un processus de lecture et d’écriture, à partir du présent du philosophe/historien qui réalise la rédemption du passé, du présent et du futur par la rupture. La catégorie esthétique de l’allégorie va à la rencontre de la quintessence de ses interrogations: chercher dans la relation linguistique entre le temps et l’image l’objectivité capable de répondre au caractère destructif de la critique philosophique. La forme alégorique exprime la fragmentation de la pensée, du langage et du temps, l’incomplétude de l’histoire et de la vérité. La forme allégorique répond à l’exigence de, dans le maintenant d’une connaissabilité, présenter la vérité en image.

Submitted by DHARA CARLESSO ZAMPIVA (dhara.zampiva@univates.br) on 2018-08-07T17:42:10Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) 2018AlissaraZanotelli.pdf: 2641391 bytes, checksum: e5011a5ef02755c740b513eead91a9b2 (MD5) / Rejected by Ana Paula Lisboa Monteiro (monteiro@univates.br), reason: Inserir o Lattes do autor. on 2018-09-11T18:20:27Z (GMT) / Submitted by DHARA CARLESSO ZAMPIVA (dhara.zampiva@univates.br) on 2018-09-17T17:06:52Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) 2018AlissaraZanotelli.pdf: 2641391 bytes, checksum: e5011a5ef02755c740b513eead91a9b2 (MD5) / Approved for entry into archive by Ana Paula Lisboa Monteiro (monteiro@univates.br) on 2018-10-02T11:32:46Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) 2018AlissaraZanotelli.pdf: 2641391 bytes, checksum: e5011a5ef02755c740b513eead91a9b2 (MD5) / Made available in DSpace on 2018-10-02T11:32:46Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) 2018AlissaraZanotelli.pdf: 2641391 bytes, checksum: e5011a5ef02755c740b513eead91a9b2 (MD5) Previous issue date: 2018-08-07 / Trata-se de pensar a experiência, na experiência, com experiência, da experiência. Esta é, portanto, uma dissertação acerca da experiência, que, por não ser uma matéria individual, mas permeada por outros territórios, foi pensada juntamente com o ato de colecionar e com a narrativa de Walter Benjamin. O colecionador é aquele que pesquisa, ordenando sua coleção, mantendo-a como rastros do que pode ser inventado a partir da experiência. Colecionar torna-se, assim, o procedimento metodológico que impulsiona tal investigação; narrativa é a matéria por meio da qual se provoca a experimentação. Tomando como campo de investigação a formação docente, esta pesquisa procura narrar, inventar narrativas que emergem em meio a experimentações realizadas com uma turma de alunas da disciplina Estudos do Currículo, do curso de Pedagogia da Universidade do Vale do Taquari - Univates. Permeadas pelos escritos de Walter Benjamin, bem como outros tantos autores como Giorgio Agamben (2013; 2005; 2010), Jorge Larrosa (2016), Charles Baudelaire (2009a, 2010), Honoré de Balzac (2009), Barbey D’Aurevilly (2009) e seus comentadores, as escritas narrativas materializam-se. A experiência torna-se o próprio processo de experimentar, inventar, narrar, colecionar. O que se compreende é que a experiência não pode ser adquirida, ela é o que nos perpassa e nos produz. Nesse sentido, ex-pôr-se, colecionando na formação docente, pode ser um ato necessário à existência da experiência. / Se trata de pensar la, en la, con y de la experiencia. Éste trabajo final de maestría ocupase de la experiencia, que no es una materia individual, a pesar de ser permeada por otros territorios. La misma, fue pensada a la par con los actos de coleccionar y narrar desde la perspectiva de Walter Benjamin. El coleccionista, entendido como aquel que: investiga, ordenando su colección, conservandola como huellas de lo que puede ser inventado a partir de la experiencia. Coleccionar se convierte así, en el procedimiento metodológico que impulsa ésta investigación. En este sentido la narrativa es la materia por medio de la cual se provoca la experimentación. Tomando como campo de investigación la formación de profesores, se busca narrar, inventar narrativas que son expuestas a partir de las experimentaciones realizadas con un grupo de estudiantes de la clase Estudios del currículo, del programa de Pedagogía, de la Universidad del Valle de Taquari-Univates, Lajeado/Rio Grande do Sul/Brasil. Tales escritos narrativos, toman cuerpo, al ser permeados por los textos de Walter Benjamín, así como los escritos de Giorgio Agamben (2013; 2005; 2010), Jorge Larrosa (2016), Charles Baudelaire (2009a, 2010), Honoré de Balzac (2009), Barbey D’Aurevilly (2009) y sus comentadores. La experiência misma; se torna proceso de experimentar, inventar, narrar, coleccionar. Lo que se puede decir és que la experiencia no puede ser adquirida, si no perpassada, una vez que nos compone y nos hace gente. De está forma, ex-poner-se, coleccionando en la formación de docentes, puede ser un acto necesario para la existencia de la experiencia.

The modern gaze developed through a network of changes to perception during the nineteenth century. A significant element within these changes is Walter Benjamin's concept of the 'aura'. This research paper examines the social aura contained in the space of a nineteenth century European city, the aural perception of an individual mobile gaze, and the decay of the aura that results from the decline of experience in the contemporary metropolis. I have linked the decline of experience and loss of aura to the arrival of photography in the 1840's. This new technology had the ability to fix a visual image into a permanent record and as recorder of reality, had a large impact on perception. For example, it had the ability to bring the exotic near, and provide close-ups of natural objects not possible with the naked eye. The camera 'sees' in a different way to how the eye 'sees'', yet photographic seeing is accepted as being the normal mode of perception. It is a way to capture an experience, and to relive this at a later date by providing a reference point for memory; the modern gaze looks back, it lacks a lived experience in the now / Master of Arts (Hons)

This paper is an attempt to re-read Walter Benjamin’s essay “critique of violence” by separating what we here presume being its three-part core or axis, namely Right (rätt, as in Law), Justice (rättvisa) and Violence (våld), and then make an inquiry into the relationship between them, or, to what extent these three parts relate to each other. The method for doing so is at first a close-up reading of Benjamin’s text, where the core parts are being mentioned. Thereafter we will take a look at some of the most prominent attempts to read Benjamin to see to what extent their interpretation is compatible to ours. At last, in the concluding part of our paper, a suggestion with a shade of psychoanalysis of how to interpret the essay will be presented, together with a clarification of the three notions we did set out to investigate in the beginning. The aim of this paper is both to make Benjamin’s essay clearer, but also to make more stable ground for a new way of looking at Law and Justice and the relationship between them.

Walter Benjamin persistently refers to Leibniz’s monad, from his doctoral dissertation (1919), to his last written work, the theses ‘On the Concept of History’ (1940). This dissertation argues that the systematic intent of Benjamin’s early work (1916–1928) can be brought out most clearly by examining Benjamin’s appropriation of Leibnizian metaphysics. The task of this dissertation is to interpret Benjamin’s Leibniz, and to follow the gestures of his text. Benjamin was not interested in presenting a scholarly interpretation of Leibniz’s philosophy. Leibniz’s monad had a unique significance for Benjamin’s own philosophical project. In his early work, this project was to determine a method for the philosophical interpretation of art. The core of my dissertation distills what could be called Benjamin’s ‘aesthetic theory.’ According to Benjamin, works of art do not express their truth-content discursively; rather, they express an idea in a configuration of material detail. I argue that Benjamin draws on a Leibnizian concept of expression. One thing expresses another if it preserves the same logical relationships as that which it represents. According to Benjamin, an idea is the most adequate expression of a work: it preserves the configuration of a work’s material content, and represents this configuration (or “constellation” in Benjamin’s terms) in the nexus of predicates in a ‘complete individual concept,’ or idea. The second aspect of this argument is more applied in its focus: Benjamin’s Habilitation thesis describes an elective affinity between Leibniz’s monadic metaphysics and the Baroque Trauerspiel. Benjamin’s analysis of the Baroque dramas and his interpretation of Leibniz are mutually illuminating. The point that legitimates this comparison is not only historical, as both are products of the seventeenth century, but can also be presented as an idea. Both Leibniz’s metaphysics and the Baroque Trauerspiel are engaged in the secularization of history. My argument proceeds in five chapters. In Chapter One, I trace the historical sources of Benjamin’s interpretation of Leibniz. In Chapters Two, Three, and Four, I discuss Benjamin’s monadic theory of ideas. Finally, in Chapter Five, I address Benjamin’s response to Schmitt’s Political Theology. The Epilogue to this dissertation is a reading of Hamlet, which was, in Benjamin’s view, the Baroque Trauerspiel, par excellence. Hamlet’s world is a self-enclosed totality, or monad.