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This article examines humanist anecdotes about the turbulent times of the mid-twentieth century by F. C. Weiskopf and Lenka Reinerová. It provides a comparative reading of Weiskopf's Elend und Größe unserer Tage. Anekdoten 1933–1947 (1950) and Reinerová's "Tragischer Irrtum und richtige Diagnose" (published in Mandelduft, 1998). The anecdotal form of these texts harks back to the popular Enlightenment (Volksaufklärung) anecdotes of Heinrich von Kleist and Johann Peter Hebel, published in 1810–1811 during the Napoleonic Wars. The anecdote as a literary form is particularly well suited to the representation of wartime and political repression. While Weiskopf's anecdotes explore cruelty and heroism under the Nazi dictatorship, Reinerová's autobiographical text juxtaposes crisis points in her own life—her time as a political prisoner in France in 1939 and in Czechoslovakia in 1952–1953; her return to Prague as her family's sole survivor; and her periodic cancer treatment from 1948 onwards. Reinerová describes how the kindness of ordinary people, and her own optimism and resilience, helped her through the worst times. Her lived experience gives her authority as a storyteller in Walter Benjamin's sense. Both authors contrast human extremes—the good and the bad—yet both remain optimistic about the human capacity for good. [ABSTRACT FROM AUTHOR]

Starting with Dadaism, which strikes the public’s moral standing, and above all with a certain kind of cinema which, according to Walter Benjamin, can punch the spectator awake, this article studies several different kinds of impact that contemporary art exerts. In this context, the possibility of an “acceptable shock” and an “unacceptable shock” is put forward, and, within both of these categories, the effectiveness of coming to blows with the audience is studied from the perspective of various different authors. On the other side of all this is the spectator abused by excess –whose modern antecedent we have situated in Georg Simmel’s blasé figure-, and another who is perhaps shaken up by the world before him, which would imply political mobilisation through art.

A partir del dadaísmo que golpea la moral del público y, sobre todo, de cierto tipo de cine que según Walter Benjamin es capaz de despertar al espectador de golpe, este artículo estudia diferentes impactos ejercidos por obra artística contemporánea. En este contexto se plantea la posibilidad de un “shock aceptable” y de un “shock inaceptable” y, dentro de cada una de estas categorías, se estudia la efectividad del golpe bajo la perspectiva de diferentes autores. Al otro lado de todo ello se encuentra un espectador bien maltratado por el exceso –cuyo antecedente moderno hemos situado en el blasé de Georg Simmel– o bien sacudido por el mundo que se abre ante él, lo cual implicaría una movilización política a través del arte.

The considerable literature discussing Walter Benjamin’s “idea of happiness” points both to the important role it plays in his thought and, in this context, to the diversity of interpretations his elliptic style has generated. The pivotal role played by the term in Benjamin’s oeuvre from his early writings on language to his Passagenwerk originates in what has been regarded as his “dialectics of happiness.” While this is certainly a plausible diagnosis, a closer look at the wording of the relevant passages in Benjamin’s oeuvre reveals more nuanced and numerous manifestations of the indirectness that characterizes his approach to happiness. Benjamin invokes the term “happiness” (Glück) at crucial crossroads in his thought. It oscillates between potentiality and inaccessibility; individual and collective experience; commemoration and utopia, Eros and emancipation, concrete phenomena and abstract ideas, and last but not least between politics and theology. Equally striking are the divergent modes of expression in which Benjamin’s notion of happiness is articulated. They range from the inexpressible (das Ausdruckslose) to the most lyrical effusions. My talk will correlate Benjamin’s seemingly incommensurable invocations of happiness with the very detours, incompletions, and indirections in his writings about this state of being.

El presente artículo tiene como objetivo principal relacionar las ideas de Walter Benjamin y de Hannah Arendt respecto de la exacerbación del valor de la vida nuda como elemento central de la Modernidad. Mientras Benjamin habla del dogma de la sacralidad de la vida, la describe Arendt en términos de bien supremo. En ambos casos se hace referencia a un cierto estatus de protección de la vida, que se revela a poco andar como un fenómeno que tiende, más bien, a ejercer una dominación esencial sobre lo vital.

The aim of this article is to explore the potential tension that according to Walter Benjamin is at stake in the opposition between the bourgeois conception of language and an inquiry into the essence of language, taking into account important texts written in 1916, in order to shed light on language that moves in the direction of a dialogical situation premised on a tragic approach. More specifically, beginning with an outline of Benjamin's notion of the relationship between language and action, with particular attention to his 1916 letter to Martin Buber and the role of language, it then goes on to discuss the structure of language in the 1916 essay on language, at the end of which Benjamin asserts that there is a "tragic relationship between the languages of human speakers". Drawing on a posthumously published essay from 1916, entitled The Role of Language in Tragedy and Trauerspiel, it finally seeks to show how this tragic relationship is essential to a dialogical situation. [ABSTRACT FROM AUTHOR]

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Adorno and Benjamin's common intellectual project has been labeled, by Adorno, an Inverse Theology. This re-translation of theology into it's metaphysical truth contents can be only fully comprehended by taking into account their position towards the work of art. In this article, I locate the place where the categorical framework of "inverse theology" is displayed in a most complete manner in the discussion of Kafka's prose and extrapolate the outline of an Inverse theology from Adorno and Benjamin's readings of some of his most famous texts. [ABSTRACT FROM AUTHOR]

Introduction Since the beginning of the industrial revolution, the indiscriminate consumption of fossil fuels has led to a dramatic increase in the concentration of atmospheric carbon dioxide. Over the past few decades, the concentration of atmospheric carbon dioxide has increased from 280 to 370 ppm and is expected to increase by about 1.8 ppm each year. Carbon dioxide, such as light, appropriate temperature, water and nutrients, is one of the essential nutrients needed by plants, which is currently less than required by plants. In general, plants need to absorb water from the soil and carbon dioxide from the atmosphere and use it in photosynthesis, which This is done by absorbing carbon dioxide through the through the pores. In general, stomatal properties have a major influence on the response of plants to carbon dioxide treatment. Leaf morphology, including stomatal density, may have a significant effect on the response of plants to carbon dioxide. There seems to be a great deal of variation among plant species in terms of how stomata density changes with increasing CO2 concentration. The opening and closing of the stomata through carbon dioxide absorption, regulates the amount of water wasted when adverse environmental conditions. In fact, increasing carbon dioxide in plants reduces stomatal conductance and transpiration, increases water use efficiency, photosynthesis rate and higher light utilization efficiency. Materials and Methods This study was conducted as a split plot experiment based on a completely randomized design with three replications in the research greenhouse of Ferdowsi University of Mashhad. Treatments included three concentrations of carbon dioxide (380 ppm as control, 700 and 1050 ppm) as the main plot and two species of ornamental ficus (Benjamin and Elastic) as sub plots. At first, cuttings were rooted in boxes containing washed sand infused with carbendazim for 8 weeks. After rooting, the cuttings were transferred to culture media containing appropriate soil mixture and exposed to different concentrations of carbon dioxide for 16 weeks. Were affected. Mean daily temperature of 25 and mean night temperature of 18 °C and 65% humidity were considered equal for all treatments. Then, after the treatments, Stomatal traits were measured. Results and Conclusion The results showed that high concentrations of carbon dioxide can affect the anatomical traits of Ficus ornamental species. In this study, the results obtained from the analysis of variance of the studied traits showed that the effect of different concentrations of carbon dioxide was not significant only for the stomatal index, but for other traits studied in this study. The main effect of carbon dioxide concentration was significant at 1% probability level.The results showed that the traits of stomata diameter in plant species and different concentrations of carbon dioxide were significant at 5 and 1% probability levels, respectively. Also with increasing the concentration of carbon dioxide the diameter of the stomatal decreased so that the highest stomatal diameter was related to the concentration of 380 ppm and the lowest to the concentration of 1050 ppm. In fact, increasing the concentration of carbon dioxide from the level of 380 to 1050 ppm led to a decrease of 19.91 percent in the diameter of the stomatal. Increasing the concentration of carbon dioxide in the environment of plants, initially increases the slope of the concentration of carbon dioxide between the surrounding air and the chamber under their stomata, and then more carbon dioxide through the pores leads to a decrease in the slope due to the abundance of carbon dioxide in the chamber below the stomata, This action reduces the diameter of the stomatal. As the concentration of carbon dioxide increased the stomatal cell density and stomatal area. Among the high concentrations of carbon dioxide the concentration of 700 ppm affected most of the traits, including stomatal diameter, stomatal area, epidermal cell density, stomach length and stomach width. though there was no significant difference between high concentrations of carbon dioxide (700 and 1050 ppm). According to the results of this study, it seems that anatomical traits are influenced by environmental factors and are not recognized as a hereditary factor. Among the species, the elastica species showed the most reaction to carbon dioxideal. Conclusion In general, clarifying the stomatal response to carbon dioxide concentration is important for understanding the stomatal physiology and gas exchange between vegetation and the In general, stomatal properties have a major influence on the response of plants to carbon dioxide treatment. Carbon dioxide at appropriate concentrations can increase growth and also affect the stomach properties to allow the plant to adapt to environmental conditions.

Cada amanecer marca una tensión entre el oscuro pasado y el claro devenir. Pero la oscuridad no evoca la maldad o la desolación, ni la claridad a la bondad o a la calidez de un suceder. Por el contrario, la primera determina una consciencia del pasado entretejida por el olvido en el idealizado desorden y caos de la memoria épica; mientras que en la luz se gesta el progreso, la memoria eternizada, ordenada y pausada por una peligrosa teleología de vida. Sin embargo, algunos ignoran que en el vasto universo de posibilidades las insignificancias poseen la capacidad de iluminar todo de un golpe. Ignoran cómo lo inexpresivo de este universo absorbe a la luz, a la razón de las cosas. El Código Civil Francés de 1804 es un gran ejemplo de esa ingenuidad. Un suceso contado en una sola dirección, sin bemoles, sin retraso. Un proceso que impone la mejor forma de vivir: así fue planeada la codificación. Entonces, debe proceder la dislocación de su eje central, el Code: contemplarse a sí mismo como aquel que observa un amanecer, conjurando la amalgama de colores antes no vistos, desde el oscuro pasado hasta la claridad del futuro.

Cuando Walter Benjamin desarrolla en el “Prólogo epistemocrítico” de El origen del Trauerspiel alemán la más extensa de las presentaciones de su teoría del conocimiento (así como la única publicada en vida), lo hace a partir de una explícita reinterpretación de la filosofía platónica, en particular de su “doctrina de las ideas”. Este artículo se propone investigar las afinidades entre el prólogo de Benjamin y la filosofía platónica, poniendo especial énfasis en las relaciones entre los desarrollos metodológicos de ambos autores, es decir entre la “forma de la exposición” de Benjamin y la dialéctica de Platón. A partir de explorar estas relaciones, se busca poner de relieve una visión de la filosofía que ambos autores comparten, y de la que se quiere señalar la originalidad, potencia y actualidad.

Neste artigo estudo uma disposição afetiva abordada por Walter Benjamin nas Teses sobre o conceito de história, mais precisamente, estudo a empatia (Einfühlung). Este afeto estaria presente no tipo de historiografia rejeitada pelo autor, uma vez que ela seria a “empatia pelos vencedores”. Trabalho no presente estudo com uma hipótese “ou-ou”. Benjamin diferencia dois tipos de escrita da história, a inautêntica e a autêntica: ou bem o historiógrafo parte do horror (Grauen) inerente aos acontecimentos históricos, ou bem ele elege certos passados e sente empatia (Einfühlung) pelos espólios da transmissão cultural. Também em outros escritos de Benjamin encontramos uma atribuição pejorativa à empatia, e a razão para tal, sugerimos, é a de que o historiador deve “fazer explodir” a linha de continuidade da história, enfatizando, em vez de um afeto conciliador ou mesmo apaziguador e conformista, o afeto colérico com relação aos acontecimentos opressores e, portanto, um aspecto “destrutivo”, “disruptivo” da história.

Abstract This essay proposes an interpretation of the relationship between law, violence, and justice based on Walter Benjamin’s work ‘Critique of Violence.’ I argue that, in the essay, the three terms are sustained by an underlying notion of authority, which, according to Benjamin, has a mythical character. This is shown by an interpretation of how law’s authority is linked to its mythical foundation. Then, by analysing Western mythology and how the notion of authority in our tradition is linked to the Roman figures of Romulus and Numa, I propose a new interpretation of the relationship between law and myth in Benjamin’s text, showing how law also depends on a mythical justice and how the critique of violence must also involve a critique of justice. I end the paper by tracing a parallel between Benjamin’s divine violence and what could be termed divine justice.

The article establishes a dialogue between Carl Schmitt, Walter Benjamin and Giorgio Agamben’s theories, transposing them to the Brazilian social reality. The naturalization of inequality is a cruel mark of our society, and the philosophy of law contributes to a juridical approach that takes into account the social disparities. First, the state of exception will be analyzed in the light of Benjamin and Agamben’s works. Later, with Schmitt, the issue of exception will be analyzed together with the political decision, demonstrating the intrinsic connection between law and politics and the reflection of this in the worsening of social inequalities. It will be established the difference between the Schmitt’s concept of "Enemy" and the Agamben’s concept of homo sacer in the establishment of the state of exception and how the concept of "enemy" was distorted with the construction of Enemy Criminal Law’s Theory.

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This paper provides an interpretation of the enigmatic concept of 'happy life' in the philosophy of Giorgio Agamben. It departs from a recognition of the ambivalence in Agamben's use of sacred and profane terminology that informs this concept. In a decidedly Benjaminian frame, and with the help of esoteric religious images, happy life is described by Agamben as a messianic life and a blessed life, while he, at the same time, explicitly defines it as a perfectly profane life. Reading Agamben's philosophy as aspiring to a radical transformation of our mode of being in the world, I argue that the consistency in his idiosyncratic attitude toward the sacred and profane can be shown, and new light can be shed on the nature of happy life. Beyond prevailing negative characterizations that describe what happy life is not to be, the interpretation developed in this paper argues that it positively entails an ethos of love and a practice of use. As such, the paper aims to contribute to recent attempts at analyzing the curative and promissory aspects of Agamben's philosophy over and above its critical potential, and provide a basic outline of happy life that allows for comparative analysis with other contemporary authors on the notion of happiness. [ABSTRACT FROM AUTHOR]

O trabalho visa apresentar o texto Experiência e Pobreza, do filósofo-ensaista alemão Walter Benjamin, que está contido em sua obra O Anjo da História. Benjamin visa discutir o valor da experiência na contemporaneidade atravessada pela modernidade que visou destruir a oralidade em prol de uma cultura tradicional e capitalista. A ideia central do ensaio é estabelecer um contraste com a desvalorização da experiência, própria do tempo do autor.

“Words strain, / Crack and sometimes break, … will not stay in place, / Will not staystill” (Burnt Norton V). Using words and not being used by them is rare to Eliot’s thought tormented figures, from his drama Sweeney Agonistes to Four Quartets. The struggle with words is a constant trait of Eliot’s poetry, besides being common among modernists all over Europe. His drama’s broken syntax mirrors the clashing mixture of Aeschylean tragedy, Aristophanic comedy, and the popular culture of music-hall, cabaret, and jazz, which make up the play. As a result, the play brings forth a modernistic defamiliarizing, and metatheatrical effect, by breaking up the linear rapport between action and word, actor and gesture, sign and signified. Poetic drama or unfinished poem, Sweeney Agonistes has been recently revalued (Chinitz, Buttram, Daniel, Cuda), but in its daring avant-garde experimentalism (de Villiers), still eludes interpretations, mainly because of the far from clear reason why Eliot neither finished it nor included it in his theatrical production. If, however, we place the play in the context of various dramatic theories and plays of the time, we may read its incongruities, and disjunctions between words and things, as a one of the modernistic traits that were widely discussed at the time, among others, by Walter Benjamin in The Origin of the German Trauerspiel. Benjamin’s new way of looking at allegory, stressing its self-referential import, may help us find one more key to the revolutionary direction Eliot had envisaged in his non-dramatic tragedy. As Eliot himself said of Seneca: “the drama is all in the word and the word has no further reality behind it”. Although a link between Eliot’s conservative modernism and Benjamin’s messianism would seem unlikely, recent studies have highlighted some of their common ground (Neilson, Lehman). In order to account for the play’s disjunctions and metatheatrical language, I will dwell on Eliot’s notion of the dissociation of sensibility (1920–1927) comparing it to Benjamin’s allegorical perception, or “the falling apart of modern man”.

This article discusses the theatrical form named in German Trauerspiel (the baroque drama or mourning play), focusing on the constitutive elements of its concept – both play and mourning. Although it has often been compared or reduced to ‘tragedy,’ in a sort of excessive anticipation of Romantic theatrical forms, Trauerspiel is more likely to express the traumas of secularization in the early modern age, as both noble and humble subjects face religious and political turmoil. Taking inspiration from Walter Benjamin’s renowned thesis in the book „Ursprung des deutschen Trauerspiels“ (1925), the article investigates some crucial actual elements of baroque drama-writing such as sovereignty, guilt, empathy, and the search for further intersections with the theories of playwriting proposed in 1938 by Johan Huizinga and discussed a few years later by French critic and thinker Georges Bataille

O artigo discute a tese, defendida por Walter Benjamin, segundo a qual o teatro épico de Bertolt Brecht é um teatro que se coloca à altura do desenvolvimento técnico de seu tempo e, ao mesmo tempo, resgata uma tradição teatral alemã que remonta ao período barroco. Colocando em questão a aproximação entre o barroco e a vanguarda por meio do conceito de alegoria, a argumentação defende que essa se daria antes pela predominância de uma construção artística que apresenta o herói em cena ao mesmo tempo em que espelha o processo de sua construção social. O afastamento em relação ao trágico que caracterizaria tanto o teatro épico quanto o barroco se daria então pela tentativa de explicitar o confronto entre a técnica teatral e o corpo do ator na apresentação do herói, que não surge mais, como na tragédia, por meio da negação dos condicionantes históricos do destino.

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La cuestión de la técnica y los posibles efectos e implicancias de la misma en las sociedades contemporáneas es una temática recurrente en pensadores del siglo XX. Se trata de un fenómeno que de una u otra manera fue abordado por quienes intentaron comprender el ritmo de las sociedades de la época. Nos interesa particularmente pensar los desarrollos de tres autores que, según nuestro criterio, han reflexionado sobre la cuestión de la técnica moderna junto a otros aspectos sociales y culturales claves para comprenderla en profundidad. Por un lado, Herbert Marcuse se refiere a los avances tecnológicos en el marco de un diagnóstico crítico de las sociedades del capitalismo avanzado con el interés de pensar la posibilidad de transformarlas. Walter Benjamin, por otro, reflexiona sobre el progreso técnico en relación con las posibilidades del mismo en el ámbito estético: la reproductibilidad técnica de la obra de arte y, específicamente, el sentido político de este fenómeno junto a su carácter sintomático del proceso social en general. Por último, Martin Heidegger también aborda la cuestión de la técnica moderna y algunas de sus implicancias, pero desde otro lugar: en el marco de una reflexión acerca de la historia de la interpretación del ser o, mejor, de la metafísica. Nos interesa ensayar un acercamiento al planteo de estos pensadores, y, quizás, encontrar y articular algunos puntos de encuentro o, también, de desencuentro.

Este ensayo propone una lectura de la VIII de las Tesis sobre la historia, de Benjamin que la “emplea”, en el sentido en que el propio Benjamin sostenía que una exposición materialista de la historia debía emplear los fragmentos del pasado para interrogar radicalmente el presente y resistir a las opresiones. Se pone en relación esta tesis con las palabras de las mujeres zapatistas, pronunciadas con motivo de la inauguración del Segundo encuentro internacional de mujeres que luchan, para argumentar que el “estado de excepción” que Benjamin había advertido era en verdad la regla, lo sigue siendo hoy específicamente (aunque no únicamente) para las mujeres y otros cuerpos, individuales y colectivos, feminizados. Se argumenta también que la tradición de lucha de las mujeres indígenas producida por una colonialidad capitalista que sigue en curso es la que hoy nos muestra la normalidad del “estado de excepción” contemporáneo. Finalmente se propone que las luchas de las mujeres son, también, ejercicios críticos y prácticas de resistencia e invención, para una justicia por-venir.

Este ensaio aborda, a partir das obras de Walter Benjamin (1892-1840) e Paul Virilio (1932-2018), o sistema complexo que configura a cidade e como este molda a vida cotidiana. A cidade é o centro de gravidade na reflexão de ambos os autores, que examinam as consequências da rápida industrialização e urbanização, do desenvolvimento de novas tecnologias e da emergência de uma cultura de massas. A primeira parte examina, a partir de Benjamin, a transformação da cidade moderna em uma mercadoria que esconde sua trama capitalista. A segunda parte apresenta a tese provocativa de Virilio sobre como a crescente aceleração e expansão dos meios tecnológicos de comunicação e informação transformou a experiência da vida cotidiana, que leva ao desaparecimento da ideia clássica da cidade.

The aim of this article is to explore the potential tension that according to Walter Benjamin is at stake in the opposition between the bourgeois conception of language and an inquiry into the essence of language, taking into account important texts written in 1916, in order to shed light on language that moves in the direction of a dialogical situation premised on a tragic approach. More specifically, beginning with an outline of Benjamin’s notion of the relationship between language and action, with particular attention to his 1916 letter to Martin Buber and the role of language, it then goes on to discuss the structure of language in the 1916 essay on language, at the end of which Benjamin asserts that there is a “tragic relationship between the languages of human speakers”. Drawing on a posthumously published essay from 1916, entitled The Role of Language in Tragedy and Trauerspiel, it finally seeks to show how this tragic relationship is essential to a dialogical situation.

This essay is an attempt to look at the existential phenomenon of being addicted from the perspective of speculative philosophy. The starting point is the description of Walter Benjamin’s narcotic experiences. Further in my considerations I am guided by the Kantian categories of the dialectics of pure reason, with particular emphasis on transcendental ideas. However, only the philosophy of G. W. F. Hegel along with the concepts of desire and habit allows us to comprehend addiction as a wild and unbridled desire for life, taken over by a dead scheme, by a mechanism, automatism. It is in this behavior, and only in it, that we constantly become aware of ourselves, lose ourselves to the specified objectification, obtain finite satisfaction, and repeat that deadness – this what addiction precisely is according to the Phenomenology of Spirit and the Encyclopedia of the Philosophical Sciences. Hegel links it with an attitude of “stubborn subjectivity” that clings to the limits of its solipsistic finiteness, to the “bad infinity” and seeks satisfaction within its borders. In this way, the German philosopher links addictive behavior with the structure of dialectics itself.

La finalidad de este trabajo es mostrar el lugar de Platón en el pensamiento de Benjamin en relación y en contraste con el que ocupa Kant. Si bien es sin dudas el “Prefacio epistemocrítico” del libro sobre el Trauerspiel el texto más explícita y extensamente platónico de Benjamin, y el que se esperaría que se aborde en un trabajo sobre su “platonismo”, se propone aquí otro camino, que im­plica rastrear a Platón en Benjamin un poco antes del prefacio, y hacerlo, sobre todo, en un texto más temprano – titulado “Sobre el programa de la filo­sofía venidera”— que trata más que nada acerca de Kant, pero donde el nombre de Platón también aparece. Es que justamente contra los límites que Benjamin encuentra en su relación con Kant (y en particular con su concepto de experiencia) se dibujan mucho más claramente los contornos de su profundo vínculo con Platón, y se entiende mucho mejor la exposición de ese vínculo que se hace en el “Prefacio epistemocrítico”.

This article intends to be a contribution to a reading perspective that brings together Walter Benjamin's critical reflection and the psychoanalytical theory. Namely, initiates from a symptomatic framework pointed out by Benjamin, the contradiction between technical means and social ends, characteristics of a capitalist society, framework which results in war and its perverse form of resolution, nevertheless, covers a set of factors and vectors that operate ratifying the given property and production relations. So, the outlines and implications of this arrangement will be centralised in a set of texts from the 1930s produced by Walter Benjamim. From the psychoanalytical side, it is about, based on psychopathology of fobia, as presented in Freud's essencial interpretation of Little Hans Case, also in the Lacanian reinterpretation, building a reading key of Benjamin's Critical Theory, through an opening field of resonance and interpretative solidarity between both theorical fields. [ABSTRACT FROM AUTHOR]

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Walter Benjamin famously argued that the mass public of the twentieth century would necessarily correlate with a newly politicized art. But the world has changed considerably since Benjamin’s article was written, as Theodor Adorno and Max Horkheimer already were assessing less than a decade later. It is the purpose of this article to examine how the aesthetics of the Frankfurt school, though frequently still invoked, have lost some of their immediate relevance. The anti-establishment phase of the 60s, compounded by a pronounced taste for irony, rendered aura and exhibition outmoded values, while on the other hand, more recently, price escalation in the art market and digitization have made certain of the Frankfurt school arguments more pertinent than ever. Taking as examples Goldsworthy and Kentridge, this essay argues that a deliberate loosening of the artist’s control over both medium and reception displaces the warmed-over religious responses endorsed by Benjamin, positing instead increased intellectual agency on the part of viewers, whose identity as a mass public has become newly complicated.

Alongside his essay on Charles Baudelaire, Walter Benjamin published a text by Carl Gustav Jochmann in the Zeitschrift für Sozialforschung in 1939, « The Regressions of Poetry », in a strongly abbreviated version and accompanied by an introduction. My paper shows how this antiromantic literary history of Jochmann on the regression of poetic writing served as a model for Benjamin, motivating the edition of the text. His approach towards literary history becomes, in Benjamin’s reading, the model for a criticism of the past, an omnipresent idea in his later writings.

El presente trabajo propone determinadas aproximaciones iusfilosóficas al discurso jurídico, a partir de los estudios realizados por Walter Benjamin sobre Franz Kafka. La investigación se realiza con las herramientas metodológicas que aportan las “teorías críticas del derecho” y los marcos teóricos que indagan la relación “derecho-literatura”. Los textos, discusiones y apuntes realizados por el pensador alemán permiten movilizar un análisis de determinados tópicos y categorías pertenecientes al espacio jurídico. Las investigaciones que realiza en torno a la figura de Kafka ofrecen insumos para indagar la formación, despliegue y conservación del derecho. Desde la obra kafkiana, Benjamin visibiliza y desarticula los conceptos nodales de justicia, ley, poder y violencia, lo que permite dar cuenta de los mecanismos y dispositivos que hacen posible el sustento mitológico del derecho.

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The newspaper Șūr-i ʾIsrāfīl was the quintessential newspaper of revolution era, both due to its title and its content. The newspaper became the messenger of a new era with an allegorical language that was close to conventional wisdom. According to Nāẓim-ul Islām Kirmānī's eloquent interpretation, the Constitutional Era (ʿAṣr-i Mashrūti) was the era of Iranian people's awakening from the slumber of neglect. The metaphors of slumber and dreaming which lead to the awakening, liberation, and sucess of the evolution emerged as a result of a rupture in the value system and understanding of the past. In the Constitutional revolution (Inqilāb-i Mashrūti) allegorical views towards language and time were the two main elements of this rupture. In the realm of time, it was as if the understanding of the world's symbolic order (Niẓām-i Ţūlī) was disrupted and the status of the king as its center and focal point was thrown into doubt. Similarly, in the world of language, allegorical readings of the world were contrasted with symbolic understandings. Benjamin's allegorical view towards history, his linguistic and temporal hypothesis, as well as his metaphor of awakening and dreaming can be used to analyze and interpret the revolutionary event of Constitution (Mashrūti). The present study aims at analyzing some parts of Șūr-i ʾIsrāfīl. In doing so, the study applies Benjamin's allegorical theory on history, story, and anecdotes from a liberating allegorical perspective. [ABSTRACT FROM AUTHOR]

O propósito deste trabalho consiste na reconstrução dos conceitos de constelação, parataxe e ensaio no pensamento de Theodor Adorno, no intuito de aproximá-los por afinidade, porém, demonstrando a maneira que cada qual expressa, dentro de suas especificidades, a insistência de Adorno em um modelo de pensamento no qual o não idêntico: 1) resiste à subsunção conceitual, ao se dispor em uma configuração constelatória; 2) não sucumbe a justaposições subordinadas próprias da linguagem meramente comunicativa; e 3) encontra sua melhor expressão filosófica na forma ensaio. Para tanto, tomar-se-á como ponto de partida o rearranjo da categoria de constelação como herança do pensamento de Walter Benjamin, para, em seguida, apresentar a ampliação dessa categoria no pensamento de Adorno, relacionando-a tanto à concepção de parataxe como à acepção da forma ensaio, mas visando a entender essas categorias enquanto modo de se pensar filosoficamente, com vistas à elucidação do lugar do não idêntico no âmbito do pensamento dialético.

Referência do artigo comentado: FRANÇA, Fabiano Leite. Constelação, parataxe e ensaio: os arcanos do pensamento da não identidade. Trans/Form/Ação: Revista de Filosofia da Unesp. v. 45, n. 4, p. 33-54, 2022.

Referência do artigo comentado: FRANÇA, Fabiano Leite. Constelação, parataxe e ensaio: os arcanos do pensamento da não identidade. Trans/form/ação: revista de Filosofia da Unesp, v. 45, n. 4, p. 33-54, 2022.

Reseña sobre Manuel Barrios Casares, La vida como ensayo y otros ensayos. Kundera, Benjamin, Ortega. Athenaica Ediciones, Sevilla, 2021.

This paper provides an interpretation of the enigmatic concept of ‘happy life’ in the philosophy of Giorgio Agamben. It departs from a recognition of the ambivalence in Agamben’s use of sacred and profane terminology that informs this concept. In a decidedly Benjaminian frame, and with the help of esoteric religious images, happy life is described by Agamben as a messianic life and a blessed life, while he, at the same time, explicitly defines it as a perfectly profane life. Reading Agamben’s philosophy as aspiring to a radical transformation of our mode of being in the world, I argue that the consistency in his idiosyncratic attitude toward the sacred and profane can be shown, and new light can be shed on the nature of happy life. Beyond prevailing negative characterizations that describe what happy life is not to be, the interpretation developed in this paper argues that it positively entails an ethos of love and a practice of use. As such, the paper aims to contribute to recent attempts at analyzing the curative and promissory aspects of Agamben’s philosophy over and above its critical potential, and provide a basic outline of happy life that allows for comparative analysis with other contemporary authors on the notion of happiness.

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Copyright of Logos: Anales del Seminario de Metafísica (1575-6866) is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)