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In this book, Gerhard Richter explores the aesthetic and political ramifications of the literary genre of the Denkbild, or thought-image, as it was employed by four major German-Jewish writers and philosophers of the first half of the twentieth century: Theodor W. Adorno, Walter Benjamin, Ernst Bloch, and Siegfried Kracauer. The Denkbild is a poetic mode of writing, a brief snapshot-in-prose that stages the interrelation of literary, philosophical, political, and cultural insights. Richter's careful analysis of the linguistic characteristics of this mode of writing sheds new light on pivotal concerns of modernity, including the fractured cityscape, philosophical problems of modern music, the experience of exiled homelessness, and the disaster of Auschwitz. Thought-Images not only reorients our understanding of the Frankfurt School of Critical Theory in important ways but also establishes significant links between these writers and contemporary French thinkers such as Jacques Derrida.
This book investigates the discursive practices of philosophy and theater/performance on the basis of actual encounters between representatives of these two fields.
One of the most significant cultural documents of the Weimar Republic and Nazi era, Walter Benjamin's unfinished Arcades Project has had a remarkable impact on present-day cultural theory, urban studies, cultural studies and literary interpretation. Originally designed as a panoramic study chronicling the rise and decline of the Parisian shopping arcades, Benjamin's work combines imaginative peregrinations through the changing city-scape of nineteenth-century Paris with passages that read like a blueprint for a new cultural theory of modernity. Walter Benjamin and the Arcades Project provides the first comprehensive introduction to this extraordinary work accessible to English-language readers. The diverse range of issues explored include the nature of collecting, the anatomy of melancholy, the flâneur, the physiognomy of ruins, the dialectical image, Benjamin's relation to Baudelaire, the practice of history-writing, and modernity and architecture. Contributors include Susan Buck-Morss, Stanley Cavell, Jonathan Culler, Brigid Doherty, Barbara Johnson, Esther Leslie, Gerhard Richter, Andrew Benjamin, Howard Caygill, Beatrice Hanssen, Detlef Mertins, Elissa Marder, Tyrus Miller, and Irving Wohlfarth
Space and Time in Mediterranean Prehistory addresses these two concepts as interrelated, rather than as separate categories, and as a means for understanding past social relations at different scales. The need for this volume was realised through four main observations: the ever growing interest in space and spatiality across the social sciences; the comparative theoretical and methodological neglect of time and temporality; the lack in the existing literature of an explicit and balanced focus on both space and time; and the large amount of new information coming from prehistoric Mediterranean. It focuses on the active and interactive role of space and time in the production of any social environment, drawing equally on contemporary theory and on case-studies from Mediterranean prehistory. Space and Time in Mediterranean Prehistory seeks to break down the space-time continuum, often assumed rather than inferred, into space-time units and to uncover the varying and variable interrelations of space and time in prehistoric societies across the Mediterranean. The volume is a response to the dissatisfaction with traditional views of space and time in prehistory and revisits these concepts to develop a timely integrative conceptual and analytical framework for the study of space and time in archaeology.
This volume of conference proceedings investigates the various ways and patterns with which esoteric writings and groups establish their own tradition. This involves concepts of origin and memory, ways of legitimising esoteric tradition as well as techniques and practices of knowledge transmission in esotericism.
The works of Walter Benjamin (1892-1940) are widely acclaimed as being among the most original and provocative writings of twentieth-century critical thought, and have become required reading for scholars and students in a range of academic disciplines. This book provides a lucid introduction to Benjamin's oeuvre through a close and sensitive reading not only of his major studies, but also of some of his less familiar essays and fragments. Gilloch offers an original interpretation of, and fresh insights into, the continuities between Benjamin's always demanding and seemingly disparate texts. Gilloch's book will be of particular interest to students and scholars in social theory, literary theory, cultural and media studies and urban studies who are seeking a sophisticated yet readable overview of Benjamin's work. It will also prove rewarding reading for those already well-versed in Benjaminian thought.
Offering, for the first time, a full historicized accounting of philosophical archaeology, Ido Govrin delineates how this overarching method of historical inquiry has today become associated, to a large extent, with the work of Giorgio Agamben—and how it constitutes Agamben’s philosophy of history in particular. As befits a book situated at an intellectual crossroads that brings together a range of discourses—philosophy, history, aesthetics, theology, and philology—Govrin conceives of philosophical archaeology as a multifaceted concept, on a broad scale. The discussion slides along the length of the multilateral fault line and into the related fields of contemporary art and art history/theory. In doing so, it illuminates the potential for philosophical archaeology, as an artistic modus operandi in the broader context of contemporary art, to expand our conception of history and historiographic research, and for this sense of history to expand our conception of art, in turn. At stake in this consideration is the possibility of a new, materially based philosophy of history.
Tzedek, Tzedek Tirdof: Poetry, Prophecy, and Justice in Hebrew Scripture. Essays in Honor of Francis Landy on the Occasion of his 70th Birthday is a collection of essays by colleagues, friends, and students of Prof. Francis Landy. It is the second Festschrift dedicated to this remarkable teacher and colleague, friend and mentor, and thus bears witness to the remarkable esteem in which Prof. Landy is held in the Biblical Studies community and beyond (including literary studies, film studies, and poetry).
A brilliant collection of short essays on literary subjects--e.g. Beckett, Balzac, Proust, Thomas Mann, Dickens, Goethe, Heine, the lyric, realism, the essay, and the contemporary novel--by the great social theorist (1903-1969), originally published in 1958 as Noten zur literature (Suhrkamp Verlag, Frankfurt am Main), and here translated by Adorno's former student, Shierry Weber Nicholsen. Annotation copyrighted by Book News, Inc., Portland, OR.
Grootenboer considers painting as a form of thinking in itself, rather than a subject of philosophical and interpretive thought. While the philosophical dimension of painting has long been discussed, a clear case for painting as a form of visual thinking has yet to be made. Traditionally, vanitas still life paintings are considered to raise ontological issues while landscapes direct the mind toward introspection. Grootenboer moves beyond these considerations to focus on what remains unspoken in painting, the implicit and inexpressible that manifests in a quality she calls pensiveness. Different from self-aware or actively desiring images, pensive images are speculative, pointing beyond interpretation. An alternative pictorial category, pensive images stir us away from interpretation and toward a state of suspension where thinking through and with the image can start. In fluid prose, Grootenboer explores various modalities of visual thinking— as the location where thought should be found, as a refuge enabling reflection, and as an encounter that provokes thought. Through these considerations, she demonstrates that artworks serve as models for thought as much as they act as instruments through which thinking can take place. Starting from the premise that painting is itself a type of thinking, The Pensive Image argues that art is capable of forming thoughts and shaping concepts in visual terms.