Walter Benjamin: The Colour of Experience. Manuscript in preparation for Cambridge, MA: Harvard University Press.Ĭadava, Eduardo, Peter Connor, and Nancy Jean-Luc.
MA: Harvard University Press.īenjamin, Walter. Trans: Edmund Jephcott, ed: Howard Eiland and Michael W. What is Epic Theater? In Selected Writings Vol. Cambridge, MA: Harvard University Press.īenjamin, Walter. Edmund Jephcott, ed: Marcus Bullock, and Michael W. Surrealism: The last snapshot of the European intelligentsia. Cambridge, MA: Harvard University Press,).īenjamin, Walter. Zweideutigkeit des Begrieffs der ‘unendlichen Aufgabe’ in der Kantischen Schule.
Edinburgh: Edinburgh University Press.īenjamin, Walter. Working with Walter Benjamin: Recovering a Political Philosophy. Chicago: Henry Regnery Co.īenjamin, Andrew. By examining Benjamin’s use of pedagogical terms against the backdrop of scholastic history and the Urfigure of modern method, that of Descartes, I show that writing and reading in the form of the tractatus serves as exercise in receding from the subject-position-a position of a subject intending an object-and thus conditions the presentation of intentionless truth.Īdorno, Theodor. The methodological adoption of digressive and intermittent writing is supposed to transform the way we think, or more accurately, the position ( Haltung) from which thinking occurs. Benjamin’s concept of truth requires thinking in a manner that does not impose any exterior form, any conceptual or intuitive intention on truth and the materials in which it might be exhibited. However, I claim that beyond its presentational function, the method of indirection has a further, pedagogical function. Namely, of what Benjamin understands as “truth.” Indeed, as Adorno implied, providing a method for presenting an intentionless reality, rather than for re-presenting the world as corresponding to the mind, is revolutionary. Why does Walter Benjamin claim “indirection” ( Umweg) to be the proper method for philosophical contemplation and writing? Why is this method-embodied, according to Benjamin, in the convoluted form of scholastic treatises and in their use of citations-fundamental for understanding his Origin of German Trauerspiel as suggesting an alternative to most strands of modern philosophy? The explicit and well-studied function of this method is for the presentation of what cannot be represented in language, of what cannot be intended or approached in thinking.
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