Conclusion: Friedrich Nietzsche, Walter Benjamin

Constellation ◽  
2012 ◽  
pp. 249-261
Author(s):  
James McFarland
Keyword(s):  
Friedrich Nietzsche ◽  
Walter Benjamin

The Taste to Come

2010 ◽  
Vol 3 (2-3) ◽  
pp. 238-262
Author(s):  
Virgil W. Brower
Keyword(s):  
Friedrich Nietzsche ◽  
Jacques Derrida ◽  
Walter Benjamin ◽  
Martin Luther ◽  
The Body ◽  
Helene Cixous ◽  
Specific Kind ◽  
To Come

This article exploits a core defect in the phenomenology of sensation and self. Although phenomenology has made great strides in redeeming the body from cognitive solipsisms that often follow short-sighted readings of Descartes and Kant, it has not grappled with the specific kind of corporeal self-reflexivity that emerges in the oral sense of taste with the thoroughness it deserves. This path is illuminated by the works of Martin Luther, Jean-Luc Marion, and Jacques Derrida as they attempt to think through the specific phenomena accessible through the lips, tongue, and mouth. Their attempts are, in turn, supplemented with detours through Walter Benjamin, Hélène Cixous, and Friedrich Nietzsche. The paper draws attention to the German distinction between Geschmack and Kosten as well as the role taste may play in relation to faith, the call to love, justice, and messianism. The messiah of love and justice will have been that one who proclaims: taste the flesh.

Klossowski, Pierre (1905–2001)

2018 ◽  
Author(s):  
Natalja Chestopalova
Keyword(s):  
Martin Heidegger ◽  
Friedrich Nietzsche ◽  
Ludwig Wittgenstein ◽  
Walter Benjamin ◽  
Franz Kafka ◽  
Georges Bataille ◽  
Rainer Maria Rilke ◽  
Andre Gide ◽  
Pierre Klossowski ◽  
André Gide

French philosopher, writer, artist and translator Pierre Klossowski was born in Paris and raised in Switzerland, Germany and France. His education was influenced by Rainer Maria Rilke (1875–1926) and André Gide (1869–1951). A friend of Georges Bataille (1897–1962), Walter Benjamin (1892–1940) and Pierre-Jean Jouve (1887–1976), Klossowski produced French translations of works by Friedrich Nietzsche (1844–1900), Franz Kafka (1883–1924), Martin Heidegger (1889–1976) and Ludwig Wittgenstein (1889–1951) from German, and of the works of Suetonius, Virgil, Augustine and Tertullian from Latin.

scholarly journals A flaneur in Turin: The perception of space in the works of Friedrich Nietzsche and Walter Benjamin

2018 ◽  
Vol 10 (3) ◽  
pp. 131-142
Author(s):  
Theresa Rauch
Keyword(s):  
Friedrich Nietzsche ◽  
Urban Landscape ◽  
Walter Benjamin ◽  
Capitalist Society ◽  
Intellectual Stimulation ◽  
Inner Life ◽  
Architectural Space ◽  
State Of Mind ◽  
The City

This essay attempts to differentiate three different kinds of spatial-atmospheric experience on the basis of the theories by Hermann Schmitz and Robert Vischer. Furthermore, it connects these methods to the figure of the flaneur in Walter Benjamin's Passages as well as in the late Turin diaries of Friedrich Nietzsche. These two concepts of the flaneur can be seen as antithetic. For Walter Benjamin city strolling is a means of intellectual stimulation, focusing on impulses from the urban landscape that are then interwoven in associative, oscillating streams of thought, often commenting on the city stroller as an actor in a capitalist society. In contrast, Friedrich Nietzsches experience of architectural space can be seen as a full synthesis of inner life and outer experience, thought and motion intertwine, facilitating a new creative disposition and state of mind.

scholarly journals Deleuze, Benjamin

2021 ◽  
Vol 28 (55) ◽  
pp. 118-145
Author(s):  
Christian Fernando Ribeiro Guimarães Vinci
Keyword(s):  
Friedrich Nietzsche ◽  
Gilles Deleuze ◽  
Walter Benjamin ◽  
Franz Kafka ◽  
Antonin Artaud

Esse ensaio procurará aproximar o pensamento de Gilles Deleuze e Walter Benjamin, autores comumente articulados em distintas correntes filosóficas. Para tanto, procuraremos pensar o modo como Deleuze apresenta uma crença imanente nesse mundo, plataforma de pensamento para uma outra tradição crítica – iniciada com Espinosa e continuada por Friedrich Nietzsche, Franz Kafka, Antonin Artaud e outros. Acreditando ser possível inserir Benjamin nessa outra tradição crítica, buscaremos apresentar algumas discussões benjaminianas acerca da revolução messiânica, um modo de revolução preocupado em produzir uma ideia de felicidade terrena. Ambas as discussões, defendemos, partilhariam de uma mesma aposta, uma aposta nas potências criadoras inatas aos homens, passíveis apenas de serem recuperadas quando abdicamos de qualquer perspectiva transcendente e adotamos uma perspectiva de pensamento dita imanente.

scholarly journals La inservidumbre de la escritura en la época de la técnica: Heidegger, Nietzsche, Benjamin y Foucault

2021 ◽  
Vol 5 (15) ◽  
pp. 5-24
Author(s):  
Ester Jordana Lluch
Keyword(s):  
Martin Heidegger ◽  
Friedrich Nietzsche ◽  
Michel Foucault ◽  
Walter Benjamin

El presente artículo examina las relaciones entre escritura, técnica y pensamiento. Las reflexiones de Martin Heidegger en torno a porqué la ciencia no piensa nos permiten abordar el problema de la homogenización del pensamiento y de la escritura en las universidades contemporáneas. Afirmar hoy que «la academia no piensa» invita a una reflexión respecto a esos modos de pensamiento y escritura imperantes. Siguiendo los vínculos que Heidegger establece entre el avenimiento de la técnica y la transformación de la escritura analizamos su noción de serenidad para contraponerla al modo en que Friedrich Nietzsche, Walter Benjamin y Michel Foucault se sirven de distintos objetos técnicos para generar nuevas formas de pensamiento y de escritura.

THE ART OF TRAGEDY

Think ◽  
2011 ◽  
Vol 10 (28) ◽  
pp. 41-51
Author(s):  
Daniel Barnes
Keyword(s):  
Popular Culture ◽  
Friedrich Nietzsche ◽  
Walter Benjamin ◽  
Greek Tragedy ◽  
Ancient Greece ◽  
Hollywood Movies ◽  
Basic Features

In this essay, I want to provide an introduction to Aristotle's theory of the Greek Tragedy, which he outlines in his book, the Poetics. Many philosophers since Aristotle, including Friedrich Nietzsche and Walter Benjamin, have analysed tragic art and developed their own theories of how it works and what it is for. What makes Aristotle's theory interesting is that it is as relevant to art today as it was in Ancient Greece because it explains the features of not just tragic art, but of the films and stories that we enjoy today. I will explain the features that Aristotle says make a good tragic play and give examples of them from popular culture. The examples I give will be from tragedy, but also from romance, crime and fantasy to demonstrate how he has outlined, not just the features of Greek Tragedy, but also the internal workings of the drama that we enjoy today. The contemporary relevance of Aristotle's theory is in the fact that the features he outlines are basic features of great stories, which I think is best illustrated by applying Aristotle's analysis to popular Hollywood movies.

scholarly journals Representações da violência na literatura: apontamentos para uma possível apresentação

2020 ◽  
Vol 10 (18) ◽  
pp. 18
Author(s):  
Eloísa Porto C. Allevato Braem ◽  
Paulo S. Oliveira
Keyword(s):  
Friedrich Nietzsche ◽  
Michel Foucault ◽  
Jacques Derrida ◽  
Walter Benjamin

A violência tem se apresentado como um tema recorrente em pesquisas de estudiosos das literaturas, até porque obras de imaginação sempre se mostraram como um locus privilegiado para o estudo de diferentes temas ligados ao humano e às suas sociedades. Em virtude disso, o dossiê “Representações da Violência na Literatura” reúne e divulga pesquisas acadêmicas sobre diferentes modalidades da violência refletidas em obras literárias de variadas épocas e nacionalidades, a partir de diversificados enfoques teórico-metodológicos. São cotejadas obras desde as tebanas Édipo Rei e Antígona, de Sófocles, até Vidas secas, de Graciliano Ramos, e Infância dos mortos, de José Louzeiro, dentre muitas outras. Servem de ancoragem para os estudos obras como as de Walter Benjamin (2011), Jacques Derrida (1997), Michel Foucault (1987, 2013), Freud (2010), Friedrich Nietzsche (1998).

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