(Studies in German Literature Linguistics and Culture) Rolf J

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INTRODUCTION: BENJAMIN’S ACTUALITY 2114On the dialectics of Benjamin’s appropriation by popular culture and hisresistance to assimilation see also Gerhard Richter’s “Introduction: Benjamin’sGhosts,” in Benjamin’s Ghosts, 2–3.15See Nadine Werner, “Zeit und Person,” in Lindner, Benjamin-Handbuch,3–8. Standard biographies are Bernd Witte, Walter Benjamin: An IntellectualBiography, trans. James Rolleston (Detroit, MI: Wayne State UP, 1991); MommeBrodersen, Walter Benjamin: A Biography, ed. Martina Dervi, trans. MalcolmR. Green and Ingrida Ligers (London and New York: Verso, 1996); Willem vanReijen and Herman van Doorn, Aufenthalte und Passagen: Leben und Werk WalterBenjamins; Eine Chronik (Frankfurt am Main: Suhrkamp, 2001).16For an analysis of Benjamin’s concepts of allegory and montage in the contextof the avant-garde critique of classical aesthetics and the bourgeois “institution ofart,” see Peter Bürger, Theory of the Avant-Garde, trans. Michael Shaw (Minneapolis:U of Minnesota P, 1984), 68–82.17See Janet Ward, Weimar Surfaces: Urban Visual Culture in 1920s Germany(Berkeley and Los Angeles, London: U of California P, 2001), 14–18. For a moredetailed discussion of the Passagen-Werk and its significance today, see Karl Solibakke’scontribution in this volume. Ward and Solibakke both refer to Paul Virilio’scritique of the subversion of the real by electronic communication media.18For a critique of Benjamin’s theory of art see Bürger, Theory of the Avant-Garde, 27–34.19See also Wolfgang Bock, Medienpassagen: Der Film im Übergang in eine neueMedienkonstellation. Bild — Schrift — Cyberspace II (Bielefeld: Aisthesis, 2006).20On the return of the aura in the postmodern culture of commodity capitalismand digital communication, see Lutz Koepnick, “Aura Reconsidered: Benjaminand Contemporary Visual Culture,” in Richter, Benjamin’s Ghosts, 95–117, aswell as his contribution in this volume.21See also Samuel Weber’s recent discussion of Benjamin’s notions of historyand actuality in the context of “recognizability” and other such “–abilities” (Benjamin’s–abilities (Cambridge, MA, and London: Harvard UP, 2008), 48–52).The difference between Benjamin’s notion of –abilities and comparable terms inKant “can be interpreted negatively, as the impossibility of ever realizing, in afull and self-present act of cognition, the ‘abilities’ involved; or it can be interpretedpositively, as a virtuality that, precisely because it can never hope to befully instantiated or exhausted in any one realization, remains open to the future”(14). As Weber explains, “Benjamin’s concept of history knows neither goal nor‘global integration’ [Deleuze’s notion of the “actualization of the virtual,” 32]but at best, an ‘end.’ This end does not come ‘at the end’; rather it is alwaysactual, always now” (51).22Peter Bürger, “Benjamins Kunstheorie: Möglichkeiten und Grenzen ihrerAktualisierbarkeit,” in Schrift Bilder Denken: Walter Benjamin und die Künste,ed. Detlev Schöttker (Berlin: Haus am Waldsee; Frankfurt am Main: Suhrkamp,2004), 168–83.23Bürger, “Benjamins Kunstheorie, 180–83.
22 ROLF J. GOEBEL24See also Rolf J. Goebel, “Gesamtkunstwerk Dresden: Official Urban Discourseand Durs Grünbein’s Poetic Critique,” German Quarterly 80:4 (Fall2007): 492–510.25See Andreas Huyssen, Present Pasts: Urban Palimpsests and the Politics of Memory(Stanford, CA: Stanford UP, 2003).
Page 2 and 3: A Companion to the Works of Walter
Page 4 and 5: A Companion to the Works ofWalter B
Page 6 and 7: ContentsPrefaceSources of Benjamin
Page 8: PrefaceSIXTY-NINE YEARS AFTER HIS D
Page 12 and 13: Chronology of Benjamin’s Major Wo
Page 14: CHRONOLOGY OF BENJAMIN’S MAJOR WO
Page 17 and 18: 2 ROLF J. GOEBELthe avant-garde. Th
Page 19 and 20: 4 ROLF J. GOEBEL“porosity” betw
Page 21 and 22: 6 ROLF J. GOEBELunfilled love affai
Page 23 and 24: 8 ROLF J. GOEBELrevolutions, especi
Page 25 and 26: 10 ROLF J. GOEBEL[Method of this pr
Page 27 and 28: 12 ROLF J. GOEBELthe past for the p
Page 29 and 30: 14 ROLF J. GOEBELtoward the past wi
Page 31 and 32: 16 ROLF J. GOEBELphilosophical, and
Page 33 and 34: 18 ROLF J. GOEBELreading its montag
Page 35: 20 ROLF J. GOEBELNotes1In this book
Page 39 and 40: 24 WOLFGANG BOCKIII, 452-80; “Pro
Page 41 and 42: 26 WOLFGANG BOCKthere are certain d
Page 43 and 44: 28 WOLFGANG BOCKin the collective a
Page 45 and 46: 30 WOLFGANG BOCKis left to be analy
Page 47 and 48: 32 WOLFGANG BOCKcombines it with ot
Page 49 and 50: 34 WOLFGANG BOCKspoken in paradise,
Page 51 and 52: 36 WOLFGANG BOCK(“How Can Big Boo
Page 53 and 54: 38 WOLFGANG BOCK[The task of art cr
Page 55 and 56: 40 WOLFGANG BOCKHere Benjamin devel
Page 57 and 58: 42 WOLFGANG BOCKThese judgments, wh
Page 59 and 60: 44 WOLFGANG BOCK11See Aby Warburg,
Page 61 and 62: 2: The Presence of the Baroque: Ben
Page 63 and 64: 48 DOMINIK FINKELDEit is to this li
Page 65 and 66: 50 DOMINIK FINKELDEand idealistic
Page 67 and 68: 52 DOMINIK FINKELDEa mosaic: a “S
Page 69 and 70: 54 DOMINIK FINKELDEorder still live
Page 71 and 72: 56 DOMINIK FINKELDEthe impact of
Page 73 and 74: 58 DOMINIK FINKELDEsorrowful or tha
Page 75 and 76: 60 DOMINIK FINKELDEcollapse of the
Page 77 and 78: 62 DOMINIK FINKELDEcounterplay of m
Page 79 and 80: 64 DOMINIK FINKELDEof contemplation
Page 81 and 82: 66 DOMINIK FINKELDEcreatures,” Or
Page 83 and 84: 68 DOMINIK FINKELDE17Deleuze, The F
Page 85 and 86: 3: Lost Orders of the Day:Benjamin
Page 87 and 88:
72 WOLFGANG BOCKthe name of the pro
Page 89 and 90:
74 WOLFGANG BOCKTrauerspiels (The O
Page 91 and 92:
76 WOLFGANG BOCKGreat Revolution an
Page 93 and 94:
78 WOLFGANG BOCKto this old connect
Page 95 and 96:
80 WOLFGANG BOCKcontradistinctive f
Page 97 and 98:
82 WOLFGANG BOCKof books, again wit
Page 99 and 100:
84 WOLFGANG BOCKsense. In the tradi
Page 101 and 102:
86 WOLFGANG BOCKAfter-Life of a Fra
Page 103 and 104:
88 WOLFGANG BOCK9Cf. GS II.3:630-3
Page 105 and 106:
90 WOLFGANG BOCK17. 7. 1916” in L
Page 107 and 108:
92 BERND WITTEmatter generated by t
Page 109 and 110:
94 BERND WITTEforms of reading comp
Page 111 and 112:
96 BERND WITTEthe present by adopti
Page 113 and 114:
98 BERND WITTEFeerie” (GB 3:322;
Page 115 and 116:
100 BERND WITTEthe destruction of t
Page 117 and 118:
102 BERND WITTEReferring to the con
Page 119 and 120:
104 BERND WITTEidentified “Kapita
Page 121 and 122:
106 BERND WITTEIt is understandable
Page 123 and 124:
108 BERND WITTEto Marx the defeat o
Page 125 and 126:
110 BERND WITTEfor which the sensa
Page 127 and 128:
5: Benjamin in the Age of New Media
Page 129 and 130:
114 LUTZ KOEPNICKaddition rather th
Page 131 and 132:
116 LUTZ KOEPNICKbodily experience
Page 133 and 134:
118 LUTZ KOEPNICKdisruptive and qua
Page 135 and 136:
120 LUTZ KOEPNICKreshape the way in
Page 137 and 138:
122 LUTZ KOEPNICKto conceptualize f
Page 139 and 140:
124 LUTZ KOEPNICKhow the camera has
Page 141 and 142:
126 LUTZ KOEPNICKthe actor, deflate
Page 143 and 144:
128 LUTZ KOEPNICKand of course to t
Page 145 and 146:
6: One Little Rule: On Benjamin,Aut
Page 147 and 148:
132 ERIC JAROSINSKIand rhetorical f
Page 149 and 150:
134 ERIC JAROSINSKIestrangement, no
Page 151 and 152:
136 ERIC JAROSINSKIprecaution of th
Page 153 and 154:
138 ERIC JAROSINSKIis placed before
Page 155 and 156:
140 ERIC JAROSINSKIlight of Benjami
Page 157 and 158:
142 ERIC JAROSINSKIbut also the pos
Page 159 and 160:
144 ERIC JAROSINSKISusan Buck-Morss
Page 161 and 162:
146 ERIC JAROSINSKIin; she appears
Page 163 and 164:
148 ERIC JAROSINSKIverlaßner, unge
Page 165 and 166:
150 ERIC JAROSINSKISinn” (GS IV.1
Page 167 and 168:
152 ERIC JAROSINSKI16Here Benjamin
Page 169 and 170:
154 KARL IVAN SOLIBAKKEart forms
Page 171 and 172:
156 KARL IVAN SOLIBAKKEhad to compe
Page 173 and 174:
158 KARL IVAN SOLIBAKKEwould have a
Page 175 and 176:
160 KARL IVAN SOLIBAKKEwhen individ
Page 177 and 178:
162 KARL IVAN SOLIBAKKEobjects assu
Page 179 and 180:
164 KARL IVAN SOLIBAKKEbe a misrepr
Page 181 and 182:
166 KARL IVAN SOLIBAKKEto schematic
Page 183 and 184:
168 KARL IVAN SOLIBAKKEVDrawing att
Page 185 and 186:
170 KARL IVAN SOLIBAKKEcommodities
Page 187 and 188:
172 KARL IVAN SOLIBAKKEAs Virilio s
Page 189 and 190:
174 KARL IVAN SOLIBAKKEthe point at
Page 191 and 192:
176 KARL IVAN SOLIBAKKE5See also Ma
Page 193 and 194:
178 MARC DE WILDEcounter these tota
Page 195 and 196:
180 MARC DE WILDEvon allen Seiten d
Page 197 and 198:
182 MARC DE WILDEYet ultimately it
Page 199 and 200:
184 MARC DE WILDEAlthough Benjamin
Page 201 and 202:
186 MARC DE WILDEhistorical situati
Page 203 and 204:
188 MARC DE WILDEonly against the b
Page 205 and 206:
190 MARC DE WILDEerschlagen . . . N
Page 207 and 208:
192 MARC DE WILDEthat is, their par
Page 209 and 210:
194 MARC DE WILDE11For this concept
Page 211 and 212:
196 VIVIAN LISKAFaced with urgent c
Page 213 and 214:
198 VIVIAN LISKAas an interval, “
Page 215 and 216:
200 VIVIAN LISKAold and new orders,
Page 217 and 218:
202 VIVIAN LISKAprose aims at regai
Page 219 and 220:
204 VIVIAN LISKAaddition to the ess
Page 221 and 222:
206 VIVIAN LISKAgift of the storyte
Page 223 and 224:
208 VIVIAN LISKAand for a moment st
Page 225 and 226:
210 VIVIAN LISKAative expressed in
Page 227 and 228:
212 VIVIAN LISKASancho Pansa, der s
Page 229 and 230:
214 VIVIAN LISKA5For Agamben’s cr
Page 231 and 232:
10: Paris on the Amazon? Postcoloni
Page 233 and 234:
218 WILLI BOLLEto assemble all (or
Page 235 and 236:
220 WILLI BOLLEII. The View of the
Page 237 and 238:
222 WILLI BOLLECompany, from where
Page 239 and 240:
224 WILLI BOLLEIndes,” “Groß-I
Page 241 and 242:
226 WILLI BOLLENotre drapeau n’a
Page 243 and 244:
228 WILLI BOLLEwould be the colonie
Page 245 and 246:
230 WILLI BOLLEcontemporary Mário
Page 247 and 248:
232 WILLI BOLLEwerden würden” (
Page 249 and 250:
234 WILLI BOLLEfrom Dante to Kafka,
Page 251 and 252:
236 WILLI BOLLEwhereas Baudelaire i
Page 253 and 254:
238 WILLI BOLLEconsumers by adverti
Page 255 and 256:
240 WILLI BOLLEcreate conditions th
Page 257 and 258:
242 WILLI BOLLEof the rubber barons
Page 259 and 260:
244 WILLI BOLLE5Edward W. Said, Ori
Page 261 and 262:
11: Benjamin’s Gender, Sex, and E
Page 263 and 264:
248 DIANNE CHISHOLMgive their criti
Page 265 and 266:
250 DIANNE CHISHOLMMy purpose is to
Page 267 and 268:
252 DIANNE CHISHOLMBenjamin’s “
Page 269 and 270:
254 DIANNE CHISHOLMcommunicative la
Page 271 and 272:
256 DIANNE CHISHOLMBrautlager in ei
Page 273 and 274:
258 DIANNE CHISHOLMIn “Über Lieb
Page 275 and 276:
260 DIANNE CHISHOLMfamily and bourg
Page 277 and 278:
262 DIANNE CHISHOLMheroic image of
Page 279 and 280:
264 DIANNE CHISHOLMof consumer pers
Page 281 and 282:
266 DIANNE CHISHOLMBenjamin was thi
Page 283 and 284:
268 DIANNE CHISHOLMcommunity-buildi
Page 285 and 286:
270 DIANNE CHISHOLMliberals? What r
Page 287 and 288:
272 DIANNE CHISHOLM12Michel Foucaul
Page 289 and 290:
274 ADRIAN DAUBto it an optic remar
Page 291 and 292:
276 ADRIAN DAUBculture, architectur
Page 293 and 294:
278 ADRIAN DAUB(modern, Wagnerian)
Page 295 and 296:
280 ADRIAN DAUBhouse may be conceiv
Page 297 and 298:
282 ADRIAN DAUBcome to dominate the
Page 299 and 300:
284 ADRIAN DAUBand technological. I
Page 301 and 302:
286 ADRIAN DAUBIVThis simulated spa
Page 303 and 304:
288 ADRIAN DAUBdepicted negatively,
Page 305 and 306:
290 ADRIAN DAUBaction itself takes
Page 307 and 308:
292 ADRIAN DAUB29In a 1965 essay Ad
Page 310 and 311:
Select Bibliography and List of Fur
Page 312:
SELECT BIBLIOGRAPHY AND LIST OF FUR
Page 315 and 316:
300 NOTES ON THE CONTRIBUTORSEschat
Page 318 and 319:
IndexAbbas, Ackbar, 290Abulafia, Ab
Page 320 and 321:
INDEX 305“Program for a Proletari
Page 322 and 323:
INDEX 307Cohen, Margret, 175Cole, J
Page 324 and 325:
INDEX 309Heidegger, Martin, 23, 43,
Page 326 and 327:
INDEX 311monad, 39, 49-50, 52-53, 6
Page 328 and 329:
INDEX 313Shanghai, 14Shaw, Jeffrey,
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(Studies in German Literature Linguistics and Culture) Rolf J

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