The Organization of Pessimism: Profane Illumination and Anthropological Materialism in Walter Benjamin

IF 0.3 0 PHILOSOPHY

Aisthesis-Pratiche Linguaggi e Saperi dell Estetico Pub Date : 2017-07-01 DOI:10.13128/AISTHESIS-20914

Ricardo Ibarlucía

引用次数: 0

Abstract

This paper explores Walter Benjamin’s relationship with French Surrealism from sources rarely studied or practically unknown until now. First, I will set out the direct link between the theses on “profane illumination” and the “organization of pessimism” in Der Surrealismus. Die letzte Momentaufnahme der europaischen Intelligenz , and various texts by Pierre Naville, one of the most active figures in the Surrealist movement between 1925 and 1929. Second, I will consider Benjamin’s commentaries in Pariser Passagen and convolute “S” of the Passagen-Werk about Surrealist writings and Martin Heidegger’s Sein und Zeit , flagging up the implications of this confrontation for Benjamin’s ideas of secularization of mysticism and messianism. Lastly, I will seek to refine the meaning of Benjamin’s “anthropological materialism” and its relevance to those sections of the Passagenarbeit that are dedicated to the evolution of social movements since the French Revolution.

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悲观主义的组织:本雅明的世俗启蒙与人类学唯物主义

本雅明与法国超现实主义的关系是本雅明与法国超现实主义的关系。首先，我将阐述《超现实主义》中关于“世俗的光照”的论点与“悲观主义的组织”之间的直接联系。以及皮埃尔·纳维尔的各种文本，他是1925年至1929年间超现实主义运动中最活跃的人物之一。其次，我将考虑本雅明在《巴黎通道》中的评论，以及《通道》中关于超现实主义作品的复杂的“S”，以及马丁·海德格尔的《Sein und Zeit》，指出这种对抗对本雅明的神秘主义和弥赛亚主义世俗化思想的影响。最后，我将试图完善本雅明的“人类学唯物主义”的含义，以及它与《论文集》中那些致力于法国大革命以来社会运动演变的章节的相关性。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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来源期刊

Aisthesis-Pratiche Linguaggi e Saperi dell Estetico PHILOSOPHY-

CiteScore

0.30

自引率

0.00%

发文量

审稿时长

40 weeks

期刊介绍： The choice of the name of the journal represents a farewell from the identification of aesthetics with hermeneutics and speculative philosophy of art. It also shows our strong commitment to the irreducibility of aesthetics to a mere psychological fact. The subtitle of the journal “practices, languages and knowledge concerning aesthetics” indicates the present, fertile pluralism of aesthetics. This is a pluralism of views and methods, often connected with the different ways in which contemporary arts and aesthetic abilities present and structure themselves. Also, it is a pluralism of thoughts and formulas, which induces to relativize the western tradition within which the discipline of aesthetics was born. Finally, it is a pluralism of epistemic landscapes, which also trespasses into the sphere of sensibility and art. These various, epistemic landscapes have recently experienced a revolutionary enlargement through the rise of some new or radically renewed disciplines (from neurosciences to anthropology, from cognitive sciences to psychobiology). Indeed, we conceive Aisthesis as a public space where those different approaches and disciplines can interact.