By Sigrid Weigel
The decade has visible a brand new wave of curiosity in philosophical and theoretical circles within the writings of Walter Benjamin. In Body-and Image-Space Sigrid Weigel, one in every of Germany's top feminist theorists and a popular commentator at the paintings of Walter Benjamin, argues that the reception of his paintings has to date missed an important point of his suggestion - his use of pictures. Weigel indicates that it truly is accurately his perform of pondering in pictures that holds the foremost to figuring out the entire complexity, richness and topicality of Benjamin's theory.
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Extra info for Body- and Image- Space: Re-Reading Walter Benjamin (Warwick Studies in European Philosophy)
Moreover, ‘nothing, except perhaps literature— and even then in a fashion more allusive and diagonal than direct’ can 38 MICHEL FOUCAULT AND WALTER BENJAMIN recall ‘even the memory of that [earlier] being’, or, more precisely, nothing except literature in its manifestation as ‘the reappearance of the living being of language’ (1970:43) on the threshold to modernity. Yet in the manner in which Benjamin takes up precisely this possibility of the reappearance of a lost similitude and ambiguity of language, there also enters into his work another recollective trail tracing back to Holy Scripture as memory and to the tradition of Jewish writing, from which is taken a model of non-representational similitude.
Foucault examines discourses in which the male subject sees the use of pleasure primarily in terms of the mise en scène of the relationship with the male sexual partner and in which the relationship with woman remains marginalized, since this is considered only in terms of economy (that is, relations between the sexes are considered only in terms of the reproductive function). 2, 594, 667; CB 90). 2, 673)—can be seen as bearing the mark of gender difference. 2, 596; see CB 93). This remark of Benjamin’s draws our attention to another difference, the difference in writing.
Here Benjamin examines the significance of gestures in Kafka, reading his literary work as a ‘codex of gestures’ which cannot be comprehended symbolically. 2, 424; Ill126). What is being addressed here is a language of the body in which the forgotten, while visible, is not readily decipherable—the body, then, as material and matrix of the language of the unconscious. It is in this context that we find an image which reads as the reverse side of the revolutionary notion of body- and image-space, an image in which the coincidence of representation and perception manifests itself in the same material, in the body—but now as fear.