walterbenjamin   209

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Meditations in an Emergency
"In short, climate change presents—among other things—a spiritual problem concerning what we often casually refer to as the end of the world. In another era, one might have expected to find the Jewish community embroiled in theological disputes about the nature and timing of the messiah. Indeed, as leftist Jews living in a period of planetary devastation, we’ve often thought of Walter Benjamin; the best-known Jewish sage to dwell on such questions in the modern era, he imagined history from the perspective of an angel caught in a storm called progress, flying with his back to the future as trash piles up endlessly in his line of sight.

But this association just as soon leads us elsewhere. In 1940, shortly after he wrote his “Theses on the Philosophy of History,” Benjamin died while attempting to escape Nazi-occupied Europe; Spanish border guards informed the group of refugees he was traveling with that they would not be permitted to enter Spain, and Benjamin overdosed on morphine rather than risk being sent back to Vichy France. He was obsessed with the ending of worlds—the world of 19th-century Paris, the world of his Berlin childhood—but it is impossible to read him now without thinking in particular of the Holocaust and the destruction of European Jewry; he is as bound to that catastrophe as Noah was to his flood.

This is often the way it goes, today, when we seek out Jewish ideas about end times: we immediately come upon an actual world that ended just a human lifespan ago. As the angel of history could tell you, Jews have this experience of total loss in common with a great many people and other creatures. Capitalist imperialism has been a particularly effective machine for the destruction of worlds, accompanied by the denial that they were ever there in the first place. Yet at the same time, the Holocaust is never merely an example; it has taken on a uniquely metonymic relationship to apocalyptic catastrophe as the result of both its actual singularity and reactionary attempts to isolate it from history altogether. As new endings approach, we’ve seen a spike in struggles over its memory."

...

"Climate apocalypse will be messy—but what religion imagines the end of the world unfolding neatly? In Benjamin’s Marxist recasting of Jewish messianism as the struggle for a classless society, the persistent salience of meditations on end times emerges from the fact that we’re in them already, and always have been. In the Jewish messianic tradition, as in the Lakota version, history continually threatens to burst into the present. In the course of such explosions, Benjamin’s follower Agamben explains in his book The Time That Remains, olam hazeh (this world) collides with olam habah (the world to come), creating a temporal rupture in which “the present is able to recognize the meaning of the past and the past therein finds its meaning and fulfillment.” In religious terms, this might look like the realization of a prophecy: a moment when ominous signs from the past become newly legible, revealing—as Benjamin puts it in his “Theses”—“a secret protocol between the generations of the past and that of our own.”

But Benjamin represents this claim in en­vironmental terms as well. At the close of the same text, he quotes a “recent biologist” who observes that “[i]n relation to the history of organic life on earth, the miserable fifty millennia of homo sapiens represents something like the last two seconds of a twenty-four hour day.” The biologist’s view is like the angel’s: he pictures time on earth at a radically defamiliarized planetary scale, contracting the “entire history of humanity” into a “monstrous abbreviation.” From a contemporary perspective, we might say that we cease being climate change denialists only when we stop waiting for a sign that the world has begun to end and recognize that the million sites of crisis are the single overarching catastrophe.

Messianic time, here, describes not a particular epoch but the ongoing potential that we will come to see the world in a condition of perpetual crisis, as the angel (or, today, the biologist) does. For Benjamin, the task before us is to transform this de facto state of emergency—he uses the same term as Schmitt, Ausnahmezustand—into a real state of emergency: a revolution. From this perspective, the Ausnahmezustand that Hitler sought to establish was already latent in the experience of everyday life under capitalism. What were the camps, after all, but a vision of the status quo militarized beyond recognition, transformed into the Nazis’ own hideous utopia? And what would it look like to usher in a real state of emergency as the seas rise?"
walterbenjamin  judaism  climatechange  alexandriaocasio-cortez  astrataylor  politics  capialism  religion  mashagessen  nickestes  dakotaacesspipeline  activism  jonathanfranzen  marxism  class  society  socialism  environment  marissabrostoff  zuzecasapa  giorgioagamben  carlschmitt  bretstephens 
4 weeks ago by robertogreco
Duke University Press - Baroque New Worlds
"Baroque New Worlds traces the changing nature of Baroque representation in Europe and the Americas across four centuries, from its seventeenth-century origins as a Catholic and monarchical aesthetic and ideology to its contemporary function as a postcolonial ideology aimed at disrupting entrenched power structures and perceptual categories. Baroque forms are exuberant, ample, dynamic, and porous, and in the regions colonized by Catholic Europe, the Baroque was itself eventually colonized. In the New World, its transplants immediately began to reflect the cultural perspectives and iconographies of the indigenous and African artisans who built and decorated Catholic structures, and Europe’s own cultural products were radically altered in turn. Today, under the rubric of the Neobaroque, this transculturated Baroque continues to impel artistic expression in literature, the visual arts, architecture, and popular entertainment worldwide.

Since Neobaroque reconstitutions necessarily reference the European Baroque, this volume begins with the reevaluation of the Baroque that evolved in Europe during the late nineteenth century and the early twentieth. Foundational essays by Friedrich Nietzsche, Heinrich Wölfflin, Walter Benjamin, Eugenio d’Ors, René Wellek, and Mario Praz recuperate and redefine the historical Baroque. Their essays lay the groundwork for the revisionist Latin American essays, many of which have not been translated into English until now. Authors including Alejo Carpentier, José Lezama Lima, Severo Sarduy, Édouard Glissant, Haroldo de Campos, and Carlos Fuentes understand the New World Baroque and Neobaroque as decolonizing strategies in Latin America and other postcolonial contexts. This collection moves between art history and literary criticism to provide a rich interdisciplinary discussion of the transcultural forms and functions of the Baroque.

Contributors. Dorothy Z. Baker, Walter Benjamin, Christine Buci-Glucksmann, José Pascual Buxó, Leo Cabranes-Grant, Haroldo de Campos, Alejo Carpentier, Irlemar Chiampi, William Childers, Gonzalo Celorio, Eugenio d’Ors, Jorge Ruedas de la Serna, Carlos Fuentes, Édouard Glissant, Roberto González Echevarría, Ángel Guido, Monika Kaup, José Lezama Lima, Friedrich Nietzsche, Mario Praz, Timothy J. Reiss, Alfonso Reyes, Severo Sarduy, Pedro Henríquez Ureña, Maarten van Delden, René Wellek, Christopher Winks, Heinrich Wölfflin, Lois Parkinson Zamora"
baroque  latinamerica  literature  counterconquest  europe  postcolonialism  transcultural  neobaroque  nietzsche  heinrichwölfflin  walterbenjamin  eugeniod'ors  renéwellek  mariopraz  alejocarpentier  josélezamalima  severosarduy  édouardglissant  haroldodecampos  carlosfuentes  dorothybaker  christinebuci-glucksmann  josépascualbuxó  leocabranes-grant  irlemarchiampi  williamchilders  gonzalocelorio  jorgeruedasdelaserna  robertogonzálezechevarría  ángelguido  monikakaup  timothyreiss  alfonsoreyes  pedrohenríquezureña  maartenvandelden  christopherwinks  loisparkinsonzamora 
june 2019 by robertogreco
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march 2019 by dyma
Is "Show Don't Tell" a Universal Truth or a Colonial Relic? | Literary Hub
"In his essay “The Storyteller” (1936), cultural critic Walter Benjamin mourns the death of oral and communal storytelling, taken over in modern history by the novel, the “birthplace of the solitary reader,” and information technology with a rise in capitalism. Yet, what Benjamin posits as the organic evolution of oral, communal practices of storytelling into modern modes of storytelling, consumed by a reader in “privacy,” is in fact, the understanding of a Western history of storytelling as a universal one. As Maggie Awadalla and Paul March-Russell suggest in the introduction to their anthology The Postcolonial Short Story (2012), many non-Western countries did not transition “organically” from oral to written storytelling with a rise in capitalism. For many formerly or currently colonized spaces like South Asia, Africa, Caribbean, American South and Native America, there has always existed a rich, vibrant tradition of oral storytelling, one that was marginalized, often violently, through an imposition of an allegedly modern, white Western language and culture. In their study, Postcolonial Studies: The Key Concepts (1998), Bill Ashcroft, Gareth Griffiths and Helen Tiffin defend “orality” not as a cultural precondition that morphed into a more advanced written culture, but orality as a counterpart to writing, where both co-exist, complement and transform each other constantly. This coexistence of oral and written modes of storytelling continues to thrive in postcolonial spaces, including those of Asia and Africa.

In her now-canonical essay “Characteristics of Negro Expression” (1934), Zora Neale Hurston makes a strong case for the use of vernacular—especially dialect and rhythm—in Black writing. In his story collection, Creole Folktales (1988) and equally canonical co-authored essay, “In Praise of Creoleness” (1989), Patrick Chamoiseau offers a manifesto for Caribbean storytelling that aims to free itself of French colonial gaze by transforming Martinican-French literature through a militant use of Creole. And while not through cultural theories or essays, contemporary writers like Salman Rushdie, Vikram Chandra, Roxane Gay, Junot Díaz, and Edwidge Danticat, among others, bring a strong, self-conscious vernacular in their stories. Their fiction questions not only an allegedly mainstream Euro-American storytelling marked by narrative brevity and an economy of words, as lauded by Edgar Allan Poe, John Barth and Francine Prose in their critical writing, but also the dominance of visuality in many fiction writing workshops with their show-don’t-tell credo, bolstered by our cinematic and digital age with its preference for images over sounds."



"James Baldwin, Toni Morrison, Alice Walker, Sandra Cisneros, Gish Jen, Tiphanie Yanique, ZZ Packer, Rajesh Parameswaran—the list of contemporary writing affirming oral and aural alternatives over a sight-based focus of storytelling is long. And I haven’t even gotten started with poetry-in-color, including an aesthetic legacy of rhythm in writing spawned by Papa Césaire and the Négritude movement. What I’ve explored above is a brief sampler on a multifaceted use of orality that challenges the boundaries of a more standard Euro-American literary English with its emphasis on brevity, clarity, and good grammar. In playing persistently with language, sounds and syntax, multiethnic fiction does not shy away from “writing in scenes,” however, it does dethrone the reign of eyesight to stress the importance of other senses in fiction, and hearing in particular.

That said, the use of vernacular or dialect is far from unique to non-Western writers writing within or outside the West. Time and again, major writers across the world have challenged the status quo of a hegemonic language by using the vernacular in different ways. I’m thinking here of Shakespeare and Louis-Ferdinand Celine’s linguistic innovation within English and French respectively, and of pioneering poets like Kabir who used the vernacular in Bhakti poetry to challenge the rule of Sanskrit in medieval South Asian literature.

And yet, the examples of multiethnic fiction I’ve shared above have all been published in the last couple of decades, following complex literary and historic changes that include mid-20th century’s wave of decolonization that swept the “third world,” the Civil Rights Movement in the US, the institutionalization of Ethnic Studies in the American Academy, and the literary canon wars that followed. This recent, layered, global history has led to a higher visibility of non-white, non-Western voices in the Western metropolitan publication scenes of New York, London and Paris. The content within contemporary multiethnic fiction often talks of identity, home and displacement; they ask questions like who has power and voice and who gets marginalized or silenced, these ideas fleshed out obsessively in stories through plot, theme, form, language, or a combination.

Orality within fiction that is deliberately engaging with power dynamics between the West and non-West—as evident in the title of Rushdie’s story collection East, West—thus becomes more than just a stylistic device or virtuosity with craft. The shift in sensory focus within multiethnic fiction from images to sounds holds a mirror to our contemporary, complex literary history, guiding the reader further to ways in which these stories maybe constructed, read, or deconstructed. Orality here becomes a political stance, an ideological move reminding the reader over and again that what we consume as universal in story craft, literary history, or aesthetic taste is anything but universal."
orality  oraltradition  visual  via:vruba  2018  storytelling  walterbenjamin  culture  tradition  namratapoddar  globalsouth  maggieawadalla  paulmarch-russell  billashcroft  garethgriffiths  helentiffin  vernacular  zoranealehurston  creole  creoleness  folktales  writing  salmanrushdie  vikramchandra  junotdíaz  edwidgedanticat  edgarallanpoe  johnbarth  fancineprose  criticalwriting  howwewrite  literacy  multiliteracies  dialect  rhythm  patrickchamoiseau  caribbean  africa  asia  colonialism  english  alicewalker  imperialism  gishjen  jamesbaldwin  tonimorrison  tiphanieyanique  zzpacker  showdon'ttell  sandracisneros  roxanegay  ajeshparameswaran  négritude  papacésaire  haiti  aural  oral  sight  brevity  clarity  grammar  fiction  aimécésaire  martinique  léopoldsédarsenghor  léondamas  postcolonialism  louis-ferdinandceline  latinamerica  indigenous  canon 
november 2018 by robertogreco
Take your time: the seven pillars of a Slow Thought manifesto | Aeon Essays
"In championing ‘slowness in human relations’, the Slow Movement appears conservative, while constructively calling for valuing local cultures, whether in food and agriculture, or in preserving slower, more biological rhythms against the ever-faster, digital and mechanically measured pace of the technocratic society that Neil Postman in 1992 called technopoly, where ‘the rate of change increases’ and technology reigns. Yet, it is preservative rather than conservative, acting as a foil against predatory multinationals in the food industry that undermine local artisans of culture, from agriculture to architecture. In its fidelity to our basic needs, above all ‘the need to belong’ locally, the Slow Movement founds a kind of contemporary commune in each locale – a convivium – responding to its time and place, while spreading organically as communities assert their particular needs for belonging and continuity against the onslaught of faceless government bureaucracy and multinational interests.

In the tradition of the Slow Movement, I hereby declare my manifesto for ‘Slow Thought’. This is the first step toward a psychiatry of the event, based on the French philosopher Alain Badiou’s central notion of the event, a new foundation for ontology – how we think of being or existence. An event is an unpredictable break in our everyday worlds that opens new possibilities. The three conditions for an event are: that something happens to us (by pure accident, no destiny, no determinism), that we name what happens, and that we remain faithful to it. In Badiou’s philosophy, we become subjects through the event. By naming it and maintaining fidelity to the event, the subject emerges as a subject to its truth. ‘Being there,’ as traditional phenomenology would have it, is not enough. My proposal for ‘evental psychiatry’ will describe both how we get stuck in our everyday worlds, and what makes change and new things possible for us."

"1. Slow Thought is marked by peripatetic Socratic walks, the face-to-face encounter of Levinas, and Bakhtin’s dialogic conversations"

"2. Slow Thought creates its own time and place"

"3. Slow Thought has no other object than itself"

"4. Slow Thought is porous"

"5. Slow Thought is playful"

"6. Slow Thought is a counter-method, rather than a method, for thinking as it relaxes, releases and liberates thought from its constraints and the trauma of tradition"

"7. Slow Thought is deliberate"
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march 2018 by robertogreco

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